The Performance of 16th-Century Music

Learning from the Theorists
Erscheinungsjahr 2011
ISBN: 978-0-19-974261-5
Verlag: Oxford University Press

Buch, Englisch, 256 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 398 g

Modern musical training tends to focus primarily on performance practices of the Classical and Romantic periods, and most performers come to the music of the Renaissance with well-honed but anachronistic ideas and concepts. As a result, elemental differences between 16th-century repertoire and that of later epochs tend to be overlooked-yet it is just these differences which can make a performance truly stunning.

The Performance of 16th-Century Music offers a remedy for the performer, presenting the information and guidance that will enable them to better understand the music and advance their technical and expressive abilities. Drawing from nearly 40 years of performing, teaching, and studying this repertoire and its theoretical sources, renowned early music specialist Anne Smith outlines several major areas of technical knowledge and skill needed to perform the music of this period. She takes
the reader through part-books and choirbooks; solmization; rhythmic inequality; and elements of structure in relation to rhetoric of the time; while familiarizing them with contemporary criteria and standards of excellence for performance. Through The Performance of 16th-Century Music, today's musicians will
gain fundamental insight into how 16th-century polyphony functions, and the tools necessary to perform this repertoire to its fullest and glorious potential.

Autoren/Hrsg.

Smith, Anne

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikinstrumente Instrumentenunterricht & Lernanleitungen
• Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Mittelalter & Renaissance

Über Autor(innen)

For almost forty years, 16th-century music - particularly on renaissance flutes - has been one of Anne Smith's central interests. She has spent most of that time at the Schola Cantorum Basiliensis in Basel, which provides an ideal environment for live research on historical performance practice.