Arts and Humanities Commons^™

"The Performance Of 16th-Century Music: Learning From The Theorists" By Anne Smith, Kenneth Kreitner

Performance Practice Review

Kenneth Kreitner discusses and reviews Smith's 2011 work.

Smith, Anne. The Performance of 16th-Century Music: Learning from the Theo­rists. Oxford: Oxford University Press, 2011.

ISBN 978-0-19974261-5.

"The Rosary Cantoral: Ritual And Social Design In A Chantbook From Early Renaissance Toledo" By Lorenzo Candelaria, Kenneth Kreitner

Performance Practice Review

Kreitner reviews and critiques Candelaria's book.

The Application Of (Ornamental) Strokes In English Virginalist Music: A Brief Chronological Survey, Desmond Hunter

Performance Practice Review

RILM abstract: The English virginalists from 1530 to 1650 used signs in the form of an oblique stroke through the note stem to indicate a grace. The single stroke does not appear to have been used as a grace sign until around 1570 and was used frequently only after the later 17th c. The double stroke appears often; 16th-c. English keyboard music sources imply that it was realized with a form of shake. The triple stroke was used only in a small number of sources including 16th- and 17th-c. MSS. The sometimes idiosyncratic usage of signs suggests that composers and …

Singing Without Text, Timothy J. Mcgee

Performance Practice Review

A close look at texting practices in several 15th-c. MSS supports recent scholarship concerning the performance practice of textless lines in polyphonic music. I-Fn, MSS Banco Rari 230 and 337 supply partial text for lower voices in a manner that suggests that textless vocalization of much or all of the lower parts was a common practice in Northern Italy. Similar texting practices in E-E, MS V.III.24 and GB-Ob, MS Canonici misc.213 indicate a similar practice in Venice and Burgundy.

The Performance Of Fifteenth Century Italian Balli: Evidence From The Pythagorean Ratios, Jennifer Nevile

Performance Practice Review

The 15th-c. dance treatises of Domenico da Piacenza, Antonio Cornazano, and Guglielmo Ebreo da Pesaro contain a theoretical section in which the ratios of the tempi between the four misure of the balli are discussed. This information allows us to work out metronome markings for the four misure. When proportion signs (or mensuration signs used as proportion signs) appear in the ballo melodies, the ratio represented by these signs relates to the preceding misura.

"Aural Images Of Lost Traditions: Sharps And Flats In The Sixteenth Century." By Robert Toft, Stanley Boorman

Performance Practice Review

Boorman discusses and reviews Toft's 1992 book.

Ornamentation In Spanish Renaissance Vocal Music, Charles Jacobs

Performance Practice Review

Presents a survey of vocal ornamentation as descibed in Luis de Milan's El maestro (1535), Domenico Pietro Cerone's El melopeo y maestro (1613), and intervening 16th-c. Spanish publications. Discusses musical terms such as redoble, quiebro, glosa, trinar, and hacer garganta. Also includes a summary of the material provided in the eight book of El melopeo, with 54 pages of musical examples from Cerone's suggested diminutions.

"'Musica Ficta': Theories Of Accidental Inflections In Vocal Polyphony From Marchetto De Padova To Gioseffo Zarlino" By Karol Berger, Don Harrán

Performance Practice Review

Harran discusses and reviews Berger's 1987 book.

"The Florentine Camerata: Documentary Studies And Translations." By Claude V. Palisca, Hugh Wiley Hitchcock

Performance Practice Review

Hitchcock discusses and reviews Palisca's 1989 book.