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Full-Text Articles in Music Practice
Italian Split-Keyboard Instruments With Fewer Than Nineteen Divisions To The Octave, Denzil Wraight, Christopher Stembridge
Italian Split-Keyboard Instruments With Fewer Than Nineteen Divisions To The Octave, Denzil Wraight, Christopher Stembridge
Performance Practice Review
Checklists of (1) surviving Italian harpsichords and virginals with split black keys; (2) similar instruments not known to survive but whose existence can be documented; (3) 26 Italian organs built during the period 1468-1665 that are known to have had split keys. Gives the ranges of these instruments when known. Discusses Frescobaldi's probable involvement with such instruments.
The Cimbalo Cromatico And Other Italian Keyboard Instruments With Ninteen Or More Division To The Octave (Surviving Specimens And Documentary Evidence), Christopher Stembridge
The Cimbalo Cromatico And Other Italian Keyboard Instruments With Ninteen Or More Division To The Octave (Surviving Specimens And Documentary Evidence), Christopher Stembridge
Performance Practice Review
An earlier article (abstracted as RILM 9191) established that the cimbalo cromatico had 19 keys per octave. No such instrument survives, but two show traces of having been such (including a harpsichord by Franciscus Faber, 1631). Luython's clavicymbalum universale described by Michael Praetorius, and other documented instruments in Graz and in Ferrara, Rome, and elsewhere in Italy, are discussed. Harpsichords and organs with more than 19 keys per octave clearly related in design to the cimbalo cromatico include instruments made by Domenico da Pesaro, Vincenzo Colombo, Vido Trasuntino, and designed by Gioseffo Zarlino, Nicola Vicentino, Francisco de Salinas, Fabio Colonna, …
The Performance Of Fifteenth Century Italian Balli: Evidence From The Pythagorean Ratios, Jennifer Nevile
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.
The Role Of Diction And Gesture In Italian Baroque Opera, Olga Termini
The Role Of Diction And Gesture In Italian Baroque Opera, Olga Termini
Performance Practice Review
Early Italian Baroque opera (ca. 1600-ca. 1770) was drama-oriented; Monteverdi and the composers of the Camerata emphasized diction and gesture or acting in the portrayal of characters. Singers such as Anna Renzi were praised for their interpretive skills as much as for their singing. The anonymous treatise Il corago (ca. 1630) gives detailed instructions on acting in opera. Although later Italian opera moved toward the concert on stage, writers and critics remained enthusiastic in their emphasis on dramatic interpretation and became ever more critical in their assessment of current performance practices (Francesco Algarotti, Giovanni Antonio Bianchi, Pier Francesco Tosi, and …
Music For The Cimbalo Cromatico And The Split-Keyed Instruments In Seventeenth-Century Italy, Christopher Stembridge
Music For The Cimbalo Cromatico And The Split-Keyed Instruments In Seventeenth-Century Italy, Christopher Stembridge
Performance Practice Review
Related to the arcicembalo, the cimbalo cromatico was a type of harpsichord in use during the late 16th and early 17th c. While most keyboards were tuned in 12-note meantone temperament, limiting the number of available sharps (three) and flats (two), the cimbalo cromatico's 19-note keyboard contained separate keys for all sharps and flats. Though useful, the instrument lacked influence; composers tended to confine themselves to the meantone system, using the more widespread instruments with split keys for the extra notes needed.
"The Florentine Camerata: Documentary Studies And Translations." By Claude V. Palisca, Hugh Wiley Hitchcock
"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.
"Bel Canto: The Teaching Of The Classical Italian Song-Schools, Its Decline And Restoration" By Lucie Manén, Philip Lieson Miller
"Bel Canto: The Teaching Of The Classical Italian Song-Schools, Its Decline And Restoration" By Lucie Manén, Philip Lieson Miller
Performance Practice Review
Miller discusses and reviews Manén's 1987 book.
"The Performance Of The Basso Continuo In Italian Baroque Music" By Tharald Borgir, John Walter Hill
"The Performance Of The Basso Continuo In Italian Baroque Music" By Tharald Borgir, John Walter Hill
Performance Practice Review
Hill discusses and reviews Borgir's 1987 book.
Francesco Rognoni's "Selva De Varii Passaggi" (1602): Fresh Details Concerning Early Baroque Vocal Ornamentation, Stewart Carter
Francesco Rognoni's "Selva De Varii Passaggi" (1602): Fresh Details Concerning Early Baroque Vocal Ornamentation, Stewart Carter
Performance Practice Review
"One of Milan's most important musicians during the late 16th and early 17th centuries was Francesco Rognoni (died before 1626), a Knight and Count Palatine, son of Richardo Rogniono. The father had published an important treatise on ornamentation nearly thirty years prior to Francesco's. The title page of Francsco's Selva tells us that Francesco was head of instrumental music at the ducal court and maestro di cappella at Santo Ambrosio Maggiore in Milan. In an earlier publication he calls himself a "player of the violin, of the viola bastarda, and other instruments." He may in fact have written the first …