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Full-Text Articles in Music Practice
Tu Ru Or Not Tu Ru: Paired Syllables And Unequal Tonguing Patterns On Woodwinds In The Seventeenth And Eighteenth Centuries, Bruce Haynes
Tu Ru Or Not Tu Ru: Paired Syllables And Unequal Tonguing Patterns On Woodwinds In The Seventeenth And Eighteenth Centuries, Bruce Haynes
Performance Practice Review
RILM abstract:" Original source material on historical tongue-strokes describes "paired syllables", or double-tonguing, as contrasted to single-tonguing. Patterns place the accent on the first, second, or both parts of the pair. Double-tonguing uses a rebound motion to enhance the velocity of Articulation; it reinforces appropriate metrical patterns, but is more often used to achieve speed in extended (and therefore fatiguing) runs of quick notes. Descriptions of double-tonguings began in the early 16th c. and continued to ca. 1827, and were used in Italy, Germany, Holland, France, and England."
Performance Practice And The Falsobordone, Murray C. Bradshaw
Performance Practice And The Falsobordone, Murray C. Bradshaw
Performance Practice Review
RILM abstract: "While the falsobordone was not the most sophisticated genre of the 16th and early 17th c., it was among the most popular. Its popularity can be attributed to its simple polyphonic style, which lent itself to a variety of performances. The falsobordone could be sung by either a full choir or a solo ensemble (with recitations sung in uneven values and without a metrical pulse, but with cadences almost always articulated metrically). It could be performed as a solo song accompanied by organ or another instrument, as a highly embellished solo piece (passaggiato), or as a polychoral composition …