Arts and Humanities Commons^™

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, …

Interpretive Left-Hand Fingerings For Lute In Nicholas Vallet's "Le Secret Des Muses" (1615), Susan G. Sandman

Performance Practice Review

Lute fingerings for the left hand are a valuable source of information about the Articulation of Baroque music. Vallet's fingerings are given for 49 pieces in Le secret des muses. They affect linear Articulation, often indicating a preference for breaks before strong beats, before an anacrusis, and prior to ornaments, as well as articulating dance rhythms and sequential passages. His fingerings contribute to our understanding of some of the many performance details of early 17th-c. French music that may be mined for artistic guidance today.

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 …

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.

Howard Mayer Brown: A Personal Rememberance, Mark Lindley

Performance Practice Review

Lindley discusses Brown's work and life.

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.

Mersenne On Vocal Diminutions, Margaret Seares

Performance Practice Review

Marin Mersenne's Harmonie universelle (Paris, 1636-37) provides a rare insight into French vocal practice of the early 17th c. Although he approaches singing as a teacher or composer, his comments also provide the performer with clues about ornamentation in early-17th-c. French vocal music. His examples of diminutions and explanations of individual ornaments reveal that the practice was significantly different from that of the later part of the century, with which most modern singers are more familiar.

My Daughter (1993), Frank Felice

Music Faculty Scores

SSA and english horn – text by Tara (Ericksen) Smith - composed for Kathy Romey and the University of Minnesota Women’s Chorus – premiered by them, March 1994. Originally published by Moon of Hope Publishing, Galesburg, Illinois, 1996.

This Is My Letter To The World | 11-20100, James Q. Mulholland

Music Faculty Scores

This Is My Letter To The World

Part Number:
11-20100

Previous Part Number:
JM-100

Price:
$1.75

Voicing:
SATB

Lyrics By:
Emily Dickinson

Music By:
James Q. Mulholland

Commissioned by The Oxford Choral Ensemble, Oxford Ohio
William Bausano, Director

Bed In Summer | 21-20513, Larry Alan Smith

Music Faculty Scores

Bed In Summer

Part Number:
21-20513

Previous Part Number:
HL-513

Price:
$1.85

Voicing:
Unison

Lyrics By:
Robert Louis Stevenson

Music By: Larry Alan Smith

Fair Warning | 21-20206, Shirley W. Mcrae, Jenny Joseph

Music Faculty Scores

Fair Warning

Part Number:
21-20206

Previous Part Number
HL-206

Price:
$1.90

Voicing:
SSA

Lyrics By:
Jenny Joseph

Music By:
Shirley W. McRae

Jingle At The Window | 21-20210, Ruth E. Dwyer

Music Faculty Scores

Jingle at the Window
American Folk Song

Part Number:
21-20210

Previous Part Number:
HL-210

Price:
$1.85

Voicing:
SSA

Arranged By:
Ruth E. Dwyer

May The Road Rise To Meet You - Ssaa | 21-20207, David Hamilton

Music Faculty Scores

May the Road Rise to Meet You

Part Number:
21-20207

Previous Part Number:
HL-207

Price:
$1.85

Voicing:
SSAA

Music By:
David Hamilton

with optional guitar

Measure Me, Sky | 21-20101, James Q. Mulholland

Music Faculty Scores

Measure Me, Sky

Part Number:
21-20101

Previous Part Number:
HL-101

Price:
$1.90

Voicing:
SATB

Lyrics By:
Leonora Speyer (1872-1956)

Music By:
James Q Mulholland

with opt. Orchestra

Featured at:
2014 WiACDA Refresh Reading Session

No Other Gifts | 21-20401, James Q. Mulholland

Music Faculty Scores

No Other Gifts

Part Number:
21-20401

Previous Part Number:
HL-401

Price:
$1.90

Voicing:
SAB

Music By:
James Q. Mulholland

Spring | 21-20510, David Macbride

Music Faculty Scores

Spring

Part Number:
21-20510

Previous Part Number:
HL-510

Price:
$1.90

Voicing:
SA

Lyrics By:
William Blake

Music By:
David Macbride

Song Of Ruth, A | 21-20402, David Hamilton

Music Faculty Scores

A Song of Ruth

Part Number:
21-20402

Previous Part Number:
HL-402

Price:
$1.90

Voicing:
SAB

Lyrics By:
The Book of Ruth

Music By:
David Hamilton with Organ

Les Hommages Preludes Manuscript, Edited And Revised Version, Ron Mcfarland

The Ron McFarland Collection

Manuscript version of Les Hommages composition, including edits and revisions within the sheet music. Dated 1993.

Enrique Granados And Modern Piano Technique, Carol A. Hess

Performance Practice Review

Discusses parallels between Granados's approach to piano technique and that of Ludwig Deppe and Tobias Matthay, two pioneers in the reshaping of pianistic principles that took place at the turn of the century. Despite his relative isolation in Barcelona, Granados pursued strikingly modern ideas in piano playing, including principles of weight and relaxation, avoidance of finger-lifting, and preoccupation with fine gradations of tone. Primary sources include the composer's diary, treatise on pedaling, and the detailed memoirs of one of his students.

Pedaling The Piano: A Brief Survey From The Eighteenth Century To The Present, Sandra P. Rosenblum

Performance Practice Review

Before World War II, most composers notated relatively few pedal indications, usually to create unsuspected effects. Mutations (Veranderungen) on the early pianos and the uses of hand stops, knee levers, and pedals are discussed based on information from extant instruments, composers' autographs, and comments in tutors by such teachers as Johann Milchmeyer and Louis Adam. Pedaling techniques and uses of the damper, una corda, and sostenuto pedals on the changing instruments of the 19th and 20th c. are described, with particular attention to compositions of Beethoven, Schumann, Chopin, Brahms, Debussy, Villa-Lobos, Boulez, Cage, and Stockhausen.

Vocal Ornaments In Durante's "Arie Devote" (1608), Donald Clyde Sanders

Performance Practice Review

Ottavio Durante's Arie devote (Rome, 1608) is a collection of sacred monody in the style of Caccini's Le nuove musiche. The preface strongly affirms the use of the stile nuovo in church music in terms that reflect the spirit of the Counter-Reformation. Durante's preface also contains significant information on performance practice in early monody. Although most of his ideas are borrowed directly from Caccini, some points relate specifically to the application of the new style to liturgical music. Besides the ornaments found in Le nuove musiche, Durante describes the combination of a crescendo and a portamento on certain ascending semitones …

"Continuo Realization In Handel's Vocal Music." By Patrick J. Rogers, David Ledbetter

Performance Practice Review

Ledbetter discusses and reviews Rogeres' 1989 book.

Contributors/End Matter

Performance Practice Review

List of contributors to the Spring 1993 (6/1) issue of Performance Practice Review.

End matter and advertisements from the Spring 1993 (6/1) issue of Performance Practice Review.

Front Matter/Table Of Contents

Performance Practice Review

Front matter and Table of Contents to the Fall 1993 issue (Volume 6, Number 2)of Performance Practice Review.

"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.

"Adam De La Halle (Fl.1280): Le Jeu De Robin Et Marion." Thomas Binkley, Musical Dir., Schola Cantorum Basiliensis, Marianne Richert Pfau

Performance Practice Review

Pfau discusses the Schola Cantorum's recording of de la Halle's music.

"The Lauds Of Saint Ursula: Hildegard Of Bingen (1098-1179)." Thomas Binkley, Dir., Early Music Institute, Indiana University School Of Music., Marianne Richert Pfau

Performance Practice Review

Pfau reviews the Early Music Institute's recording of Bingen's music.

Contributors/End Matter

Performance Practice Review

List of Contributors to the Fall 1993 issue of Performance Practice Review.

End matter and advertisements from the Fall 1993 issue or Performance Practice Review.

Performance Practice Bibliography (1992)

Performance Practice Review

A bibliography of performance practice study from the year 1992.

Go Tell It On The Mountain | 21-20511, Ruth E. Dwyer, J. Waller

Music Faculty Scores

Go Tell It On The Mountain
Spiritual

Part Number:
21-20511

Previous Part Number:
HL-511

Price:
$1.85

Voicing:
SA

Arranged By:
R. Dwyer/J. Waller