Source:Ashgate,, Farnham, p.xxiv, 444 p. : (2011)
ISBN:0754629635 (hbk.) :
Mots-clés:16th century., History, Music, Performance practice (Music), Performance., To 1500.
Essays originally published 1946-2009, principally in the journal Early music.Formerly CIP.Includes bibliographical references and index.Pt. 1, Method. On "instrumental style" in early melody / Lloyd Hibberd. Specific information on the ensembles for composed polyphony, 1400-1474 / David Fallows -- pt. 2, Songs. Going beyond the limits : experiments with vocalization in the French chanson, 1340-1440 / Christopher Page. Performance practices in the frottola / William F. Prizer. The a cappella heresy in Spain : an inquisition into the performance of the cancionero repertory / Tess Knighton. Tenorlied, Discantlied, polyphonic Lied : voices and instruments in German secular polyphony of the Renaissance / Stephen Keyl. Performance practice in the seconda prattica madrigal / Rinaldo Alessandrini -- pt. 3, Sacred music. The performing ensembles in Josquin's sacred music / David Fallows. Performance practice in the papal chapel during the 16th century / Richard Sherr. The performance of Palestrina : some questions, but fewer answers / Graham Dixon. The performance of Palestrina : some further questions / Noel O'Regan. What can the organ partitura to Tomás Luis de Victoria's Missae, Magnificat, motecta, psalmi et alia quam plurima of 1600 tell us about performance practice? / Noel O'Regan. Minstrels in Spanish churches, 1400-1600 / Kenneth Kreitner -- pt. 4, Instrumental music. Voices and instruments : soloists and ensembles in the 15th century / Keith Polk. A cook's tour of Ferrara in 1529 / Howard Mayer Brown. Notes (and transposing notes) on the transverse flute in the early sixteenth century / Howard Mayer Brown -- pt. 5, Notation. Diatonic ficta / Margaret Bent. "High" clefs in composition and performance / Andrew Johnstone -- pt. 6, Perspective. Sight-readings : notes on a cappella performance practice / Donald Grieg. For whom do the singers sing? / Bonnie J. Blackburn.