By Stewart Carter, Jeffery Kite-Powell
Revised and increased, A Performer’s consultant to 17th Century track is a complete reference consultant for college students musicians. The booklet includes beneficial fabric on vocal and choral tune and magnificence; instrumentation; functionality perform; ornamentation, tuning, temperament; meter and pace; basso continuo; dance; theatrical creation; and masses extra. the quantity comprises new chapters at the violin, the violoncello and violone, and the trombone—as good as up-to-date and increased reference fabrics, net assets, and different newly to be had fabric. This hugely obtainable guide will turn out a welcome reference for any musician or singer attracted to traditionally trained performance.
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Extra resources for A Performer's Guide to Seventeenth-Century Music
Trans. in Strunk, Source Readings, Baroque: 62. 26. For a discussion of the voce mezzana, see Jacobs, “Controversy”: 289. 27. See Gerbert, Scriptores: 3: 120. 18). 28. ” Coussemaker, Scriptorum: 1:93b. 29. Zacconi, Prattica: 77r. 30. Sanders, “Vocal Ornaments”: 73. 31. “. . ” Trans. in Conrad/Dyer, “Singing”: 217. See also Jacobs, “Controversy”: 289. 32. MacClintock, Readings: 62. 33. Celletti, Bel Canto: 16. 34. MacClintock, Readings: 189. 35. See Rosand, Opera: esp. ch. 8. 36. Celletti, Bel Canto: 19.
Any increase in sonority would not have been so great as to lead to pitch distortion or to constant pitch-fluctuation vibrato. While singers then and now might agree that it is important to sing in tune, the definition of what is “in tune” has changed considerably. For those of us raised in a predominantly equal-tempered sound world, unequal temperaments can be a revelation. Modern computer technology and tuning boxes now make it possible to access exactly all sorts of different tuning systems with precision.
See Moens-Haenen, Vibrato. 46. MacClintock, Readings: 122. 47. Trans. in Termini, “Baroque Acting”: 149. For more information on singers’ acting and movement in the seventeenth century, see Brooke A. Bryant, The Seventeenth-Century Singer’s Body: An Instrument of Action. PhD dissertation, City University of New York, 2009. 48. Other sources include Jean Millet (1666), Jean Rousseau (1683), François Raguenet (1702), and Jean-Laurent Le Cerf de la Viéville (1704). 49. Anthony (French Baroque: 45) has discussed the musical conservatism of France in the seventeenth century.
A Performer's Guide to Seventeenth-Century Music by Stewart Carter, Jeffery Kite-Powell