A Performer's Guide to Seventeenth-century Music: Edited by Stewart CarterStewart Carter This is a comprehensive reference guide for students and professional musicians. The book contains useful material on vocal and choral music and style; instrumentation; performance practice; ornamentation, tuning, temperament; meter and tempo; basso continuo; dance; theatrical production; and much more. |
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Page 143
... timpani were generally smaller than their mod- ern counterparts , the variation in size was considerable , even if one sets aside the smallest drums as belonging to the family of nakers rather than timpani . In general , the diameter of ...
... timpani were generally smaller than their mod- ern counterparts , the variation in size was considerable , even if one sets aside the smallest drums as belonging to the family of nakers rather than timpani . In general , the diameter of ...
Page 151
... timpani part , see the recording by Paul McCreesh under " Suggested Listening . " 27. The misattribution of the Mass was originally made by W. A. Ambros in the second edition of his Geschichte der Musik ( Leipzig , 1881 ) , 144. The ...
... timpani part , see the recording by Paul McCreesh under " Suggested Listening . " 27. The misattribution of the Mass was originally made by W. A. Ambros in the second edition of his Geschichte der Musik ( Leipzig , 1881 ) , 144. The ...
Page 152
... timpani and beats in the center of the drum in a chamber made mostly of wood or stone - that is , the indoor acoustic context in which the timpani were usually employed through the high Baroque - the sound is more like that of a ...
... timpani and beats in the center of the drum in a chamber made mostly of wood or stone - that is , the indoor acoustic context in which the timpani were usually employed through the high Baroque - the sound is more like that of a ...
Contents
Bel canto Style | 30 |
ANNE HARRINGTON | 43 |
GARY TOWNE Vocal Ensembles | 54 |
Copyright | |
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Common terms and phrases
accompaniment appears articulation Baroque bass beat beginning called castrato changes choir cited common composers consort continuo cornett court dance described developed discussion divisions double drums early edition effect England English ensemble equal example expressive figures flute four France French German gives half hand harpsichord historical important indicate instruments Italian Italy keyboard known late later less lower lute means mentioned ments Mersenne musicians nature notation notes octave opera organ original ornamentation particularly performance period pieces pitch players playing position practice Praetorius produce proportion published range recorder refers Renaissance repertory require says seems seventeenth century signs singers singing solo sometimes sonatas soprano sound sources standard steps strings style suggests tactus technique tempo term theorbo third timpani tion tone trill trumpet tuning types usually viol violin vocal voice writing written