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Early tune historical past is dedicated to the research of song from the early center a long time to the top of the 17th century. It calls for the top criteria of scholarship from its individuals, all of whom are top teachers of their fields. It offers choice to reviews pursuing interdisciplinary methods and to these constructing novel methodological ideas.

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From the Preface :

This booklet illustrates a suite of track manuscripts which was once made in recent times to profit the basis for modern functionality Arts. the gathering was firm by way of conditions instead of any strategy of choice. hence it indicates the numerous instructions within which tune notation is now going. The manuscripts will not be prepared in line with varieties of track, yet alphabetically in line with the composer's identify. No explanatory info is given.

The textual content for the e-book is the results of a strategy making use of I-Ching probability operations. those decided what number phrases concerning his paintings have been to be written by way of or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were particularly written for this booklet, they're preceded by means of a paragraph signal and by means of the author's identify. different comments have been selected or written by means of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter measurement, depth, and typeface - have been all made up our minds by accident operations. This approach used to be which will reduce the variation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.

A precedent for the textual content is the Questionnaire. (The composers have been requested to write down approximately notation or some· factor proper to it. ) A precedent for the absence of data which characterizes this ebook is the modern aquarium (no longer a dismal hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condo with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this publication. The editors are thankful to the various composers and tune publishers who've made this presentation of mid-twentieth century track notation attainable.

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Additional info for Studies in Medieval and Early Modern Music (Early Music History, Volume 14)

Example text

Sandberger (Leipzig, 1894-1926), v, pp. 144-50 (Clarr sanetoram), 60-3 (Surgrns , / e s u ~ )and 141-3 (Non oos mr rleghtis). The source has the word 'laudes' in place of 'laudem' irr the lower four voices of Example lob. The proportional sign in Example lob is 3, rather than Q1,, in Le Roy and Ballard's 1571 edition of the book. I n the modern edition, the rhythm of Example IOa, bar 17, bass, notes 3-4, is transcribed incorrectly as semibreve-minim. In Non UOJ rnr elrgisti~,there is a white breve simultaneous with three black semibreves irr the penultimate measure of the proportion (not shown in Example 10d).

Pp. 16974, demonstrate why Hiekel's interpretation cannot be correct. Dahlhaus suggests (p. 168) that Praetorius may have intended the perfect breve of tripla to correspond to the semibreve of C, and the perfect semibreve of sesqztialtera to the scmibreve of @, even though this explanation contradicts Praetorius's earlier statements about the signs typical of motets and madrigals. In 'Zur Entstehung des modernen Taktsystems', pp. 232-3, Dahlhaus proposes a difrerent explanation: tripla of Q relates to the breve tactus, and sesqztialtera of C to the semibreve tactus.

58 Michael Praetorius supports the idea that proportions notated in semibreves, which apply to 4, should generally be slower than proportions notated in minims, which apply to C. Having said that the 'modern Italians' define sesquialtera as three semibreves in the time of two in or three minims in the time of two in C,"" he comments that many people interchange the various proportional signs indiscriminately. Some, he says, recommend abolishing sesquialtera and hemiolia altogether and using only one sign of tripla for all such proportions, but he believes two signs should be retained for traditional proportions: tripla, written in semibreves with the sign or 3, for motets and concertos, and for madrigals, sesquialtera, written in minims with the sign galliards, courantes, voltas and other songs requiring a fast tactus.

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