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By Leonard Ellinwood, William A. McLaughlin

An version of the works of Francesco Landini in a collated transcription of the manuscript assets.

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From the Preface :

This booklet illustrates a suite of track manuscripts which used to be made in recent times to profit the root for modern functionality Arts. the gathering was resolute by means of situations instead of any technique of choice. hence it exhibits the various instructions within which song notation is now going. The manuscripts aren't prepared in response to varieties of track, yet alphabetically in keeping with the composer's identify. No explanatory details is given.

The textual content for the booklet is the results of a technique utilizing I-Ching likelihood operations. those decided what percentage phrases concerning his paintings have been to be written by means 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 specifically written for this booklet, they're preceded through a paragraph signal and via the author's identify. different comments have been selected or written through the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all made up our minds unintentionally operations. This method used to be so that it 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 publication is the modern aquarium (no longer a gloomy hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass apartment 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 e-book. The editors are thankful to the various composers and tune publishers who've made this presentation of mid-twentieth century tune notation attainable.

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Extra info for The works of Francesco Landini

Example text

The use of syncopation is frequently resorted to in the melismatic passages especially at the ends of sections. One of the longest of such passages is the following: xxxii THE WORKS OF FRANCESCO LANDINI No. 129 Hocket is frequently used with moderation in these same places: No. 127 As in the case of other mechanical devices which were introduced prior to this time they are both used with artistic discretion. Although we continually hear discussions of the freedom of mensural notation as contrasted with the tyranny of the written bar-line, we are not at all conscious of any such contrast when this music is actually performed.

According to Sachs, 74 the chitarra was a small instrument of the lute family. Gerold 7 5 describes the cetera as an instrument in the form of a vielle or early viol, but which was plucked. The pifar, according to Sachs,74 was a transverse flute much like our fife today. These three instruments and their use in connection with the music furnish the one precise description of contemporary performance. Note that they are all played 'cum tenore' part. 70 No. 27. No. 34. 72 No. 127. 71 73 No. 123. der Musikinstrumentenkunde.

133. The compositions are arranged and numbered alphabetically according to their form: Two-part madrigals 1 9 Three-part madrigals . . 10 - 12 Pescha 13 Two-part b a l l a t e 14 - 100 Three-part b a l l a t e 101 - 149 Two-part frammenti 150 - 154. , o — o -•• • Le rime di Cino 78 e d ' a l t r i . . , p. 487. THE WORKS OF FRANCESCO LANDINI SIGLA S. Florence, Biblioteca Medicea Laurenziana, Pal. 87 F. Florence, Biblioteca Nazionale, Pan. 26 B. London, British Museum, Add. MS. £9,987 R. Paris, Bibliotheque Nationale, Fonds fr.

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