Tools

LEADER 02900cam a22003858a 4500

001 ocm24740966;

005 20141212090927.0;

008 910801s1992 onca b 001 0 eng d;

010 a| cn 91095119;

020 a| 0802059295 :c| $60.00;

035 a| (Sirsi) o24740966;

035 a| (OCoLC)27727766;

049 a| EREM;

090 a| ML431b| .T65 1992;

100 1 a| Toft, Robert.=| ^A289979;

245 10 a| Aural images of lost traditions :b| sharps and flats in the sixteenth century /c| Robert Toft.;

260 a| Toronto :b| University of Toronto Press,c| 1992.;

300 a| viii, 199 pages :b| illustrations ;c| 27 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 176-186) and index.;

505 0 a| Theoretical framework -- Pitch-content in Josquin's motets -- The German custom -- Traditions of Pitch-content.;

520 a| Twentieth-century musicians endeavouring to re-create the music of earlier periods face a variety of challenges. The author addresses one of these: in the sixteenth century, sharps and flats were rarely notated in the sources of vocal music. Singers were expected to be familiar with the principles governing the application of these signs and to make the appropriate alterations themselves. Through a comparative study of vocal sources, intabulations of vocal music (instrumental transliterations which specify all pitches unambiguously), and theoretical treatises, the author documents the range of theoretical possibilities open to the performer and indicates which sharps and flats practising musicians actually incorporated in their performances. Thus, one of the thorniest problems performers and editors of Renaissance vocal music face is discussed in the widest context possible, allowing oral traditions which sixteenth-century vocal notation only partly records to be revealed. The study establishes the spectrum of sixteenth-century practices in relation to the intabulations of Josquin Desprez's motets, reveals nationalistic practices in German sources, and identifies the various traditions of pitch-content associated with five works by Josquin Desprez, Clemens non Papa, and Alexander Agricola.;

650 0 a| Musica ficta.=| ^A395445;

650 0 a| Performance practice (Music)x| Historyy| 16th century.=| ^A347061;

650 0 a| Music theoryx| Historyy| 16th century.=| ^A535906;

650 0 a| Musical pitchx| Historyy| 16th century.=| ^A53447;

650 0 a| Vocal musicy| 16th centuryx| History and criticism.=| ^A31547;

650 0 a| Musicy| 16th centuryx| History and criticism.=| ^A49502;

919 a| BOOK;

596 a| 3;

998 a| 424089;

999 a| ML431 .T65 1992w| LCc| 1i| 30372006273749d| 5/3/2017e| 4/26/2017f| 5/12/2025g| 4l| MCSm| JMUSICn| 8r| Ys| Yt| MCSSBKu| 7/15/1992x| BOOKz| MCIRCo| .STAFF. enhanced 10/22/24 -jjab;

Aural images of lost traditions : sharps and flats in the sixteenth century / Robert Toft.

Author/creator	Toft, Robert
Format	Book
Publication Info	Toronto : University of Toronto Press, 1992.
Description	viii, 199 pages : illustrations ; 27 cm
Subjects	Musica ficta. Performance practice (Music)--History. --16th century. Music theory--History. --16th century. Musical pitch--History. --16th century. Vocal music--16th century. --History and criticism. Music--16th century. --History and criticism.

Contents	Theoretical framework -- Pitch-content in Josquin's motets -- The German custom -- Traditions of Pitch-content.
Abstract	Twentieth-century musicians endeavouring to re-create the music of earlier periods face a variety of challenges. The author addresses one of these: in the sixteenth century, sharps and flats were rarely notated in the sources of vocal music. Singers were expected to be familiar with the principles governing the application of these signs and to make the appropriate alterations themselves. Through a comparative study of vocal sources, intabulations of vocal music (instrumental transliterations which specify all pitches unambiguously), and theoretical treatises, the author documents the range of theoretical possibilities open to the performer and indicates which sharps and flats practising musicians actually incorporated in their performances. Thus, one of the thorniest problems performers and editors of Renaissance vocal music face is discussed in the widest context possible, allowing oral traditions which sixteenth-century vocal notation only partly records to be revealed. The study establishes the spectrum of sixteenth-century practices in relation to the intabulations of Josquin Desprez's motets, reveals nationalistic practices in German sources, and identifies the various traditions of pitch-content associated with five works by Josquin Desprez, Clemens non Papa, and Alexander Agricola.
Bibliography note	Includes bibliographical references (pages 176-186) and index.
LCCN	cn 91095119
ISBN	0802059295 :

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Aural images of lost traditions : sharps and flats in the sixteenth century / Robert Toft.

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