On 26 Jun 2006 at 22:57, Owain Sutton wrote: > > -----Original Message----- > > From: [EMAIL PROTECTED] > > [mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton > > Sent: 26 June 2006 20:18 > > To: finale@shsu.edu > > Subject: Re: [Finale] Notation; was RE: Tremolos > > > > On 26 Jun 2006 at 7:59, [EMAIL PROTECTED] wrote: > > > > > The same happened in the early sixteenth century. All the > > > ligatures and colouration that made 15th century music so complex > > > (e.g. mensuration canons) disappeared with the introduction of > > > printed music using movable type. > > > > I think you're reversing cause and effect. > > What do you mean by this? That ligatures and coloration created > complexity (not necessarily true), or that movable type precipitated > the disappearance of most ligatures (true)?
That the change in musical style was precipitated by the type, rather than that the type was created because of the changes in musical style. My understanding of the history of this is that the change in musical style came first and drove the notational simplifications that are exhibited in the earliest musical type. Keep in mind also that not all of the earliest musical type lacked ligatures (I can't see that coloration was ever dropped, as it continued to be used into the early 18th century, though in much more limited circumstances than previously). -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
