There were the wax tablets, but it seems likely that there were multiple systems for compositions. Sketches on paper show, obviously, that paper was used for sketches. These systems could have been used in combination Surely the keyboard was used by many composers Dowland most likely composed for a consort setting, with little or no divisions added. Dowland's self proclaimed reliance on the hexachord seems to be hold up under analysis Various charts and tables existed for transnotation. The good composers could easily hold four or even five parts in their heads, whether they then chose to sketch the material we may never know. The ornaments for almost all lute music can be found in the various tutors, although a complete picture requires the supposition of a missing english tutor or tutors whose contents can be formally derived from extant parts. The application of the ornaments invariably yeilds clues as to the author of the divisions, owing to the way in which the simple rules of voice leading are observed or unobserved.
dt At 03:03 AM 6/8/2008, you wrote: >Dear Roman, > >The paper is indeed interesting, although I cannot be sure who wrote it. > >In the paper, you are referred to as "Roman Turovsky-Savchuk". Is this >really your full name? If so, is your choice of the name "Sautscheck" >for your own compositions, derived from the last part of your name? > >A few years ago, I told a friend about your compositions for lute, and >how you used the pseudonym "Sautscheck". He was much amused. He is a >retired lecturer in German, and so is familiar with the German language. >He said that "Sautscheck" has certain pejorative connotations, but I >cannot remember the details. Is there a joke with the name "Sautscheck" >which we are missing? > >I think the author of the paper would have been interested to know that >Elias Mertel listed the names of the composers whose work was included >in his anthology, but he deliberately failed to mention who actually >wrote which piece. He argued in his introduction, that he wanted each >piece to be judged on its own merits. > >Music from the 16th century is an interesting area as far as >attributions are concerned. It is often difficult to distinguish between >composer, arranger, intabulator, and publisher. Did Dowland compose "My >Lord Willoughby's Welcome Home, was the piece by Byrd, or did the piece >exist before either of them put their gloss on it? > >On the question of arrangements, I would like to know more about how >lute composers composed. I suspect that people like Dowland would have >composed pieces in four or five parts in score, before arranging them as >lute solos, with divisions and ornaments added last. I don't think they >would have started with a lute on their lap and an empty tablature stave >in front of them, but I could be wrong. I have a vague memory of hearing >that Palestrina had a lute handy when composing. > >Best wishes, > >Stewart McCoy. > > > >-----Original Message----- >From: Roman Turovsky [mailto:[EMAIL PROTECTED] >Sent: 08 June 2008 04:25 >To: BAROQUE-LUTE >Subject: [BAROQUE-LUTE] Re: [delian] Musical Crimes: Forgery, Deceit, >and Socio-Hermeneutics > >An interesting paper from Cambridge- > > http://www.serenestudios.co.uk/articles/musical_crimes >RT > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
