Just out of curiosity, have you read the article, and if so what is 
the big surprise about pronunciation?
dt

At 01:46 PM 6/19/2008, you wrote:
>Nah, the duck is far more important, i.e. phrasing, syntax, melodic 
>and harmonic rhythms etc.
>I.e. the drivetrain. Your list is chromeplating.
>RT
>----- Original Message ----- From: "David Tayler" <[EMAIL PROTECTED]>
>To: "lute-cs.dartmouth.edu" <lute@cs.dartmouth.edu>
>Sent: Thursday, June 19, 2008 4:38 PM
>Subject: [LUTE] Re: French Style
>
>
>>All the things on this list are uniquely French; they give the music
>>the character.
>>For French music, the truffle is more important than the duck.
>>A ground bass can have the exact same harmony in France as an Italian
>>one, but the sauce is different.
>>dt
>>
>>
>>At 01:08 PM 6/19/2008, you wrote:
>>>This is all truffle sauce, but it tells you nothing about the wild
>>>boar underneath.
>>>RT
>>>
>>>
>>>----- Original Message ----- From: "David Tayler" <[EMAIL PROTECTED]>
>>>To: "lute-cs.dartmouth.edu" <lute@cs.dartmouth.edu>
>>>Sent: Thursday, June 19, 2008 3:59 PM
>>>Subject: [LUTE] Re: French Style
>>>
>>>
>>>>That's a terrific question for which there is no easy answer.
>>>>Here's a few basic starting points:
>>>>1. It is different at different times--don't conflate the different genres
>>>>2. Inegal is the most misused and most misunderstood. Read the
>>>>original sources, don't rely on secondary sources.
>>>>At a minimum,Distinguish between coule & pointe, and distinguish
>>>>rhythmic inegal from articulation inegal--this is where it always 
>>>>goes wrong.
>>>>3. Read up on the "gout"
>>>>4. Learn all the agreements. Most people know 2 or 3, some know half
>>>>a dozen, few know them all.
>>>>You need to know at least a dozen, to put an arbitrary number on it.
>>>>5. Learn the three parts of the trill--the starting note, the
>>>>repetition, and the escape. Most people don't play their trills
>>>>right, or play them "evenly".
>>>>6. Use the 2/3rds rule for grace notes and the first note of the
>>>>trill as a starting point--the grace note is the long note, not the
>>>>other way around
>>>>7. Distinguish between the weight of medial and final cadential
>>>>trills and ornaments, the lighter ones are often at the end, not the
>>>>other way around.
>>>>8. At a minimum, read Monteclair on the agreements, especially for
>>>>the port de voix, the ornament which is most often performed
>>>>backwards (enough here for a separate post)
>>>>9. Also read the following which describes the actual ornaments used
>>>>in Rameau's time:
>>>>
>>>>Author: MCGEGAN, Nicholas;   SPAGNOLI, Gina
>>>>Singing style at the Opera in the Rameau period.  (Paris:
>>>>Champion; Geneve: Slatkine, 1986) Music. In French. See RILM
>>>>1987-00887-bs.    Collection: Jean-Philippe Rameau
>>>>
>>>>10. You are right about the language, lots to investigate there.
>>>>11. Listen to a few recordings of unmeasured preludes for
>>>>harpsichord, then arrange them for lute. A new take on stile brise.
>>>>
>>>>dt
>>>>
>>>>
>>>>At 12:35 PM 6/19/2008, you wrote:
>>>>>I'm wondering:  what is it that makes up the "French style" of
>>>>>Baroque music?  I don't mean particularly stile brise, notes inegall
>>>>>etc.  Those are obvious, and to me insufficient explanations to
>>>>>convey the French Baroque.  It seems to me there's more to it than
>>>>>that.  Are there, for example, considerations in the French style
>>>>>that have to do with the cadences and general kinds of rhythms of the
>>>>>French language itself?  What things does one need to understand /
>>>>>appreciate in order to make effectively rhetorical music in the
>>>>>French style?
>>>>>
>>>>>Anybody got any ideas on this?
>>>>>
>>>>>Best,
>>>>>
>>>>>David Rastall
>>>>>[EMAIL PROTECTED]
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>--
>>>>>
>>>>>To get on or off this list see list information at
>>>>>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>
>>>
>>>
>>>
>>>
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