The Journal with the article mentioned blow in it will be in the mail (with the Quarterly that Jim Stimson edited) next week. Nancy
>Well, if we're talking about the article "French Lyricism in 17th >century pi=E8ces de luth," by yours truly, the conclusion is as follows: > >In order to understand the concept of French lyricism we need to know >what the French considered good melody and how it is present in their >airs. An understanding of French melody must proceed from an >understanding of how the rules of French versification were employed >by composers and how this resulted in irregular groupings of melodic >units or phrases in the setting of texts. The next step consists of >finding a correspondence between the vocal and instrumental models. >By isolating the ends of melodic units and their coincidence with >harmonic and technical divisions, it becomes possible to see how >instrumental melodies are related to sung melodies. Not >surprisingly, instrumental melodies share stylistic traits with the >airs . The inference is that players of instrumental music imagined >vocal models as a basis for these instrumental pieces -- a hypothesis >that not only explains the intrinsic quality of French instrumental >melodies but also supports the notion that technical indications >found in sources provide a basis for musical interpretation as well >as technical aid. > >On a related topic, my most recent article for JLSA should be out now >and is entitled "Performance Practice Technique for the French >Baroque Lute: An Examination of Introductory Avertissements from >Seventeenth-Century Sources." This includes translations and >commentaries from both Gaultier prints, and the Gallot, Perrine, and >Mouton publications. The article has a "side by side" orientation so >that the French and the English are both on the same page for easy >cross reference. I hope this piece will spark some healthy debate, >argumentation, and hopefully future research on this very important >topic among the readership. > >Best regards, >Jorge > > >On Jun 19, 2008, at 11:26 PM, damian dlugolecki wrote: > > > > > Good question. The conclusion is that there is no conclusion based > > on scansion. French 'lyrisme' is not difficult to grasp but you > > need to have a working knowledge of the language. I feel that > > these pieces for lute were souvenirs of various 'f=EAtes' , parties, > > occasions etc.composed for the enjoyment of the patrons and > > benefactors of the luthistes. > > > > The continual inversion of the melody is something I found very > > difficult to get used to when I first read through this music more > > than 20 years ago, but now find just abstract enough to suit my > > taste perfectly. > > > > DT's appraisal is so =E0 propos that I am tempted to get in my rig > > and drive down to the Bay area and play for him, as I feel he would > > be a very good listener. > > > > DD > >> 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 > >>>>>> > >>>>> > >>>>> > >>>>> > >>>>> > >>>>> __________________________________________________ > >>>>> D O T E A S Y - "Join the web hosting revolution!" > >>>>> http://www.doteasy.com > >>>> > >>>> > >>> > >>> > >>> > >>> > >>> __________________________________________________ > >>> D O T E A S Y - "Join the web hosting revolution!" > >>> http://www.doteasy.com > >>> > >> > >> > > > > > > > >Jorge Torres >Associate Professor of Music >237 Williams Center >Lafayette College >Easton, PA 18042 >(610)330-5365 >[EMAIL PROTECTED] >::::::::::::::::::::::::: > > > > > >-- Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone 925/686-5800 fax 925/680-2582 web site - www.nancycarlinassociates.com Administrator THE LUTE SOCIETY OF AMERICA web site - http://LuteSocietyofAmerica.org --
