Hello Thomas, Alain, Ralf and others,
it seemed at the time for me to change the subject line ;-), as I nearly had
missed this interesting theme.
Also I'm not sure if that theme shouldn't be better settled on the baroque lute
list ...
I wouldn't say that there is not much sacred music for
Hi Markus,
the initial point was there wouldn't be much sacred music *compared to* the
renaissance and I think this applies. But of course there is sacred music for
the baroque lute (as I already said maybe because of the living tradition of
domestic devotion).
I forgot to mention a quite
Have you ever seen the Beyer print? I wouldn't call this sacred music - it's
simple songs with more or less funny/instructive lyrics (A while ago I
published Der Blinde und der Lahme on my page - maybe I should but it back
there).
Anyway - as you mention - there is enough sacred material
Roman,
I have many friends in the sciences and I have always loved the titles
of scientific articles for their sheer poetic impact.
Hence the title of my very first HTML page. It was called The Sautscheck
Saga: An experiment in paramusicology, to parody one of Tim Crawford's
papers.
RT
Hello. In learning to program MS Windows applications (using the Win32
API, aka Windows User Interface), my first project has been a lute
interval-naming game.
The game presents a series of (randomly generated) harmonic intervals in
lute tablature, and asks the player to name each one (unison,
I just finished entering a new piece of music for my homepage.
There was a discussion about it recently on this list. Jerzy Zak thinks it's
by S.L.Weiss. I cannot follow his opinion but it's an interesting concert and
I am sure you'll like it.
I would say it is most probably certainly by
The collection of Gellert's geistliche Oden may not exactly be sacred
music in the strict sense. But those two Sciurus mss. in Cracow (one
contains more than 200, the othere merely 8 chorales) certainly are.
There is another ms in Berlin called Geistliche Musik auf die Laute
gesetzt von Herrn
Well, the Echo reminds me of some Handel, but I can't place it. I think the
position of some chords on the seventh is not what Weiss usually does. In
some cases there is a possibility to take the notes on the second fret, but
it might be more confortable to keep the hand on the 7th , as a modern
Herbert Ward [EMAIL PROTECTED] said:
(unison, minor
second, major second, ..., major seventh, octave,
you realize that those are terms that relate to MODERN theory, and they relate
to
the common european scale, ignoring many other scales in use in the world.
During the middle ages and the
You're quite right that these are modern terms and
that this assumes a modern conception of interval
content. However, how many of us fluently think in
terms of the gamut, mutation, etc. when we play
renaissance or medieval repertoire? Do any of you out
there think about and analyze this music
I'm with Chris on this one. Give Herb a break, if he tried to make the first
pass all things to all musicians he'd never finish it (no reflection on your
programming skills Herb, I quote what we used to call Von Neumann's Law in
the early computer business - any system, no matter its percent
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