What I find most
shocking/surprising in this kind of music (as it is realised in
modern
editions) is seeing what looks like a simple melodic line which, if
it
were in 4/4 would be a simple as could be. But it's not on the the
beat
at all! But there is a beat and some
The main problem with modern performers trying to read old music in
modern editions is that musical phrases are disguised and truncated by
bar lines, which said performers seem to need.
there are a few editors who address this issue, ogni sorte for example;
even one older editor
French Secular Music of the Late Fourteenth Century edited by Willi
Apel?
that repetoire is more than juicy; its the renaissance equivalent of bebop
jazz.
More reasonable will be found in Odhecaton, Canti-B, Canti-C and the
Lieber der Fridonlin Sichery (Schott edition by fj geisbert may
Arto wrote: Yes, I do know this is an ad in vain..., no interest in the
List -- as usual.
Dear Arto,
Please do not assume that lack of response equals lack of interest or
appreciation. I, for one, greatly admire your work and have enjoyed your
videos over and over, and I am quite
Jon Banks has been championing a repertoire (some textless chansons and
other things) from around 1500 which he argues is for lute trio (or a
trio of plucked instruments, probably of different sizes).
1500 is probably publication date, well after that material was new and
popular. Printing
nedma...@aol.com wrote:
You all must have been really good sight readers!
At the time I was paying with a Collegium Musicum that was the typical
repetoire, and, yes, we were all at least good at sight reading from
necessity. I was also active in church choir, a madrigals group, and a
choral
Dear Stephen (and all),
thanks! I understand, and I think you are right.
I just had a little bit too much wine, and a temporary Net depression...
Now I am a little ashamed... And everything is ok again... :-)
All the best,
Arto
On Sat, 12 Sep 2009 09:59:23 -0500, Stephen Arndt
Dear Dana,
I do agree that barlines are a nuisance and have to be, if not forgotten, at
least used for what they are : a mere division of the sheet in more or less
coherent cells, but of course by no means a rhythm dictate, the musical
discourse generating its own rhtyhmical fluency.
On the
Ed Durbrow wrote:
Please do.
On Sep 12, 2009, at 7:35 AM, Stuart Walsh wrote:
(I can put up some juicy examples if anyone is interested)
Well I'm going to have to backtrack a bit here! Maybe 'juicy' was
over-colourful. I'm an amateur and approach these things from the
perspective of an
Hello!
I am brand new to this list but have already been very entertained by the
conversation.
Recently someone asked for some advice on purchasing a lute and I was a bit
surprised by the lack of responses. I am assuming a public forum is not a
comfortable place to discuss the pros and
I wholeheartedly second Stephen's opinion.
All the best
Thomas
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Thanks, Stuart. Fun stuff! I would say get a couple of other lutes
(preferably), or recorders or viols and enjoy yourselves.
Ned
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
If it's your very first lute (i.e., you don't yet own a playable
instrument), one important issue is how long you will have to wait. Some
luthiers can satisfy an order within a few months to a year, others have
waiting lists of many years. I recently received a lute from a well-known
luthier that
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