Like the Red Queen in "Alice in Wonderland" you think that you can use
words to mean what you say they mean, not what other people think they
mean. Bartolotti's music is to some extent contrapuntal but not
consistently so. When we analyse it we analyse the counterpoint not the
polyphony.
Thanks Eugene
You have really summed up my position even better than I could myself.
This present discussion started when I mentioned that there are at least 5
different opinions as to the right tuning for Santiago de Murcia's music -
which I thought was rather amusing. The response was "Oh -
I am a dabbler in early strings. I don't ever intend to be anything but.
However, I am a fan of scholarship (a biologist on the day job) and this
extends to my appreciation of music. I watch this bourdon-vs.-not debate
periodically because both sides tend to have insight that I appreciate. I
don
Any explanation of this particular odd chart would probably have to rest
on
mere speculation.
Like the rest of the charts.
Monica
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
The concise Oxford dictionary defines polyphony as ...
Music in which several simultaneous instrumental or vocal parts are
combined contrapuntally etc...
I hope you don't mind me to hold on to Grove Music Online for the moment.
Like the Red Queen in "Alice in Wonderland" you think that you ca
Even the title is misleading
as Sanz says "In Spain as is usual etc" not elsewhere.
The title 'Bourdons as usual' has a double connotation (as is confirmed by
our exchanges here).
It is nevertheless deliberately misleading. I wont say more than that.
Monica
You haven't answered my qu
Bartolotti's music is not polyphonic. I suggest you read the whole of
the entry in Grove and the entry for counterpoint and familiarize yourself
with the correct terminology.
The concise Oxford dictionary defines polyphony as ...
Music in which several simultaneous instrumental or vocal pa
Actually, I don't feel like starting this over again. If anyone is
interested, my ideas on the dominance of the bourdon tuning in Italy can
be read in the article in 'The Lute' 47.
The problem with your article is that much of it is little more than
speculation unsupported by any real evide
But the only reason why this matter is so significant is, of course,
because if one believes there's always (or generally) a need for a
proper though bass line then it reinforces the requirement for bourdons
but if, as I believe, much of this music is really melody punctuated
and suppo
Considering
the polyphonic nature of Bartolotti's music this is more likely than that
he dropped his two bourdons.
Bartolotti's music is not polyphonic. I suggest you read the whole of the
entry in Grove and the entry for counterpoint and familiarize yourself with
the correct terminology.
Actually, I don't feel like starting this over again. If anyone is
interested, my ideas on the dominance of the bourdon tuning in Italy can
be read in the article in 'The Lute' 47.
The problem with your article is that much of it is little more than
speculation unsupported by any real evidence
Thanks Stuart - I really wasn't complaining.
Re yr message - I guess we'll just have to beg to differ.
But the only reason why this matter is so significant is, of course,
because if one believes there's always (or generally) a need for a
proper though bass line then it reinforces
Hi Martyn,
Still the general description 'a predominantly melodic line interspersed
with occasional chords' seems not entirely adequate for the music of
Pellegrini, Coriandoli (who is often very hard to understand because of the
countless misprints/mistakes), Granata or Bottazari. In some of
On 08/02/2011 10:53, Martyn Hodgson wrote:
Hello Stuart,
Didn't you read me email quite through? - I specifically wrote about
Granata's Op 5! You'll see I take it as a good example of not
overbothering about a proper through bass line and thus an example of
melodic writing i
Like I said, limited experience and limited repertoire. No, I don't.
i doubt I would try de Visee without the so-called French tuning. I
simply take issue with characterizing the playing without bordones as
an inherent sacrifice. It is not. It is simply different.
Look, using an
Hello Stuart,
Didn't you read me email quite through? - I specifically wrote about
Granata's Op 5! You'll see I take it as a good example of not
overbothering about a proper through bass line and thus an example of
melodic writing interspersed with chords rather than an example of
Thank you Lex,
However I believe you might have missed the point I was trying to make:
these collections are so full of this melodic punctuated with full
chords style that they do not just represent a few isolated
examples but rather reflect a lack of interest in a full through bas
On 08/02/2011 10:09, Martyn Hodgson wrote:
Dear Stuart,
You write
'what do you mean by "elaborate treble dominated style"? Is it this: a
predominantly melodic line interspersed with occasional chords? Which
composers are you thinking of?'
I don't know what others are thinkin
Chris, do you also play Bartolotti, Guerau or de Visee without bourdons?
Lex
- Original Message -
From: "Chris Despopoulos"
To: "Vihuelalist"
Sent: Tuesday, February 08, 2011 11:26 AM
Subject: [VIHUELA] Re: The stringing of the baroque guitar - again
Well, I can only say, from
Well, I can only say, from my own experience and study (such as it is)
that it is not a "sacrifice" to play without bordones. It's different,
but no less rich, and certainly no sacrifice... in *my* experience.
In fact, it has opened up musical possibilities, as well as technical
po
I don't know what others are thinking of, but I mentioned that the
similarity between much (especially Italian) guitar writing and that
for unaccompanied violin by such as Schmelzer, Biber, Matteis had
struck me some years ago. Almost all guitar composer exhibit this in
pieces from time
Dear Stuart,
You write
'what do you mean by "elaborate treble dominated style"? Is it this: a
predominantly melodic line interspersed with occasional chords? Which
composers are you thinking of?'
I don't know what others are thinking of, but I mentioned that the
similarity b
Stuart Walsh wrote:
what do you mean by "elaborate treble dominated style"? Is it this: a
predominantly melodic line interspersed with occasional chords? Which
composers are you thinking of?
The small amount of fancier music for the English guitar/guittar in the
18th century actually, lite
23 matches
Mail list logo
