By Jeffery Kite-Powell

ISBN-10: 0253348668

ISBN-13: 9780253348661

Revised and increased because it first seemed in 1991, the advisor positive aspects new chapters on ornamentation and practice session ideas, in addition to up-to-date reference fabrics, web assets, and different new fabric made on hand in basic terms within the final decade.

The consultant is constructed from centred chapters on functionality perform concerns corresponding to vocal and choral track; numerous sorts of ensembles; profiles of particular tools; instrumentation; functionality perform matters; concept; dance; nearby profiles of Renaissance tune; and guidance for administrators. The structure addresses the widest attainable viewers for early tune, together with novice performers, musicologists, theorists, and educators.

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Additional info for A Performer's Guide to Renaissance Music

Sample text

Thus, an elegant and poetically inspiring translation will often be less useful to the singer than a straightforward but correct one. For the singer, after all, the task is to breathe musical life into the original words themselves, not into their translation. On Singing and the Vocal Ensemble I 19 Pronunciation As mentioned earlier, in order to achieve good ensemble, the singers must pronounce the words identically. When old pronunciations are unknown or under debate, it is still important that the singers reach some form of agreement.

Nearly as important, however, is that the translation makes clear the meaning of each individual word of the original, since the singers will be pronouncing each of the words, even if they are conveying overall meanings. Thus, an elegant and poetically inspiring translation will often be less useful to the singer than a straightforward but correct one. For the singer, after all, the task is to breathe musical life into the original words themselves, not into their translation. On Singing and the Vocal Ensemble I 19 Pronunciation As mentioned earlier, in order to achieve good ensemble, the singers must pronounce the words identically.

Good ensemble singing is more dependent on the performers listening to—and precisely imitating—each other than on taking their cues from a conductor. In order to develop good listening habits, it is useful for the director to isolate one or two voice parts at a time to sing various passages. Another helpful exercise is to have the chorus sing one or two measures repeatedly until all the singers are aware of all the parts. Importance of the Text For the vocal repertory to make its full impact, the singing cannot be merely polished and strong.

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A Performer's Guide to Renaissance Music by Jeffery Kite-Powell


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