DOCSLIB.ORG

485838 Vol1.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Contrapuntal and Keyboard Idioms in the Artificioso Collection (1641) of Giovanni Pietro Del Buono Volume I Aikaterini Michopoulou Submittedin partial fulfilment of the degreeof Doctor of Philosophy Departmentof Music University of York March 2006 Acknowledgments I would like to expressmy sincereappreciation to my supervisorDr. Peter Seymour, for his help and guidancein the completion of this project. I would also like to thank Dr. JonathanWainwright and Dr. David Smith for their commentsregarding some of the ideas examinedin this thesis. I am grateful to Dr. Miranda Kaldis and Giulio Gramegnafor their constanthelp and support. Abstract Abstract Music in the early seventeenthcentury is markedby importantstylistic changes. The co-existenceof the art of 'strict' counterpointand of the evolvementof the traits of the stile modernoand the experimentationresulting from Vicentino'stheories con- stitutesa compositephenomenon in regardto music in southernItaly. Giovanni Pietro Del Buono is one of the composerswho incorporatesand mergesall the aboveelements in a very artful and fascinatingcollection of seventy-twocanons; twelve oblighi and fourteensonatas, all basedon the hymn Ave Maris Stellawhich is usedas a cantusfirmus. The conceptof artificioso compositions,which depictsmusic as an art with an important intellectual side, reflects the scientific development and supremacy of intellectual culture in the seventeenth century. Many collections containing pieces composed with particularly complex compositional techniques appeared at that time. In the present thesis a collection so far overlooked is examined and conclusions are drawn concerning Del Buono's particular compositional idiom. An analytical ac- count of the canons and oblighi proves that. they are not only products of the stile antico and of the Roman school, but have influences from both the traits of the stile moderno and the Neapolitan musical idiom. A detailed account is provided of some of the sonatas, revealing techniques related to hexachordal theory and Vicentino's theories concerning chromaticism. Also proved is the fact that the manuscript con- taining the resolutions of the canons and oblighi is not an original manuscript by Del Buono, as scholars have previously stated, but is, in fact, from a later date, written by an unknown scribe.In the second part of the thesis an edition is included of the whole collection in modem transcription. I Contents Contents Abstract I ........................................................................................................................................ Contents 2 ........................................................................................................................................ Perspectives Study 5 of the .............................................................................................................. PresentState Research 7 of ............................................................................................................. CHAPTER1 10 ....................................................................................................................................... GiovANNi PIETRO DEL BUONO: LIFE AND CULTURAL AssOCIATIONS 10 ............................................ Del Buono's Life 10 ......................................................................................................................... Del Buono's Dedication Preface 12 and ......................................................................................... Del Buono Cultural Associations 14 and ........................................................................................ Palermo 15 ...................................................................................................................................... Naples 17 ......................................................................................................................................... ARTIFICIOSOCOMPOSITIONS 20 ........................................................................................................... The Concept Compositions 20 ofArtificioso ................................................................................... Ave Maris Stella 26 ......................................................................................................................... CHAPTER 2 28 ....................................................................................................................................... THE 1641 EDITION MANUSCRIPT 28 AND THE ..................................................................................... The 1641 Edition 28 ....................................................................................................................... The Manuscript 31 ......................................................................................................................... Symbols 37 ...................................................................................................................................... Accidental Practices Occurring in the 1641 Edition the Manuscript 38 and ................................. Inconsistencies between the Edition the Manuscript 44 and .......................................................... CHAPTER 3 45 ....................................................................................................................................... PERFORMANCEMEDIA IN DEL BUONO'SCOLLECION 45 ...................................................................... Performance 45 ofcanons and oblighi ........................................................................................... Performance the Sonatas: About di 49 of cimbalo .......................................................................... CHAPTER 4 51 ..................................................................................................................................... .. DELBUONO'S CANONS 51 .................................................................................................................... TheConcept of Canonin Italian MusicTheory ofFifteenth and Early SixteenthCenturies..... 51 Canonin Italian MusicTheory LateSixteenth SeventeenthCenturies 58 of the and ...................... TheCanons Buono 61 ofDel .......................................................................................................... Con 63 qualchestravaganza ........................................................................................................... FormalDesign Texture 63 and ........................................................................................................ 2 Contents Entries Canonic Voices 64 of .......................................................................................................... ThematicTreatment Motivic Development 65 and .......................................................................... TheThree-Part Canons 73 .............................................................................................................. The Four-part Canons 76 ................................................................................................................ The Five, SixýSeven Eight-part Canons 78 and .............................................................................. Melodic Patterns 81 ........................................................................................................................ UnusualMelodic Patterns 83 .......................................................................................................... Chromatic Clichis 84 ...................................................................................................................... CanonsConstructed SpecifiedTechniques 87 with ......................................................................... Canon 2 l'obligo di di 88 no. con non caminar grado ......... .......................................................... Hexachordal Inversion 88 ..................................................... .......................................................... Canons in Simple Melodic Inversion 91 ................................ .......................................................... Puzzle Canon 92 .................................................................... .......................................................... Canons Free Contrapuntal Line 95 with a ............................ .......................................................... Duplication the Voices in Thirds Tenths 96 of and ............... .......................................................... Pieces Constructed by More than One Canon 98 ................. .......................................................... Triadic Progressions Chords 99 and .............................................................................................. Chromaticism 102 ........................................................................................................................... Contrapuntal Features 104 ............................................................................................................. CHAPTER 5 108 ...................................................................................................................................... DEL BUONO'S OBLIGHI 108 .................................................................................................................. Obligho: Concept Terminology 108 and ........................................................................................
Recommended publications
  • RARE BX2080.A2 Book of Hours for Dominican Use Northwestern France? S

    RARE BX2080.A2 Book of Hours for Dominican Use Northwestern France? S

    Manuscript description by Brittany Rancour RARE BX2080.A2 Book of Hours for Dominican Use Northwestern France? S. XV2/4 CONTENT The Seven Penitential Psalms (f.1r); a Litany of the Saints (f.12v3); Agnus dei (f. 17v5), Alma Redemptoris Mater (f.18r1), Suffrages (f. 18v2), the Hours of the Cross (f.20v1); the Hours of the Holy Spirit at Matins (f.23v1); Memorials to the saints (f.26r1); the Office of the Dead with vespers, Matins (first, second, and third night readings), and Lauds (f.31r11-61v3); Prayers for use at Mass (f.63v7), the hymn Ave verum corpus (f.66r2), and the Obsecro te (f.67r1). MODERN EDITIONS Medievalist.net. “A Hypertext Book of Hours.” http://medievalist.net/hourstxt/home.htm. PHYSICAL DESCRIPTION Parchment. 71 folios. Multiple scribes. 9 quires I-II8, III6, IV-VIII8, IX9 lacking final blank. Catch words at the end of each quire provide the first word of the next quire. HF’FH. Bound, s. XV. Dimensions of folio 11.5 cm X 8.7 cm. Text dimensions 6 cm X 5 cm. 14 long lines, ruled by dry point with single vertical bounding lines. Prickings in outer margins. Gothic textura. Blank spaces left for miniatures (f.1r, 31r). Decorated initials in gold leaf, frequently with red pen flourishes. Decorated initial D in purple box (f.1r). Decorated initial D in a decorated square bordered in gold with gold dots and filled in purple, purple and gold dots continue staining the left upper and outer margins; the decoration is not complete, only part of the outer left margin has been stained purple, and some bole dots were added without the gold leaf decoration.
  • The Seven Penitential Psalms

    The Seven Penitential Psalms

    The Seven Penitential Psalms (translation- The Grail Psalter) Ad privatum usum Cathedral of Saint Paul Saint Paul, MN Cathedral of Saint Paul 239 Selby Avenue Saint Paul MN 55102 Image of Cassiodorus from a 12thc English Manuscript The ancient tradition in the Church of the Penitential Psalmody (Psalms 6, 32, 38, 51, 102, 130, and 143) is rich. In the 5th century writings of Possidius, we learn that Saint Augustine: …ordered the Davidic Psalms, which are few in number concerning penance, to be copied for him, and lying in bed he used to look at those pages which had been placed on the opposite wall and read them, and wept profusely and con- tinuously (Vita S. Augustini, xxxi) The first unequivocal reference to the seven “penitential” psalms as a group dates back to Cassiodorus (d. 580 A.D.), in his Expositio Psalmorum. In his masterful commentary on the last psalm (143), he On the Front Cover. Uriah the Hittite receives a letter from wrote of the “course of their blessed tears” that has just been com- King David. Secret orders in the letter direct that Uriah, husband of pleted, noting that the journey that begins in affliction, leads us “to Bathsheba, be sent to the “forefront of the hottest battle... that the hope of joys.” he may be smitten and die.” Overpainted woodcut depicts a scene from the Old Testament book of 2 Samuel, Chapter 11. Prior to Vatican II, these psalms found a place in the Church’s litur- Paris, ca.1510 A.D.. Latin text shown is taken from the open- gical and sacramental tradition, and their recovery as a tradition ing lines of Psalm 6.
  • Frescobaldi Gesualdo Solbiati

    Frescobaldi Gesualdo Solbiati

    Frescobaldi Gesualdo Solbiati FRANCESCO GESUALDI Accordion Girolamo Frescobaldi (1583 -1643) If we think of the theatre as a place in which audiences not only perceive with their eyes and ears, but also their deeper feelings, then the work presented in this recording Dal II Libro di Toccate is in many respects theatrical. The explanation lies in the fact that one of Francesco 1. Toccata I 4’42 Gesualdi’s particular gifts as a performer is his ability to produce sounds that conjure 2. Toccata II 4’44 up the action underlying the music, and indeed evoke the spaces in which the events 3. Toccata III, da sonarsi alla Levatione 8’51 take place. This is particularly noteworthy when performance is actually separated 4. Toccata IV, da sonarsi alla Levatione 6’58 from the reality of visualization. 5. Toccata VIII, di Durezze e Ligature 5’01 The synaesthetic experience underlying vision and visionary perception is arguably one of the fundamental ingredients of the “Second Practice”, or stile moderno, which Dal I Libro di Toccate aimed at engaging the feelings of the listener. This art was essential to the evocative 6. Partite sopra l'Aria della Romanesca (1–14) 21’49 power of Frescobaldi’s music. In his performance Francesco Gesualdi establishes a particular spatial and temporal Carlo Gesualdo (1566–1613) universe in which the constraints of absolute formal rigour are reconciled with 7. Canzon francese del Principe 6’40 freedom of accentuation and vital breath, so as to invest each execution with the immediacy of originality. In this ability to renew with each rendering, Gesualdi’s Alessandro Solbiati (1956) playing speaks for the way wonderment can forge the essential relationship between 8.
  • Investigations Into the Zarlino-Galilei Dispute

    Investigations Into the Zarlino-Galilei Dispute

    WHERE NATURE AND ART ADJOIN: INVESTIGATIONS INTO THE ZARLINO- GALILEI DISPUTE, INCLUDING AN ANNOTATED TRANSLATION OF VINCENZO GALILEI’S DISCORSO INTORNO ALL’OPERE DI MESSER GIOSEFFO ZARLINO Randall E. Goldberg Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music Indiana University February 2011 UMI Number: 3449553 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3449553 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ____________________________ Thomas J. Mathiesen ____________________________ Massimo Ossi ____________________________ Ayana Smith ____________________________ Domenico Bertoloni Meli February 8, 2011 ii Copyright © 2011 Randall E. Goldberg iii Dedication For encouraging me to follow my dreams and helping me “be the ball,” this dissertation is dedicated with love to my parents Barry and Sherry Goldberg iv Acknowledgments There are many people and institutions that aided me in the completion of this project. First of all, I would like thank the Jacobs School of Music at Indiana University.
  • DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016

    DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016

    DOLCI MIEI SOSPIRI Tra Ferrara e Venezia Fall 2016 Monday, 17 October 6.00pm Italian Madrigals of the Late Cinquecento Performers: Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Dolci miei sospiri tra Ferrara e Venezia Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra We express our gratitude to Pedro Memelsdorff (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) for his assistance in planning this concert. Program Giovanni Girolamo Kapsberger (1580-1651), Toccata seconda arpeggiata da: Libro primo d'intavolatura di chitarone, Venezia: Antonio Pfender, 1604 Girolamo Frescobaldi (1583-1643), Voi partite mio sole da: Primo libro d'arie musicali, Firenze: Landini, 1630 Claudio Monteverdi Ecco mormorar l'onde da: Il secondo libro de' madrigali a cinque voci, Venezia: Gardane, 1590 Concerto di Margherita Giovanni de Macque (1550-1614), Seconde Stravaganze, ca. 1610. Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Luzzasco Luzzaschi (ca. 1545-1607), Aura soave; Stral pungente d'amore; T'amo mia vita Giovanna Baviera, voce e viola da gamba da: Madrigali per cantare et sonare a uno, e due e tre soprani, Roma: Verovio, 1601 Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Claudio Monteverdi (1567-1463), T'amo mia vita da: Il quinto libro de' madrigali a cinque voci, Venezia: Amadino, 1605 Luzzasco Luzzaschi Canzon decima a 4 da: AAVV, Canzoni per sonare con ogni sorte di stromenti, Venezia: Raveri, 1608 We express our gratitude to Pedro Memelsdorff Giaches de Wert (1535-1596), O Primavera gioventù dell'anno (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) da: L'undecimo libro de' madrigali a cinque voci, Venezia: Gardano, 1595 for his assistance in planning this concert.
  • APPENDIX 1 Inventories of Sources of English Solo Lute Music

    APPENDIX 1 Inventories of Sources of English Solo Lute Music

    408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385
  • MTO 20.2: Wild, Vicentino's 31-Tone Compositional Theory

    MTO 20.2: Wild, Vicentino's 31-Tone Compositional Theory

    Volume 20, Number 2, June 2014 Copyright © 2014 Society for Music Theory Genus, Species and Mode in Vicentino’s 31-tone Compositional Theory Jonathan Wild NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.2/mto.14.20.2.wild.php KEYWORDS: Vicentino, enharmonicism, chromaticism, sixteenth century, tuning, genus, species, mode ABSTRACT: This article explores the pitch structures developed by Nicola Vicentino in his 1555 treatise L’Antica musica ridotta alla moderna prattica . I examine the rationale for his background gamut of 31 pitch classes, and document the relationships among his accounts of the genera, species, and modes, and between his and earlier accounts. Specially recorded and retuned audio examples illustrate some of the surviving enharmonic and chromatic musical passages. Received February 2014 Table of Contents Introduction [1] Tuning [4] The Archicembalo [8] Genus [10] Enharmonic division of the whole tone [13] Species [15] Mode [28] Composing in the genera [32] Conclusion [35] Introduction [1] In his treatise of 1555, L’Antica musica ridotta alla moderna prattica (henceforth L’Antica musica ), the theorist and composer Nicola Vicentino describes a tuning system comprising thirty-one tones to the octave, and presents several excerpts from compositions intended to be sung in that tuning. (1) The rich compositional theory he develops in the treatise, in concert with the few surviving musical passages, offers a tantalizing glimpse of an alternative pathway for musical development, one whose radically augmented pitch materials make possible a vast range of novel melodic gestures and harmonic successions.
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
  • From Your Belly Flow Song-Flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-Informed Voice Theory and Practice)

    From Your Belly Flow Song-Flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-Informed Voice Theory and Practice)

    FROM YOUR BELLY FLOW SONG-FLOWERS: MEXICA VOICINGS IN COLONIAL NEW SPAIN (TOWARD A CULTURALLY-INFORMED VOICE THEORY AND PRACTICE) by BETHANY MARIE BATTAFARANO A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of requirements for the degree of Master of Arts March 2021 THESIS APPROVAL PAGE Student: Bethany Marie Battafarano Title: From Your Belly Flow Song-flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-informed Voice Theory and Practice) This thesis has been accepted and approved in partial fulfillment of the Master of Arts degree in the Department of Musicology by: Ed Wolf Chair Lori Kruckenberg Member Drew Nobile Member And Kate Mondloch Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2021. ii © 2021 Bethany Marie Battafarano This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii THESIS ABSTRACT Bethany Marie Battafarano Master of Arts School of Music and Dance March 2021 Title: From Your Belly Flow Song-flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-informed Voice Theory and Practice) In colonial New Spain, Indigenous peoples sang, played, and composed in western European musical styles, and Spanish composers incorporated Indigenous instruments, rhythms, and languages into their compositions. However, modern vocalists in the United States often overlook or misrepresent Indigenous features in performances of New Spanish repertoire. Vocalists typically must make choices about vocal techniques alone and, largely for lack of resources, in uninformed ways.
  • The Collegium Musicum the Madrigal Singers

    The Collegium Musicum the Madrigal Singers

    The School ofMusic , presents the 57th program ofthe 1989-90 season c,'19qO 2. -2-7 The Collegium Musicum Margriet Tmdemans, Director The Madrigal Singers Joan Catoni Conlon. Director .. '..,-' ' "LaBella Venezia" Diversity of styles from La Serenissima February 27, 1990, 8:00 PM Meany 1beater " I -- --......~. r' I D~lI,(001 c fk.s 'fF Ir t9 0 2­ 11.(,,;03 Thus. amidst her angry tears, she lifted her voice to heaven. In this way in the hearts oflovers does Love Program mixflames and ice. Ca.~"'7*1lr(&02A Cynthia Beiunen. mezzo-soprano Dessus Ie marebe d'Arras (1528) .......... ADRIAN WIU.AERT (C.1490-1562) At the market (me"ily. merrily we play). I encountered a Spaniard (merrily ...). He said, 'Usten. maid,' Hor care canzonette (1584) ......................•CI..AUDIO MONTEVERDI (merrily...) 'I will give you silver' (merrily...). Dear camonets. go swiftly and surely. Ricercar declmo (Venice. 1559) ................................WILLAERT without saying a word. to Idss her hand... r Sweet camonets. go only to one...begging her pardon... Maledetto (1632) .................................CI..AUDIO MONTEVERDI Adoramus te (1620) ....................CI..AUDIO MONTEVERDI (1567-1643) (Lament ofOlympia. abandoned by her lover on a We adore you. 0 Christ. and we bless'JOu./Or by your desert island}Cursed one! I love with afaitlt/ul. burn.ing passion. priceless blood, you have redeemed us. Have mercy upon yet I am a river oftorment. Love's ~ows pierce us. me. yet I am disarmed. You dismiss the fire ofmy love! Laurie Hungerford Flint, soprano Cantate Domino (1620) ........................... CI..AUDIO MONTEVERDI Sing to the Lord a new song. a bless G04 s name, who has made miracles to happen.
  • Microtonality As an Expressive Device: an Approach for the Contemporary Saxophonist

    Microtonality As an Expressive Device: an Approach for the Contemporary Saxophonist

    Technological University Dublin ARROW@TU Dublin Dissertations Conservatory of Music and Drama 2009 Microtonality as an Expressive Device: an Approach for the Contemporary Saxophonist Seán Mac Erlaine Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmusdiss Part of the Composition Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, and the Music Theory Commons Recommended Citation Mac Erlaine, S.: Microtonality as an Expressive Device: an Approach for the Contemporary Saxophonist. Masters Dissertation. Technological University Dublin, 2009. This Dissertation is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Dissertations by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Microtonality as an expressive device: An approach for the contemporary saxophonist September 2009 Seán Mac Erlaine www.sean-og.com Table of Contents Abstract i Introduction ii CHAPTER ONE 1 1.1 Tuning Theory 1 1.1.1 Tuning Discrepancies 1 1.2 Temperament for Keyboard Instruments 2 1.3 Non‐fixed Intonation Instruments 5 1.4 Dominance of Equal Temperament 7 1.5 The Evolution of Equal Temperament: Microtonality 9 CHAPTER TWO 11 2.1 Twentieth Century Tradition of Microtonality 11 2.2 Use of Microtonality
  • Amherst Early Music Festival Directed by Frances Blaker

    Amherst Early Music Festival Directed by Frances Blaker

    Amherst Early Music Festival Directed by Frances Blaker July 8-15, and July 15-22 Connecticut College, New London CT Music of France and the Low Countries Largest recorder program in U.S. Expanded vocal programs Renaissance reeds and brass New London Assembly Festival Concert Series Historical Dance Viol Excelsior www.amherstearlymusic.org Amherst Early Music Festival 2018 Week 1: July 8-15 Week 2: July 15-22 Voice, recorder, viol, violin, cello, lute, Voice, recorder, viol, Renaissance reeds Renaissance reeds, flute, oboe, bassoon, and brass, flute, harpsichord, frame drum, harpsichord, historical dance early notation, New London Assembly Special Auditioned Programs Special Auditioned Programs (see website) (see website) Baroque Academy & Opera Roman de Fauvel Medieval Project Advanced Recorder Intensive Ensemble Singing Intensive Choral Workshop Virtuoso Recorder Seminar AMHERST EARLY MUSIC FESTIVAL FACULTY CENTRAL PROGRAM The Central Program is our largest and most flexible program, with over 100 students each week. RECORDER VIOL AND VIELLE BAROQUE BASSOON* Tom Beets** Nathan Bontrager Wouter Verschuren It offers a wide variety of classes for most early instruments, voice, and historical dance. Play in a Letitia Berlin Sarah Cunningham* PERCUSSION** consort, sing music by a favorite composer, read from early notation, dance a minuet, or begin a Frances Blaker Shira Kammen** Glen Velez** new instrument. Questions? Call us at (781)488-3337. Check www.amherstearlymusic.org for Deborah Booth* Heather Miller Lardin* Karen Cook** Loren Ludwig VOICE AND THEATER a full list of classes by May 15. Saskia Coolen* Paolo Pandolfo* Benjamin Bagby** Maria Diez-Canedo* John Mark Rozendaal** Michael Barrett** New to the Festival? Fear not! Our open and inviting atmosphere will make you feel at home Eric Haas* Mary Springfels** Stephen Biegner* right away.