1.

Record Nr.

UNISA996248287303316

Titolo

English choral practice 1400-1650 / / edited by John Morehen [[electronic resource]]

Pubbl/distr/stampa

Cambridge : , : Cambridge University Press, , 1995

ISBN

0-511-55241-6

Descrizione fisica

1 online resource (xiii, 246 pages) : digital, PDF file(s)

Collana

Cambridge studies in performance practice ; ; 5

Disciplina

782.5/0942

Soggetti

Choral music - England

Performance practice (Music) - England

Choirs (Music) - England

Church music - England

Latin language - Church Latin - Pronunciation

English language - Early modern, 1500-1700 - Pronunciation

English language - Middle English, 1100-1500 - Pronunciation

Lingua di pubblicazione

Inglese

Formato

Materiale a stampa

Livello bibliografico

Monografia

Note generali

Title from publisher's bibliographic system (viewed on 05 Oct 2015).

Nota di bibliografia

Includes bibliographical references and indexes.

Nota di contenuto

To chorus from quartet: the performing resource for English church polyphony, c. 1390-1559 -- Editing and performing musica speculativa -- The sound of Latin in England before and after the Reformation -- English pronunciation c. 1500-c. 1625 -- Byrd, Tallis and Ferrabosco -- John Baldwin and changing concepts of text underlay -- Sacred songs in the chamber -- The education of choristers in England during the sixteenth century -- The 'burden of proof': the editor as detective.

Sommario/riassunto

This is the first book to survey the performing practices in English choral music in the fifteenth, sixteenth and seventeenth centuries, including the period of the English Reformation. The essays, all written by specialists in the field, consider in depth such areas as the growth and development of the 'church' choir, related issues of vocal tessitura, performing pitch, the systems of pronunciation appropriate for Latin- and English-texted music, and the day-to-day training of choristers. There is also an investigation of the local circumstances under which many of the important manuscripts of the period were compiled, which reveals an unsuspectedly close interrelationship between domestic



music and music for the church. In addition, a study of surviving sources reveals that they give little more than a general guide as to their composers' and copyists' intentions.