02810nam 2200613Ia 450 991097526090332120200520144314.01-283-09814-897866130981460-19-979254-2(CKB)2560000000072655(EBL)684600(OCoLC)714569774(SSID)ssj0000524759(PQKBManifestationID)12250433(PQKBTitleCode)TC0000524759(PQKBWorkID)10488080(PQKB)11346176(Au-PeEL)EBL684600(CaPaEBR)ebr10464230(CaONFJC)MIL309814(OCoLC)531718868(FINmELB)ELB162469(MiAaPQ)EBC684600(EXLCZ)99256000000007265520100222d2011 uy 0engur|n|---|||||txtccrThe performance of 16th-century music learning from the theorists /by Anne Smith1st ed.New York Oxford University Pressc20111 online resource (257 p.)Description based upon print version of record.0-19-974261-8 0-19-974262-6 Includes bibliographical references and index.Cover; About the Companion Web Site; Preface; Contents; 1. Introduction; 2. Part-Book versus Score Culture; 3. Solmization; 4. Metric Hierarchy, Articulation, and Rhythmic Flexibility; 5. Cadences; 6. Mode; 7. The Rhetoric of Counterpoint; 8. What Skills Were Expected of Professional Musicians?; 9. Score Culture; 10. Conclusion; Appendix: Modal Characteristics; Bibliography; IndexMost modern performers, trained on the performance practices of the Classical and Romantic periods, come to the music of the Renaissance with well-honed but anachronistic ideas. Fundamental differences between 16th-century repertoire and that of later epochs thus tend to be overlooked-yet it is just these differences which can make a performance truly stunning. The Performance of 16th-Century Music will enable the performer to better understand this music and advance their technical and expressive abilities. Early music specialist Anne Smith outlines several major areas of technical knowledgePerformance practice (Music)History16th centuryMusicPerformanceHistory16th centuryPerformance practice (Music)HistoryMusicPerformanceHistory781.4/309031Smith Anne1951-1851654MiAaPQMiAaPQMiAaPQBOOK9910975260903321The performance of 16th-century music4445835UNINA