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Books > Arts & Photography > Music > History & Criticism > B004Y3Q8J6
  1. The Performance of 16th-Century Music: Learning from the Theorists
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  2. The Performance of 16th-Century Music: Learning from the Theorists

    [B004Y3Q8J6]
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    Customer Ratings (4 reviews)
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Additional Information

Most 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 knowledge and skill needed to perform the music of this period. She takes readers through the significance of part-book notation; solmization; rhythmic flexibility; and elements of structure in relation to rhetoric of the time; while familiarizing them with contemporary criteria and standards of excellence for performance. Through The Performance of 16th-Century Music, today's musicians will gain fundamental insight into how 16th-century polyphony functions, and the tools necessary to perform this repertoire to its fullest, most glorious potential.

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Specifications

Country
USA
Author
Anne Smith
Binding
Kindle Edition
Edition
Har/Psc
EISBN
9780199793082
Format
Kindle eBook
Label
Oxford University Press
Manufacturer
Oxford University Press
NumberOfPages
257
PublicationDate
2011-03-30
Publisher
Oxford University Press
ReleaseDate
2011-03-30
Studio
Oxford University Press
Most Helpful Customer Reviews

This covers a few specific areas of 16th century music, such as modes, solfege, and other theory, with discussions on the aesthetics of reading independent lines from part books. There is also an interesting chapter on what was expected of musicians of the time, but little else on the day-to-day experience of musicians. As the title suggests, it is mostly theoretical in subject matter.

These areas are all thoroughly and academically discussed. But it assumes you are already familiar with music of the time, and know the basics of how it was performed. Do not start here if you know little about early music.
More than good, this book is an excellent summary for those who can stick to it. I would suggest it as a college reference book for upper-division and graduate students in early music.
Anne Smith's book is an urgently needed manifesto concerning the universal art of musicianship. Each of her explications of Renaissance musical arcanae is beautifully rendered. Much more that a performance practice tutor, it's a treatise on aesthetics. I'm deeply impressed by her approach, her eloquence, her well reasoned conclusions, and her avoidance of the usual musicological dogma. The transcendence of her scholarly method is likely too subtle for many to notice, but her practical info is of universal value.
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