By Margaret Bent
Musica ficta is the perform of sprucing or knocking down sure notes to prevent awkard periods in medieval and Reniassance tune. This assortment gathers Margaret Bent's influential writings in this arguable topic from the previous thirty years, in addition to an in depth author's advent discussing the present country of scholarship and responding to critics.
Read Online or Download Counterpoint, Composition and Musica Ficta (Criticism and Analysis of Early Music) PDF
Best renaissance books
L'Orlando ariostesco, poema nato dalla fusione dell'epica carolingia con quella bretone, esce in tre different edizioni, rispettivamente nel 1516, nel 1521 e nel 1532. Ogni edizione si distingue consistent with evidenti variazioni di tipo linguistico. I Cinque Canti, invece, sono stati scritti da Ludovico Ariosto con l'idea di aggiungerli ai quaranta della prima edizione.
"After graduating in 1886, Wölfflin released the results of years' shuttle and examine in Italy, as his Renaissance und Barock (1888), the ebook that celebrated the pathological "Baroque" as a stylistic class and a significant region of analysis. For Wölfflin, the 16th-century paintings now defined as "Mannerist" used to be a part of the Baroque aesthetic, one who Burckhardt sooner than him in addition to so much French and English-speaking students for a new release after him brushed off as degenerate.
Das vorliegende Buch ist auch fur denjenigen, der sich seit Jahren und intensiv mit den Problemen des Allgemein- oder Hausarztes be schaftigt hat, eine Oberraschung: Es hebt vielfach das bisher nur Gespurte und Erfahrene in das helle Licht des BewuBtseins, es zieht nicht nur Bilanz uber arztliches SolI und Haben in der heutigen All gemeinpraxis, sondem folgert daraus konkrete Konsequenzen fUi die Zukunft, es stellt die wissenschaftliche Problematik dieses so al ten, jungen Fachgebietes" in das Zentrum der notwendigen Weiter entwicklung der modemen Medizin.
Additional info for Counterpoint, Composition and Musica Ficta (Criticism and Analysis of Early Music)
Some things that can be explained in words or on paper only in a very cumbersome way, like bicycling or cooking, are more easily grasped in the doing. One rarely has to stop singing to debate ficta; the habit of adjusting by ear is quickly developed, on the basis of the counterpoint, to what the singer of another part is doing; then the performance can be gradually refined in subsequent readings. Because even “harmonic” problems are usually anticipated by suspensions or overlaps and are not attacked simultaneously, singers can anticipate aurally, and react accordingly.
The rising sequence from Josquin’s Ave Maria discussed in “Diatonic Ficta” is of a different kind from the downward spiralling terminal sequences represented by Obrecht’s Kyrie. I am pleased that most recent performances seem at least to accept the multiple logic for a bass bb in bar 48 (see Chapter 6, ¶ 21) absent from many earlier editions and performances; this always did and does seem to me essential, whatever one chooses to do about the consequences. I have nothing further to add to my discussion in Chapter 6, ¶¶ 19–22, except to say that, of the various possible compromise solutions for performance (as apart from Josquin’s provocative one that he might have expected us to consider and reject), I would favour Urquhart’s, sounding bn in the treble, as in Ex.
It is also a way for a musicologist to introduce professional singers to aspects of the music, including ficta decisions; even slight exposure to the different musical demands of an underprescriptive notation is educative, and can only improve understanding when they return to performing the music from critical editions that may be excessively timid. Of course I deplore the idea that mere notational access has the status of an egg of Columbus; what I and others value are the understanding and insights that can result from acquiring this ability.