By Stewart Carter, Jeffery Kite-Powell
Revised and extended, A Performer’s consultant to 17th Century song is a accomplished reference consultant for college students musicians. The e-book includes worthy fabric on vocal and choral song and elegance; instrumentation; functionality perform; ornamentation, tuning, temperament; meter and pace; basso continuo; dance; theatrical construction; and lots more and plenty extra. the amount contains new chapters at the violin, the violoncello and violone, and the trombone—as good as up-to-date and multiplied reference fabrics, net assets, and different newly to be had fabric. This hugely available guide will turn out a welcome reference for any musician or singer drawn to traditionally trained performance.
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Additional resources for A Performer's Guide to Seventeenth-Century Music
For more information on singers’ acting and movement in the seventeenth century, see Brooke A. Bryant, The Seventeenth-Century Singer’s Body: An Instrument of Action. PhD dissertation, City University of New York, 2009. 48. Other sources include Jean Millet (1666), Jean Rousseau (1683), François Raguenet (1702), and Jean-Laurent Le Cerf de la Viéville (1704). 49. Anthony (French Baroque: 45) has discussed the musical conservatism of France in the seventeenth century. 50. ” 51. See Sanford, “Comparison”: para..
As we have shown, significant differences existed among the various national schools of singing during the seventeenth century. There are also aspects of the singing of Jacopo Peri, Caterina Martinelli, Barbara Strozzi, Anna Renzi, John Pate, John Gosling, Antoine de Boesset, Michel Lambert—to name but a handful of great singers from the seventeenth century—that were probably as distinctive and unique to each of them as is the case in the singing of Placido Domingo, Renée Fleming, Barbra Streisand, Bobby McFerrin, and Andrea Bocelli today.
MacClintock, Readings: 62. 33. Celletti, Bel Canto: 16. 34. MacClintock, Readings: 189. 35. See Rosand, Opera: esp. ch. 8. 36. Celletti, Bel Canto: 19. 37. Rosand, Opera: 24. 38. The Sistine Chapel had begun replacing falsettists with castratos in the late sixteenth century. See Kurtzman, Vespers: ch. 15. National Singing Styles 27 39. v. ” 40. Celletti, Bel Canto: 39. ” Quantz gives Farinelli’s range as from a to d''' in 1726, adding several notes a few years later. See Sanford, Vocal Style: 23.