Consort music of four parts PDF Download

Author: John Ward
Publisher: Stainer & Bell, Limited
ISBN:
Category : Music
Languages : en
Pages : 152

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Book Description

Author: William Byrd
Publisher:
ISBN:
Category : Fantasia
Languages : en
Pages : 58

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Book Description

Author: John Jenkins
Publisher: London : Published for the Royal Musical Association
ISBN:
Category : Chamber music
Languages : en
Pages : 216

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Book Description
Contains 32 "airs," 8 suites, 5 fantasias, and 12 assorted dances.

Author: John Patrick Cunningham
Publisher: Boydell & Brewer
ISBN: 0954680979
Category : Music
Languages : en
Pages : 378

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Book Description
This book looks at the work of one of England's finest composers, William Lawes. It provides a contextual examination of music at the court of Charles I, a detailed study of Lawes's autograph sources and an examination of his consort music.

Author: John Coperario
Publisher: Fretwork Publishing
ISBN:
Category : Music
Languages : en
Pages : 396

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Book Description
John Coprario (c. 1575-1626): the complete consort music in two, three and four parts. Introduction, critical commentaries and full scores. Performing parts available direct from the publisher. Published in 1993.

Author: Thomas Campion
Publisher:
ISBN:
Category : Songs with lute
Languages : en
Pages : 60

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Book Description

Author: Michael Fleming
Publisher: Routledge
ISBN: 1317147154
Category : Music
Languages : en
Pages : 475

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Book Description
Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that ’Your Best Provision’ for playing such music is a chest of old English viols, and he names five early English viol makers than which ’there are no Better in the World’. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.

Author: Duncan Clark
Publisher: Rough Guides
ISBN: 9781858287218
Category : Music
Languages : en
Pages : 630

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Book Description
Sketches of classical composers and CD reviews.

Author: Andrew Ashbee
Publisher:
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 368

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Book Description
This is the first in a two-volume study of Jenkins and his music. It concerns itself exclusively with the superb consorts for viols which dominate the early part of the composer's career.

Author: Ian Woodfield
Publisher: Cambridge University Press
ISBN: 9780521357432
Category : Music
Languages : en
Pages : 290

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Book Description
This book traces the development of the viol from its late medieval Spanish origins to the sixteenth century, when it became the most widely played bowed instrument in western Europe. Ian Woodfield examines the two most important ancestors of the instrument, the Moorish rahab and the vihuela de mano. From these two instruments emerged an early form of viol, the Valencian vihuela de arco, which spread rapidly across the Mediterranean during the papacy of Rodrigo Borgia. The viol was enthusiastically accepted by the d'Este and Gonzaga families and other Italian arbiters before migrating across the Alps and into the rest of Europe. The author discusses all aspects of the viol during its Renaissance hey-day: the growing perfection of viol design at the hands of Italian craftsmen; the gradual evolution of tuning systems; the development of advanced playing techniques and the wide range of music, both solo and consort. The final chapter examines the growth of a viol playing tradition in sixteenth-century England, in particular in the London choir-schools. Dr Woodfield brings iconographic evidence and an interesting approach to this study which will be of interest to musicologists, iconographers, organologists and viol players.