The Sound of Medieval Song
Ornamentation and Vocal Style According to the Treatises
Series: Oxford Monographs on Music;
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Product details:
- Publisher Clarendon Press
- Date of Publication 2 April 1998
- ISBN 9780198166191
- Binding Hardback
- No. of pages216 pages
- Size 242x163x17 mm
- Weight 514 g
- Language English
- Illustrations 8 pp plates, 1 figure, tables, maps, music examples 0
Categories
Short description:
The Sound of Medieval Song describes the highly ornate way in which music was actually sung during the Middle Ages. It discusses the techniques used by the singers as well as the ornaments they improvised while singing, and associates the sound of medieval music with that of the Middle East.
`Far too little work is being done on medieval performance practice and McGee is one of the few authors to have entered this arena (the gladiatorial image is chosen advisedly). McGee's work will be received with considerable interest.' Christopher Page, Director, Gothic Voices Sales and Publicity Information
Long description:
The Sound of Medieval Song is a study of how sacred and secular music was actually sung during the Middle Ages. The source of the information is the actual notation in the early manuscripts as well as statements found in approximately 50 theoretical treatises written between the years 600-1500. The writings describe various singing practices and both desirable and undesirable vocal techniques, providing a fairly accurate picture of how singers approached the music of the period. Detailed descriptions of the types and uses of improvised ornament indicate that in performance the music was highly ornate, and included trill, gliss, reverberation, pulsation, pitch inflection, non-diatonic tones, and cadenza-like passages of various lengths. The treatises also provide evidence of stylistic differences in various geographical locations.
McGee draws conclusions about the kind of vocal production and techniques necessary in order to reproduce the music as it was performed during the Middle Ages, aligning the practices much more closely with those of the Middle East than has ever been previously acknowledged.
Far too little work is being done on medieval performance practice and McGee is one of the few authors to have entered this arena (the gladiatorial image is chosen advisedly). McGee's work will be received with considerable interest.
Table of Contents:
Preface
Acknowledgements
Introduction
Vocal Style and Technique
Written Ornaments
Graces
Passaggi
Conclusions
Appendix - Quotations from Theoretical Sources
Bibliography
