| Contents |
Part I: The constitution of the early music ensemble. Introduction -- The collegium musicum. Definition, types, value -- Resources for performance. Voices. Practical ensembles ; Instruments. Chordophones, aerophones, keyboards, percussion, practical collections, selection, maintenance ; Music. Original sources, modern editions, scholarly, popular ; Recordings ; Performance opportunities ; Projects for investigating resources -- Part II: General guidelines for early music performance. Introduction -- Approaches to performing medieval and renaissance music. Authenticity ; Quality of performance ; Practical considerations -- Primary recommendations for performance. Score study. Facsimiles, score analysis ; Determination of an ensemble. Structural considerations, transposition ; Pitch ; Forms ; Languages -- Rhythm. Notation. Monophonic music, thirteenth-century polyphony, fourteenth-century French and Italian polyphony and early fifteenth-century music, late fifteenth- and sixteenth-century music ; Tempo ; Rhythm groupings in Renaissance music ; Projects for rhythm -- Musica ficta. Rules that originated in the Middle Ages -- Rules that were added in the late fifteenth and sixteenth centuries -- Further observations -- Projects for musica ficta -- Text underlay. Incomplete text underlay ; Projects for text underlay -- Improvisation and ornamentation. Original improvisation ; Counterpoint ; Ground bass variation ; Diminutions ; Graces ; Projects for improvisation and ornamentation -- Part III. The early music repertory: specific recommendations for performance. Introduction ; Discussion. Haec dies -- Leonin(?), Alleluia: Nativitas -- Perotin, Alleluia: Nativitas -- Soli nitorem -- Laus Domino / Eius -- Cruci / Crux / Portare -- In seculum longum -- Aucun qui ne sevent / Iure tuis / Maria -- Adam de la Halle, Fi maris de vostre amour -- Philippe de Vitry, Tuba sacre / In arboris / Virgo sum -- Guillaume de Machaut, Dous amis -- Philipoctus de Caserta, En remirant -- Giovanni de Firenze, Nascoso el viso -- Or qua, compagni -- Francesco Landini, Partesi con dolore -- John Dunstable, Ave Regina celorum -- Tibi laus, tibi gloria -- Guillaume Dufay, Ce moys de may -- Johannes Ockeghem, Kyrie from the Missa Sine nomine -- Loyset Compere, Ung franc archier -- Franciscus Bossinensis, Ricercare -- Bartolemeo Tromboncino, Ben ch'amor me facci -- Eustachio Romano, Cantus cum Tenore -- Robert Cooper, I have been a foster -- Henry VIII, (Consort IV) -- Claude Gervaise(?), Branle (simple) -- Ludwig Senfl, Ewiger Gott -- Nicolas Gombert, Et exultavit from Magnificat septimi toni -- Pierre Certon, Ce n'est a vous -- Jacobius Arcadelt, O felic' occhi miei -- Diego Ortiz, Recercada primera sobre O felici occhi miei -- Fiorenzo Maschera, Canzona prima ... detta la capriola -- Richard Alison, The batchelars delight -- John Ward, In nomine -- John Wilbye, Weep, O mine eyes -- Thomas Tomkins, O Lord, rebuke me not. Projects for Part III -- Appendices. Other genres of Medieval and Renaissance music ; Principal instruments of the Middle Ages and Renaissance ; Ranges of Medieval and Renaissance instruments ; Selected journals dealing with early music ; Pronunciation guides ; A checklist of performance considerations. |
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