Thomas Salmon: A proposal to perform musick and related writings, 1685-1706


Book Description

This is the second volume in a two-part set on the writings of Thomas Salmon. Salmon (1647-1706) is remembered today for proposing a radical reform of musical notation (these writings are the subject of Volume I). Later in his life Salmon devoted his attention to an exploration of the possible reform of musical pitch and raised questions about the meaning and the source of musical knowledge similar to those he raised in his work on notation. Benjamin Wardhaugh presents the first published scholarly edition of Salmon's writings on pitch, previously only available mostly in manuscript.




Synopsis of Vocal Musick by A.B. Philo-Mus.


Book Description

Synopsis of Vocal Musick, by the unidentified A.B., was published in London in 1680 and appears to have only ever had one edition. Its relatively short shelf-life belies its importance to the history of early British music theory. Unlike other English theoretical writings of the period, the Synopsis derives many of its aspects from the continental theoretical tradition, including the first references in English theory to the modern fractional time signatures that had been invented in Italy in the mid-seventeenth century, the first references in English to compound time and the first explanations of tempo terms such as Adagio and Presto. In these respects the treatise forms an important link between English and continental theoretical traditions and may have encouraged the adoption of Italian principles which became a common feature of English writings by the early eighteenth century. The treatise is essentially in two parts. The first section of the book comprises rudimentary instruction on understanding notation and intervals, descriptions of common vocal ornaments and instruction in the process of learning to sing. The second part consists of a selection of psalms, songs and catches which are provided as exercises for the singer, though several of them require a reasonably advanced degree of skill. These pieces provide valuable insight into the way both sacred and secular music might have been performed by amateur musicians in the Restoration period. They include 14 rare English madrigal settings by the Italian composer Gastoldi - further evidence of the Italian influence which pervades the text. This is the first modern edition of the Synopsis, and indeed the first edition to appear since its original publication.




Musick's Monument; Or, a Remembrancer of the Best Practical Musick, Both Divine, and Civil, That Has Ever Been Known, to Have Been in the World


Book Description

Hardcover reprint of the original 1676 edition - beautifully bound in brown cloth covers featuring titles stamped in gold, 8vo - 6x9. No adjustments have been made to the original text, giving readers the full antiquarian experience. For quality purposes, all text and images are printed as black and white. This item is printed on demand. Book Information: Mace, Thomas ?. Musick's Monument; Or, A Remembrancer of The Best Practical Musick, Both Divine, And Civil, That Has Ever Been Known, To Have Been In The World.: Divided Into Three Parts. The First Part, Shews A Necessity of Singing Psalms Well, In Parachial Churches, Or Not To Sing At All; Directing, How They May Be Well Sung, Certainly; By Two Several Ways, Or Means; With An Assurance of Perpetual National-Quire; And Also Shewing, How Cathedral Musick, May Be Much Improved, And Refined. The Second Part, Treats of The Noble Lute, (The Best of Instruments) Now Made Easie; And All Its Occult-Locked-Up-Secrets Plainly Laid Open, Never Before Discovered;Directing The Most Ample Way, For The Use of The Theorboe, From Off The Note, In Confort, Etc.In The Third Part, The Generous Viol, In Its Rightest Use, Is Treated Upon. Indiana: Repressed Publishing LLC, 2012. Original Publishing: Mace, Thomas ?. Musick's Monument; Or, A Remembrancer of The Best Practical Musick, Both Divine, And Civil, That Has Ever Been Known, To Have Been In The World.: Divided Into Three Parts. The First Part, Shews A Necessity of Singing Psalms Well, In Parachial Churches, Or Not To Sing At All; Directing, How They May Be Well Sung, Certainly; By Two Several Ways, Or Means; With An Assurance of Perpetual National-Quire; And Also Shewing, How Cathedral Musick, May Be Much Improved, And Refined. The Second Part, Treats of The Noble Lute, (The Best of Instruments) Now Made Easie; And All Its Occult-Locked-Up-Secrets Plainly Laid Open, Never Before Discovered;Directing The Most Ample Way, For The Use of The Theorboe, From Off The Note, In Confort, Etc.In The Third Part, The Generous Viol, In Its Rightest Use, Is Treated Upon, . London: Printed By T. Ratcliffe, And N. Thompson, For The Author, And Are To Be Sold By Himself, At His House In Cambridge, And By John Carr, At His Shop At The Middle-Temple Gate In Fleetstreet, 1676. Subject: Music







Musicks̕ Monument


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Musick's Monument


Book Description




Interpretation of the Music of the 17th and 18th Centuries


Book Description

One of the most influential figures in the twentieth-century revival of early music, Arnold Dolmetsch (1858–1940) was the first to apply academic attention to the issue of authentic historical performance. His groundbreaking study, The Interpretation of the Music of the 17th and 18th Centuries, first appeared in 1915 and remains a landmark of musicology. An outstanding musician, teacher, and maker of Baroque-style instruments, Dolmetsch sought the correct interpretation of Baroque music in order to heighten its expressive intent and emotional impact. In this study, he quotes extensively from both familiar and lesser-known treatises of the seventeenth and eighteenth centuries, adding enlightening comments to each quotation and providing illuminating conclusions. Topics include tempo, rhythm, ornamentation, figured bass realization, wrist positioning, and fingering, and musical instruments of the period. A rare appendix of musical examples, originally published separately, appears in this new edition of the first book to address in a comprehensive and scholarly manner the problems of performing Baroque music. More than a text on performance practices, this classic offers glimpses of what Baroque music meant—both as an art and a science—to musicians of the era.