By John Morehen
This is often the 1st e-book to survey the appearing practices in English choral track within the 15th, 16th and 17th centuries, together with the interval of the English Reformation. The essays, all written by means of experts within the box, ponder intensive such parts because the development and improvement of the 'church' choir, comparable problems with vocal tessitura, appearing pitch, the structures of pronunciation applicable for Latin- and English-texted song, and the day by day education of choristers. there's additionally an research of the neighborhood conditions below which some of the vital manuscripts of the interval have been compiled, which unearths an unsuspectedly shut interrelationship among household tune and track for the church. moreover, a examine of surviving assets finds that they offer little greater than a common advisor as to their composers' and copyists' intentions.
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This impressive enterprise lasted only two years, to Michaelmas 1399;41 fortunately, during the summer of 1399 there was compiled a list of this team of seven men that identifies each by both name and a vocal designation,42 and it is clear that all included among their abilities the competence to sing polyphonic music. The master, the composer John Tyes, was listed as organista, a term meaning 'singer of polyphonic music' generally. The vocal designation of one, William Causton, was not given, but he received exactly the same remuneration as John Byfield, designated 'Tenor'.
Musica Britannica 10-12 (London 1956-61; 2/1967-73), 1, p. xxii. ), The Acts and Monuments of John Foxe, 8 vols. (London; 4/1887), v, p. 46: a roughly contemporary description of a performance in c. 1540 of a votive antiphon Lauda vivi alpha et O (the only surviving setting of this text is that by Fayrfax) in which two soloists sang the counterverse 'O redemptrix et salvatrix'. ), 'Medieval Carols', n o s . 17, 18, 2 0 , 2 7 , 2 9 , 30, 36, 5 1 ; also n o s . 7 7 - 9 , 9 1 , 118 from t h e rather later 'Ritson' manuscript (GB-LJbl Add.
A n u m b e r of pieces bear the stamp of a non-professional ineptitude; w h e n these display eccentricities of scoring, range and compass these infelicities may well b e the consequence n o t of artistic imagination based o n calculations of genuine practicality, but simply of maladroit composition. 70 T h e seventeen-note compass o f n o . 72 will b e disregarded here as probably illusory, since its t w o discrete 28 Roger Bowers of the items which use a seventeen-note compass (22, 51, 116) can be disregarded in the present context, since they appear to incorporate no novelties of vocal scoring.
English Choral Practice, 1400-1650 by John Morehen