The Cambridge Companion to the Musical (Cambridge Companions to Music)

The Cambridge Companion to the Musical (Cambridge Companions to Music)
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Editorial: Cambridge University Press. This book provides an overview of both blues and gospel music, which together provide an expression of twentieth-century black US experience. British Journal of Music Education. Shipping costs are based on books weighing 2. If your book order is heavy or oversized, we may contact you to let you know extra shipping is required.

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Portada Allan Moore Ed. Imagen del editor. Editorial: Cambridge University Press, The styles in which they sang have proved hugely influential to generations of popular singers, from the wholesale adoptions of singers like Robert Cray or James Brown, to the subtler vocal appropriations of Mariah Carey, Their own music, and how it operates, is not, however, always seen as valid in its own right.

This book offers an overview of both these genres, which worked together to provide an expression of twentieth-century black U. Their histories are unfolded and questioned; representative songs and lyrical imagery are analyzed; perspectives are offered from the standpoint of the voice, the guitar, the piano, and also that of the working musician.

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Cambridge Core - Twentieth-Century and Contemporary Music - The Cambridge Companion to the Musical - edited by William A. Everett. Collection: The Cambridge Companions to Music; Series: Cambridge Companions to Music. Cambridge Core - Drama and Theatre: General Interest - The Cambridge The Cambridge Companions to Music; Series: Cambridge Companions to Music.

The book concludes with a discussion of the impact the genres have had on mainstream musical culture. But to what extent do we share their understanding? Its underlying principle, according to Tinctoris in , was that when two, three, four or more people sing together upon the book, they are not subject to one another.

In fact, it is enough for each of them to accord with the tenor in regard to the rule and ordering of consonances. As for singing uppon a plainsong, it hath byn in times past in England as every man knoweth and is at this day in other places, the greatest part of the usuall musicke which in any churches is sung. Which indeed causeth me to marvel how men acquainted with musicke, can delight to heare such confusion as of force must bee amongste so many singing extempore. And those who psalmodize sit on both sides of the choir, on the one side plainsong, on the other side contrapunt or fabridon whichever name you prefer ; these three [groups] each await their time to sing, up to the end of the Mass.

As for depictions and documentary tallies of singers, it is exceptional to be certain whether composed or improvised polyphony or even simple chant is being sung.

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These questions arise with a source that may otherwise appear to be a key guide to the performance of composed choral polyphony at the Burgundian court in the time of Busnoys. In Germany it may have been quite usual for boys to move from soprano to alto before settling into a lower range.

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In both cases the abiding principle was that instruments should defer to voices, rather than the opposite. Hence, organists are always or at least usually compelled to play lower than the written key in order to accommodate the singers. This is what is done at St.

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Table 2. The same questions are raised by recurrent reports —6 citing Augustein Schubinger, an Imperial cornettist in the retinue of Philip the Fair, playing at mass.

Cambridge Companions to Music

And in many cases the number of choirs could be varied simply by omitting or duplicating certain of them. A founda- tion at Chichester Cathedral c.

For with six parts there is a complete body of sound, and it is not necessary to trouble oneself further with a larger group. Fuhrmann, The sources of J.

The Cambridge Companion to the Musical (Cambridge Companions to Music)

Rich traditions and high standards of polyphonic music making were never- theless maintained in many all-female convents, often despite stringent restrictions imposed from outside. In musical publications dedicated to nuns, keyboard transpositions are dealt with by both G.

Cima and Penna , suggesting one way of making certain vocal works accessible to female choirs. They are female bas-dessus voices, lower than any of ours. Byrd, the very famous English musician and organist, was among the company.