SKU: GI.G-9739
ISBN 9781622773398. English.
The Renaissance era, lasting from the mid 1400s to about 1630, is one of the most distinctive and revolutionary periods in the arts, and music is no exception. Composers like Dufay, Josquin, Tallis, Victoria, Palestrina, Gabrieli, Praetorius, and Byrd were visionaries whose transformational music developed alongside the paintings and sculptures of Botticelli, da Vinci, Michelangelo, and Raphael. In this remarkable book, a companion to Performance Practices in the Classical Era and Performance Practices in the Baroque Era, noted scholar and conductor Dennis Shrock draws from primary sources to document and explain authentic performance practices of Renaissance era music—in many cases eye opening and rarely employed today. Insightful chapters cover topics including vocal and instrumental sound, tempo, articulation, phrasing, ornamentation, and expression. Like a restorer uncovering the original brilliance of the ceiling of the Sistine Chapel, Shrock’s work reveals the rich and colorful nature of this wonderful music as originally intended. Performing Renaissance Music—together with Shrock’s companion recording Renaissance Reborn—is an insightful, colorful, and comprehensive portrait, certain to assist anyone who seeks to better understand the music of the great Renaissance composers. This book is a vital resource for any conductor, performer, or aficionado of Renaissance music. Dennis Shrock is author of six books published by GIA: Performing Renaissance Music (2018), Performance Practices in the Baroque Era (2013), Performance Practices in the Classical Era (2011), Handel’s Messiah: A Performance Practice Handbook (2013), Music for Beginning Conductors (2011), and A Conductor’s Guide to Choral/Orchestral Repertoire, co-authored with James Moyer (2017). In addition, Dr. Shrock is author of three books published by Oxford University Press: Choral Repertoire (2009), Choral Scores (2015), and Choral Monuments (2017). Dr. Shrock has held faculty positions at Boston University, Westminster Choir College, the University of Oklahoma, and Texas Christian University, and has had residencies at Baylor University, the University of Southern California, the University of Mississippi, and Yale University. He has also served as Artistic Director of the Santa Fe Desert Chorale and Canterbury Choral Society of Oklahoma City, Interim Conductor of the Dallas Symphony Chorus, and Editor of The Choral Journal. In addition, he has been a frequent All-State conductor and lecturer at conferences of the American Choral Directors Association. He has received a number of awards and recognitions for his work. The City of Santa Fe declared December 22, 2003 “Dennis Shrock Day,†Westminster Choir College granted him an “Alumni Merit Award,†the state of Oklahoma conferred on him a citation for “Contributions of Excellence,†and the University of Oklahoma granted him two “Distinguished Lectureships†and named him a “Presidential Professor.†Dr. Shrock received a bachelor’s degree in music education from Westminster Choir College and both master’s and doctoral degrees in choral conducting from Indiana University. The cover artwork is a depiction of monks singing the office from a Gradual illuminated in the 1440s and used by the Olivetan Benedictines.
SKU: HL.50511788
ISBN 9790080145630. Bach (23 x 30,2 cm) inches. Hungarian, English, German, French. Laszlo Zempleni; Andras Soos.
The volumes in the Leggierissimo series, each containing works by a different composer, are now followed by albums presenting easily playable music from the various historical periods: renaissance, baroque, Viennese classicism and romanticism. The selection of renaissance music includes not only instrumental dances but also transcriptions of what were originally vocal pieces (well-known chansons). The volume also contains dance movements that can be paired together, and for individual performances cycles of several movements can be assembled from pieces taken from the same collection.
SKU: BT.EMBZ14563
Hungarian-English-German-French.
SKU: CF.CM9588
ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.
Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,†which sounds similar to the English words bought and got. The letter “t†should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s†should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.
SKU: BT.EMBZ14640
These volumes (Z. 14625 and Z. 14640) from János Bali are special publications. Apart from being collections of 16th-century pieces playable at concerts or any other kind of musical occasion, they also serve as basic material for today s increasingly popular Renaissance dance halls, or balls: the pieces they contain are grouped according to the various types of dance, and supplemented by a description of the most important dance steps, and formulas of ornamentation providing patterns and ideas for use in performance. An ensemble of different-sized recorders/strings is one of the most typical instrumental combinations of the Renaissance, and can successfully evoke the authenticsound and performance practice of the period. Diese Bände (Z. 14625 und Z. 14640) von János Bali stellen eine besondere Ausgabe dar. Abgesehen davon, dass sich die Sammlungen der Stücke aus dem 16. Jh. bei jedem Konzert oder ähnlichen musikalischen Ereignissen spielen lassen, können sie auch als Grundlage der heutzutage immer öfter veranstalteten Renaissancebälle und Tanzkreise dienen: Die Stücke werden nach Tanztyp sortiert und durch eine Beschreibung der wichtigsten Tanzschritte - bzw. mit den der Aufführung Ideen vermittelnden Muster für die Verzierungsformeln ergänzt - präsentiert. Das Ensemble aus verschieden großen Blockflöten/Streichern ist eine der typischsten Renaissancebesetzungen, die erfolgreich der authentischenWiedergabe des damaligen Klanges und Aufführungspraxis dienen kann.
SKU: GI.G-1036
UPC: 785147003625.
Renaissance Reborn was, first, the title of a lecture on performance practices given at the 2017 national conference of the American Choral Directors Association. Along with the subtitle “Breathing New Life into Renaissance Music,†the lecture presented historically informed practices that dealt with the subjects of vocal and instrumental forces, sound and pitch, meter and tactus, tempo, phrasing, structure, music dicta and music recta, text underlay, ornamentation, and expression–all the practices supported by primary sources from the Renaissance era and all the music became like restored art works that revealed their original rich and bright colors. The lecture led to the writing of the book Performing Renaissance Music, with expanded material and musical examples, and to the recording of this CD, which incorporates the historical practices. The repertoire is from the apex of the era (1538–1618), it includes common genres of the time (motet, mass, and madrigal) and the most esteemed composers from across Europe.
SKU: BT.EMBZ7888
English-German-Hungarian.
The present collection has been compiled for descant recorder. This instrument was ousted from use in the age of the Viennese Classics, and it has regained its rights only in the present century. This explains why the collection comprises-in addition to new Hungarian music-almost exclusively Renaissance and Baroque works. As it is well known, the masters of old times put down their works only in outline, and the music has to be reconstructed by a practised performer. This collection is intended to help in assimilating the spirit of these old styles. All the old works are given here in both their original and ornamented variants. The ornamentations have been taken over fromcontemporaneous arrangements, and where none were available, we worked them out on the basis of contemporaneous performing practice. All the solutions serve only as suggestions with his expanding stylistic knowledge the student himself should also boldly invent and extemporize ornamentation! Die vorliegende Sammlung ist für Sopran-Blockflöte zusammengestellt. Dieses Instrument wurde zur Zeit der Wiener Klassiker aus der Praxis verdrängt und erlangte erst in diesem Jahrhundert wieder seine Rechte. Dies erklärt die Zusammensetzung unserer Sammlung, die außer der neuen ungarischen Musik fast ausschließlich Werke der Renaissance und des Barocks enthält. Es ist allgemein bekannt, daß die alten Meister ihre Musik nur skizzenhaft notierten, und die berufenen Interpreten sollen ihre Werke rekonstruieren. Der Zweck der Sammlung ist: hilfreich die Aneignung des Geistes der alten Stile zu fördern. Wir bringen alle alten Werke in der ursprünglichen und verzierten Variante.Die Ornamente wurden aus zeitgenössischen Bearbeitungen genommen, und wo solche uns nicht zur Verfügung standen, wurden die Ornamente aufgrund der zeitgenössischen Vortragspraxis ausgearbeitet. Diese Lösungen sind lediglich Vorschläge.
SKU: HL.50510260
ISBN 9790080142493. UPC: 073999664782. 9.0x12.0x0.24 inches. Hungarian, English, French. Ferenc Farkas.
Ferenc Farkas arranged a handful of early Hungarian dance pieces, preserved in various late Renaissance music manuscripts, for several groups of performers. His arrangement Hungarian Dances from the 17th Century for chamber orchestra introduced generations of young music students to the charming world of Hungarian musical history.
SKU: HL.14032060
ISBN 9780711947528. 9.0x12.0x0.344 inches.
Kaleidoscope will save you time! Do you spend hours arranging music for odd assortments of instruments? Kaleidoscope is specially arranged to suit almost any instrumental combination and these varied ensembles are easy and enjoyable too. So much scope for virtually any combination of instruments! The series is successful with recorders, guitars, percussion and keyboard as well as with orchestral groupings. Whether there are five or fifty players, every Kaleidoscope title will work! Just make sure that melody and keyboard parts are included - all other parts are optional. Kaleidoscope is superb value for money - each set contains a score plus around 50 parts, each one carefully written to suit the needs of each instrument. For example, easy string parts are in first position only whilst easy clarinet parts take care to avoid the break. There are more demanding parts too, for experienced players. To help you choose the right pieces for your players we have given the key of each Kaleidoscope in brackets. The complete performance option! These super-flexible arrangements of well-known titles are a must for every school. Why not choose a theme for your concert and perform a selection of Kaleidoscope show titles and film themes or have an evening of classical favourites? In G. Edited by Nicholas Hare.
SKU: HL.49003188
ISBN 9780946535224. UPC: 841886002289. 8.25x11.75x0.486 inches. English.
Aural Matters provides useful resource material for aural training at Advanced level in a single volume with two accompanying compact discs. the first part is packed with examples of dictation and discrimination exercises, carefully graded in difficulty. The recordings on disc allow these practice-materials to be used by the student at home, as well as by teachers in the classroom. The text provides a systematic approach to aural training * melody and two-part dictation, harmonic recognition, identifying errors in performance * with frequent hints and tips that will enable the student to develop increasing skill and confidence in the tests. Part Two provides an recorded anthology of the compositional techniques with wich students are expected to be familiar at Advanced level. A huge variety of extracts has been specially selected from British folk-songs, world music, jazz, pop and the main periods of art music from the late Renaissance to modern times. A detailed commentary shows how to recognize periods, styles, structures, instruments and techniques in this music, with all of these features copiously illustrated in the examples on disc. The complete work provides an invaluable resource not only for the Advanced level aural syllabus, but also for any study of style and analysis in the wide variety of music that is encountered today. Prelude * Part I: Melody Dictation * Two-Part Dictation * Keys, Chords and Cadences * Intonation * Spot the Mistakes * Part II: Prelude to Part II: Aural and Stylistic Analysis * Folk Music of the British Isles * World Music * Jazz * Popular Music * Music of the Late Renaissance * Music of the Baroque Era * Classical Music * Romantic Music * Music in the 20th Century * Answers to the Tests * Index.
SKU: CL.011-4677-00
The fascinating world of Renaissance music comes to life as your band performs this spirited setting of three dances from Susato’s Danserye. Harmonic, rhythmic, and dynamic surprises abound as the piece begins with a light and delicate Ronde, continues with a lively boisterous Salterelle, and finishes with a stately grand Ronde/Aliud. This masterfully scored arrangement remains true to Susato’s original while taking advantage of the many colors available in the modern concert band. Your developing players, and the audience as well, will be delighted by this journey into such an exhilarating time in music’s history.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: CL.011-4677-01
SKU: HL.50486707
ISBN 9790080144763. UPC: 888680926366. 9.0x12.0 inches. Hungarian, English, German, French. Imre Kovacs; Laszlo Zempleni.
Editio Musica Budapest is launching a new series entitled Musica da camera. As its very general title indicates, the publishers' intention is that the volumes in this series, which is designed specifically for music school students, will include works composed for chamber ensembles of every kind, from the trio to the sextet. The first two volumes contain mostly transcriptions for three and four flutes respectively, selected from every period of music history from the late Renaissance to the present day. This publication is printed on high-quality, age-resistant paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.
