A Performer's Guide to Renaissance Music

A Performer's Guide to Renaissance Music

A Performer's Guide to Renaissance Music

A Performer's Guide to Renaissance Music


Revised and expanded since it first appeared in 1991, the guide features two new chapters on ornamentation and rehearsal techniques, as well as updated reference materials, internet resources, and other new material made available only in the last decade.

The guide is comprised of focused chapters on performance practice issues such as vocal and choral music; various types of ensembles; profiles of specific instruments; instrumentation; performance practice issues; theory; dance; regional profiles of Renaissance music; and guidelines for directors. The format addresses the widest possible audience for early music, including amateur and professional performers, musicologists, theorists, and educators.


Jeffery Kite-Powell

What does the hackneyed cliché “size matters” have to do with this current book? A quick comparison of the contents of this volume with its Schirmer-edition predecessor of 1994 will reveal that this is not just a second edition, but one with some rather considerable differences—and this is why size matters. If the current publisher had permitted an unlimited number of pages and an infinite number of illustrations and music examples— indeed, every author’s dream—the present book could be considered an “expanded” second edition. But, alas, in order to include the new entries requested by numerous readers over the years, the size restrictions placed on these categories suggest that “revised” second edition would be the appropriate descriptor. This is not to say that the omitted chapters in the earlier edition have simply vanished from the intellectual domain entirely, but rather that one must find another way to access them. A recent online review of WorldCat’s FirstSearch indicates the existence of 571 copies of the first edition in libraries all over the world, so anyone wishing to read Mark Lindley’s “Renaissance Keyboard Fingering,” or the chapters on “Publicity Guidelines for Early-Music Concerts” by Beverly Simmons or “Thoughts on the Program and its Notes” by Dean Nuernberger are encouraged to visit a nearby library or have the desired chapter interlibrary loaned to them. The information in Phillip Crabtree’s “Copyright” is sufficiently out of date to warrant its omission, and the passing of Ingrid Brainard in 2000 has necessitated the replacement of her contribution.

It was not long after the appearance of the first edition that readers began to ask for information on the bagpipe and ornamentation; others suggested essays on how to rehearse an instrumental or vocal ensemble . . .

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