Performance Practice

deals with questions and projects concerning performance practice of medieval music

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Officium Stellae book published

I'm glad to announce thay my book about Epiphany liturgical drama L'Officium Stellae. Studio comparativo e trascrizione dei testimoni liturgico-musicali, Firenze, Sismel - Edizioni del Galluzzo, La Tradizione Musicale, Studi e testi, 17, 2016 has been published. Anybody who is interested in a copy can buy it through Sismel web site http://www.sismel.it/ Some copies with 10% discount are also available, for information and shipping write to the author: nausica.morandi@gmail.com

Started by Nausica Morandi

0 Replies

Score for instrument in the early XIV century/Musique écrite pour instrument au début du XIVème siècle

La Walters Art Gallery Library de Baltimore (MD) est très célèbre pour son grand nombre de livres d'heures richement décorés. Parmi eux, nous trouvons le manuscrit W 88, qui est d'après le catalogue de la bibliothèque, un livre d'heure datant du début du XIVème siècle (1300-1310) et provenant du Nord de la France ou des Flandres (1300 - 1310 CE, French Flanders (Cambrai?)). Au folio 38r de ce manuscrit nous pouvons voir un joueur sans doute de hautbois jouer sur un livre...

Started by Dominique Gatté

5 Replies

À propos de la pratique liturgique

Un ami m'a soufflé à l'oreille une réflexion au tour de l'importance pour le chant grégorien de la pratique liturgique. Je souhaite la partager avec vous. Bonne lecture! Si la multiplicité des expérimentations dans le domaine du chant grégorien peut témoigner d'une recherche encore vivante dans un contexte humain au mieux indifférent, parfois hostile, il apparaît urgent et fondamental de remettre la pratique de ce répertoire dans son cadre organique : la liturgie. La liturgie ! Sous prétexte…

Started by Alberto Diaz-Blanco

1 Reply · Reply by Oliver Gerlach Jun 6

Some FUNDAMENTAL abuses and changes in the approach towards performance practice

Several performers of medieval music use women's voices where men's voices were certainly or probably intended; others vocalise untexted parts where instruments often seem more appropriate; others use (too) low pitches which results in sombre timbres where medieval sources often rather seem to imply a tendency, a liking for "middle" or high pitches, i. e. rather bright timbres; others sing with a deliberate nasal timbre where medieval sources warn to do just that; other performers use a wide…

Started by Christoph Dohrmann

28 Replies

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Oliver Gerlach August 9, 2016 9:29

We already had these discussions, when I studied at Basel during the early 1990s. I am very sad to read that nothing has changed after 25 years. Nevertheless, I fear you might be right...

There may be a lot of knowledge of neumes after lots of publications in the style of 'das problem der pes-quassus in ms X..' etc but there is hardly anyone out there who knows to make coherent, audible distinctions from one neume to the next, as if everyone is still singing from the Graduale Romanum simplex.. even from so-called semiologically informed groups, the distinctions are too little audible.
martin spaink August 8, 2016 22:29

There may be a lot of knowledge of neumes after lots of publications in the style of 'das problem der pes-quassus in ms X..' etc but there is hardly anyone out there who knows to make coherent, audible distinctions from one neume to the next, as if everyone is still singing from the Graduale Romanum simplex.. even from so-called semiologically informed groups, the distinctions are too little audible.
Franz Karl PRASSL March 10, 2015 18:53

We know a lot about details of historical performance practice(s).

One should study serious explanations of neumes and their indications for interpretation, like the 3 books of Agustoni/Göschl (available in german, italian, french)