deals with questions and projects concerning performance practice of medieval music

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  • 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.

  • 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. 

  • 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) 

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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

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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…

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