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 range of different instruments for accompanying (for instance in songs) where medieval sources rather imply a more limited range of instruments (such as harp, vieille); other performers even do not refrain
from mixing their approaches with still living oral traditions (for instance of the orient) which is a hypothetical and in most cases improbable approach and results more in "cross-overs" than in "historically informed" performance practice: These are just some of the most obvious negative or "dubious" points to be observed in the approaches of today's performers. It seems that quite a number of performers are rather searching for "effect" (often resulting in "alienation" effects) than for making early music with the appropriate, the probable performance practice. They probably do this in order to become more "conspicuous" on the "market" of early music. So they often seem more interested in their OWN views than the true or probable meanings of source informations and in "selling" their performances than in a truly serious approach towards performing early music, based on sources. The musicians who make such bad choices in terms of "historically informed" performance practice and style are often good musicians who are able to sing and play well - but their "attitude", their "awareness" does not seem to be that of a musician who wishes to come close to performance practices as implied by historical sources, and their zeal does not go so far as to go for a truly "idiomatic" approach towards style(s).
It is also evident for attentive listeners who compare medieval sources with performances that MANY things which are implied and described in such sources as appropriate performance practice(s) are often NOT being performed. And it is also obvious that we do not have performers who are really specialized on certain repertories (for instance ONLY French Ars nova, or ONLY Ars subtilior etc.) which would be the best prerequisite for developing a truly IDIOMATIC approach towards medieval music.
In my view it would be healthy if some fundamental things in early music, and ESPECIALLY in the revival of medieval music would change: 1.) We NEED a thorough documentation of performance practice informations from all kinds of sources in the form of an online database WITH English translations and notational examples (possibly also audios), so that everyone can inform himself more easily. 2.) Performers need to change their ATTITUDES towards performance practice - historically informed performance practice is NOT something where a performer can "interpret" sources merely
according to one's own "phantasies" and "likings" and the means that an ensemble has (such as the number and types of voices or instruments etc.), it is NOT something where every musician can take as many liberties as he/she wants: GOOD and TRULY informed historical performance practice OBLIGES the performers to take into account as many RELEVANT performance practice source informations as possible for a given repertory and to MAKE MUSICALLY CONVINCING CHOICES in USING them. And that means that a performer cannot simply turn his OWN views into a relevant source information (as really often happens in early music) - it has to be WELL FOUNDED, musically "intelligent" and FITTING - if there is no certainty in applying a certain source information, in finding the true meaning of a source information, then there should at least be PROBABILITY. 3.) We NEED performers who are willing to really specialize on certain repertories in order to attain a higher standard of stylistic refinement: without rehearsing and performing a certain repertory for a long time it seems rather unlikely that musicians can really develop a high degree of "stylistic suppleness" and aptitude, as desired by connaisseurs.
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But musique is a mixture of scriptures and transmitted tradition. All the authors given by Luca and a bunch of others should have been. The next step is to see where and when the chain is broken
Luca, going back a few pages on your document ( p.634) I can see an interesting comment about the psalmodic in the Sistine chapel. How do you think it should be taken, with what we now know about ROM?
musicians are only beginning to be interested in manuscripts. It would be great to get a database on musical practices ... and especially the "danger" seems to do nothing and not allow progress together; which does not induce a monolith vision interpretation modes.
thank you for your ideas
You seem to be very certain about "the true or probable meanings of source informations" and certain performers missing the point. How can you be so sure? Where did you find your wisdom?
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