Performance practice, Music before 1600 / Howard Mayer Brown and Stanley Sadie
SYSNO 6386162, přírůstkové číslo 6225

Seznam obrázků v dokumentu:
Obrázek 1: Music at a 14th-century banquet: detail of a page from „Le tamari de Marques“, c1330. The Emperor Mark is shown dining in the company of two young ladies, as his sister enters on the left; they are entertained by a fiddle player who sings (Brussels. Bibliothèque royale, MS 9433, f.60)
Obrázek 2: Francesco Landini playing the organella, with Lady Music and various instruments as marginalia: folio from the „Squarcialupi Codex“, early 15th century (Florence, Biblioteca Medicea-l.aurenziana 87, f.12lv)
Obrázek 3: King Alfonso the Wise supervising the denial and secular scribes compiling cantigas. while musicians with fiddles and gitterns stand to lefl and right: folio from the „Cantigas de Santa María“, c1260 (El Kscorial, Real Monasterio de S Lorenzo, b.I.r, f.292)
Obrázek 4: Choir of angels playing instruments that existed in 14th-century Italy, including (back row) tambourine (left), lute (centre) and gittern (right); (front row, left to right) portative organ, fiddle, psaltery, harp-psaltery and portative organ: mid-14th-century painted panel (probably a fragment of an altarpiece) by Paolo da Venezia, in the Museo di Palazzo Venezia, Roma.
Obrázek 5: Ilustration from a 14th-century manuscript of the „Roman de la rose“: showing (centre) portative organ; (hanging, top row, left to right) gittern and lute; (middle row) bombarde, shawm, recorder, hurdy-gurdy; (bottom row) psaltery, bagpipe, trumpet and tabor with tabor pipe (above) and stick (below); and (on bench) cymbals and panpipe
Obrázek 6: Minnesingers playing transverse flute and fiddle: miniature, „Der Kanzler“, from the Manesse MS, early 14th century (Heidelnberg, Universitätsbibliothek, pal. germ. 848.f.423v)
Obrázek 7: Clerics singing around a lectern: miniature from a 14th-century psalter (Amiens, Bibliothèque Municipale, MS 124, f. 98)
Obrázek 8: A group of clerics gathered before the altar (top) and a procession (bottom) including two buisine (or shawm) players and a cleric playing a positive organ: detail from the frontispiece of Gulielmus Durandu’s „Rationale divinorum oficorum“, late 14th century (London, british Library, Add.31.032 f.1)
Obrázek 9: Singer and gittern player: from an illustrated copy of Nicolas Oresme’s translation of Aristotle’s „Ethics“, prepared for Charles V of France in 1376 (The Hague, Meerman Museum, 10-D-, f.100)
Obrázek 10: The knight Paris and his friend Edward serenading Vienne, from „L’histoire du tresvaillant chevalier Paris et de la belle Vienne fille du dauphin“ (Antwerp, Gherard Leeu, 1487, f.3): the two men have their mouths closed although the romance describes them as singing and playin
Obrázek 11: Early 16th-century scenes of daily life among the aristocracy and upper middle class: two pages from the so-called Weimarer Wunderbuch, c1510: upper-class musicians playing harpsichord (top left), clavichord or virginals (bottom left) and portative organ and lute (top right), and a well-born couple dancing while a minstrel plays a shawm (bottom right) (Weimar, Nationale Forschungs- und Gedenkstätten der Klassichen deutschen Literatur, „Weimarer Ingenieurskunst- und Wunderbuch“, f.328)
Obrázek 12: Instruments played by angels attending the Coronation of the Virgin: early 16th-century fresco (detail) by Michele Coltellini schowing (left to right) viola da gamba, violin, guitar, rebec and viola da gamba (Pinacoteca Nazionale, Ferrara)
Obrázek 13: Celebration of the Mass in the 16th century, with the singers grouped around a lectern and accompanied by a trombone: from the dedication page of „Liber primus missarum quoique rocum“. J.1v (Antwerp: Tylman Susato, 1546)
Obrázek 14: A young couple in a garden, perhaps singing from a single sheet of music: illustration from a 15th-century manuscript (The Hague, Koninklijke Bibliotheek, 76F2, f.Vr)
Obrázek 15: Music at a 15th-century banquet: from „Le livre du roi Modus“, copied in France in the second decade of the 15th century: both haut and bas instruments can be seen in the illustration, including buisines lute and rebec; others may be singing (Vienna, Österreichische Nationalbibliothek, MS 2577, f.36v)
Obrázek 16: Music at an outdoor party: detail from the paintling „Spring Landscape“ (1587) by Lucas von Valckenborch, in the Kunsthistorisches Museum, Vienna: young men and woman sit on the ground around a cloth laid with food and sing from partbooks; soft („bas“) string and wind instruments are piled to one side, and an ensemble of professional musicians playing three shawms and sackbut accompany a couple who dance
Obrázek 17: Title-page of Willaert’s „Musica nova“ (Venice: Antonio Gardane, 1559), with a dedication to Alfonso Il d’Este, Duke of Ferrara.
Obrázek 18: An Elizabethan masque in performance: part of a compound picture, „Memorial Portrait of Sir Henry Unton“ (c1596), in the National Portrait Gallery, London: Mercury and Diana lead the entry of masquers and torch-bearers who process round a broken consort (a consort of viols can be seen in the upper left-hand room)
Obrázek 19: Singer declaiming a narrative poem, accompanying himself on the lira da braciio: woodcut from the epic „Morgante maggiore“ by Luigy Pulci, printed in Florence, c1500 (Österreichische Nationalbibliothek, Vienna, Sing.Ink.5.G.9)
Ex.1 - Ex1  St Gall Neumes
Ex.2 - Ex2 Laon neumes
Ex.3 – Introit Vocem iocunditatis
Ex.4: Ex.5 Magnificat antiphon Magnum Haereditatis; 5(a) St Gall, Stiftsbibliothek, 390-391, pp.69-70 (Paleiographie Musicale, IT/1); (b) Liber Usualis Missae et Officii ... (Paris, etc., 1964); (c) Antoine Dechevrens: Composition musicale et composition littéraire à propos du chant (Paris 1910), ii. pp.69-70; (d) Antiphonarium Coloniense (Cologne, 1846), pp.82-3
Ex.5 – Ex.3
Ex.6: Ex.1a Graduale Sacrosanctae Romanae Ecclesiae (Tournai, 1932)
Ex.7: Ex. 1b Graduale Sacrosante Romanae Ecclesie… Iuxta ritum Missalis novi ex decreto Sacrosancti Concilii Tridentini restituti (Venice, 1580)
Ex.8: Ex. 1c Graduale Romanum Iuxta Missale Ex decreto Sacrosancti Concilii Tridentini restitutum (Antwerp, 1620)
Schema 1: Directorium chori
Schema 2: Medicean edition
Schema 3: La Feilée
Model 1: Model A
Model 2: Model B

Seznam notových záznamů vložených přes hypertextový odkaz:
Notový záznam 1: The three tunings for the fiddle given by Jerome of Moravia 
Notový záznam 2: Ex.4 – F-Pn lat 17311, f 153r
Notový záznam 3: Ex.5 Magnificat antiphon Magnum Haereditatis, (c) Antoine Dechevrens: Composition musicale et composition littéraire à propos du chant (Paris 1910), ii. pp.69-70
Notový záznam 4: Ex.1
Notový záznam 5: Ex.2
Notový záznam 6: Ex.3
Notový záznam 7: Ex.4
Notový záznam 8: Ex.1
Notový záznam 9: Ex.2
Notový záznam 10: Ex.3
Notový záznam 11: Ex.4
Notový záznam 12: Ex.5
Notový záznam 13: Ex.6
Notový záznam 14: Ex.7
Notový záznam 15: Ex.8
Notový záznam 16: Ex.9
Notový záznam 17: Ex.10
Notový záznam 18: Ex.11
Notový záznam 19: Ex.12
Notový záznam 20: Ex.13
Notový záznam 21: Ex.14
Notový záznam 22: Ex.15
Notový záznam 23: Ex.16
Notový záznam 24: Ex.17
Notový záznam 25: Ex.2; (a) Dufay: Veni Sancte Spiritus; (b) Josquin des Prez: Veni Sancte Spiritus; (c) Willaert: Veni Sancte Spiritus; (d) Palestrina: Veni Sancte Spiritus; (e) Victoria: Veni Sancte Spiritus
Notový záznam 26: Ex.3 Anon, Per sonetti: Piu volte me son messo a contemplarte
Notový záznam 27: Ex.4 Melodic patterns found in Berchem’s Capriccio (1561)
Notový záznam 28: Ex.5 Valderrábano Soneto v
Notový záznam 29: Ex.6 Josquin des Prez: Missa Hercules Dux Ferrariae, Kyrie I