The use of instruments in sacred music in Italy 1560–1700

Bonta, Stephen

doi:10.1093/earlyj/xviii.4.519

Cited by 3 publications

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“…Differently from other violin family members, the double bass had a complex and controversial genealogy that mixed with the gamba family. Its very ambiguous terminology during the baroque and classical periods (SAS, 1999;PLANYAVSKY, 1998;BONTA, 1990;COHEN, 1967;SACHS, 1940), the constructive limitations of its materials and accessories generating confusing and almost superhuman patterns for over four centuries (BRUN, 1989;BONTA, 1988;BONTA, 1976) and the inconsistency of its performance practices and tuning types until the late nineteenth century (DREW, 1979;COHEN, 1967;BILLÈ, 1928) caused a historical delay in the formation of double bass schools and a shortage of high level instrumentalists. An obvious and mistaken output in this scenario was the common belief that double bass players could manage well its instruments only in lower registers, which began to change punctually with virtuosi such as Domenico Dragonetti and Giovanni Bottesini in the first and second halves of the nineteenth century, respectively.…”

Section: The Double Bass: "Seven Instruments In One"mentioning

confidence: 99%

Developing a Crossover Idiomatic Writing for the Double Bass: Composing/Arranging & Playing, and ... Da capo !

Borém¹

2020

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Resumo: A partir de obras de natureza crossover (erudito + popular) compostas ou arranjadas para a "2019 International Society of Bassists Convention", discuto o desenvolvimento da escrita idiomática do contrabaixo acústico. A partir da interação entre três processos musicais criativos-compor, arranjar e tocar, em vários gêneros musicais (canção erudita, canção de musicais da Broadway, blues, rock, balada e samba), discuto (1) o refinamento da notação na partitura; (2) a heterogeneidade dos sete registros do contrabaixo; (3) a exploração do contrabaixo como instrumento harmônico; (4) a exploração do contrabaixo como um instrumento de percussão; (5) a exploração do binômio texto-música (6) a redução de instrumentações maiores (orquestra sinfônica, grupos de câmara, bandas de blues e rock) para grupos menores (duo, trio e quarteto com contrabaixo, voz, piano e percussão) e (7) o desenvolvimento de técnicas estendidas no contrabaixo não documentadas na literatura.

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Section: The Double Bass: "Seven Instruments In One"mentioning

confidence: 99%

Developing a Crossover Idiomatic Writing for the Double Bass: Composing/Arranging & Playing, and ... Da capo !

Borém¹

2020

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Early Music Recordings as Mythography: Monteverdi and the ‘Other’ Vespers

Gembicki

2020

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In 1989, at St Mark’s Basilica in Venice, John Eliot Gardiner conducted and recorded Claudio Monteverdi’s Marian Vespers, published in 1610. Despite the print’s dedication to Pope Paul V, the three-year gap between the print being issued and Monteverdi taking up the post of maestro di cappella at St Mark’s and the considerable stylistic diversity of the pieces contained in that print, Gardiner considers Monteverdi’s Vespers as one coherent whole, for which the Venetian basilica was the target venue. Gardiner’s project has undoubtedly played a major role in how present-day audiences conceive of the 1610 Vespers. It has thus made a permanent mark on contemporary musical culture, as evidenced by the numerous reissues of the 1989 album and, most of all, productions by other musicians that associate the 1610 Vespers with St Mark’s. This article discusses the concept of ‘Monteverdi’s Vespers’ as represented in contemporary record releases of the composer’s works. This concept refers both to Monteverdi’s Vespro della Beata Vergine, published in 1610, and to various modern compilations of his works which musicians, musicologists and producers refer to as ‘Vespers’. The great wealth of Vespers-related pieces held in libraries and archives still considerably outweighs the number of performances and recordings of those works. Monteverdi’s Vespers, on the other hand, make up the majority of existing recordings of seventeenth-century polyphonic Vespers and thus constitute a key point of reference. I analyse around 500 albums (not only with Vespers music) released between 1952 and 2019, focussing on their iconographic and typographic content, as well as their graphic designs, in an attempt to show how the modern vision of this repertoire came to be formed and what persons and places are associated with this current in the history of early music recording.

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Blending the secular and sacred: instrumental textures in seventeenth-century worship

Beck¹

2014

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The use of instruments in sacred music in Italy 1560–1700

Cited by 3 publications

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Developing a Crossover Idiomatic Writing for the Double Bass: Composing/Arranging & Playing, and ... Da capo !

Developing a Crossover Idiomatic Writing for the Double Bass: Composing/Arranging & Playing, and ... Da capo !

Early Music Recordings as Mythography: Monteverdi and the ‘Other’ Vespers

Blending the secular and sacred: instrumental textures in seventeenth-century worship

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