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Cacophony!

Reimagining Historical Voices

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    Tim Braithwaite

    Conrad von Zabern on those who Deviate from Notated Plainchant Melodies (1474):

    ‘To sing with fidelity... is to sing so that anyone of those singing together should remain in the form of those notes that were...

    Tim Braithwaite

    Thomas Morley on the Perils of Many Singers ‘Singing on a Plainsong.’

    'As for singing upon a plainsong, it has been in times past in England, as every man knows, and is at this day in other places, the...

    Tim Braithwaite

    Jean-Jacques Rousseau’s Definition of Chant sur le Livre:

    ‘Singing on the book. A Plainchant or counterpoint in four parts, which the musicians compose and sing impromptu on a single [part]:...

    Tim Braithwaite

    Coclico on Learning how to Improvise on a Plainchant (1552):

    'Having learned these species [of intervals] and the method, here is how we ought to use them. The boy should provide himself with a...

    Tim Braithwaite

    English Psalm Singers ‘Tearing with their Throats one Wretched Stave into an Hundred Notes’: (1708)

    ‘Then out the People yawl an hundred Parts, Some roar, some whine, some creak like the Wheels of Carts; Such Notes the Gam-ut yet did...

    Tim Braithwaite

    The Practices of ‘Lascivious’ Church Musicians as Described by Heinrich von Nettesheim (1532)

    ‘Today, music has such great license in churches that even along with the canon of the mass certain obscene little ditties sometimes have...

    Tim Braithwaite

    Roger Freitas on Modern Representations of Historical Singing:

    ‘To many in the singing profession, in fact, an investigation of past approaches seems irrelevant. Even a casual survey of recent...

    Tim Braithwaite

    Adrianus Petit Coclico on the Art of Singing as (Supposedly) Taught by Josquin Dez Prez (1552):

    ‘To teach the art of singing well and elegantly to a boy, I advise first that he choose a teacher who sings pleasantly and sweetly with a...

    Tim Braithwaite

    Manuel Garcia on the use of Sobbing and an Annotated Recitative from Rossini’s Otello:

    'The fragment of recitative [below] has two effects. By the words, “Io credeva che alcuno,” Desdemona expresses the depression that...

    Tim Braithwaite

    Johann Samuel Petri’s Advice for Teaching a Congregation to Harmonise a Chorale Extempore (1767)

    Question. How can one remedy the fault that a choir, when it sings a well-known church chorale without sheet music, as must often happen,...

    Tim Braithwaite

    Manuel Garcia on Changing or Replacing Words when Singing:

    In altering or re-arranging words, or syllables, care should be taken to retain and mark the measure or accent of a melody, and only...

    Tim Braithwaite

    Giovanni Battista Martini on Singing ‘all’improvviso’ on a Cantus Firmus (1774):

    'Among the compositions made above a cantus firmus by the masters of the art, those [made] above introits are unique, and are used...

    Tim Braithwaite

    Banchieri on Writing an Introit that Creates the Effect of Improvised Counterpoint in Many Voices

    ‘I have no doubt at all that the counterpoints above a cantus firmus from the introits by Constanzo Porta and Giovanni Matteo Asola,...

    Tim Braithwaite

    Adriano Banchieri’s ‘Hundred Passaggi’:

    ‘The hundred passaggi above, all having been printed in various works by modern authors, have been assembled with much study and...

    Tim Braithwaite

    Pietro Reggio on the Sliding ‘Accent’ (1677)

    ‘Now let us take notice, of singing long Notes Gracefully. Note the following Example. The first Note must begin softly, and then...

    Tim Braithwaite

    Lamperti on the Decadence of Singing Immediately Before the Advent of Commercial Recordings

    ‘It is a sad, but nevertheless undeniable truth, that the art of singing is in a terrible state of decadence; and this fact is all the...

    Tim Braithwaite

    Giovanni Bononcini on reading in all keys and clefs using a six note solmisation system (1678)

    *Notes* - The system (c.1500-1800) is based on three overlapping ’hexachords’ of six syllables - do re mi fa sol la. - In order to change...

    Tim Braithwaite

    Gilbert Austin on the Acting of Opera Singers (1806):

    ‘...The union of all those talents, which we have mentioned, and their bearing thus upon a single point condensed into a focus, is a...

    Tim Braithwaite

    Francesco Lamperti on the Open and Closed Timbres

    ‘ARTICLE V. OF THE QUALITIES OF THE VOICE. Q. How many different qualities are there in the voice ? A. The principal are two, the open...

    Tim Braithwaite

    Domenico Corri on Larynx Height Rising and Falling with Pitch:

    ‘You may observe, that the different tones of the voice are produced by the different positions which the larynx assumes in its rising...

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