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Cacophony!

Reimagining Historical Voices

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    Tim Braithwaite

    Pietro Pontio on the Performance of Syncopations (1588)

    ‘Nonetheless there are others who are of the opinion that half of the note value of the syncopated semibreve is deemed to be dead—whereby...

    Tim Braithwaite

    Georg Falck on the use of Extemporised Florid Ornaments and Trills in an Ensemble Setting (1688)

    ‘Although they are set only in the system of the cantus, these examples of accentus and variation of intervals can be used in the other...

    Tim Braithwaite

    Richard Wagner’s Description of his Musical Choices in his Edition of Palestrina’s ‘Stabat Mater’

    ‘I offer you namely my arrangement of the famous Stabat mater by Palestrina, in the original manuscript of which there were no expression...

    Tim Braithwaite

    Two Comments on Ensemble Singing by Joan Albert Ban (1642)

    III. Diminution Diminution occurs when larger notes are broken into many parts by the smaller ones in motion. The which must not...

    Tim Braithwaite

    Thomas Morley on the Embarrassment of being Unable to Sing a Part at Sight (1597)

    ‘But supper having ended, and music books having been brought to the table, according to the custom: the mistress of the house presented...

    Tim Braithwaite

    Andreas Ornithoparcus on the Singing of Different Nations and the Faults of German Cantors (1517)

    Dowland’s Translation: ‘Every man lives after his owne humour; neither are all men governed by the same lawes, and divers Nations have...

    Tim Braithwaite

    Pierre-Louis Pollio on the ‘Charivary’ of Improvising (‘Chant sur le Livre’) in Many Parts (1771)

    ‘As for singing on the book in many parts made impromptu, my sentiment is that it is almost impossible to do well… I maintain that it is...

    Tim Braithwaite

    Gioseffo Zarlino on Those who Improvise Counterpoint with ‘No Regard for the Other Voices’ (1558)

    ‘What Must be Observed when Improvising a Third Part on Two Given Parts: Skilled contrapuntists occasionally want to improvise a third...

    Tim Braithwaite

    An Anonymous Set of Instructions for Ornamenting Plainchant (c.1475-1525)

    [fol. 22r.] Chapter two: of the definition and the division of melodía Melodía is to adorn and to grace the sounds of plainchant. Melodía...

    Tim Braithwaite

    Dr. Zechariah Buck’s (1798-1879) Methods of Teaching Choristers at Norwich Cathedral

    The time table of daily duty was, 9 to 9.45, scale practice; 10 to 11, morning service; 11 to 12.30 or 1, music practice; 2 to 3.45,...

    Tim Braithwaite

    The ‘Tedious’ Tempo of English Psalm Singing in the Early 18th Century

    ‘But the greatest Difficulty is to sound every Note according to its due Measure of Time; and here it is that the Singers in most Country...

    Tim Braithwaite

    Bottrigari on both Ensemble Ornamentation and ‘Odious’ (‘odiosa’) Improvised Counterpoint (1594)

    ‘[Alemanno Benelli:] But because of the presumptuous audacity of performers who try to invent passaggi, I will not say sometimes, but...

    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

    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

    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

    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

    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...

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