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Reimagining Historical Voices
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Giovanni Bardi Discussing Good and Bad Singing in a Letter to Giulio Caccini (c.1578)
I become nauseated when I recall some singers I have heard, whether solo or accompanied by others, improvising on a choirbook, not caring...

Tim Braithwaite


Cardinal Domenico Capranica (1400-1458) on the singers of Pope Nicholas V
‘In honour of immortal God, the Supreme Pontiff Nicholas V filled the most sumptuous sanctuary that he had erected among the papal courts...

Tim Braithwaite


Giovanni Camillo Maffei on Those who ‘Sing the Bass, the Tenor, and any Other Part with Great Ease.’
‘Thus I say, that these voices are born from the matter of the tube [throat]; and by tube [throat] I mean all the parts mentioned above,...

Tim Braithwaite


With Chains of Gold? Thomas Morley describing the soundworld of English liturgical singing (1597)
This kind [the motet] of all others which are made on a ditty [text], requireth most art, and moveth and causeth most strange effects in...

Tim Braithwaite


Martin Agricola on ‘One of the First Things’ to Teach Choristers (1533)
‘On the difference between the syllables/voices [stimmen]. From the above mentioned six syllables two are called b molles, ut and fa,...

Tim Braithwaite


Thomas Robinson (1603) on ‘Passionate Play’
‘Now you shall have a general rule to grace it, as with passionate play, and relishing it: and note that the longer the time is of a...

Tim Braithwaite


The Performance of Passaggi in Irregular Rhythms According to Lodovico Zacconi (1596)
‘All these things require aptitude, agility, and time, without which nothing can be achieved, and the singer, in using or adopting them...

Tim Braithwaite


Luigi Zenobi on the Role of the Inner Voices in Polyphonic Singing (c.1600)
Since we’ve already seen Zenobi’s comments on the requirements for a soprano (https://www.cacophonyhistoricalsinging.com/post/luigi-zenob...

Tim Braithwaite


Adriano Banchieri on Cacophonous (!) Counterpoint
‘In Rome...while singing [extempore] counterpoint, in the mind (alla mente) above the bass, nobody does that which his partner sings, but...

Tim Braithwaite


Nicola Vicentino on Ensemble Ornamentation (1555)
‘Moreover, such diminutions should be used in [works for] more than four voices, because diminution always causes the loss of numerous...

Tim Braithwaite


Nicola Vicentino on Vowel Alteration (1555)
‘In setting these vowels, composers are advised that some, such as a, o, and u, are amenable to runs in the low registers and support the...

Tim Braithwaite


Fermatas in Fifteenth-Century Polyphony: A Notated Cadenza
A Gloria from an unknown mass setting by Estienne Grossin. Check out the ossia cadenza!

Tim Braithwaite
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