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2: Learning to be a Musician

Digital Facsimiles of Treatises

  • Thomas Morley, A Plaine and Easie Introduction to Practicall Musicke (London, 1597 edition) FACSIMILE
  • Thomas Morley, A Plaine and Easie Introduction to Practicall Musicke (London, 1771 edition) FACSIMILE
  • Heinrich Glarean, Dodecachordon (Basel, 1548)  FACSIMILE
  • Johannes Tinctoris, Expositio manus [treatise on the Guidonian hand], in modern edition and translation, ed. Ronald Woodley.  STOA
  • Johannes Tinctoris: Complete Theoretical Works [in digital edition] ed. Ronald Woodley, et al.  Early Music Theory

Didactic Duos and Improvised Counterpoint (with Demonstrations)

  • Orlando di Lasso, Bicinia seu duarum vocum cantiones aliquot sacrae (Paris, 1577). Public Domain modern editions:   Find It
  • Peter Schubert (McGill University) and Dawn Bailey demonstrate improvised canons at the 5th above, courtesy of McGill University Watch It
  • Peter Schubert (McGill University) and Dawn Bailey demonstrate improvised canons at the 5th below, courtesy of McGill University Watch It
  • Peter Schubert (McGill University) and Dawn Bailey and Christopher demonstrate improvised canons in three voices (part 1), courtesy of McGill University Watch It
  • Peter Schubert (McGill University) and Dawn Bailey Christopher demonstrate improvised canons in three voices (part 2), courtesy of McGill University Watch It
  • Peter Schubert (McGill University), with Rona Nadler (organ), Ellen Wieser, Meagan Zantingth, Ben Duinker, and Edmund Milly demonstrate improvised hymn setting in four voices (with organ verset), courtesy of McGill University Watch It
  • Peter Schubert (McGill University), with Ellen Wieser and Ben Duinker demonstrate improvised invertible counterpoint, courtesy of McGill University Youtube
  • Peter Schubert (McGill University), with Ellen Wieser and Ben Duinker demonstrate improvised canonic Kyrie, courtesy of McGill University Watch It
  • Peter Schubert (McGill University), with Meagan Zantingth, Ellen Wieser and Edmund Milly demonstrate improvised Agnus Dei in three-voice canon, courtesy of McGill University Watch It

Readings

  • Bent, Margaret. "'Resfacta' and 'Cantare Super Librum'." Journal of the American Musicological Society 36 (1983), 371-391. http://www.jstor.org/stable/831232 
  • Blackburn, Bonnie J. “On Compositional Process in the Fifteenth Century.” Journal of the American Musicological Society 40 (1987), 210-284. http://www.jstor.org/stable/831517 
  • Brown, Howard Mayer. “Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance.” Journal of the American Musicological Society 35 (1982), 1-48. http://www.jstor.org/stable/831286 
  • Cumming, Julie E. "Renaissance Improvisation and Musicology." Music Theory Online 19/2 (June 2013). http://www.mtosmt.org/issues/mto.13.19.2/mto.13.19.2.cumming.html 
  • Forney, Kristine. "'Nymphes gayes en abry du Laurier': Music Instruction for the Bourgeois Woman." Musica Disciplina 49 (1995), 151-87. http://www.jstor.org/stable/20532395 
  • Mead, Sarah. "Renaissance Theory." In Jeffrey Kite-Powell, ed. A Performer's Guide to Renaissance Music. 2nd ed., pp. 342-73. Bloomington: Indiana University Press, 2007. http://www.worldcat.org/oclc/276762615 
  • Mengozzi, Stefano. The Renaissance Reform of Medieval Music Theory : Guido of Arezzo between Myth and History. Cambridge and New York: Cambridge University Press, 2010. http://www.worldcat.org/oclc/465366337 
  • Owens, Jessie Ann. Composers at work: The craft of musical composition, 1450-1600. Oxford: Oxford University Press, 1997. http://www.worldcat.org/oclc/33047219 
  • Perkins, Leeman. "The Conceptualization of Music in the Renaissance." In Music in the Age of the Renaissance, pp. 969-1057. New York: W.W. Norton, 1999. http://www.worldcat.org/oclc/39335162 
  • Schubert, Peter N. “Counterpoint Pedagogy in the Renaissance.” In The Cambridge history of Western music theory, 503-533. Cambridge: Cambridge University Press, 2002. http://www.worldcat.org/oclc/45166705 
  • Smith, Anne. "Lasso's Two-Part Fantasies as a Didactic Tool for Solmization."  Journal of the Alamire Foundation 2 (2012), 238-305. http://www.brepolsonline.net/toc/jaf/4/2
  • Sternfeld, Frederick W. "Music in the Schools of the Reformation." Musica disciplina 2 (1948), 99-122. 
  • *W. Murray, Russell, Susan Forscher Weiss, and Cynthia Cyrus, eds. Music education in the Middle Ages and the Renaissance. Bloomington: Indiana University Press, 2010. http://www.worldcat.org/oclc/657643811 
  • Wegman, Rob C. “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450-1500.” Journal of the American Musicological Society 49 (1996), 409-479. http://www.jstor.org/stable/831769
  • Wright, Craig M. Music and Ceremony at Notre Dame of Paris, 500-1550. Cambridge Studies in Music. New York: Cambridge University Press, 1989.http://www.worldcat.org/oclc/246807595 
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Richard Freedman,
Jul 24, 2012, 1:23 PM
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