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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

Duos and Improvised Canons

  • Orlando di Lasso, Bicinia seu duarum vocum cantiones aliquot sacrae (Paris, 1577). Public Domain modern editions:  IMSLP
  • Peter Schubert (McGill University) and Dawn Bailey demonstrate improvised canons at the 5th above Youtube
  • Peter Schubert (McGill University) and Dawn Bailey demonstrate improvised canons at the 5th below Youtube
  • Peter Schubert (McGill University) and Dawn Bailey demonstrate improvised canons in three voices (part 1) Youtube
  • Peter Schubert (McGill University) and Dawn Bailey demonstrate improvised canons in three voices (part 2) Youtube

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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