FW: resending- lost thread-Early theory+ started as a discussion of Owens
Sig Rosen
performance practice are often challenged by groups working from original
notation/facsimile, even with [Rebecca Stewart,Capella Pratensis] crowding
about a lectern-I recommend- for an example of this practice her Missa Mi-
Mi on Ricercar 206402.(I still like Harold Brown's on Baroque LP# 9004) The
setting of the mass in liturgical context surely, even in concert, makes
some impact. She is not the compleat purist, obviously as females are not
banned.
He cites his own [considerable] practices.
Use of printed score seemed driven by the needs of later non-professional
singers-The pros readily improvised/composed interchangeably. Probably
singing manuals[Ramos de Pareja] influenced loosening of modal strictures
and opened up chromaticism.
A recent Cerddorion composer discussion focused mainly on the text needs,
Sounds of words and the rest- interpretations of poems sometimes taking
years. I neglected to ask the score vs line question. Maybe today with
computers this is just a chicken/egg question?
The composer with the chant background had plenty practice from about age
5.
------ Forwarded Message
From: Philip Corner <php...@tin.it>
Date: Mon, 11 May 2009 17:12:19 +0200
To: Sig Rosen <sigr...@earthlink.net>
Subject: resending
OK, here goes.......
hi Sig, a quick immediate response. Nodoubt by ignorance, i never had
any doubt that Renaissance composers wrote without a score.
Whyshould they? Could this be a composer's intuition? And frankly i
cannot imagine what effect knowing this could have on performing.
If you like, please go into detail.
Perhaps this is just a confession of where i'm at, and was, as an
eccentric professor. But this student's note worries me. Well, not
too much, i know there are minds like that out there. But where is he
going to go from there? If he were my student i would not know what
to say: actually i would......something like my student who came in
with a perfect Schubert imitation sonata when i had only prescribed
Sonata Form. After appropriate praise i added. "If you can do that,
what can you do that's worthwhile?" ---So he became a 12-tone
composer! Without my pushing it, let me tell you. He is now a well
known professor theorist of contemporary music.
Anyway, that guy should have no problems. Isn't it just academic
counterpoint applied to an earlier model? Surely it's all been
analyzed up the kazou. I remember my first counterpoint class in
college. The professor just said "Imitate this piece by Palestrina."
There were surprisingly few errors, even without the theory----and
don't get me started on the theorists! Not a bad way to start, don't
you think? It would work even with serial music. I think it should.
Thank you for thinking of me and initiating some discussion. Ph.
Philip Corner
php...@tin.it
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