Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that ’Your Best Provision’ for playing such music is a chest of old English viols, and he names five early English viol makers than which ’there are no Better in the World’. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.
often did, combine with other instruments depicted on the Table.45 In the old medieval classification, the lute was considered as a 'still' or bas instrument ... J. M. Ward, ed., The Lute Works of John Johnson (Columbus, OH, 1994).
Mary Cyr addresses the needs of researchers, performers, and informed listeners who wish to apply knowledge about historically informed performance to specific pieces.
A reference guide to musical instruments. Here is the first comprehensive survey of modern craft in the United States.
In Die so lieblich klinget: Beiträge zum Instrument, zur Musik für Viola d'amore und zu ihrer Geschichte, ed. ... 'An “Old Old Violl” and “Other Lumber”: Musical Remains in Provincial, NonNoble England c.1580–1660.
This book, the first of its kind, is a study of Bolognese instrumental music during the height of the city's musical activity in the late seventeenth century.
This volume offers the first systematic exploration of the close relationship among improvisation, music theory, and practical musicianship from late Renaissance into the Baroque era.
The embellishment of vocal part music by a solo viol was not confined to the medium of the accompanied solo ; it is also ... A new term was coined for any viol playing the ornate soloistic divisions now in fashion the ' viola bastarda !
By placing an awareness of this diversity at the centre of an historical narrative, George Kennaway has produced a unique cultural history of performance practices.