Publications of the Early Music Institute – serie

Lawrence Bennett provides a comprehensive study of the rich repertoire of accompanied vocal chamber music that entertained the imperial family in Vienna and their guests throughout the 17th and early 18th centuries. The cantata became a form of elite entertainment composed to amuse listeners during banquets or pay homage to members of the royal family during special occasions. Concentrating on Baroque cantatas composed in the Habsburg court, Bennett draws extensively on primary source material to explore the stylistic changes that occurred within the genre in the generations before Haydn and Mozart.

"This is an essential book for those interested in renaissance instrumentation as well as for potential players." —Early Music Review"Sterling Scott Jones wrote a marvelous and very welcome work which can be warmly recommended to all musicians, musicologists, and instrument makers interested in early music, its instruments, and performance pratice. . . . This work is of the highest scholarly and, at the same time, practical value (which is extremely rare!): It certainly opens up a new era in the research and use of the lira da braccio." —RIdIM/RCMI Newsletter"Sterling Scott Jone's exceptional book is . . . welcome as a practical study of the instrument, with its emphasis on iconography, and with its fingering charts, tuning instructions and playable musical examples." —The Consort: European Journal of Early MusicThe 16th-century lira da braccio may be the missing link between the medieval fiddle and the modern violin. This is a brief history of the lira da braccio, a handbook for its use, and selected repertoire.

". . . a major contribution to cornett research and belongs in the library of every cornettist." —Historic Brass Society". . . scrupulously detailed. . . The first successful attempt to provide a comprehensive reference book on the cornett and its music. Recommended for both upper-division undergraduate libraries and collections serving music scholars and performers." —Choice" . . . it will likely stand as the definitive bibliography of cornett music for many years." —Notes". . . this is a groundbreaking study of the subject . . . likely to remain the only major study of the instrument and the music composed for it." —American Reference Books Annual". . . every cornett player owes an immense debt of gratitude to [the authors and their assistants] for revealing such a wealth of performing opportunities . . ." —European Journal of Early MusicThe cornett is made of wood but has a brass cup mouthpiece and uses woodwind finger technique. Here the authors have compiled a bibliography of all extant sources of instrumental and vocal music which specify the cornett.

". . . valuable . . . impressive . . ." —The Times Literary Supplement"For anyone interested in Milán's music, this is an excellent source of information." —Renaissance QuarterlyLuis Milán (1536-1561) was a lutenist, singer, composer, and poet. His collection of lute tablatures, El Maestro, is the first book of instrumental music known to have been printed in Spain. Luis Gásser discusses Milán's attention to modality, his use of meter, and the ornamentation in his songs and fantasías.

"The book will be of great interest to instrumentalists and singers looking for new sources of chamber music, as well as to all those who wish to experience a musical form that played an important role in France for over two centuries." —French Review". . . an excellent resource for anyone who wants to play, sing, and/or dance to these delightful little pieces. The authors approach this work in the careful, thoughtful, and scholarly manner which is a trademark of Betty Mather's style. . . I highly recommend this book to anyone intersted in any aspect of the noel and/or its performance." —National Association of College Wind and Percussion Instructors"Something unusual and lovely for Christmasit would interest anyone who is interested in Christmas music or who has to plan music and dance for worship. The carols themselves are beautifully printed and laid out for playing" —The SignFrench noels unite sacred and profane texts, music, and dance as performed from the late Middle Ages through the Baroque. Mather and Gavin have transcribed these charming pieces with lyrics of the period so that they may be either sung or played.

" . . . a fascinating overall impression of the day-to-day concerns and working environment of a professional musician of the late 17th century." —American RecorderThis volume presents Muffat's texts along with variants from his own editions in other languages. Wilson's highly readable supplementary materials make this a useful work for theorists, historians, and performers. The book is particularly enlightening on differences between French and German practice. Treats pitch, ornamentation, bowing, and more.

James Tyler offers a practical manual to aid guitar players and lutenists in transitioning from modern stringed instruments to the baroque guitar. He begins with the physical aspects of the instrument, addressing tuning and stringing arrangements and technique before considering the fundamentals of baroque guitar tablature. In the second part of the book Tyler provides an anthology of representative works from the repertoire. Each piece is introduced with an explanation of the idiosyncrasies of the particular manuscript or source and information regarding any performance practice issues related to the piece itself—represented in both tablature and staff notation. Tyler's thorough yet practical approach facilitates access to this complex body of work.

" . . . one of those rare publications which succeeds equally as a scholarly edition for study and as a practical edition for performance." —Musick" . . . a clear, easily grasped transcription of this work, suitable for performance or study." —Notes" . . . a clear rendition of the original notation into its modern counterpart. . . . Houle has produced an edition that is a model of scholarship and performance clarity and is of value to any musician, scholar or performer, who wishes to acquire familiarity and experience with 15th-century contrapuntal style." —American RecorderThis is the first comprehensive edition of Ockeghem's "mass in any mode," which has fascinated musicians, historians, and theorists since the fifteenth century. Missa cuiusvis toni offers singers brilliant counterpoint, a masterful exercise in solmization, and experience in musica ficta. The singers' parts appear in mensural notation, but Houle also provides full scores and parts in modern notation for the Phrygian, Mixolydian, Lydian, and Dorian modes.

What were the methods and educational philosophies of music teachers in the Middle Ages and the Renaissance? What did students study? What were the motivations of teacher and student? Contributors to this volume address these topics and other—including gender, social status, and the role of the Church—to better understand the identities of music teachers and students from 650 to 1650 in Western Europe. This volume provides an expansive view of the beginnings of music pedagogy, and shows how the act of learning was embedded in the broader context of the early Western art music tradition.