By Iain Fenlon
Early track heritage is dedicated to the research of song from the early heart a long time to the top of the 17th century. It calls for the top criteria of scholarship from its individuals, all of whom are prime teachers of their fields. It provides choice to reviews pursuing interdisciplinary ways and to these constructing novel methodological rules. The scope is phenomenally wide and contains manuscript stories, textual feedback, iconography, experiences of the connection among phrases and tune and the connection among song and society. Articles in quantity fourteen comprise: Roger de Chabannes, cantor of St Martial, Limoges; track in Corpus Christi procession of fifteenth-century Barcelona; music plenty within the Trent Codices: the Austrian connection; Confrerie, Bruderschaft and guild: the formation of musicians' fraternal companies in 13th- and fourteenth-century Europe.
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Extra info for Early Music History: Volume 14: Studies in Medieval and Early Modern Music
F"; trans. Seay, p. 43. Ruth I . DeFord Example 9. N. Listenius, ,Muszca (Nurcmberg, 1549), pt 2, ch. 12, sig. f breves of the e ~ a m p l e ) . I~n" any case, the qualitative wording of his tempo description ('citius quam in Tripla proportione') clearly indicates a relationship that is neither tripla nor sesquialtera. Several other theorists, including Friedrich Beurhaus,"" Adam Gumpelzhaimer," Ambrosius JYilphlingseder5' and Thomas Morley,"' 4'1 Modern edition of the example in Listenius, ;Clusica, trans.
23-5, fols. 148"-149'; and chs. 31-4, fols. 151'-152'. Bank, Tactus, Tempo, and Nutatiun, p. 230, says that 'the tactus proportionatus is always explicitly stated to be an independent tactus having a duration of its own, which really does not fit in very well with the theory of the one tactus'. I have not found such explicit descriptions of the independence of the tactus proportionatus from the binary tactus, but the failure of theorists to mention the issue seems to imply this conclusion. Ruth I.
Ruhnke, Joachim Burmeister: Ein Beitrag zur Musiklehre um 1600, Schriften des Landesinstituts fur Musikforschung Kiel 5 (Kassel, 1955), pp. 76-84. Bank, Tactus, Tempo, and Notation, p. 247, cites this passage as evidence that ternary passages had lost most of their proportional character by c. 1600, but non-proportional tempo relationships must have existed throughout the sixteenth century, with or without the approval of theorists. c. 58 Michael Praetorius supports the idea that proportions notated in semibreves, which apply to 4, should generally be slower than proportions notated in minims, which apply to C.