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- W2056589756 abstract "HE FARTHER WE GO BACK into the history of music, the fewer are the elements controlled by the composer, and the greater the freedom left to the interpreter. That this is not merely an illusion rising from our imperfect knowledge of the past, or from supposed inadequacies in older systems of notation, but reflects a fundamental difference in attitude, is shown by statements of composers themselves.1 Matters of dynamics, tempi, instrumentation, pitch level, even the choice between vocal or instrumental performance, were not part of the structure of a musical work, but were left to the discretion of the performers. It is customary, in reference to 14th-century music, to speak of a fourvoice rondeau, or a three-voice ballade, as if the number of voices were one of the elements defining the nature of the work.2 Yet, in spite of the unusually complete canon of Machaut's works and the authoritative nature of the manuscript tradition, in a considerable number of cases the manuscripts give versions that differ with regard to the number of voices. It seems that in Machaut's time even this feature of a musical work was" @default.
- W2056589756 created "2016-06-24" @default.
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- W2056589756 date "1968-01-01" @default.
- W2056589756 modified "2023-09-26" @default.
- W2056589756 title "Vocal Scoring in the Chansons of Machaut" @default.
- W2056589756 cites W2102682809 @default.
- W2056589756 doi "https://doi.org/10.2307/830534" @default.
- W2056589756 hasPublicationYear "1968" @default.
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