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Contrapunto and fabordón. Practices of extempore polyphony in Renaissance Spain
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Studies in Historical Improvisation: from ‘Cantare super Librum’ to Partimenti, ed. Massimiliano Guido, Farnham: Ashgate, 2017, pp. 72-89.
In this chapter I will examine the significance and extent of extempore polyphonies in Spain during the Renaissance period, studying their diffusion as a daily practice, and their place in the musical training of young singers. The first part of the chapter will be centered on the practice and transmission of contrapunto, usually learned and performed “por razón”, that is, according to the rules of music, within Spanish capillas musicales. The second part of the chapter is concerned with the other tradition of oral polyphony, often learned and performed “por uso”, which was frequently called “cantar fabordón”.
Este trabajo forma parte del proyecto de investigación “La obra musical renacentista: fundamentos, repertorios y prácticas” HAR 2015-70181-P (MINECO/FEDER, UE)
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