2024-03-28T22:54:21Zhttps://uvadoc.uva.es/oai/requestoai:uvadoc.uva.es:10324/406762021-06-23T10:02:10Zcom_10324_1142com_10324_931com_10324_894col_10324_1259
Fiorentino, Giuseppe
2020-03-17T17:31:11Z
2020-03-17T17:31:11Z
2017
Studies in Historical Improvisation: from ‘Cantare super Librum’ to Partimenti, ed. Massimiliano Guido, Farnham: Ashgate, 2017, pp. 72-89.
978-1-4724-7327-1
http://uvadoc.uva.es/handle/10324/40676
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)
application/pdf
spa
Brill
info:eu-repo/semantics/openAccess
http://creativecommons.org/publicdomain/zero/1.0/
CC0 1.0 Universal
Musicología
Contrapunto and fabordón. Practices of extempore polyphony in Renaissance Spain
info:eu-repo/semantics/bookPart
info:eu-repo/semantics/draft