The process of vihuela intabulation of sacred music in 16th century Spain
(2023)
author(s): Kateřina Maňáková
published in: KC Research Portal
The process of vihuela intabulation of sacred music by Cristóbal de Morales, using examples contained in Orphénica Lyra by Miguel de Fuenllana and instructions by Juan de Bermudo.
Angelical music XVI-XVIII centuries music from the New World
(2020)
author(s): Carlotta Pupulin
published in: KC Research Portal
CARLOTTA PUPULIN
Baroque Harp
Supervisor: Dr. Inês de Avena Braga
Title: Angelical music for a New World
Research question: How did music develop in Hispanic America between the XV-XVII centuries?
16th-Century Keyboard Tablature as Performance Notation
(2020)
author(s): Christina Kwon
published in: KC Research Portal
As a harpsichordist and HIP performer, I was so fascinated with 16th-century keyboard tablature notation on my first encounter some years ago. Since then, I have been inspired to explore playing from original notation as part of my HIP training. This research is a big part of this artistic endeavor, addressing 16th-century keyboard tablature notation from Spanish and German sources and finding answers for what it is, why it was invented, why it is not in practice today, and how one may bring it back to practice. At the beginning stages of this exploration, I noticed that keyboard tablature was not really in practice as performance notation in the current HIP dialogue. I wanted to investigate why and, through this thesis, present it as a relevant, stimulating topic. This research presents historical and theoretical analysis of this notation and the results of an extensive systematic experiment-survey I devised and conducted with 32 non-musicians and musicians of all levels. Personally, the contents of this thesis have greatly deepened my understanding of historical performance of keyboard music in the 16th century and enriched my experience as an Early Music performer.
The advent of the transverse flute in Italy and its use in mixed consorts during the sixteenth and early seventeenth centuries
(2015)
author(s): Giuditta Isoldi
published in: KC Research Portal
ABSTRACT
Title of Research:
The advent of the transverse flute in Italy and its use in mixed consorts during the sixteenth and ear-ly seventeenth centuries
Research Question:
Which were the possible combinations of instruments that included flute and which occasions saw performances of these mixed consorts?
Summary of results:
The performance of vocal polyphony on instruments during the sixteenth century appears to be guided by two main ideas. On the one hand, musicians tried to imitate the a cappella choir with homogeneous instrumental consorts, or whole consorts, where the instruments belonged to the same family. On the other hand, they tried to maintain the polyphonic texture clear, letting instruments with a very different timbre play in a mixed choir, or mixed consort. Based on a wide array of sources (letters, chronicles, iconography, inventories, instruction treatises, and surviving instruments) my Research Paper investigates the possibilities of combining the flute with other instruments and with voices in mixed consort settings. My main conclusion is that whole and mixed consorts did not follow a completely separate development, but the two choirs would often overlap and integrate in many different combinations, with much freedom and invention. This consideration should encourage modern performers of secular Italian music of the sixteenth century to keep their mind open to the possibility of transforming a cappella compositions into colorful ensembles mixing voices and different instruments.
Biography:
Giuditta Isoldi studied at the Conservatory of Florence, where she graduated in Flute with Paolo Zampini. In 2010 she moved to the Netherlands where she focused her studies on Historical in-formed Performance Practice of the flute and she obtained a Bachelor in Traverso with Barthold Kuijken at the Royal Conservatory of The Hague. Next to Traverso, she studies baroque Oboe with Frank de Bruine. She is currently attending a Master in Traverso at the Royal Conservatory of The Hague with Barthold Kuijken, Kate Clark and Wilbert Hazelzet.