Named after the most successful of the numerous shape-note tune books that were compiled in that region and period, The Sacred Harp (1844), the tradition as practiced in the South includes a number of time-honored customs such as opening and closing the session with prayer, shared leadership, arrangement of the singers into a "hollow square" with the leader in the middle, and singing the tune using solmization
syllables before performing the words.
Divina auxiliante gratia (with interpolations and additions; incomplete at end); texts on plainchant; musical compositions; exercises in singing, solmization
, mutation; mnemonic verses pertaining to plainchant performance.
Lyons, a former Classics scholar at King's College in Cambridge, provides an English translation of Horace's Odes, along with historical background; information on Horace's life and education and interpretations of him as a songwriter; and how the odes are the source for Guido d'Arezzo's solmization
Its wide array of images (that includes, instruments, mnemonic aids, musical notation, tuning diagrams, dance steps, and more), descriptions of instrumental designs, and explanations of musical concepts (such as, solmization
, origin of the scale, harmony of the spheres, etc.
Berata for the first time, he immediately began to sing the melody with the vowel sounds that serve as Balinese solmization
syllables or ndings.
can partly explain some of the features that Williams isolates in the early part of the book.
Or, in serious contemporary art, that televisual disdain for "hypocritical" retrovalues like originality, depth, and integrity has no truck with those recombinant "appropriation" styles of art and architecture in which past becomes pastiche, or with the tuneless solmization
of a Glass or a Reich, or with the self-conscious catatonia of a platoon of Raymond Carver wannabes?
In 1917, Wolfli began composing music by means of solmization
, replacing traditional notation with an obscure code of words and symbols.
Guido of Arezzo is surely the most familiar of all Medieval music theorists; certainly no history of music course fails to introduce Guido as the inventor of the staff and of solmization
Despite early and lingering criticisms, he says, Bathe's theories are neither confused nor misleading about the practice of solmization
in late-16th-century England, though his discussions of these theories can be disorienting for readers not acquainted with the rhetorical strategies of the period.
D'Accone laments the lack of information concerning the formal musical training of [male] Florentines in this period, even in Cathedral schools and monasteries: "No reports of the typical musical curriculum have survived, but it seems reasonable to assume that solmization
and methods of vocal production, the basic principles of mensural notation and perhaps even some elementary counterpoint were taught to youngsters" (1992, 280).
10 and 11 allude to Ferrara in the solmization
of their thematic material, following Josquin in his Missa 'Hercules dux Ferrariae'.