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.
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.
The chapters discuss metre and measure, text underlay, the tonal system, solmization
and modes, followed by an edition of two representative late fourteenth-century ballades, both anonymous: Fuies de moy, Envie, trestout Ire and L'escu d'amours dont le champ est d'argent.
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).
12) begins with a progression to which the singers would have to imagine the hexachord sounds "fa mi" ("ut" being mentally placed on various different degrees), and that must in turn have made them think of the many times when that solmization
had been used for setting "ahi," "ay me," or "ohime" in secular literature.