consort music


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consort music

A form of chamber music for a “consort,” a small group of instruments such as viols or recorders. When the instruments are all of the same family the group is called a whole consort; when instruments belonging to more than one family are used together this is called a broken consort or a mixed consort.
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He also implies, without presenting much in the way of evidence, that earlier styles of chamber music would not have fulfilled the same or a similar sort of social role, stating that Renaissance consort music is "rarely described in conversational terms" (p.
The Oregon Bach Collegium will be hosting "Ye Sacred Muses: Consort Music of William Byrd" on Sunday at United Lutheran Church.
The Rose Consort is an English ensemble of viol players who perform mainly early consort music, including works by Orlando Gibbons, John Dowland, and Henry Purcell.
In the process, he not only argues for the prevalence of consort music in all theatres but also queries the average age of so-called boy performers and the conventions for performing female roles by male actors.
While for many years Lawes was dismissed as a minor composer, Cunningham demonstrates the innovations he brought to consort music and the complexity of the work.
The concert's aim, its title suggests, is To Shorten Winter's Sadness and the programme of ballads, lutesongs, carols, consort music, madrigals and readings follows the religious calendar from Advent to Lent.
It almost reclaimed him as a musicologist, as he pursued post-graduate work on the consort music of Alfonso Ferra-bosco the Younger, but a desire to return to active music-making led him back to the Royal Academy for a performance diploma and into a specialization that has since become a life's work: keyboard accompanying, particularly vocal accompanying.
Despite the more exotic touches of sound, the ghost of Tudor consort music could clearly be heard at times.
The lutenist-composers of John Dowland's generation developed their own style of solo lute music, lute songs, and mixed consort music.
Then follows a series of essays considering the tuning of various classes of instrument in turn: two on organs (Klemens Risse, Kristian Wegscheider), one on organs playing in consort music with viols (Annette Otterstedt), one on fretted instruments (Georg Schroder), one on members of the violin family (Jutta Stuber), one on woodwind instruments (Walther Kruger), one on church bells (Veit Heller), two on miscellaneous instruments including harps, lutes and transposing harpsichords and pianos (Wolfgang Wenke, Peter Schubert), one on ensemble music (Klaus Gernhardt) and, finally, one on the practical implementation of historical tuning in performances of early music (Klaus Gernhardt).
Concordia's tuning and ensemble are good but they employ a full, rich and unyielding sound which rarely captures the rhetorical nature of viol consort music.
1141A ("C4" in the Musica Britannica abbreviations) is the less familiar owing to its being a significantly later source (a twentieth-century guard book containing mosdy consort music ca.