One of the most important
elements of performance practice for
the choral conductor is sound quali-
ty. Since the singer carries his own
instrument with him, he must not on-
ly regulate the manner in which he
performs early music, as does an in-
strumentalist, but he must also ad-
just his voice to suitable Renaissance
sound quality. The instrumentalist
can generally solve this latter issue
by playing a Renaissance recorder,
cornett or viol, for instance, or a
suitable replica of a period instru-
ment. When he uses the period in-
strument in a proper manner, he can
approximate an appropriate sound
ideal. The singer, on the other hand,
must modify his twentieth-century
vocal technique to suit an earlier con-
vention of sound production. At this
point the singer faces two problems:
acceptable vocal sound quality for
early music and suitable technique
and execution.
Help can be obtained by listening
to the manner in which the sound is
produced on early instruments. The
more one listens to and performs
with Renaissance instruments, the
easier it is to understand the effect
that instruments have on the singer.
By and large, the sound of
Renaissance wind and stringed in-
struments is remarkably similar to
the timbre and expressiveness of the
human voice. It is very easy to
understand why the voice was viewed
as simply an extension of the consort
principle, or the homogeneity of
sound of like instruments which
distinguishes the Renaissance
musical texture.
Recordings of Mass settings, listed
in the discography at the end of this
article, with winds and strings reveal
an homogeneous sound which is
totally foreign to our concept of in-
strumental individuality. The
Renaissance instrument could rein-
force and blend with the voice to a
remarkable degree. It is not only
amazing that the instruments could
blend so easily with the voice, but
that the instrumental timbres could
blend so well across the spectrum of
wind, string, and brass consorts.
Given a fairly strong middle register
of instrument and voice, and the
relatively narrow range of the
Renaissance parts, the blend and
sound quality of the two mediums
can and should be quite
homogeneous.
Fisher Is a teacher at Milton District High
School, Milton, Ontario, Canada.
August 1988
Renaissance Vocal Technique for the
Choral Conductor
by Gary Fisher
With a fuller understanding of the
ranges, uses and capabilities of the
Renaissance instruments, the singer
can more closely approximate a
suitable range of dynamic, timbre,
blend and overall ensemble use of
the voice which will be better suited
to the stylistic demands of the
Renaissance score. The modern
singer needs to understand the
method of attack, dynamic range,
and sustaining quality of the early in-
struments. These elements of sound
all create a composite quality which
has certain limitations or boundaries,
beyond which the twentieth-century
singer must not transgress. If he
does, he is in danger of losing, so to
speak, his early instrument and
returning to one of the twentieth cen-
tury.
The first step is to understand the
vocal technique as taught in
sixteenth-century Germany and Italy.
The Italian doctor and philosopher,
Giovanni Maffei (Discorso, 1562),
outlines in considerable detail the
physiology and technique of Italian,
Renaissance vocal style. Maffei
defines the process of singing as: " ..
. a sound caused by the minute and
controlled repercussion of the air in
the throat with the intention of pleas-
ing the ear."j Maffei also describes
the location of the glottis with amaz-
ing accuracy by modern standards.
He speaks of singing from the throat,
or "modo di cantare con la gorga."
The term "gorga" would later refer to
the florid ornamentation in the late
sixteenth century; however, for Maf-
fei's purposes, "gorga" referred to
the throat, having its origin from the
Latin, 'guttur,' for throat. 2 Maffei ob-
viously placed a great deal of impor-
tance on the proper placement of the
sound in the cimbalare or throat
because he refers to its location
numerous times in his treatise in an
effort to insure that students utilize
proper technique. Through this prop-
er use and exercise of the vocal ap-
paratus, the student will achieve the
proper "disposition of the throat."3
This means learning how to locate
and manipulate the sound in the
throat.
To this end, Maffei provides ten
rules or guidelines to help the singer
achieve proper vocal production. On-
ly four of these rules have a bearing
on the present discussion:
[1] ... make no movement in
any part of the body except in
that cimbalare cartilage,
because if those people appear
ugly to us who, when they sing,
shake their heads, tremble in
their legs, or move their hands
and feet, we must be sure that
we appear ugly to others when
we do the same thing. 4
This prescription is designed to in-
sure that the singer uses only the
cimbalare to activate and control the
vocal process and not any contortion
of the face or neck to affect a sound
or otherwise impair the proper open-
ing of the larynx through tension.
[2] ... extend the tongue so that
the tip touches the base of the
lower teeth. s
This advice is to prevent any contor-
tion of the mouth or tongue. A
relaxed tongue which rests naturally
at full length in the mouth allows the
throat to function at its optimum.
Tension in the tongue transfers to the
throat and face and causes undue
strain on the vocal mechanism.
[3] . . . keep your mouth
moderately open, no wider than
when you are conversing with
friends. 6
This along with the previous rule is
designed to avoid vocal tension in
the facial area and hence free the
throat for ease of production. It also
suggests that the amount of
resonance is not great by modern
standards as the fully dropped jaw is
not employed.
Finally, Maffei suggests that the
singer should:
[4] let out the breath a little at a
time with the voice, and take
care that it does not go out
through the nose or through the
palate, for each would be a
great mistake.
Page 15
 This rule calls for a measured
release of breath which means
careful control of the phonation pro-
cess. Such careful release also im-
plies a lighter sound due to a use of
smaller amounts of air. The em-
phasis is on a small, measured
release which is dependent upon a
light source of energy, not at all
heavy or as full as the modern singer
is accustomed to supplying to his
production.
The proper tone can only be pro-
duced by a "pleasing and soft instru-
ment" which comes of a "soft and
pliant throat."7 The description of
"soft and pliant" for the throat prob-
ably refers to the quality of rendering
the music as well as a conscious ef-
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Page 16
fort to mold the nature of the throat.
Maffei describes the ideal voice:
However, to make things
clearer, by the "flexible" voice
you must understand (as it
were) a pliable voice, that is,
one that is varied sweetly, so
that the ear is satisfied ....So if
the throat is soft, it will produce
a flexible, pleasing, and
variable voice, but if it chances
to be hard, it will produce a
rigid and harsh voice. 8
It was this "flexible and pleasing
voice" or "voce flessibile e
piaghevole" which was so necessary
to successful performance of the
florid passage work or "passaggi" in
the sixteenth century. These
"passaggi" or diminutions were fast
moving melodic formulas applied as
decoration to long notes or at caden-
tial points of a phrase. 9 Maffei
described the singing of these
passaggi as "decorating with the
throat."lo The important distinction
for the singer was to articulate the
sound from the throat and not the
mouth. Consonants were added by
the mouth but the throat was the
primary vehicle for the sound or the
vowels.!!
Flexibility included the ability to
traverse vocal registers with ease and
lack of apparent strain or discernable
tension. This is a quality which goes
a long way in creating a blend in an
ensemble context. Maffei explains
that there were those singers who:
. . . are found who sing bass,
tenor, and other voices with
great ease, and decorating,
diminishing, perform passage
work now in the bass, now in
the mezzo, now in the alto-all
beautiful to hearY
And at still another place in the
Discorso:
. . . such a voice is different
from the others inasmuch as it
is reduced to the flexible, con-
sisting as it does in going from
the bass to alt, and descending
from alt to bass with the
diminutions and orderly reper-
cussion of the air. So it can only
be produced by a pleasing and
softinstrument.!3
Apparently the best of the
Renaissance singers were expected
to traverse more than one vocal part
(such as tenor to alto or baritone
through tenor) with ease and grace of
line.
Part of the key to successful
Renaissance vocal production is the
use of a warm vocalism which
preserves clarity. This entails the use
of one of the least understood
aspects of sixteenth-century singing:
the vibrato. Unfortunately, the
Renaissance writers do not help us to
distinguish between a normal,
healthy vibrato which adds warmth,
and the fairly large vibrato, using the
lowered larynx to attain a greater
volume and size of sound, which we
associate with the Romantic singer.
Misunderstanding arises with the
amount of vibrato which eventually
begins to cloud the texture and thus
rob the music of its clarity and
homogeneity.
Michael Praetorius (Syntagma
musicum, 1619) recommends that
the singer:
must have a pleasantly
vibrating voice (not, however,
as some are trained to do in
schools, but with particular
moderation) and a smooth
round throat.!4
Praetorius is obviously suggesting
that the singer employ a natural
vibrato, but not to the point that it
becomes noticeable and thereby
destroys the clarity of the line and
the blend of the ensemble.
Fortunately, Ludovico Zacconi
(Prattica di musica, 1592) offers a fair-
THE CHORAL JOURNAL
Iy thorough explanation of how the
vibrato operates and, even more
helpful, how the vibrato can be seen
as a natural extension of healthy
singing:
I have to help the singer, I say
also that the tremolo, that is, the
trembling voice, is the true gate
to enter the passages and to
become proficient in the gorgia;
because the boat moves with
greater ease when it is first
pushed, and the dancer leaps
better if first he prepares for the
leap.
The tremolo should be short
and beautiful, for if it is long
and forceful it tires and bores.
And it is of such a nature that
those who employ it must
always use it, so that it becomes
a habit. The continual move-
ment of the voice aids and
voluntarily pushes the move-
ment of the gorgia, and ad-
mirably facilitates the begin-
nings of the passages. This
movement I am speaking of
should only be made with prop-
er speed, and lively and
vehemently.15
Clearly, the singer was moving
more and more toward the use of the
voice as an ornamenting instrument
in its own right. The important thing
for the modern conductor to
remember is that sixteenth-century
vocalism is not a thin, lifeless, tone
without vibrato, but rather a warm
sound, enhanced by the use of
natural vibrato so that clarity is not
obscured.
A German contemporary of Maffei
was the Wittenberg organist and
composer, Hermann Finck. Finck
supplies valuable evidence of Ger-
man vocal practice in the mid-
sixteenth century and its testimony
to the spread of the Italian coloratura
technique to Germany. In his Practica
of 1556, Finck uses much the same
language to describe florid singing as
Maffei used in the Discorso. Finck
describes florid song in the following
fashion:
I have divided the coloraturae
into two categories: those of the
throat and those of the tongue.
The tongue-coloraturae are
used in solmization without
text, in such a way that the
degrees ut, re, mi, fa, sol, la are
not sung with a full mouth, but
rather flow easily and naturally
from the mouth, very delicately
and at the same time separated.
The coloraturae of the throat are
employed when the text is sung.
...The law and nature of col-
oraturae requires that all those
notes formed within the cheeks
and delivered distinctly and
clearly can be heard. 16
To achieve the proper balance be-
tween sound and words, the singer
must have suitable laryngeal control
for proper placement of his tone and
flexible use of his tongue for clarity
of text. Finck's goal for vocal quality
was identical to that of Maffei's: a
smooth and pleasing sound which
did not allow for any abrupt shifts or
inequalities in register or volume.
The overall goal was always one of
clarity and purity of sound for both
the soloist and the ensemble singer.
One of the most important con-
cepts of Renaissance vocal technique
that the modern choral director must
understand is the blending of voices
in the choral context. Fortunately,
the sixteenth-century writers were
fairly generous in their assessment of
the requirements for choral sound.
At one point in his Dialoghi of 1569,
Massimo Troiano, a talented singer
in the Munich Kantorei under Orlan-
do di Lasso, describes the superb
leadership qualities which Lasso ex-

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August 1988 Page 17

hibited with his singers and players:
With such skill, confidence and
understanding of art, he
brought musicians to the right
tempo. . . . So did the ex-
perienced singers under the
leadership powers of Orlando di
Lasso find that they could sing
more beautifully with more
energy and a better tone under
his leadership. . . . And
something else that I heard with
astonishment and satisfaction
was that they sing so well
together that even he who has
the best ear cannot detect one
singer's voice from another'sY
From these brief comments we can
discern that there were several
qualities which were desirable for the
Renaissance ensemble, not the least
of which were blend, tone, and
balance.
Unlike Maffei, Hermann Finck
discusses the specifics of ensemble
technique for the choral singer.
Finck offers important advice on the
suitable blend and character of each
of the parts in a choral ensemble:
For example, a discant singer
sings with a tender and
soothing voice, but a bass with
a sharper and heavier one; the
middle voices sing their melody
with a uniform sound and
pleasantly and skillfully strive
to adapt themselves to the
outer voices.... The discantus
and the alto [do] not rise higher
than they should, or . . . no
singer strains his voice; for
many singers change their tone
colors, becoming black in the
face and come to the end of
their breath. . . . A beautiful
song can be sung and brought
to performance by such
delightful, thoroughly refined,
and well-blended voices that
one could not ask for it to be
better. ... The higher a voice
rises the quieter and lovelier
should the note be sung; the
more it descends, the richer the
sound, as in an organ, [bold
face mine] wonderfully
assembled of different kinds of
pipes ... so that one voice like
another, the high as well as the
low, become soft, gentle, and
clearly understood. 18
The quality of sound that Finck
seeks is one which, above all, is
blended. No one voice should pro-
trude from the fabric of the music
due to unusual quality or tone. Finck
maintains that the inner voices
should be slightly subservient to the
outer parts. The inner voices must
"adapt themselves to the outer
voices" and above all else, no part
must reach or strain beyond its
range.
The idea of singing softer as one
moves higher is of course contrary to
what the modern singer is taught.
Vocal pedagogy tells us that as the
voice ascends, greater resistance is
offered to the breath resulting in
greater air pressure. It comes natural-
ly to increase the volume as the pitch
rises. 19 In moving to a higher
register, the modern singer naturally
increases the tension on his vocal
chords by manipulation of his
arytenoid and cricoid cartilages
which exert the suitable pressure on
the position of the (lowered) larnyx to
achieve a greater degree of active
contraction on the vocal chords. 20
This exertion of greater pressure on
the larynx allows for the maximum
vocalisation and resonance. We can
be fairly sure that the Renaissance
singer did not employ such tech-
niques as a fully lowered or dropped
larynx to achieve his sound because
we can compare the techniques
described by nineteenth-century
writers with earlier approaches to
singing and see the differences.
We are essentially products of
nineteenth century techniques of
singing. Manuel Garcia (Traite com-
plet de ['art du chant, Paris, 1840)
describes a vocal technique which
favors a consistent use of the lowered

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Page 18 THE CHORAL JOURNAL
easily and lightly the singer must
project, to allow the room to carry
the optimum clarity of sound.
David Willcocks comments on the
acoustic at King's College, Cam-
bridge where he directed for so many
years:
... it narrows the range of ex-
pression because if you sing ff
you will hear it five seconds
later; if you reach mf at the
climax you can move on to
something else two seconds
later. That restriction dictates
the tone-semiquaver runs
have to be light, detached and
rather soft in order to achieve
c1arity.22
The acoustic of King's is exceptional;
however, the cathedral acoustic pro-
vides the same problem of resonance
which dictates special considerations
for the choral director if there is to be
a suitable blend and articulation
from the ensemble.
The sweet, flexible and clear
sound, so often described by
Renaissance writers, can be achieved
by modern singers, but not by using
a thin, straight or lifeless tone. The
throat needs an open tract to aid the
air supply, but the tension on the
vocal chords is not increased by
lowering the larynx; rather, focus is
accompl ished by the latera I
manipulation of the arytenoid
(laryngeal) muscles. 23 This can be
Florid lines of melismatic
passagework require light vocalism
in order to successfully carry the
lines to conclusion. A heavy
vocalism would only get weighed
down in such passagework.
Another significant area of vocal
technique which the treatise writers
take time to describe is the quality of
sound necessary to make imitative
entries clear. Since so much of
sixteenth-century music is of a
polyphonic, imitative nature, the
clarity of entering parts is important
to the structure of the music.
Massimo Troiano (Dialoghi, 1569)
describes the Munich Kantorei under
Lasso singing a six-voiced Mass. At
the "Introit" at the high altar: "the
Kantorei sang with bright and well
(clear) sounding counterpoint."26
Clarity of sound was at its maximum
in order that the full texture of the
polyphony could be appreciated.
Hermann Finck (Practica musica,
1556) offers specific advice on how
to make the fugal entries precise and
discernible:
... this ought to be proffered by
a clearer and more distinct
voice than is usual; also that the
subsequent voices ought to be
delivered in the same way, if
they arise from the same theme
that the first singer has sung.
This ought to be observed in all
the voices when new fugues
Imitative music calls for a distinct ar-
ticulation on the part of each voice
stating the subject and a particularly
clear rendering of that particular
phrase to make sure that the subject
is heard. The clarity with which the
voice sings and the absolute unifor-
mity of entrances from part to part
will help create the "elegant fugue"
as Finck calls it, and thereby
enhance the integrity of the music.
Not only does such a rendering of
the subject material make the en-
trance of the subject clearer and
more discernable, but the writers
stress the fact that such articulation
will also reveal the structure of the
music more easily. Georg
Quitschreiber writes at the end of the
century that singers must:
Sing elegant points of imitation
with a clearer voice (fugas
elegantes voce clariore canens
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August 1988 Page 19
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August 1988 Page 21

 proferat) so that the layout and
shape of all imitative sections
may be appreciated. 2B
It would appear that the average
Renaissance audience was expected
to gather far more from its listening
than the modern audiencel
The modern conductor must keep
in mind the limitations when
performing Renaissance music. The
SMOKY MOUNTAIN
singers must use an appropriate
vocal technique for a clear, focused
tone quality, but not allow the full
power of the lowered larynx to come
into play. All the training which the
modern singer has undergone must
be utilized, but under the realization
that the full power of the focused,
resonant voice must be moderated in
line with Renaissance norms. The
timbres and volumes of the
Renais;sance instruments are a great
help ir achieving an understanding
of suitable Renaissance sound quali-
ty. The homogeneity of sound is im-
portant both amongst the singers
and between the singers and the in-
strumentalists. Given the inter-
changeability of voices and in·
struments in the Renaissance, we
must assume a fairly close blend of
voice and instrument in the collected
ensemble. Despite both the in-
strumental and vocal developments
in the sixteenth century, the

MUSIC FESTIVAL Renaissance singer was still a

member of a consort who found his
GATLINBURG, TENNESSEE optimum performance as part of a
larger whole.
3 miles from Dollywood
APRIL 21-22,1989 APRIL 28-29,1989 Discography
MAY 5-6, 1989 MAY 12-13, 1989 MAY 19-20, 1989
This is a representative listing of current
COMPETITION IN: CONCERT BAND, ORCHESTRA, ensembles whose recordings exemplify the
MARCHING BAND, JAZZ. BAND, STREET PARADE, blend of voices and instruments so crucial to
CONCERT CHOIR, SHOW CHOIR, JAZZ. CHOIR, GLEE CLUB the performance of early music.
Capella Antlqua Miinchen. "Te Deum
Laudamus" South German polychoral music
Festival Director of the sixteenth century. Nlederaltalcher
Scholaren; Konrad Ruhland, director. RCN·
Dr. W J Julian SEON #RL 30389.
Director of Bands Phones: 615/938-0246 The Choir of Westminster Cathedral.
University of Tennessee 615/693-5470 "Christmas Music by Michael Praetorius,"
David Hill, Master of the Music with The
Now in its seventh year, the success of the Smoky Mountain Music Parley of Instruments Peter Holman and
Mark Caudle, directors; Hyperion Records
Festival can be greatly attributed to the fact that it is a one site festival. #CDA 66200.
The three day festival includes two nights' accommodations in a first The Clerkes of Oxenford. "Orlando Gib·
class Gatlinburg motel, adjudication by nationally known judges, trophies bons: Anthems and Songs of Praise" v. 1&11.
to winning groups, plaques to all participating groups as well as a guided David Wulstan, director. Nonesuch
#N5·71391.
tour of the highlights of the Great Smoky Mountains National Park. Consort of Muslke. "Le Lagrime de San
TOTAL COST: $70 per student (2 night package) Pietro" of Orlando di Lasso. Anthony Rooley,
director. L'Oiseau·Lyre #D8DL 706.
$90 per student (3 night package)
Early Music Consort of London. "The
Adjudicators will include: Dr. Harry Begian, Kenneth Bloomquist, Col. Art of the Netherlands," Seraphim #SIC·6104;
John Bourgeois, Herbert Carter, Ray Cramer, Peter Dombourian, Dan "Music of Guillaume Dufay·'Missa Se la face ay
pale'," Seraphim #8·60267; "The Triumphs of
Ellis, Robert Foster, Dr. Thomas Fraschillo, Dr. Edgar Gangware, James Maximilan I," London #ST S15555; Michael
Keene, Mark Kelly, Dr. John Long, Boyd McKeowan, Dr. Stanley Munrow, director.
Michalski, Robert O'Brien, Gary Smith, Joseph Smith, Dr. Luther Karlsruhe Chamber Choir. "Missa Da
Snavely, Dr. Robert Stoll, & Dr. Myron Welch. Pacem" of Josquin Des Pres. Hamburg Wind
Ensemble for Early Music and Spengler
CHORAL JUDGES: Dr. Charles Ball, Charles Jones, Dr. David Gamba Consort, Paul Wehrle, director.
Stutzenberger and Dr. Eric Thorson Musical Heritage Society #3729.
AREACSJ OF INTEREST: The King's Singers. "A French
o Concert Band o Marching Band o Show Choir Collection." side I, bands 3·6, 7b with the Ear·
Iy Music Consort of London, Michael
o Orchestra o Parade Marching o Glee Club Munrow. Moss Music Group #1104 (EMI).
o Second Band o Concert Choir o Senior High School London Cornett and Sackbut Ensem·
DJa2zBand DJa2zChoir o Junior High School ble. "Symphoniae Sacrae II" of Giovanni
Weekend Interested _ Gabrieli. Andrew Parrott, director. L'Oiseau·
Lyre #BA·365.
Name . _ Muslca Reservata. "Josquin Des Pres·
Songs and Motets." Michael Morrow, director;
School _ Andrew Parrott, conductor. Musical Heritage
Society #4960k.
Address . _ The Tallis Scholars. Thomas Tallis:
._----- ----- "Spem in Alium." Gimell CDGIM 006; John

Phone _
FOR CHANGE OF ADDRESS
Mail to: Dr. W J Julian, 601 Westborough Rd., Knoxville, TN 37909 Be sure to notify the Editor at:
P.O. Box 6310, Lawton, OK 73506
Page 22 THE CHORAL JOURNAL
Taverner: "Missa Gloria Tibi Trinitas." Gimell
CDGIM 004: both directed by Peter Phillips.
Toronto Consort. "La Chanson
Francaise." Collegium. Records, 1985.
Bibliography
Brown, Howard Mayer. Embellishing
Sixteenth· Century Music: Oxford University
Press, 1976.
Dart, Thurston. "How They Sang in Jena in
1598." Musical Times, v. 108, no. 1490 (April
1967): 316-317.
Galliver, David. "'Cantare Con La Gorga
The Coloratura Technique of the Renaissance
Singer." Studies in Music, VIII7 (1973): 10-18.
Leuchtmann, Horst. Die Miinchnar
Fiirstenhochseit Von 1568 Massimo Troiano:·
Dialoge (italienischl deutsch). Miinchen·
Salzburg: Emil Katzbichler Verlag, 1980.
MacClintock, Carol. Readings in the History
of Music in Performance. Bloomington: Indiana
University Press, 1979.
Phillips, Peter. "The Golden Age Regained,
part 2." Early Music, 8/2 (April 1980): 178-198.
Uberti, Mauro. "Vocal Techniques in Italy in
the Second Half of the Sixteenth Century."
Early Music, 9/4 (October 1981): 486-495.
Vernard, William. Singing the Mechanism
and the Technic. New York: Carl Fischer, 1967.
Notes
I Delle lettere del So, Gio. Camillo Maffei
da Solofra, Libri Due ... Napoli, 1562, Letter I,
as printed in N. Bridgeman, "Giovanni Camillo
Maffei et sa lettre sur Ie chant," Revue de
Musicologie, (July 1956): 10-34. Quoted in
Carol MacClintock, Readings in the History of
Music in Performance (Bloomington: Indiana
University Press, 1979), 44.
2 David Galliver, "Cantare Con La Gorga:
The Coloratura Technique of the Renaissance
Singer." Studies in Music 7 (1973): 10-14. See
also Howard Mayer Brown, Embellishing
Sixteenth-Century Music (Oxford: University
Press, 1976). Gorga appears to be a dialectical
spelling of gorgia.
3 MacClintock,46.47.
4 MacClintock, 45.
5 MacClintock, 45.
6 MacClintock, 45.
7 MacClintock, 44.
8 MacClintock, 43.
9 Brown, Embellishing Sixteenth-Century
Music, 1.
10 MacClintock, 43.
" Galliver, 15.
12 MacClintock, 43.
13 MacClintock, 44.
14 Michael Praetorius, Syntagma musicum,
11/ (Wolfenbuttel, 1619), Pt. III, Ch. 9. Quoted in
MacClintock, 164.
15 Ludovico Zacconi, Prattica di musica utile
et necessaria si al compositore . . . si anco al
cantore (Venice, 1596), Book I, Ch. 66, "Che
stile si tenghi nel far di gorgia ... ," pp. 58-61.
Quoted in MacClintock, 73.
16 Practica musica Hermanni Fincki/, ... ac
quaedam de arte suaviter et artificiose continens
(Whittenberg, 1556), Book V. Quoted in Mac·
Clintock, 64.
17 Horst Leuchtmann, Die Miinchner
Fiirstenhochseit Von 1568 Massimo Troiano:
Dialoge (Munchen: Verlag Emil Katzbichler,
1980), p. 95-97.
18 MacClintock, 62-63.
19 William Vennard, Singing the Mechanism
and the Technic (New York: Carl Fischer,
1967),60.
August 1988
20 Mauro Uberti, "Vocal Techniques in Italy
in the Second Half of the Sixteenth Century," National Convention Receptions
Early Music 9 (October 1981): 487-88.
21 Uberti, 488.
22 Peter Phillips, "The Golden Age Re·
Any college, university, alumni
gained, part 2," Early Music 8 (April 1980): group, industry or affiliated ACDA
181. organization wishing to host any type
23 Uberti, 487. of meeting or reception at the 1989
24 Uberti,487.
ACDA National Convention in
25 Uberti, 494.5.
26 Leuchtmann, 175.
Louisville is asked to contact Mark
27 MacClintock, 63. Lehmann, Assistant Convention
28 Georg Quitscheiber, De Canendi . . . Chair, 121 Wilshire Circle, Hampton,
studiosis necessaria (manuscript in Belgian Iowa 50441. Phone: Home (515)
Royal Library, written in September, 1598).
Quoted in Thurston Dart, "How They Sang in
456-5347 or Work (515) 456-4893.
Jena in 1598," Musical Times 108(ApriI1967): Requests are due December 1,
317. 1988.
~~.~
~.
~88'"
NEW SWEDEN
T HESwedish
NEW SWEDEN Jubilee '88 marks the arrival in the USA of the first
colonists, 350 years ago - in 1638. The Swedes founded the
colony of New Sweden (Delaware) and have been a part of American
society ever since.
Jubilee Year 1988 is packed with fixtures of various kinds all over
the USA. One excellent way in which musicians - both groups and
soloists - can celebrate the occasion is by including a Swedish compo-
sition in their repertoires for the year.
If you do not know how to get hold of Swedish music in the USA,
just say the word and we will be delighted to assist you. We will also
a
appreciate it if you can let us know that you have taken part.
SVENSK MUSIK ,
Sandhamnsgatan 79. PO Box 27327
S-102 54 Stockholm, Sweden.
Swedish Music Information Center' Telephone: int +46 (0)8 783 88 00.
Telex 15591 STIM S.
Compiled by - Mary Henry and Marilyn Jones
Consulting Editor - Dr. Ruth Whitlock
SONGS FOR SIGHT SINGING provides a collection of literature for use in the choral
classroom. Each selection was composed according to criteria designed by Texas
secondary choral directors, and commissioned by the Texas University Interscholastic
League for use in its annual sight singing contest. These graded materiols were
created specifically for young musicians by recognized composers.
High School - SATB S5.95
Junior High School- SAID 4.95
High School/Junior High School - SAB 5.95
High School - Treble 4.95
Junior High School - Treble 3.95
High School- Tenor/Bass 4.95
Junior High School- Tenor/Bass 4.95
SOUTHERN MUSIC COMPANY
NATIONAL WATS -1-800-SMC-1100
POST OFFICE BOX 329 SAN ANTONIO, TX 78292
TEXAS WATS - 1-800-292-5443
Page 23