Hi Richard,
   [1]http://books.google.lu/books?id=VoQXAQAAIAAJ&printsec=frontcover&dq=
   %22essays+in+musicology%22&source=bl&ots=ITEFvN0Hii&sig=iIvdnoOEE_CRl_u
   bQ_wRLOiSuyQ&hl=en&ei=cRD4TOSQMY2dOrX-kbkI&sa=X&oi=book_result&ct=resul
   t&resnum=1&ved=0CBEQ6AEwAA#v=onepage&q&f=false
   The link is on google books and is about hornpipes, but may help
   towards a part answer to your question, have a look at the book "essays
   in musicology ---page 150"
   regards
   Dave Singleton
   On 11/25/2010 6:50 PM, Richard York wrote:

   I was listening recently to a trio playing 17th/18th Cent. divisions on
   La Folia on the radio, and was struck afresh by how similar are some of
   the things appearing in the nsp variations.
   (And yet different.)[Special aside for "Round the Horn" listeners :)  ]
   Divisions on viols or recorders were normally played with at least a
   bass, and/or a harpsichord or whatever, and our variations/divisions
   must come out of the same culture in the first place, whether it's
   later a parallel or a parent-child type development to get to where
   Peacock's sets arrived.
   So, given that pipes are generally thought of as a solo instrument,
   (correct me if not!) do we know at what stage of development the
   divorce from the continuo or ground bass instrument actually happened?
   Assuming it did.
   Do the smallpipes with their variations repertoire first appear having
   already made the musical separation, or was there any practice of
   playing them over a ground?
   (Please note, this *is* on topic!)
   Best wishes,
   Richard.
   --


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References

   1. 
http://books.google.lu/books?id=VoQXAQAAIAAJ&printsec=frontcover&dq=%22essays+in+musicology%22&source=bl&ots=ITEFvN0Hii&sig=iIvdnoOEE_CRl_ubQ_wRLOiSuyQ&hl=en&ei=cRD4TOSQMY2dOrX-kbkI&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBEQ6AEwAA#v=onepage&q&f=false
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