,
festivals, conferences, workshops and lectures...
Martyn
--- On Fri, 2/12/11, howard posner howardpos...@ca.rr.com wrote:
From: howard posner howardpos...@ca.rr.com
Subject: [BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing
lute tablature on sight
list l...@cs.dartmouth.edu; howard posner howardpos...@ca.rr.com
Sent: Saturday, December 03, 2011 4:57 AM
Subject: [BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing lute
tablature on sight
Thank you for this Howard and for your time.
My starting point in any discussion
On Dec 3, 2011, at 1:57 AM, Martyn Hodgson wrote:
Thank you for this Howard and for your time.
And thank you for restating what you'd already written. Since I've already
responded to it, I'll spare the list further comment.
--
To get on or off this list see list information at
Howard,
You seem not to have read the mailings (yet again) and have therefore
missed the entire point. As David Hill points out (have you bothered
to read his paper?) the voice generally expected when the songs were
composed was soprano/tenor. As he says, the male alto, to take
On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote:
As David Hill points out (have you bothered
to read his paper?) the voice generally expected when the songs were
composed was soprano/tenor. As he says, the male alto, to take David
Van Oijan's personal preference, was certainly
From: howard posner howardpos...@ca.rr.com
On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote:
I see several fundamental flaws in your conclusion.
First, male altos' range considerations are no different from those of
female altos or baritones or basses. So male altos are relevant to the
A while back on the lute list there was a link to Hector Sequera's
dissertation about Paston - very interesting. It's 100 years earlier,
but goes into a lot of detail about the various keys in the Paston
manuscripts and the sizes of lutes that would have been available to
Paston.
On Dec 2, 2011, at 10:48 AM, Nancy Carlin wrote:
A while back on the lute list there was a link to Hector Sequera's
dissertation about Paston - very interesting. It's 100 years earlier,
Actually, Paston, being Elizabethan, is the period we're talking about. You
were led astray by my
mailing list
list l...@cs.dartmouth.edu; howard posner howardpos...@ca.rr.com
Sent: Friday, December 02, 2011 2:07 PM
Subject: Re: [BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing lute
tablature on sight
The most-accomplished players are usually the ones own several variously
pitched
- Original Message -
From: Roman Turovsky r.turov...@verizon.net
To: Baroque lute Dmth baroque-lute@cs.dartmouth.edu; lute mailing
list
list l...@cs.dartmouth.edu; howard posner howardpos...@ca.rr.com
Sent: Friday, December 02, 2011 2:07 PM
Subject: Re: [BAROQUE-LUTE] Re: Male alto in Lute songs
PM
Subject: [BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing lute
tablature on sight
Does he really also sing?!
Arto
On Fri, 02 Dec 2011 14:19:05 -0500, Roman Turovsky
r.turov...@verizon.net wrote:
And speaking of such truly accomplished singers as Karamazov:
He tends to have 4-6
I'm afraid I'm going to mention the dreaded 'e' word again: what
evidence have you that the male alto ('countertenor') voice was used
historically to perform lute songs?
Aw come on Martyn! You'll be telling us next that lute players didn't
wear jester outfits or sing 'Hey
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