Thank you for this Lex.
I think I need to part company with Mr Dean (and his dissertation) here
- if only because of his faulty logic. In short the passage 'It
follows, therefore, that the adoption and adaptation of alfabeto
symbols in Italian canzonettas reflects an ongoing, mutual influence
between an orally transmitted performance practice' does not
necessarily follow at all. One can equally well conceive of an art song
form which embraced the new possibilities of alfabeto quite divorced
from Dean's preference for an 'orally transmitted performance
practice' (whatever that means - is it some sort of claim for populist
'folk' like roots? - such may be very fashionable today but maybe not
in 1622).
Dean is also hardly the first person to suggest that the key rooted
harmonies of the guitar may have had some effect on the development of
tonality (I remarked earlier that this had been suggested by others),
but are you (or Dean) now suggesting that Marini and others actually
composed their works whilst strumming the guitar a bit like Stravinsky
at the piano?
rgds
Martyn
--- On Thu, 21/4/11, Lex Eisenhardt <eisenha...@planet.nl> wrote:
From: Lex Eisenhardt <eisenha...@planet.nl>
Subject: Re: [VIHUELA] Re: Marini - was Grenerin
To: "Vihuelalist" <vihuela@cs.dartmouth.edu>, "Martyn Hodgson"
<hodgsonmar...@yahoo.co.uk>
Date: Thursday, 21 April, 2011, 8:31
Hi Martyn,
> Yes the intro certainly has a good alfabeto list with variants -
I'm
> not sure how much these are Marini's or those of a jobbing
guitarist's
> brought in to add the alfabeto.
Here is what Alex Dean observes, on p 127 of his diss:
'This influence operates not only at the editorial level, in the choice
of alfabeto symbols, but also at the compositional level, in that these
songs tend to be composed in a style that is amenable to strummed
guitar accompaniment. It follows, therefore, that the adoption and
adaptation of alfabeto symbols in Italian canzonettas reflects an
ongoing, mutual influence between an orally transmitted performance
practice and the composition and performance of strophic chamber song
with continuo notation.'
He further suggests that with a number of composers, including Marini,
the alfabeto harmony would be an integral element of the composition.
Lex
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