HDTenEightyP/NetNews huggingface dataset:
From: QUINN@GONZAGA.BITNET
Newsgroups: rec.music.early
Subject: RE: Singing Early Music
Date: 18 Aug 92 08:23:00 GMT
Article-I.D.: GONZAGA.01GNQCN06VO0001K7Z
X-VMS-Cc: QUINN
Content-transfer-encoding: 7BIT

I would recommend listening to recorded vocal performances to get a feel
for what the director is likely to expect.  Regardless of what sounds
good to you or what the best scholars have determined to be historically
correct, people are going to be conditioned by currecnt practice as
reflected in published recordings -- it is what they hear most of.
Newsgroups: rec.music.early
From: perkins@MSUPA.PA.MSU.EDU
Subject: Re: Basse dance: La brosse
Reply-To: perkins@MSUPA.PA.MSU.EDU
Organization: MSU Dept. of Physics & Astronomy
Date: Fri, 14 Aug 92 08:19:51 GMT

In article <EPDI19.920813103045@portland.maine.EDU>, EPDI19@PORTLAND.BITNET 
(Robert Filgate) writes:
>Is there a performance edition of the basse dance "La Brosse" which appears
>in one of the sets of dances published by Pierre Attaingnant?  I would
>appreciate any suggestions.  Bob

Track 7, Calliope Dances - A Renaissance Revel, Nonesuch Digital 9 79039-2
(released in 1982).

------------------------------------------------------------------------
George J Perkins      perkins@msupa.pa.msu.edu   gjperkins@fnal.fnal.gov
Newsgroups: rec.music.early
From: perkins@MSUPA.PA.MSU.EDU
Subject: Re: Basse dance:  La brosse
Reply-To: perkins@MSUPA.PA.MSU.EDU
Organization: MSU Dept. of Physics & Astronomy
Date: Fri, 14 Aug 92 08:05:12 GMT

In article <EPDI19.920813103045@portland.maine.EDU>, EPDI19@PORTLAND.BITNET 
(Robert Filgate) writes:
>Is there a performance edition of the basse dance "La Brosse" which appears
>in one of the sets of dances published by Pierre Attaingnant?  I would
>appreciate any suggestions.  Bob

Track 7, Calliope Dances - A Renaissance Revel, Nonesuch Digital 9 79039-2
(released in 1982).
Newsgroups: rec.music.early
Subject: RE: Singing Early Music
From: DANIELB@DEPAUW.BITNET
Date: 21 Aug 1992 13:17:07 -0500
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
Content-transfer-encoding: 7BIT

The Allegri is a wonderful piece which I heard in Vienna last year.  I can't
remember the name of the ensemble, but it was a young boy who sang that glorious
   passage.  A friend of mine had bought the compact disc and we listened for
hours to it.  It was wonderful.  Personnally, it would have last something if
it hadn't been the child!  Daniel
Newsgroups: rec.music.early
From: perkins@MSUPA.PA.MSU.EDU
Subject: Re: Basse dance:  La brosse
Reply-To: perkins@MSUPA.PA.MSU.EDU
Organization: MSU Dept. of Physics & Astronomy
Date: Sat, 15 Aug 92 07:31:09 GMT

In article <EPDI19.920813103045@portland.maine.EDU>, EPDI19@PORTLAND.BITNET 
(Robert Filgate) writes:
>Is there a performance edition of the basse dance "La Brosse" which appears
>in one of the sets of dances published by Pierre Attaingnant?  I would
>appreciate any suggestions.  Bob

As another poster pointed out, I missed the crucial word "edition" in this
request when I gave my earlier response... Well, now that I see it, I still
have a response.  The copy I have of "La Brosse"/"Die Burste" is from
P. Attaingnant, Pariser Tanzbuch fu:r Blockflo:tenchor (c'',f',c',f)(3)
edited by F. J. Giesbert in 2 volumes, # 3758 & 3759, B. Schott's So:hne,
Mainz, Germany, on pages 20-22 of vol. 1 (colons should be flipped up to
become umlauts).  Since this was printed first about 60 years ago and only
sporadically since then (if ever), it's not very easy to find to buy (which
is why I have only a photocopy of this piece). It is not in the volumes of
the London Pro Musica Editions of the Attaingnant Dance Prints which I have
(volumes 2-7), but it may be in one of the others (each volume is indexed
only for itself).  A reference I have says that the original Attaingnant
edition "La Brosse" appeared in was "Neuf Basses Danses...(+ some other
stuff)...", 1530, so if you can find a full listing of the London Pro
Musica Editions' titles,  this might help to locate it if it is indeed
there.  Or perhaps you can find a source for the Schott's series in your
vicinity or via mail-order.

------------------------------------------------------------------------
George J Perkins     perkins@msupa.pa.msu.edu    gjperkins@fnal.fnal.gov
From: microsoft!billmc@CS.WASHINGTON.EDU
Newsgroups: rec.music.early
Subject: RE: Singing Early Music
Date: 19 Aug 92 09:21:08 GMT
Content-transfer-encoding: 7BIT
Comments: Warning -- original Sender: tag was news@NEWS2.CIS.UMN.EDU
Comments: Warning -- original Sender: tag wasAEARN.bitnet.washington.edu!EARLYM-L@CS.WASHINGTON.EDU

Jill Hollifield asks:
|
| I am a vocalist (soprano) with 10 years of operatic training.  My voice is
| quite light, but I have a heavy natural vibrato.  I am interested in
| auditioning for some early music choral groups in my area, and my question
| is:  Is it necessary to have that pure, vibrato-less, "white" sound to
| produce an authentic early choral music sound?  Any thoughts from other
| singers, conductors, historians, or just interested/opinionated listeners
| would be greatly appreciated.
 
As a baritone who specializes in medieval and renaissance music,
I certainly have opinions on this topic...
 
First, authenticity is a red herring.  On the one hand, vocal
color is such an elusive quality that we can't know precisely
how a particular repertoire was sung.  On the other, if a
performance isn't musically effective, all the research in the
world won't help it; and if it is, right or wrong doesn't matter.
The real advantage of scholarship is that that sensitivity to
the particular needs of a given repertoire generally pays off
in a more interesting performance, and that this sensitivity can
be developed through close study.
 
Instead of discussing authenticity, then, I would advise you to
contact the director of the group you wish to join and ask "what
kind of vocal quality do you prefer?"  A good ensemble will have
a definite aesthetic identity; if you want to throw in your lot
with an established ensemble, you need to determine whether you're
comfortable with their approach.  If producing the tone the director
or group requires is going to be a strain for you, you should
carefully reconsider whether you really want to sing with them.
 
Second, discussions of vibrato often founder on our various
understandings of the term.  Some people use it to describe any
variation in pitch or volume in the voice, while others use it
to mean an obtrusive wobble.  Arguments between these two extremes
can be entertaining, but ultimately pointless.  It's not so much
a question of turning vibrato on or off as it is of varying the
amount.
 
That said, my preference in most renaissance sacred polyphony is
for relatively little vibrato.  First, the individual voices
are generally less important than the overall sound, and any
voice with sufficient vibrato to draw attention to itself
shatters the choral illusion.  Second, an obtrusive vibrato
can muddy the tuning, which obliterates the contrast of suspension
and resolution that is so important to this repertoire.
 
Finally, I firmly believe that almost any singer with good
technique singing at moderate volume in a comfortable range
should be able to produce a tone without obtrusive vibrato
This is simply part of the bag of tricks a good singer should
have on hand.
 
Bill McJohn
billmc@microsoft
Newsgroups: rec.music.early
From: inr@eccles.caltech.edu (I. Neill Reid)
Subject: help with Monteverdi
News-Software: VAX/VMS VNEWS 1.41    
Organization: California Institute of Technology
Date: Fri, 14 Aug 1992 05:42:00 GMT

 I just purchased an el cheapo cd on the Project 3 label of
Monteverdi's Scherzi Musicali. The vocal soloists are
Hugues Cuenod, Charles Bressler, Louis-Jacques Rondeleux
with Albert Fuller (harpsichord), Joseph Iadoni (lute) and
the New York Chamber soloists (or a selection of same). 
The blurb with the disc contains almost no information of any
relevance but implies that the disc was recorded (or compiled) 
on the 400th anniversary of Monteverdi's birth (1967 - although
this would have been very much towards the end of Cuenod's career); 
the disc is dated 1989 (obviously impossible) but is called a 40th 
Anniversary disc (1949?). So - does anybody have any information about 
when this was recorded? It sounds post-Gyndebourne L'Incoronazione de 
Poppea, but not by much. 

 Thanks for any info.,
   Neill Reid  - inr@eccles.caltech.edu

Newsgroups: rec.music.early
From: emery@Dr_No.mitre.org (David Emery)
Subject: Boston Concerts
Organization: The Mitre Corp., Bedford, MA.
Distribution: usa
Date: Fri, 21 Aug 1992 13:28:04 GMT

Here's the BEMF Concert schedule for this season:
	2 Oct:  Capriccio Stravangante, "Virtuoso Violin & Fiol"
Buxtehude, Marais, Couperin and Bach.
	28 Nov:  Musica Antiqua Koeln, "Music of the Italian Baroque",
Vivaldi, Cima, Rovetta, Marini, Vitali, Tartini & Nardini.
	11 Dec:  Tallis Scholars:  "Seasonal Music", Lassus, Despres,
Sentl & Hassler
	12 Dec:  Tallis Scholars:  "Music from Renaissance England",
Byrd and Tallis
	30 Jan:  Affetti Musicali, "Arcadia Revisited - Pastoral
Fantasy in England", Wilson, Byrd, Lawes, Sumarte, Jenkins, TOmkins,
others.
	27 Feb:  Amsterdam Loeki Stardust Quartet, "Courtly Music from
Spain around Charles V", de Cabezon, Ortiz, de Escobar, de Silva,
others.
	8 May:  Ensemble Sequentia, "Vox Feminae: Music from Medieval
Women's Cloisters", von Bingen and Codex Montpellier.

	For more info call Boston Early Music Festival, (617)
661-1812, or write Box 2632, Cambridge, MA  02238.

				dave
From: jrussell@UNLINFO.UNL.EDU (john russell)
Newsgroups: rec.music.early
Subject: RE: Wobbling
Date: 19 Aug 92 04:54:20 GMT
Article-I.D.: unl.9208191454.AA07423
In-reply-to: <9208191355.AA05612@unl.edu>; from "Elisabeth Fosbrooke" at Aug19, 92 12:20 pm
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL8]

> I have a suspicion that heavy vibrato can lead to wobble in later years. Does
 an
> yone else have an opinion on this? And how can you prevent wobble?
>
> Elisabeth
 
Yes, a heavy vibrato can easily develop into a wobble you could drive
a truck through if not carefully controlled. The best way to avoid
this is to get a good voice teacher who does not have a really big
wobble herself (and finding one of those can be impossible). IMNSHO,
most voice teachers have a propensity to try to make their students
sound like them. Only the really good teachers will admit that not
all voices are alike _and_ teach accordingly. Just my two cents.
 
John Russell
From: jboor@mote.cs.umb.edu (Joan Boorstein)
Newsgroups: rec.music.early
Subject: Tous Les Matines Du Monde/Jordi Savall in Boston
Date: 21 Aug 92 08:56:32 GMT
Distribution: usa
Organization: University of Massachusetts at Boston, Dept of Math and CS

According to a mailing I received today, there will be a preview showing
of Tous Les Matins Du Monde on 11/12/92 and a concert by Jordi Savall on
11/13/92.  

Contact the Boston Early Music Festival for more info.

	Boston Early Music Festival
	Box 2632
	Cambridge, MA 02238
	(617) 661-1812

Joan Boorstein (jboor@cs.umb.edu)
Newsgroups: rec.music.early
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: folksy/eary music
Organization: The Ohio State University
Date: Thu, 13 Aug 1992 20:26:03 GMT

Concerning recordings of folksy/early music, I haven't seen this one mentioned 
yet:

New Britain : The Roots of American Folksong  (The Boston Camerata)
Erato 2292-45474-2 (# for the CD)

I find this to be a highly entertaining if rather fanciful attempt to trace 
American "folk" music back to early sources.... such as Betty Anne (North 
Carolina, 1916) deriving from the Recercada premera of Diego Ortiz (!!!).
If you don't mind your scholarship being served up as a VERY thin broth, this 
is well worth the taste.
-- 
=>   Michael J. Valinis     +{*}+     mvalinis@magnus.acs.ohio-state.edu   <=
=>       "The chief objection to playing wind instruments is that it       <=
=>         prolongs the life of the player."  -George Bernard Shaw         <=
From: darsie@eecs.ucdavis.edu (Richard Darsie)
Newsgroups: rec.music.early
Subject: Re: Basse dance:  La brosse
Date: 14 Aug 92 16:30:29 GMT
Organization: University of California, Davis

In article <EPDI19.920813103045@portland.maine.EDU>, EPDI19@PORTLAND.BITNET (Robert Filgate) writes:
> 
> Is there a performance edition of the basse dance "La Brosse" which appears
> in one of the sets of dances published by Pierre Attaingnant?  I would
> appreciate any suggestions.  Bob
> 

I'm assuming you mean a publication rather than a recording as another
respondent apparently assumed. I'm pretty sure there are London Pro
Musica editions of most of Attaingnant's dance collections.

Richard
From: EPDI19@PORTLAND.BITNET (Robert Filgate)
Newsgroups: rec.music.early
Subject: Basse dance:  La brosse
Date: 13 Aug 92 06:30:45 GMT
Article-I.D.: portland.EPDI19.920813103045
Content-transfer-encoding: 7BIT

Is there a performance edition of the basse dance "La Brosse" which appears
in one of the sets of dances published by Pierre Attaingnant?  I would
appreciate any suggestions.  Bob
Newsgroups: rec.music.early
Subject: RE: Basse dance:  La brosse
From: DANIELB@DEPAUW.BITNET
Date: 16 Aug 1992 23:41:45 -0500
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
Content-transfer-encoding: 7BIT

I am afraid our library doesn't have this, or I am unable to locate it.
Sorry,  Daniel
Newsgroups: rec.music.early
From: andrewb@suite.sw.oz.au (Andrew Bettison)
Subject: Re: Singing Early Music
Organization: Softway Pty Ltd
Date: 20 Aug 92 00:09:09 GMT

In <1992Aug19.132014@axion.bt.co.uk> efosbroo@axion.bt.co.uk (Elisabeth Fosbrooke) writes:

> I have a suspicion that heavy vibrato can lead to wobble in later years. Does anyone else have an opinion on this? And how can you prevent wobble?

I think that singers who rely excessively on vibrato for producing
depth and projection are likely to neglect proper breath support,
which will inevitably lead to the development of an ugly wobble.

In my vocal training I have learned to produce a good tone by using
"openness" of the throat, head, and chest.  The result is a light,
relatively vibrato-free baritone voice at present (I am currently
27) with the ability to add vibrato when needed.  I'm not going to
follow the traditional operatic vocal path which would have me
"make" a rich tone tone and "make" volume with all sorts of
modifications of my natural sound.  I'll rely on age and experience
to do that, and with luck, my voice will be beautiful and rich
without a trace of wobble by the time I reach 40, and still going
strong.

--
Andrew Bettison - Softway Pty Ltd

Phone	+61-2-698-2322	  Internet	andrewb@softway.sw.oz.au 
Fax	+61-2-699-9174	  UUCP		uunet!softway.sw.oz.au!andrewb
Newsgroups: rec.music.early
From: jacob@max.cc.brandeis.edu ( )
Subject: Recordings of the Messe de Notre Dame (was Re: Machaut)
Organization: Brandeis University Math Department
Date: Fri, 21 Aug 1992 06:17:12 GMT

In article <01GNSV7UUNWQ001J3N@GONZAGA.BITNET> QUINN@GONZAGA.BITNET writes:
>Are there any other hardcore fans of Machaut on this list? 

If there are, I'd like to invite some relative assessment of the following
two recordings of the Messe de Notre Dame: the (better known) one directed by
Parrott and the other by the Ensemble Gilles Binchois.

Both present Machault's polyphonic Ordinary as set into the Gregorian Proper
(Parrott, the Proper of the Feast of the Nativity of the Virgin while the other
guys chose the Proper of the Feast of the Assomption of the Virgin), and
I invite comments on the _whole_ realization, not only on that of the part
written by Machault (incidentally I like that feature of embedding the
Ordinary into the Proper very much, on esthetic grounds, but anyway, I'm
solliciting comments here, not giving them) 

I'd appreciate also very much comments on any other recording of the Mass
_within the Proper_ you might know of.
From: "elliott chapin" <elliott.chapin@canrem.com>
Newsgroups: rec.music.early
Subject: singing early music
Date: 22 Aug 92 14:55:01 EST
Reply-To: "elliott chapin" <elliott.chapin@canrem.com>
Distribution: rec
Organization: Canada Remote Systems

DJ>A voice without vibrato
DJ>by definition is a more tensely produced sound and will have intonation

   ^^^^^^^^^^^^  ????

DJ>problems.

Illogical nonsense! (IMO ;-))  A loud vibratoless sound *is* more likely
to be tense.  Vibrato (if it involves pitch change, as it usually does)
*is* an intonation problem.  The catch is that imprecision becomes
more obvious.  And precise intonation is not always the most important
musical value.

Elliott Chapin
---
  DeLuxe 1.12 #4315  elliott.chapin@canrem.com
--
Canada Remote Systems  - Toronto, Ontario/Detroit, MI
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.early
Subject: RE: Singing Early Music
From: DANIELB@DEPAUW.BITNET
Date: 18 Aug 1992 21:20:10 -0500
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
Content-transfer-encoding: 7BIT

I am very interested on this subject and a bit opinionated without a researched
background on the subject.  I know I prefer pure sound or the voice, esp. that
of a male soprano or a treble.  Granted, there are places where it sounds nice:
Kirkby and the Tavnor Concort (name?) and their recording of Purcell's " Dido
and Aeneas " comes to mind.  I believe it is the best recording I have heard
yet.  I is so wonderfully pure.  I can't help but think the heavy vibrato
would be more appropriate in the late Classical and afterwards, esp. Opera.
I wish I could take time to research it a bit more, but I know what I find
pleasing with Early Music.  If the vibrato is too heavy, then the text is not
understood and then the Council of Trent would come again. . . .  Maybe some
authority on the subject could educate me a bit more on the subj.  I would
love to know more.  Maybe I would listen with different ears.
Newsgroups: rec.music.early
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: madrigal (?) source
Organization: The Ohio State University
Date: Thu, 13 Aug 1992 19:42:32 GMT

There is a quattain which I have been unable to trace which appears in some 
historical novels by Dorothy Dunnett.  In these novels it appears as a verse in
a madrigal.  I have haunted the Ohio State University music library trying to 
find the madrigal from which it comes.  Can anyone out there help me.  Here is 
the verse:

Tant que je vive, mon cueur ne changera
Pour nulle vivante, tant soit elle bonne ou saige
Forte et puissante, riche de haulte lignaige
Mon chois est fait, aultre ne se fera.

Thanks for any help you can give!!

Michael Valinis
-- 

+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+
=>   Michael J. Valinis     +{*}+     mvalinis@magnus.acs.ohio-state.edu   <=
=>       "The chief objection to playing wind instruments is that it       <=
From: rscott@CWIS.UNOMAHA.EDU (Richard Scott - Metro CC)
Newsgroups: rec.music.early
Subject: RE: Singing Early Music
Date: 18 Aug 92 11:39:42 GMT
Article-I.D.: cwis.9208182139.AA26974
In-reply-to: <no.id>; from "Jill Hollifield" at Aug 18, 92 7:20 pm
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]

>
> I am a vocalist (soprano) with 10 years of operatic training.  My voice is
> quite light, but I have a heavy natural vibrato.  I am interested in
> auditioning for some early music choral groups in my area, and my question
> is:  Is it necessary to have that pure, vibrato-less, "white" sound to
> produce an authentic early choral music sound?  Any thoughts from other
> singers, conductors, historians, or just interested/opinionated listeners
> would be greatly appreciated.
>
> Thanks!
>
While I don't believe that vibrato-less singing is the ideal, a heavy vibrato
will definitely not sound authentic.  Vibrato was not unknown in early music,
just used more sparingly and in a lighter style.  IMHO, what you want is a
light, nimble vibrato and the knowledge of when and where to use it.
Just my $0.02.
 
Regards
 
Richard Scott
Metropolitan Community College
Newsgroups: rec.music.early
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Re: help with Monteverdi
Organization: Massachusetts Institute of Technology
Date: Fri, 14 Aug 1992 20:57:18 GMT

Considering that Cuenod was singing at the Met (yes, albeit a "minor" role) just
a few years ago, 1967 was not necessarily at the end of his career. I heard him
sing a few times here in Boston since the early 1970s, and it was amazing how he
sounded (and looked) so much younger than he was - he was in his 70s.
And Bressler would have still been in good form in the mid-60s. The other names
are not known to me, except for Fuller. Listen carefully to the harpsichord and
try to tell if it sounds like a true historically-based instrument with resonance
(not the sort of dry thud of the 20th C. style instruments Fuller would have
played prior to the 60s). The same with the lute.
Newsgroups: rec.music.early
From: jill@gopher.ccbr.umn.edu (Jill Hollifield)
Subject: Singing Early Music
Organization: University of Minnesota, Minneapolis
Date: Tue, 18 Aug 1992 19:20:10 GMT

I am a vocalist (soprano) with 10 years of operatic training.  My voice is
quite light, but I have a heavy natural vibrato.  I am interested in
auditioning for some early music choral groups in my area, and my question
is:  Is it necessary to have that pure, vibrato-less, "white" sound to
produce an authentic early choral music sound?  Any thoughts from other
singers, conductors, historians, or just interested/opinionated listeners
would be greatly appreciated.

Thanks!
Newsgroups: rec.music.early
From: perkins@MSUPA.PA.MSU.EDU
Subject: Re: Basse dance:  La brosse
Reply-To: perkins@MSUPA.PA.MSU.EDU
Organization: MSU Dept. of Physics & Astronomy
Date: Fri, 14 Aug 92 08:44:30 GMT

In article <EPDI19.920813103045@portland.maine.EDU>, EPDI19@PORTLAND.BITNET 
(Robert Filgate) writes:
>Is there a performance edition of the basse dance "La Brosse" which appears
>in one of the sets of dances published by Pierre Attaingnant?  I would
>appreciate any suggestions.  Bob

Track 7, Calliope Dances - A Renaissance Revel, Nonesuch Digital 9 79039-2
(released in 1982).

-- G J Perkins,  perkins@msupa.pa.msu.edu
From: rmb@cunyvms1.gc.cuny.edu (Robert Braham)
Newsgroups: rec.music.early
Subject: Re: madrigal (?) source
Date: 19 Aug 92 17:05:45 GMT
Reply-To: rmb@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036

In article <1992Aug13.194232.10764@magnus.acs.ohio-state.edu>, mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis) writes:
>There is a quattain which I have been unable to trace which appears in some 
>historical novels by Dorothy Dunnett.  In these novels it appears as a verse in
>a madrigal.  I have haunted the Ohio State University music library trying to 
>find the madrigal from which it comes.  Can anyone out there help me.  Here is 
>the verse:
>
>Tant que je vive, mon cueur ne changera
>Pour nulle vivante, tant soit elle bonne ou saige
>Forte et puissante, riche de haulte lignaige
>Mon chois est fait, aultre ne se fera.
>
>Thanks for any help you can give!!
>
>Michael Valinis
>-- 
>
Sermisy?  (Tant que vivray?)--
"Chois est fait" is interesting as hell: chos fait==res facta . . . .
Do you know the Lincoln index to madrigal verse?

Robert Braham
Bitnet:   RMB@cunyvms1.bitnet
Internet: RMB@cunyvms1.gc.cuny.edu
Newsgroups: rec.music.early
Subject: Re: More folksy/early stuff
From: darsie@eecs.ucdavis.edu (Richard Darsie)
Date: 13 Aug 92 16:34:44 GMT
Organization: University of California, Davis

In article <92225.071917LIBRBA@BYUVM.BITNET>, LIBRBA@BYUVM.BITNET writes:
> 
> 
>   On the subject of early music/folk music fusion...

The Ashland Shakespearean Festival in Oregon has put out several
recordings of Elizabethan music in a decidedly "street music" vein.
It's not the kind of polished performance that you'll hear from the 
big recording "stars", but it's a lot of fun - and also probably
closer to the musical experience of the "average citizen" of 
Elizabeth's England than complex 5- or 6-part consort music was.

Richard