Description
Book SynopsisA great majority of European music written before 1750 is for voices but remains understudied and underperformed. It includes music for groups of voices and solo voices, with and without instruments, music for the church and the theater, for the court and the chamber, as well as music in different languages and with different national styles. In So You Want to Sing Early Music, Martha Elliott introduces this remarkably rich and varied repertoire within a historical context for the 21st century singer. Focusing on music from the 17th and early 18th centuries, this book offers guidance on style and ornamentation, working with vocal and instrumental colleagues, reading manuscripts and edited editions of scores. Elliot shares advice for how to handle the different kinds of early music performance situations in which singers might find themselves, as well as where to find workshops and performance opportunities. Equally helpful to the classically trained solo singer or amateur choral singer, So You Want to Sing Early Music will allow them to broaden their repertoire and build their stylistic toolbox. Additional chapters by Scott McCoy and Wendy LeBorgne address universal questions of voice science, pedagogy, and vocal health,. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Early Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.
Trade ReviewTaking on the complex and often confusing subject of early music performance and practice, Martha Elliott has written an invaluable resource for singers, teachers, and coaches alike. This book is both a terminal resource and a jumping off place for continued exploration of this vast musical treasury. -- William Burden, voice faculty, Mannes College of Music and The Juilliard School
This is an essential volume for singers, teachers, and even conductors of early music at any level. Packed with information, suggestions, resources, and illustrative examples—and invaluable bonus chapters—it clearly and comprehensively delineates the many musical and practical considerations this enticing repertoire compels us to make. -- Ryan Brandau, artistic director, Amor Artis, Princeton Pro Musica, and Monmouth Civic Chorus
Table of ContentsChapter 1 – Historical Overview of the Repertoire Chapter 2 – Singing and Voice Science, Scott McCoy Chapter 3 – Vocal Health for the Early Music Singer, Wendy LeBorgne Chapter 4 – Grandfathers of Voice Pedagogy Chapter 5 – Elements of Baroque Style Chapter 6 – It’s All Chamber Music Chapter 7 – Know the Score Chapter 8 – Using All the Tools Appendix A – So You Want to Be a Consort Singer?, Gabriel Crouch Appendix B – Singing with Players, Mary Benton, Patricia Hlafter, Judith Klotz & Amy Warren Appendix C – Approximating the Past, Jamie Reuland
