“Ornamentation in sixteenth-century Iberian music for ‘tecla, harpa, y vihuela’: Quiebros, redobles and glosas”. Aspects of the historical harp: Proceedings of the International Historical Harp Symposium, Utrecht 1992. Utrecht: Stichting voor Muziekhistorische Uitvoeringsprakijk, 1994. 53-71.
Previous Next| Publication type | Year | ISBN/ISSN | Bibliog code |
|---|---|---|---|
| Article: book | 1994 | ree1994 |
Several 16th-c. Iberian music collections feature pieces for tecla, (h)arpa, and vihuela, which seem to have been used in consort. The word «tecla» referred to either the organ or the monachordio (the name used for the clavichord). In the 16th c. three main types of composition were played on these instruments: music composed with borrowed vocal material, music based on dance melodies, and music specially made for the instrument without utilizing existing vocal or dance compositions. It was up to the player to decide whether ornaments should be used in these compositions. Plain settings in long note values were the most appropriate compositions for transformation into fantasias, a genre that the theorist Tomás de Santa María assigned to instrumental variations on polyphonic settings of popular songs or dances, often ornamented with «quiebros», «redobles», and «glosas») or «diferencias». (Blazekovic, Zdravko) RILM ID: 1994-11385-as
Composer
Instrument VIHUELA, HARP, KEYBOARD
Century 16CENT
Region SPAIN
Medium
Music genre
Research field MUSIC, REPERTORY & STYLE, PERFORMANCE PRACTICE