By Margaret Bent
Musica ficta is the perform of sprucing or pulling down sure notes to prevent awkard durations in medieval and Reniassance track. This assortment gathers Margaret Bent's influential writings in this debatable topic from the earlier thirty years, besides an intensive author's creation discussing the present country of scholarship and responding to critics.
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Additional info for Counterpoint, Composition and Musica Ficta (Criticism and Analysis of Early Music)
In 1987, Keith Mixter contributed a disappointing article on this term to the Handwörterbuch der musikalischen Terminologie. Apart from a simple duplication of his first paragraph, he lists only six compositions with solus tenor (out of the two dozen he mentions), and of those, two are not in any case solus tenors proper but examples of quite different phenomena (a solus contratenor and a tenor ad longum); his listing is less complete than that of the earlier articles by Shelley Davis. He writes: M.
Compositional techniques, written and oral constraints: Chapters 7–11 Notational translation, textual status In my position paper for a conference at Cremona in 1992 (“The Limits of Notation in Defining the Musical Text”), I tried to come to terms with a particular problem central in the editing and textual criticism of early music, namely the textual status of implicit but unwritten elements whose notation is not required by the old and different notational system but is needed in modern transcriptions.
1987: 44) Berger attacks my “radically relative” view of pitch as separate not only from an absolute pitch standard but also as potentially separate from a relatively established 002 intro p. 2nd rev Introduction 5/17/02 12:19 PM Page 21 21 standard (1987: 161–67, 43–47, 167);20 Urquhart charges me with adopting “the concept of an abstract counterpoint not fully specified as to pitch content by the composer” and believing that “composers did not write music with precise intervallic relations in mind”(1993: n.