早期音樂演唱演奏

歷史資料考證的演出 historically-informed performance

Authentic performance compared to traditional

musical practice
Most authentic performance artists would not advocate authenticity for its own sake, but
rather as a way of achieving more artistically effective performances of older music. It is
felt that the gradual changes in the construction of instruments and in the training of
musicians have produced instruments and styles that are optimal for (roughly) mid to late
19th-century music, but not for older work.
In the community of classical musicians, students have over the centuries learned ways of
playing and interpreting music from their teachers and also from performances they hear.
This results, to some degree, in stylistic accretion, as modes of performing developed by
outstanding musicians are echoed through time in the performances of the younger
musicians that they influenced. Thus, the way that music is performed is in part a function
of the musical culture as it has evolved up to that time.
The authentic performance movement emphasizes instead historical scholarship, covering
both instruments and performance practice, in order to obtain a more direct view of
original performance practices. Such scholarship is the work both of the performers
themselves and of non-performing specialist scholars, usually working in universities.
Adherence to principles of authentic performance is not an all-or-nothing matter. Many
traditional musicians are deeply interested in what scholarship can tell us about how music
was performed in the composer's time. Moreover, modern instruments can be played in
ways that approximate to some degree what can be achieved on instruments of the
composer's day.
[edit]

Early instruments
Many of the instruments of early music disappeared from widespread use, around the
beginning of the Classical era. Others continued in use, but greatly altered their sound
quality and playing characteristics in the course of the 19th century. In either case, when
older instruments, or reconstructed versions of them, are used, they are called original
instruments or period instruments. The discussion below (see also Organology) covers
instruments that had to be revived entirely, followed by instruments whose earlier form
was rediscovered.
[edit]
Harpsichord

Among keyboard instruments, the most dramatic disappearance was that of the
harpsichord, which gradually went out of style during the second half of the 18th century.
Many harpsichords were destroyed–notoriously, they were used for firewood in the Paris
Conservatory during Napoleonic times. Composers such as William Byrd, François
Couperin, and J. S. Bach wrote for the harpsichord and not the piano, which was invented
ca. 1700 and only widely adopted by about 1765. The music of these composers sounds
very different, and requires a different interpretive approach, when played on the
harpsichord instead of the piano. Notably, since every note on a harpsichord is equally
loud, subtle variations of timing and articulation, as well a judicious use of ornamentation,
are employed to achieve an expressive harpsichord performance.
The harpsichord was revived in the first half of the twentieth century by Wanda
Landowska. Since most useful knowledge of harpsichord construction had been lost by
that time, Landowska needed to use a rather peculiar harpsichord, based on the modern
grand piano, which was made for her by the Pleyel company of Paris. In the view of many
later listeners, the tone of this harpsichord was not very successful. Later, harpsichord
builders learned to make better instruments by following the procedures of the harpsichord
builders of long ago. The revival of the authentic harpsichord began in the 1950's, with the
work of the builders Frank Hubbard and William Dowd. Today, harpsichords in the style
of the old makers are produced in workshops around the world.
[edit]

Viol

The viol (also called the viola da gamba) is a stringed instrument that (in its bass version)
roughly resembles a six-stringed, fretted cello. Its tone is more delicate than a cello's,
noble and resonant in the deeper notes and somewhat nasal and astringent in the upper
range. The viol was largely abandoned by the end of the eighteenth century. Previously, a
great literature for it had been created by composers of the Renaissance and Baroque eras,
including William Byrd, William Lawes, Henry Purcell, Marin Marais, and J. S. Bach. The
Elizabethan composers wrote complex polyphonic music for viol consort, which combined
viols of three sizes (all held vertically): the bass, the tenor (about the size of a guitar), and
the treble (about the size of a viola). Among the foremost modern players of the viol are
Wieland Kuijken, Jordi Savall and John Hsu.
[edit]

Recorder
The recorder is a wind instrument, made of wood. Its tone is similar to the flute, but it is
played by blowing through the end, rather than by blowing across a soundhole. Like viols,
recorders were made in multiple sizes (bass, tenor, alto, soprano, and the tiny sopranino).
Handel and Telemann wrote solo sonatas for the recorder, and recorders were often played
in consorts of mixed size, like viols. For a number of important modern exponents of the
recorder, see Recorder player.
[edit]

Other instruments

Other instruments that ceased to be used around the same time as the harpsichord, viol,
and recorder include the lute, the viola d'amore, and the baryton. Instruments that lost
currency rather earlier in musical history include the cornett, the serpent, the shawm, the
rackett, the krummhorn, the theorbo, and the hurdy-gurdy.
[edit]

Changed instruments

Even the instruments on which classical music is ordinarily performed today have
undergone many important changes since the 18th century, both in how they are
constructed and how they are played.
Stringed instruments (the violin, viola, cello, and double bass) were made with
progressively longer necks and higher bridges, increasing string length and tension. For the
top E string of the violin, steel instead of gut is now ordinarily used. The result has been a
more powerful and penetrating tone–but, perhaps, also a less sweet one. The most prized
stringed instruments of today, made by Antonio Stradivari and by the Guarneri family in
17th-18th century Italy, started out their careers as "early instruments". They were
modified in the 19th century to achieve the more powerful modern sound.
In modern string playing, a more or less constant vibrato is the norm, with lack of vibrato
used as a special expressive effect. In the 18th century, it was just the opposite, with
vibrato serving as an ornament.
The oboe likewise became more powerful in its sound, but as a result lost a certain amount
of its character; it might be said that 18th century oboes sound more "oboelike" than their
modern equivalents. A similar difference is found between the early and modern bassoon.
The flute of the 18th century was typically made of wood rather than metal, and likewise
had a gentler but more characteristic "woody" tone.
Early brass instruments were slightly less brilliant than their modern equivalents. The tonal
difference is perhaps less than is found among the woodwinds and strings. However, the
playing of early trumpets and horns was very different and indeed much more difficult,
since versions of these instruments incorporating keys or valves were only invented around
the end of the 18th century. The players of the earlier type of instrument had to use mostly
just lip control to determine pitch; the early horns also had their pitch altered by the
placement of the player's hand in the bell. Anthony Halstead is widely considered to be
among the finest modern exponents of the "natural horn". The earlier trombone of course
offered manual pitch control, as did its similar predecessor the sackbut.
The effect of these instruments in their original form is particularly noticeable when they
play together in orchestras, since not only do the musical lines sound different, but their
relationship to one another is altered by the difference in relative volume (wind
instruments generally being louder relative to the strings). A number of authentic-
performance orchestras have achieved a broad following, notably the Academy of Ancient
Music under the direction of Christopher Hogwood, Taverner Players under the direction
of Andrew Parrott and the English Baroque Soloists under John Eliot Gardiner.
For the piano, the difference between 18th century and modern versions is probably
greater than for any other instrument; for discussion of these differences and their
consequences for performance, see the Wikipedia article on the piano. The construction of
replica 18th century pianos came somewhat after the revival of the authentic harpsichord,
but used many of the same skills, since early pianos resembled harpsichords in their
construction. Leading modern-day performers on the early piano or fortepiano include
Malcolm Bilson, Robert Levin, and Melvyn Tan.

Singing

The human voice is a biological given, but can be trained in different ways. Singers in
authentic performance typically aim at a more natural, less loud tone, usually with less
vibrato. It is feasible for the singer not to sing so loud, since the instruments playing at the
same time are softer. Listeners to early music seldom complain that the singers are
"shrieking" or "barking"–though of course this does not exclude the possibility that quite
different vocal problems might be present. A few of the many outstanding singers who
have contributed to authentic performance are Emma Kirkby, Julianne Baird, Nigel
Rogers, and David Thomas.
Authentic performances sometimes use male singers, called countertenors, to sing alto
parts. Although it is often a vexed question how often this was done in early performance,
a number of countertenors have won acclaim for their purity of tone, vocal agility, and
interpretive skill. Modern countertenor singing was pioneered by Alfred Deller, and
leading contemporary performers include David Daniels, Derek Lee Ragin, Andreas
Scholl, Michael Chance, Drew Minter, Daniel Taylor, and Brian Asawa.
One vexing problem concerns compositions intended to be sung by castrati. Modern
substitutions employ female sopranos or high countertenors (known as sopranistas), but
neither of those seems to capture the true effect of the castrato sound. The 1994 movie
Farinelli Il Castrato, about an 18th-century castrato, used digital effects to create the voice
by mixing the sound of a countertenor with a soprano singer

Medieval music has found increased popularity of late partly because of its ability to relax
or soothe the listener. This idea has been a factor in the explosive sales of the Chant CD as
well as of other classical best sellers of more modest proportion.

Among these discs have been:

Hildegard von Bingen: 11,000 Virgins

Anonymous 4
Harmonia Mundi USA 907200
Perotin
Hilliard Ensemble
ECM "New Series" 1385
In fact, medieval albums from such groups as Anonymous 4 and Sequentia routinely lead
general "classical" sales figures, making medieval music one of the few growth areas in
the record industry.
Record labels and various marketing initiatives have been quick to seize upon the
"tranquil" impression of medieval repertory, such as in the following reissue collection:
Chill to the Chant
The Magic of Gregorian Chant
Sequentia / Schola Cantorum Basiliensis
Deutsche Harmonia Mundi 62666
However, the more inquisitive listener can find a wealth of details and subtlety behind this
surface appreciation. One thing to understand is the nature of "chant" and how it relates to
some of this other repertory, as mis-labeled in the above collection.
Chant, or what is sometimes called Gregorian chant or simply "plainchant" by scholars is
an unaccompanied melody with sacred Latin lyrics made for Church services during the
medieval era. Although it is not uncommon for more than one singer to sing the same
melody in plainchant, once they begin singing a different melody or accompaniment, it is
no longer properly chant, but rather polyphony of some kind. So, for instance, most of the
tracks on "Chill to the Chant" and some other collections are actually polyphony.
France was the center of many of these developments, and polyphony was frequently
written down there from the 1100s onward. During that time, there was also a new
emphasis on Latin melody outside the bounds of the liturgy itself. Latin songs of this sort
might be called "chant" when they are not polyphonic, but they do differ somewhat in
genre from the core service music. This is the style into which Hildegard von Bingen
(c.1098-1179) fits.
Hildegard's music has become central not only to the explosion in the popularity of
medieval music, but also to the idea of relaxing & healing music in general. Although it
can become too easy to chide the general public and the record companies for flocking to
the "chant phenomenon" and the idea of medieval music as tranquil, it is also clearly true
that music can have a beneficial effect on the listener. Hildegard explored this idea rather
thoroughly for the time, and produced an abundant output of uplifting melodies. Some
other recordings:
Emma Kirby .pure voice, no vibrato, celestial

Early instrument: lute, viol, 乾淨的聲音, 沒有抖音, 較小音量

Vibrato 聲音的裝飾, 快慢與幅度 決定了情感的因素, 聲樂家的處理, 音量的大小,

歌劇的處理, 戲劇誇張, 充滿感情, Italy 的熱情

對於基督教音樂

消逝的傳統
consort, figured bass, 即興,

1. Confiterbor tibi, Domine (Psalm 110)

Selva morale e spirituale

Composed by Claudio Monteverdi
Performed by Parley of Instruments with Emma Kirkby
Conducted by Roy Goodman, Peter Holman

你們要讚美耶和華！我要在正直人的大會中，並公會中，一心
稱謝耶和華。

2耶和華的作為本為大；凡喜愛的都必考察。

3他所行的是尊榮和威嚴；他的公義存到永遠。

4他行了奇事，使人記念；耶和華有恩惠，有憐憫。

5他賜糧食給敬畏他的人；他必永遠記念他的約。

6他向百姓顯出大能的作為，把外邦的地賜給他們為業。

7他手所行的是誠實公平；他的訓詞都是確實的，

8是永永遠遠堅定的，是按誠實正直設立的。
9他向百姓施行救贖，命定他的約，直到永遠；他的名聖而可
畏。

10 敬 畏 耶 和 華 是 智 慧 的 開 端 ； 凡 遵 行 他 命 令 的 是 聰 明 人 。 耶 和
華是永遠當讚美的！

2. Now Hath Flora Robbed Her Bowers

Composed by Thomas Campion

Performed by Consort of Musicke with Emma Kirkby
Conducted by Anthony Rooley
Now hath Flora rob'd her bowers
To befrend this place with flowers :
Strowe aboute, strowe aboute.
The Skye rayn'd neuer kindlyer Showers.
Flowers with Bridalls well agree,
Fresh as Brides, and Bridgromes be :
Strowe aboute, strowe aboute ;
And mixe them with fit melodie.
Earth hath no Princelier flowers
Then Roses white, and Roses red,
But they must still be mingled :
And as a Rose new pluckt from Venus thorne,
So doth a Bride her Bride-groomes bed adorne.

Diuers diuers Flowers affect

For some priuate deare respect :
Strowe about, strow about,
Let euery one his owne protect ;
But hees none of Floras friend
That will not the Rose commend.
Strow about, strow about ;
Let Princes Princely flowers defend :
Roses, the Gardens pride,
Are flowers for loue and flowers for Kinges,
In courts desir'd and Weddings :
And as a Rose in Venus bosome worne,
So doth a Bridegroome his Brides bed adorne.

3. Stript Of Their Green Our groves Appear

Composed by Henry Purcell

with Emma Kirkby, Anthony Rooley

4. Voglio di vita uscir

Composed by Claudio Monteverdi

with Emma Kirkby, Anthony Rooley

5. Piangono al pianger mio

Composed by Sigismondo d' India

with Emma Kirkby, Anthony Rooley

6. Flow Not So Fast, Ye Fountains 噴泉, 別流的太快

7. Foy Porter

Composed by Guillaume de Machaut

with Emma Kirkby

8. Columba aspexit

Composed by Abbess Hildegard of Bingen

Performed by Gothic Voices with Emma Kirkby
Conducted by Christopher Page

9. Sheep May Safely Graze 羊群可安心吃早

Cantata No. 208, 'Was mir behagt, ist nur die muntre Jagd' (Hunt Cantata)
Composed by Johann Sebastian Bach
Performed by Parley of Instruments with Emma Kirkby
Conducted by Roy Goodman
10. Time Stands Still 時間靜止

Third and Last Book of Songs or Aires

Composed by John Dowland
with Emma Kirkby, Anthony Rooley

11. Diana

Le musiche I
Composed by Sigismondo d' India
with Emma Kirkby, Anthony Rooley

12. Quel squardo sdegnosetto That haughty look brightly threatening

Composed by Claudio Monteverdi

with Emma Kirkby, Anthony Rooley

13. Maledetto sia l'aspetto Curse be that look

14. The Lark 雲雀

Composed by Henry Lawes

Performed by Consort of Musicke with Emma Kirkby
Conducted by Anthony Rooley

15. Move Now With Measured Sound

Composed by Thomas Campion
Performed by Consort of Musicke with Emma Kirkby
Conducted by Anthony Rooley

Move now with measured sound,

You charmed grove of gold,
Trace forth the sacred ground
That shall your formes vnfold.

Diana and the starry Night for your Apollos sake

Endue your Siluan shapes with powre this strange delight to make.
Much ioy must needs the place betide where trees for gladnes moue :
A fairer sight was nere beheld, or more expressing loue.

Yet neerer Phoebus throne

Mete on your winding waies,
Your Brydall mirth make knowne
In your high-graced Hayes.

Let Hymen lead your sliding rounds, and guide them with his light,
While we do Io Hymen sing in honour of this night,
Ioyne three by three, for so the night by triple spel decrees,
Now to release Apollos knights from these enchanted trees.

16. Sharp Thorns Despising

Composed by George Frideric Handel

Performed by London Handel Orchestra with Emma Kirkby
Conducted by Denys Darlow

17. Sich tiben im Lieben

Cantata No. 202, 'Weichet nur, betr te Schatten' (Wedding Cantata)
Composed by Johann Sebastian Bach
Performed by Taverner Players with Emma Kirkby, David Reichenberg
Conducted by Andrew Parrott
18. You Meaner Beauties Of The Night

Composed by Michael East

Performed by Consort of Musicke with Emma Kirkby
Conducted by Anthony Rooley

Wobble vs Vibrato

I am a singer and a student of singer, not a teacher of singing, but....The human voice
produces a sound that varies in pitch, even when one is trying to sing a particular tone.
When the variation is fast and slight, thus staying within the proper pitch as perceived by
human hearing, this is experienced as good intonation. Without at least some slight
vibrato, many people will perceive the tone to be lifeless and perhaps flat. One hears this
sound in vocal music of the Renaissance or Middle Ages where a "straight tone" is often
employed. When the variation in pitch slows down and becomes larger (greater variation
between the upper and the lower frequency) this is what we call a wobble. Most people
find this sound unpleasant, out of tune, even comical. Bert Lahr, for example, relied on a
huge wobble in his singing to get laughs. The difference between an acceptable vibrato
and an unpleasant wobble is a matter of degree or range on a spectrum. There are devices
that can precisely measure these pitch variations.What causes vibrato and its ugly cousin
the wobble? Breath support or the lack thereof. As the breath makes the vocal cords
vibrate, there is a natural variation in the pitch which is produced. A relaxed throat and
strong breath support will produce a fast, small vibrato, as can be heard in the recordings
of Caruso. When the throat is tight and the breath support is inadequate to support the
voice, the result is a wobble, as can often be heard in the singing of elderly vocalists. In
my opinion, Callas developed a wobble after c. 1954-55 because of a loss of breath
support associated with her significant weight loss. After the weight loss Callas did not
ahave the muscular strength to produce her voice as she had when she weighed over 200
pounds. (You do not have to be fat to sing well.) In recordings made when she was heavy,
one can hear her reinforcing the tone after she attacks, for example, a high E flat. After the
weight loss she could not do this as well and the wobble gradually emerged. High notes
take much more breath support than notes from the middle range and the wobble is
therefore most common at the top of the range. As the body ages, it is common for breath
support to diminish gradually and this causes the wobble in older singers.Jake Drake
假嗓男高音

Voice Definitions and Ranges

This note tries to clarify the meanings and uses of the names given to high-pitched male
voices (counternors, haute-contres, altists, castrato). A good deal of confusion comes from
the fact that we, today, use these labels to 代表人聲類別 voice types, whereas 同時在歷
史上, 曾是聲部名 the same labels were used for voice parts at the time.
起初... 複調音樂時期三聲部的曲子的各聲部,分別為: superius or discantus, tenor,
and contratenor. 意義為何呢? Before polyphony, sacred music consisted of plainchant.
When another voice was added to the monophony in the 13th c., the part which "held"
(Latin tenere) the cantus (chant) line was called tenot, while the voice added above it was
called superius (Latin super=above). Then another part was added in the 14th c., written in
counterpoint against the tenor line and in the same range, 因此 命名為 contratenor. The
tenor and contratenor are both more active, though not as florid, as the cantus part (which
is higher), and the tenor is written first.
Then, about 1450, the contratenor split in two parts: the contratenor altus and contratenor
bassus (Latin for "high" and "low" respectively) and the simple term "contratenor"
dropped out of use, at least on the continent, in the 16th c. The contratenor altus was
usually a little above the tenor, and overlapped in range with it, while the superius
remained above and the contratenor bassus was below. In the 16th and 17th centuries the
ranges of voices became more stratified, and the range of the contratenor altus, or altus,
moved higher.
At the same time, the vocabulary changed, and was adapted from Latin to the local
language. In Italy, contratenor altus became contralto or (more often) alto. In France, the
term haute-contre was adopted. In England, the word became countertenor. They all meant
the same thing, that is, a line of polyphony between cantus (canto, soprano) and tenor
(teneur or taille in French), usually written in a clef a 3d apart from the tenor. Over time,
as I said, the range of the alto moved up, to f-c'' sometimes, from c-g' where the tenor was.
It is important to note that, at this stage, the labels refer to parts, not voice types. Who sang
the part of countertenor in the 16th-17th centuries? There were 5 possibilities:
 a man with a high natural voice. those were rare, and prized; it is claimed that
most haute-contres in France sang in their natural voice in the e-c'' (sometimes c-
c'') although occasionally using falsetto at the top of the range.
  a falsettist: a natural tenor, barytone or bass singing falsetto in the alto range.
Falsetto singing is a technique involving the vocal chords vibrating at a shorter
length than usual. The term was common in the 16th c., and equated with "voca di
testa" as opposed to ordinary chest voice.
 a boy alto: this again is rare, as most boys are sopranos.
 a castrato with a lower range, common only among Italian singers of the 17th-18th
c. Most alto parts were given to falsettists or "high tenors" (category 1), and
soprano parts to castrati; but, "to avoid confusion" falsettists were often called
"alti" or "voci naturali" to distinguish them from castrati singing alto.
 a female contralto, late in history because of the church's prohibitions. Only after
castrati had disappeared and women replaced falsettists did the term contralto
become reserved, at least in some languages, to women, as opposed to male alto in
English, meaning either a boy or a falsetto. That distinction is not always made,
however, especially in America where, absent the falsetto tradition, there was not
much to be distinguished.

The French haute-contre became a fixture of French Baroque opera. It used to be thought
that the haute-contre was a falsetto, but that was before anyone actually performed French
baroque opera in a historically informed manner. It is really a light tenor with a good
balance of registers. The famous 18th c. haute-contre Jelyotte sang from f to d'', while
Legros reached eb''. The term fell in disuse in the early 19th c., as the Italian terminology
replaced the French one. Current examples of haute-contres are Howard Crook, Jean-Paul
Fouchecourt, Guy de Mey, Gilles Ragon, John Elwes, Philip Langridge, John Mark
Ainsley, Paul Agnew, Rogers Covey-Crump.
Castrati first appear in the late 16th century in Spain, but the practice of castration to
obtain fine voices took root mainly in Italy, where it remained until the mid-19th century.
Castrati were basically employed as substitutes for boys to sing the high parts in sacred
polyphony; at least, that is where most castrati found employment. But, with the
development of Italian opera in the second half of the 17th century, a new career opened
itself. The castrati reigned supreme over 18th century Italian opera, which was written and
performed in England, Spain and Germany as well. The best castrati had international
careers and commanded phenomenal fees. Among the most famous were Senesino,
Gizziello, Caffarelli, Carestini and Farinelli. Castrati were classified according to their
range, into sopranistas, mezzo-sopranistas and altistas. Their dominance came to an end
around 1800, and while Beethoven and Rossini had castrati sing some of their music, the
last castrato to appear on stage retired in the late 1820s. Castrati continued to sing sacred
music in Italian chapels until Popes finally banned the practice. Only one castrato was ever
recorded: Alessandro Moreschi (1858-1922), lead singer of the Sistine Chapel in Rome,
was recorded in 1902 and 1904. The recordings are available on Opal 9823.
In England, the falsetto tradition remained for a long time, and was brought to the for of
the musical scene by Alfred Deller (a natural baritone) in the 1940s and 1950s. He, in
consultation with Michael Tippett, decided to use the term countertenor to denote his
voice, and the term has since come to mean any male alto, possibly a boy or high tenor
(types 1 and 3) but normally a falsettist since that tradition remained. Only recently have
there been attempts to distinguish between male altos, understood to be falsettists (type 2)
and countertenors, that is, type 1. It does not help, of course, that some people insist on
using the term male alto for non-falsetto singers (that is, type 1).
But is there really a difference between 1 and 2, high tenors and falsettists? Tenors found a
professional advantage in cultivating the uppermost range of their voices, and became
adept in moving back and forth from falsetto to natural tone with little or no break: it is
therefore difficult at times to determine whether a certain singer is type 1 or type 2.
Moreover, Ardran and Wulstan in a 1967 paper using radiographic evidence, have claimed
that both types produce their voices by exactly the same physiological means. So there
might really be no clear distinction between the two anyway.
The following table displays the ranges of voices (18th-19th c.). The ranges for French
voices come from a plate in Diderot's Encyclopédie from the 1750s. The castrati ranges
com from Franz Haböck: Die Kastraten und ihre Gesangskunst, 1927. The rest (modern
ranges of soprano, mezzo, tenor, barytone and bass) is from Grove's Dictionary.
Of course these ranges only represent averages, and there is the added problem that the
castrati ranges come from contemporary evidence, and it is not clear what pitch people
were thinking of when naming ranges, so you may have to move the ranges down a
semitone or two.

G A B c d e f g a b c' d' e' f' g' a' b' c''d''e''f''g''a''b''c'''d'''

haut-dessus - ---------------------------- -
bas-dessus - ---------------------------- -
soprano -------------------------------------
mezzo -------------------------------------
- --------------------------- - haute-contre
- ---------------------------- - haute-taille
- ---------------------------- - taille
------------------------------------- tenor
- ------------------------------- - basse-taille
------------------------------------- barytone
---------------------------------- - basse-contre
<------------------------------------ bass

Castrati:

G A B c d e f g a b c' d' e' f' g' a' b' c''d''e''f''g''a''b''c'''d'''

Sopranists:
Farinelli----------------------------------------------------------------------
Gizziello ---------------------------------------------
Aprile, Mustafa ------------------------------------------------
Saletti ------------------------------------------------------
Caffarelli -----------------------------------------
Salimbeni, Bindi --------------------------------------------------------
Nicolini ---------------------------------------
Moreschi ------------------------------------------
Carestini ---------------------------------------------
Altists:
Senesino,Pacchiarotti---------------------------------------------
Marchesi -----------------------------------------------------------
Orsini ------------------------------------------------
Rubinelli-----------------------------------------------------

François R. Velde

Supplementary Remarks

All I can think to add is that the English term "treble" seems to derive from the Latin
"triplum", used in 13th century (and later) motets to indicate the third (and, incidentally,
highest in range) part. The first two voices of a motet, from the bottom up, are the tenor
and motettus, a french term meaning "the part with the words (mots)"
Also, I don't think "superius" was used as early as François suggests -- I've never seen it
before ca. the 15th century. However, the terms that were used to describe the part written
in counterpoint against the chant-bearing tenor soon died out, so perhaps it's better not to
confuse the situation by discussing them!
I would also add that the "Contra" in Contratenor is the same word as the "counter" in
Counterpoint, i.e. it means "against". The original term for counterpoint was "punctus
contra punctum" or "note against note" (not a bad description, no?)
Elizabeth Randell Upton