minstrel: cutoff date (was Several Questions,...)

Kate/Constance fairfax at tir.com
Thu Mar 23 16:18:16 PST 2000


Personally, I tend to weigh things not based soley on date, but rather if I
can tell the difference between a documentably period piece and the piece in
question.
If the piece is indistinguishable in counterpoint, rhymes, text, intervals,
harmonies, progressions, theme, orchestration (voicings) and rhythms, [where
applicable] it's good enough.  If one of these things is wrong, it really
sticks out to me.

HOWEVER, this opinion disincludes any SCA-Modern music which isn't really
well researched and written...frankly I haven't seen more than a small
handfull of pieces composed in the SCA which would "pass."

Constance Fairfax


> Kathleen wrote:
> <<Personally, I have no problem with music up to about 1650 being
> considered
> 'period'.  There is much in music that harkons back to bygone years and
> this was certainly true in 'period times'.  As long as the music being
> used is not something that was considered innovative in it's own time, I
> think we are fairly safe. :)>>
>
> Unfortunately, music is one of the few areas where we do see a sharp
> delineation between old and new right around 1600, with the emergence of
> opera, monody and tonalism.  I do think it's safe to say that
> those changes
> were not universal, and I for one certainly accept Ravenscroft
> and friends as
> "close enough" to period.  I also accept the ap Huw manuscript as *being*
> period, for all that it was written down c. 1613, as some of the
> pieces were
> copied out of an early manuscript (that of Wiliam Penlyn) and the
> others are
> characteristic of the same style.
>
> What are the feelings of the rest of the list as far as cutoff dates for
> material to be performed at events?  Do you consider post-1600
> material on a
> case-by-case basis?
>
> Vivien
>
>
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