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Early-music specialists --- Early-music groups

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Music --- uitvoeringspraktijk --- orkesten --- anno 1600-1699 --- anno 1700-1799 --- anno 1800-1899 --- 78.50 --- 78.34.0 --- 78.52 --- Early-music groups --- Orchestra --- Performance practice (Music) --- 517 --- Musical performance practice --- Performing practice (Music) --- Orchestras --- Musical groups --- Early-music ensembles --- Ensembles, Early-music --- Ensembles, Historical performance --- Groups, Early-music --- Groups, Historical performance --- Historical performance ensembles --- Historical performance groups --- History --- Uitvoeringspraktijk --- Performance --- Orkest

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Women harpsichordists --- Early-music specialists --- Femmes clavecinistes --- Spécialistes en musique ancienne --- Biography --- Biographies --- Landowska, Wanda --- 78.43.5 Landowska

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Comment, a` l'e`re du de´veloppement industriel, pouvait-on imaginer, fabriquer et partager le son des musiques anciennes ? Pour re´pondre a` cette question, il faut scruter les repre´sentations de ces musiques dans la litte´rature et dans les arts visuels, chez les peintres et les premiers iconographes du XIXe sie`cle. Il faut e´galement s'inte´resser aux traces mate´rielles que sont les partitions exhume´es par des musicologues e´rudits et des e´diteurs convaincus, sans oublier le ro^le des collections prive´es et des premiers muse´es instrumentaux dont certains spe´cimens furent utilise´s par des luthiers-arche´ologues dans leurs tentatives de reconstitutions instrumentales. Il faut enfin observer la diffusion de ces travaux par la pratique et par les concerts a` partir de 1880, puis par l'enregistrement trois de´cennies plus tard. Alors, on comprendra mieux le lent processus inaugure´ par Felix Mendelssohn et Paul de Wit en Allemagne, Carl Engel en Angleterre, Victor-Charles Mahillon et Franc¸ois-Auguste Gevaert en Belgique, Felipe Pedrell en Espagne, Luigi Francesco Valdrighi en Italie et Camille Saint-Sae¨ns comme Auguste Tolbecque en France : un mouvement qui n'a fait que s'amplifier apre`s la Seconde Guerre mondiale et dont nous sommes aujourd'hui les he´ritiers

Early-music specialists --- Early-music groups --- Musical instruments, Ancient --- History --- Tolbecque, A. --- Musique --- Musique ancienne --- Instruments de musique anciens --- Lutherie --- Étude et enseignement --- Dans l'art. --- Reproduction (art) --- Conservation et restauration. --- Music --- musical instrument makers --- Artistic and decorative craftsmen --- anno 1900-1999 --- Tolbecque, Auguste, 1830-1919

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The use of high male voices in the past has long been one of the most seriously misunderstood areas of musical scholarship and practice. In opening up this rich subject (to readers of all sorts) with refreshingly clear perspectives and plenty of new material, Simon Ravens' well-researched book goes a very long way to rectifying matters. Ravens writes damnably well, and if the story that emerges is necessarily a complex one, his treatment of it is always engagingly comprehensible.' ANDREW PARROTT Tracing the origins, influences and development of falsetto singing in Western music, Simon Ravens offers a revisionist history of high male singing from the Ancient Greeks to Michael Jackson. This history embraces not just singers of counter-tenor and alto parts up to and including our own time but the castrati of the Ancient world, the male sopranists of late Medieval and Renaissance Europe, and the dual-register tenors of the Baroque and Classical periods. Musical aesthetics aside, to understand the changing ways men have sung high, it is also vital to address extra-musical factors - which are themselves in a state of flux. To this end, Ravens illuminates his chronological survey by exploring topics as diverse as human physiology, the stereotyping of national characters, gender identity, and the changing of boys' voices. The result is a complex and fascinating history sure to appeal not only to music scholars but to performers and all those with an interest particularly in early music. Simon Ravens is a performer, writer, and director of Musica Contexta, with whom he has performed in Britain and Europe, regularly broadcast, and made numerous acclaimed recordings. Ravens had previously founded and directed Australasia's foremost early music choir, the Tudor Consort. Between 2002 and 2007 his regular monthly column Ravens View appeared in the Early Music Review, to which he still regularly contributes.

Countertenors. --- Singing --- Vocal music --- Vocal methods --- Voice methods --- Contratenors --- Counter tenors --- Singers --- History. --- History and criticism. --- Baroque. --- Western music. --- boys' voices. --- castrati. --- counter-tenors. --- early music. --- falsettists. --- gender identity. --- high male voices. --- male sopranists. --- vocal genres.