INTERPRETACIÓN

Interpretación — Performance Practice


Carpenter, Hoyle. “Tempo and Tactus in the Age of Cabezón”. Anuario Musical 21 (1966): 123-130.

Corona-Alcalde, Antonio “Fray Juan Bermudo and his Seven Vihuelas”. The Lute 24 (1984): 77-86.

Corona-Alcalde, Antonio. “‘You will raise a little your 4th fret’: An equivocal instruction by Luis Milan?”. Galpin Society Journal 44 (1991): 2-45.

Espinosa, Dawn Astrid. “Juan Bermudo ‘On Playing the Vihuela’ (‘De tañer vihuela’) from Declaración de instrumentos musicales (Osuna, 1555): a new translation with commentary”. Journal of the Lute Society of America 28-29 (1995-1996).

Freis, Wolfgang. “Perfecting the perfect instrument: Fray Juan Bermudo on the tuning and temperament of the vihuela de mano”. Early Music 23 (1995): 421-36.

Gásser, Luis. Luis Milán on Sixteenth-Century Performance Practice. Bloomington y Indianapolis: Indiana University Press, 1996.

Gásser, Luis. “Modalidad y modales en Luis Milán”. Hispanica Lyra, 10 (Oct. 2009): 10-23.

Griffiths, John. “The Vihuela: Performance Practice, Style, and Context”. Lute, Guitar, and Vihuela: Historical Performance and Modern Interpretation. Ed Victor Coelho. Cambridge Studies in Performance Practice. Cambridge: Cambridge University Press, 1997. 158-79.

Hall, Monica. “Performing early music on record. VI: The vihuela repertoire”. Early Music 5 (1977): 59-65.

Hearn, William. “Performing the music of Alonso Mudarra: an investigation into performance practice in the music of the vihuelistas”. Tesis, University of Arizona, 1995.

Hearn, William. “Playing Devil’s Advocate: The Shaky Case for Unison-Course Vihuela Stringing”. Lute Society of America Quarterly 29/3 (1994): 3-10.

Jacobs, Charles. “Ornamentation in Spanish Renaissance vocal music”. Performance Practice Review 4, no. 2, (Fall 1991): 116-185.

Jacobs, Charles. “The Performance Practice of Spanish Renaissance Keyboard Music”. Tesis New York University, 1962.

Jacobs, Charles, La interpretación del siglo XVI para instrumentos de teclado. Madrid: Dirrección General de Relaciones Culturales, 1959.

Lindley, Mark. “Luis Milán and Meantone Temperament.” Journal of the Lute Society of America 11 (1978): 45-62.

Myers, Joan. “Vihuela Technique”. Journal of the Lute Society of America 1 (1968): 15-18.

Perry, Mark Evan. “Performance practice of the vihuela de mano”. Tesis, University of Idaho, 1997.

Poulton, Diana. “How to Play with Good Style by Thomas de Sancta Maria”. Lute Society Journal 12 (1970): 23-30.

Ree Bernard, Nelly van. “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.

Ward, John M. “Changing the instrument for the Music”. Journal of the Lute Society of America 15 (1982): 27-39.

Ward, John. “Le problème des hauteurs dans la musique pour luth et vihuela au XVIe siècle”. Le Luth et sa Musique. Ed. J. Jacquot. 2ª edición. Paris: CNRS, 1976. 171-178.