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Mensural notation is the musical notation system used for polyphonic European vocal music from the late 13th century until the early 17th century. The term "mensural" refers to the ability of this system to describe precisely measured rhythmic durations in terms of numerical proportions amongst note values.
Accent can refer to any stressed or emphasized note, such as sforzando.It was used to indicate an ornament until the 18th century. In German Baroque music it occurs in J. S. Bach's ornament tables as a stressed appoggiatura, indicated by a half circle or "C" in front of a note.
Evidence on both sides of the argument is compelling; for example 17th-century English writings recommending unequal playing (Roger North's autobiographical Notes of Me, written around 1695, describes the practice explicitly, in reference to English lute music), as well as François Couperin, who wrote in L'art de toucher le clavecin (1716 ...
The notation used in the original manuscript is illustrated. In this case, Black sits at the bottom by the side marked nф and assembles all 15 men on his or her home point, point "a". White sits at the top by the side marked am and assembles all 15 white men opposite on point "ф". Black moves anticlockwise; White clockwise. [3]
During the medieval period, Tiro's notation system was taught in European monasteries and expanded to a total of about 13,000 signs. [3] The use of Tironian notes lasted into the 17th century. A few Tironian signs are still used today. [4] [5]
A white-mensural maxima with stem facing down. The maxima rest appears as two adjacent longa rests. A maxima, duplex longa, larga (in British usage: large), or octuple whole note was a musical note used commonly in thirteenth and fourteenth century music and occasionally until the end of the sixteenth century.
The revival of baroque music in the 1960s and '70s sparked renewed interest in 17th and 18th century dance styles. While some 300 of these dances had been preserved in Beauchamp–Feuillet notation, it wasn't until the mid-20th century that serious scholarship commenced in deciphering the notation and reconstructing the dances.
Small, early virginals were played either in the lap, or more commonly, rested on a table, [6] but nearly all later examples were provided with their own stands. The heyday of the virginals was the latter half of the 16th century to the later 17th century, until the high Baroque period , when it was eclipsed in England by the bentside spinet ...