Papers by Augusta Campagne
https://forschung.schola-cantorum-basiliensis.ch/en/forschung/keyboard-accompaniment-1600.html,, 2022
How to accompany on keyboard and plucked string instruments in the period around 1600, when basso... more How to accompany on keyboard and plucked string instruments in the period around 1600, when basso continuo notation started appearing, has long been a subject of interest to scholars and musicians alike. Research has mainly been based on the few theoretical treatises available, which, though informative in some ways, tend to be rather vague and unclear in many others. Intabulations are also regularly cited as sources for practices of concertare (playing in a consort of voices and/or instruments), but until recently, only in passing and thorough studies have been lacking. Practical advice on early basso continuo and on how to play upon the bass has been scarce. In recent years various studies as well as new sources have appeared, which have approached intabulations and scores from a different perspective. This has led to a more concrete and practical knowledge of what was considered standard playing practice when accompanying around 1600. The aim of this project is to bring together the knowledge accumulated in these different studies, adding some new material and insights. This evidence is then used to reinterpret the well-known treatises and present the most current knowledge about accompanying upon a bass. The publication includes many music examples as well as recordings of some of them.
Sounding board, 2021
Report on a conference held in Vienna April 20–24, 2021
Books by Augusta Campagne
Simone Verovio was the first printer to produce a substantial number of musical prints using engr... more Simone Verovio was the first printer to produce a substantial number of musical prints using engraved copper plates. This intaglio printing technique not only allowed him to print on demand, but also to combine different kinds of notation on one page opening: voice parts with corresponding harpsi chord and lute intabulations. This detailed comparison of intaglio and relief printing techniques in the prints associated with Verovio sheds light on the production of sheet music around 1600 and the comparison of the vocal and instrumental parts provides groundbreaking insights into historical performance practice.
Edited books by Augusta Campagne
›Universum rei harmonicae concentum absolvunt.‹ The Harpsichord in the Sixteenth Century, 2024
ANKLAENGE 2020/2021. „Cantare nel gravicembalo“ Ensemble- und Begleitpraxis in der italienischen Musikkultur um 1600 – Practices of ensemble playing and accompaniment in Italian musical culture c. 1600, 2022
Abstracts by Augusta Campagne
Basso Continuo in Italy: Sources, Pedagogy and Performance, 2023
Around 1600 nobody knew that basso continuo was going to become such an important short hand nota... more Around 1600 nobody knew that basso continuo was going to become such an important short hand notational format later in the seventeenth and eighteenth century. Apart from single bass lines with differing amounts of information above these lines (including none at all), there were several other methods of notating parts for keyboard accompaniment: intabulations, scores and short scores. These different forms of notation carry varying amounts of information which can be both explicit and implicit. Traditionally early basso continuo research has been based on the few early theoretical treatises and prefaces available but recent investigation of the other notational formats has led to a broader insight and has given more of a sense of what might have been played. Understanding what can or cannot be notated in these notational formats and knowing how to ‘read’ them, shows that they all have various features in common. Many of the characteristics traditionally tied to basso continuo can equally be observed in scores, short scores and intabulations. The custom of doubling the parts whilst leaving out the ornaments was still a normal way of accompanying. Varying the number of parts and adding notes and ornaments as well as imitations in the middle parts seems to have been standard practice, provided these devices did not disturb the other parts. A certain number of otherwise forbidden parallel intervals, either due to the genre of the piece or resulting from voice crossings, was perfectly acceptable.
Examining all types of parts for accompanying keyboard instruments can help us form a better understanding of the diverse ways of approaching and notating keyboard accompaniment in the early seventeenth century.
Ceci n'est pas un livre imprimé: The case of engraved music in Rome around 1600
Nowadays we all ... more Ceci n'est pas un livre imprimé: The case of engraved music in Rome around 1600
Nowadays we all have a clear idea of what a printed book actually is: one of a set of identical copies with the same content and paratexts, usually bound together within covers. Before 1700, such a set of books containing music, was usually printed using relief-printing techniques. These were published in editions, comprising all the books printed from the same set of types. Further editions could be issued by resetting the types. Recent research by Andrea Lindmayr-Brandl and others, has shown how important it is to additionally consider the copy level, allowing us to identify in-house changes and corrections, as well as so-called "related" editions. When examining books made employing intaglio techniques, these seem to conform to the description above and in fact RISM and various libraries classify these publications according to the same parameters used for books printed with the letter-press. When investigating the copy level of some publications by Simone Verovio from around 1600 however, we find so many differences, that single copies seem to be unique. Using engraved plates makes it possible to print any amount of copies at any desired moment in time, in any desired format. The same plate can be used for a broad sheet, a single copy of a collection, a different collection or a series of copies and still be used today if it has survived. Additionally, plates can easily be changed or corrected and even copied at any given moment.
Music for Liturgy and Devotion Manchester 2016: This paper researches the professional realities ... more Music for Liturgy and Devotion Manchester 2016: This paper researches the professional realities of musicians in Rome around 1600. By examining the situation of some of the makers and consumers of canzonettas, the modern concepts of 'amateur' and 'professional' will be questioned as to their usefulness.
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Papers by Augusta Campagne
Books by Augusta Campagne
Edited books by Augusta Campagne
Abstracts by Augusta Campagne
Examining all types of parts for accompanying keyboard instruments can help us form a better understanding of the diverse ways of approaching and notating keyboard accompaniment in the early seventeenth century.
Nowadays we all have a clear idea of what a printed book actually is: one of a set of identical copies with the same content and paratexts, usually bound together within covers. Before 1700, such a set of books containing music, was usually printed using relief-printing techniques. These were published in editions, comprising all the books printed from the same set of types. Further editions could be issued by resetting the types. Recent research by Andrea Lindmayr-Brandl and others, has shown how important it is to additionally consider the copy level, allowing us to identify in-house changes and corrections, as well as so-called "related" editions. When examining books made employing intaglio techniques, these seem to conform to the description above and in fact RISM and various libraries classify these publications according to the same parameters used for books printed with the letter-press. When investigating the copy level of some publications by Simone Verovio from around 1600 however, we find so many differences, that single copies seem to be unique. Using engraved plates makes it possible to print any amount of copies at any desired moment in time, in any desired format. The same plate can be used for a broad sheet, a single copy of a collection, a different collection or a series of copies and still be used today if it has survived. Additionally, plates can easily be changed or corrected and even copied at any given moment.
Examining all types of parts for accompanying keyboard instruments can help us form a better understanding of the diverse ways of approaching and notating keyboard accompaniment in the early seventeenth century.
Nowadays we all have a clear idea of what a printed book actually is: one of a set of identical copies with the same content and paratexts, usually bound together within covers. Before 1700, such a set of books containing music, was usually printed using relief-printing techniques. These were published in editions, comprising all the books printed from the same set of types. Further editions could be issued by resetting the types. Recent research by Andrea Lindmayr-Brandl and others, has shown how important it is to additionally consider the copy level, allowing us to identify in-house changes and corrections, as well as so-called "related" editions. When examining books made employing intaglio techniques, these seem to conform to the description above and in fact RISM and various libraries classify these publications according to the same parameters used for books printed with the letter-press. When investigating the copy level of some publications by Simone Verovio from around 1600 however, we find so many differences, that single copies seem to be unique. Using engraved plates makes it possible to print any amount of copies at any desired moment in time, in any desired format. The same plate can be used for a broad sheet, a single copy of a collection, a different collection or a series of copies and still be used today if it has survived. Additionally, plates can easily be changed or corrected and even copied at any given moment.