{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/736m040h0h/manifest","type":"Manifest","label":{"en":["Recording the Renaissance: An Aural History of Early Music in Performance"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Roberta Freund Schwartz (Presenter)","Gary Galo (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2010-05-20 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["At the dawn of recorded sound, only a handful of music written before 1600 had been retrieved from archives and libraries, and few, beyond a small coterie of historians and antiquarians, knew of its existence. In the intervening century volumes of early music have been brought to light, and recordings have been the vehicle through which it gained exposure outside of the academy. A survey of recordings of medieval and Renaissance music, as well as contemporary reactions to these discs, reveals a constantly evolving relationship to early music. Most recordings of what was then deemed \"old music\" date from after 1929, the year that Columbia launched its History of Music series. Performances from this era use contemporary practices and modern instruments, and are often arranged freely, so much so that they are best considered \"expressive versions.\" The majority of works were Gregorian chants, English madrigals and masses by Dufay and Palestrina. Critics found these recordings important and sometimes stirring, but judged that less informed listeners would find them dull. In the 1950s, the \"modern\" Early Music movement, which focused on performances in an \"authentic\" manner on period instruments, arose, and the number of recordings of medieval and Renaissance works grew exponentially. A wider variety of genres and styles were presented, but the serious, academic approach to the repertoire too often yielded ascetic renderings at dirge-like tempos that were nonetheless embraced by critics and record buyers as faithful reproductions. Since the late 1970s a more eclectic approach has dominated. A better understanding of period performance practices has revealed a more nuanced approach to tempo and ornamentation, and ensembles have increasingly incorporated Middle Eastern and African coloring, as well as more flexible standards. Many works have been recorded a number of times, demonstrating a diverse range of possible interpretations and an apparently limitless market."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["At the dawn of recorded sound, only a handful of music written before 1600 had been retrieved from archives and libraries, and few, beyond a small coterie of historians and antiquarians, knew of its existence. In the intervening century volumes of early music have been brought to light, and recordings have been the vehicle through which it gained exposure outside of the academy. A survey of recordings of medieval and Renaissance music, as well as contemporary reactions to these discs, reveals a constantly evolving relationship to early music. Most recordings of what was then deemed \"old music\" date from after 1929, the year that Columbia launched its History of Music series. Performances from this era use contemporary practices and modern instruments, and are often arranged freely, so much so that they are best considered \"expressive versions.\" The majority of works were Gregorian chants, English madrigals and masses by Dufay and Palestrina. Critics found these recordings important and sometimes stirring, but judged that less informed listeners would find them dull. In the 1950s, the \"modern\" Early Music movement, which focused on performances in an \"authentic\" manner on period instruments, arose, and the number of recordings of medieval and Renaissance works grew exponentially. A wider variety of genres and styles were presented, but the serious, academic approach to the repertoire too often yielded ascetic renderings at dirge-like tempos that were nonetheless embraced by critics and record buyers as faithful reproductions. Since the late 1970s a more eclectic approach has dominated. A better understanding of period performance practices has revealed a more nuanced approach to tempo and ornamentation, and ensembles have increasingly incorporated Middle Eastern and African coloring, as well as more flexible standards. Many works have been recorded a number of times, demonstrating a diverse range of possible interpretations and an apparently limitless market."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128101/file/239784","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2010_Schwartz_audio.mp3"]},"duration":2112.26919,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128101/file/239784/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128101/file/239784/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/239/784/original/ARSC_conf_2010_Schwartz_audio.mp3?1714147904","type":"Audio","format":"audio/mpeg","duration":2112.26919,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128101/file/239784","metadata":[]}]}],"annotations":[]}]}