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Time: the Soul of Music | Andrew Lawrence-King
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Paderewski Tempo Rubato (1909)Many musicians and listeners might agree that rhythm is the life and soul of Music, whilst holding quite different opinions as to what…" /> <style type="text/css"> #masthead img { float: left; } #site-description { color: #777 !important; } #header-image { margin-bottom: 3.23em; } </style> <style type="text/css" id="custom-background-css"> body.custom-background { background-color: #6b152f; background-image: url("https://andrewlawrenceking.files.wordpress.com/2013/08/1583_sebastiao_lopes_mapa_mundi_00.jpg"); background-position: center top; background-size: auto; background-repeat: repeat-y; background-attachment: fixed; } </style> <script type="text/javascript"> /* <![CDATA[ */ var wa_smart = { 'network_id': 3905, 'site_id': 474853, 'page_id': 1572546, 'blog_id': 56032818, 'post_id': 2757, 'theme': 'pub/reddle', 'target': 'wp_blog_id=56032818;language=en', '_': { 'title': 'Advertisement', 'privacy_settings': 'Privacy Settings' }, 'top': { 'enabled': false, 'adflow_enabled': true, 'format_id': 135099 }, 'inline': { 'enabled': true, 'adflow_enabled': true, 'format_id': 110354, 'max_slots': 20, 'max_blaze_slots': 20 }, 'belowpost': { 'enabled': false, 'adflow_enabled': true, 'format_id': 134071 }, 'bottom_sticky': { 'enabled': false, 'adflow_enabled': true, 'format_id': 117571 }, 'sidebar': { 'enabled': false, 'adflow_enabled': true, 'format_id': 134686 }, 'sidebar_sticky_right': { 'enabled': false, 'adflow_enabled': true, 'format_id': 135281 }, 'gutenberg_rectangle': { 'enabled': false, 'adflow_enabled': true, 'format_id': 134788 }, 'gutenberg_leaderboard': { 'enabled': false, 'adflow_enabled': true, 'format_id': 135073 }, 'gutenberg_mobile_leaderboard': { 'enabled': false, 'adflow_enabled': true, 'format_id': 135098 }, 'gutenberg_skyscraper': { 'enabled': false, 'adflow_enabled': true, 'format_id': 135088 } }; 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Tempo Rubato then becomes an indispensible assistant”</li> <li>“Above all things, keep the Equality of Measure”</li> <li>“Time, like an ever-rolling stream…”</li> <li>“Time is a number of motion, in respect of before and after”</li> <li>“Time is the space demonstrated by the revolution of the Primum Mobile”</li> <li>“Absolute, true and mathematical time, of itself, and from its own nature flows equably without regard to anything external”</li> </ol> <p> </p> <p><em>… li cieli, li quali continuamente si girano … sono nove, come di sopra è stato ditto; cioè VII cerchi di sette pianeti e l’ottavo de le stelle fisse dov’è lo zodiaco, e lo nono che è lo primo mobile. E queste revoluzioni sono quelle che dimostrano lo tempo: imperò che tempo non è altro che lo spazio, nel quale queste revoluzioni si fanno; e questo spazio produce Iddio dal suo essere eterno. </em>Buti <a href="https://it.wikisource.org/wiki/Commedia_(Buti)/Purgatorio/Canto_XXIV"><em>Commentary </em>on <em>Purgatorio</em> 24</a>: The heavens, which revolve continuously… are nine, as has been said above; that is 7 circles of seven planets and the 8th of the fixed stars, where the Zodiac is, and the 9th is the Primum Mobile. And these revolutions are what show time; therefore time is nothing other than the space/interval within which these revolutions are made; and this space is produced by God from his eternal being. <br /><br />Texts from classical Antiquity and the Middle Ages – Dante, Aristotle and Buti – still provide the primary definitions of <em>Tempo </em>in successive editions of the <em>Vocabulario </em>of the <em>Accademia della Crusca </em>from 1612 to 1748.</p> <p> </p> <div data-shortcode="caption" id="attachment_2856" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/dante-cosmography.jpg"><img aria-describedby="caption-attachment-2856" data-attachment-id="2856" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/dante-cosmography/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/dante-cosmography.jpg" data-orig-size="480,704" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dante Cosmography" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/dante-cosmography.jpg?w=205" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/dante-cosmography.jpg?w=440" class="wp-image-2856 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/dante-cosmography.jpg" alt="" width="440" height="645" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/dante-cosmography.jpg?w=440&h=645 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/dante-cosmography.jpg?w=102&h=150 102w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/dante-cosmography.jpg?w=205&h=300 205w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/dante-cosmography.jpg 480w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-2856" class="wp-caption-text">Dante’s Cosmography</p></div> <p> </p> <ol> <li>Irving Berlin <em>It don’t mean a thing, if it ain’t got that swing </em>(1931)</li> <li>Chuck Berry <em>It’s gotta be Rock ‘n’ Roll music</em> (1957)</li> <li>Ignacy Jan Paderewski <em>Tempo Rubato </em>(1909)</li> <li><a href="https://ks.imslp.net/files/imglnks/usimg/0/07/IMSLP112596-PMLP229909-ornithoparcs_downlad_his_micrologus.pdf">John Dowland <em>Micrologus </em>(1609)</a> </li> <li>Isaac Watts <em>Oh God, our help in ages past </em>(1708)</li> <li>Aristotle <em>Physics </em>(4th cent. BC)</li> <li>Francesco di Bartoli da Buti <em>Commento sopra la Divina Commedia di Dante </em>(end of 14th cent.)</li> <li>Isaac Newton <em>Principia </em>(1687)</li> </ol> <p><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/newton-definition-of-time-de-motu-1684.png"><img data-attachment-id="2862" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/newton-definition-of-time-de-motu-1684/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/newton-definition-of-time-de-motu-1684.png" data-orig-size="765,247" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Newton Definition of Time (De motu 1684)" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/newton-definition-of-time-de-motu-1684.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/newton-definition-of-time-de-motu-1684.png?w=440" class="alignnone size-full wp-image-2862" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/newton-definition-of-time-de-motu-1684.png" alt="" width="440" height="142" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/newton-definition-of-time-de-motu-1684.png?w=440&h=142 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/newton-definition-of-time-de-motu-1684.png?w=150&h=48 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/newton-definition-of-time-de-motu-1684.png?w=300&h=97 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/newton-definition-of-time-de-motu-1684.png 765w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Newton’s (1684) MS notebook for <em>De motu corporum in mediis regulariter cedentibus </em>defines <em>Tempus Absolutum </em>three years before the fuller definition in <em>Principia</em>. But the text made famous by the <a href="http://gravitee.tripod.com/">first English translation of <em>Principia </em></a>by Andrew Motte only appeared much later, in 1729. </p> <p>So when we read from many Baroque writers [heartfelt thanks to Domen Marincic and others who sent me numerous citations of this concept] that </p> <blockquote> <p>Time is the Soul of Music</p> </blockquote> <p> – from Zacconi writing in 1592 (published in 1596 as <em>Prattica </em>Book 2, Chapter XV, folio 95v): <em>il Tempo….essendo egli nella Musica quasi l’anima </em>[Time… being in Music like the soul] and (Book 2, Chapter III) <em>Il tatto non è altro che il Tempo in esser presente</em> [Tactus is none other than Time in actual presence] to the <a href="https://books.google.ca/books?id=aubGsn5q2IYC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false"><em>Biblioteca Universale sacro-profana antico-moderna </em></a>(1704): <em>la Battuta è la misura, e quasi l’anima della Musica </em>[the Beat is measure, and like the soul of Music] –</p> <p>we must be on our guard that all three terms lead us into complex semantic fields (<strong>Time</strong>: <em>tempo, misura, battuta,</em> <em>tatto</em>; <strong>Soul</strong>: <em>anima, animo, mente, cuore</em>; <strong>Music</strong>: <em>mondana</em>, <em>humana, instrumentalis, arithmetica</em>) where technical definitions and everyday understandings have shifted over the centuries. Aristotle’s motion-driven Time (which was still the common understanding in mid-18th-century Italy) is not the same as Newton’s Absolute, Mathematical Time, any more than our own intuitive sense of everyday Time corresponds to Einstein’s Relativity or Hawking’s Imaginary Time.</p> <p> </p> <h2>Tactus is the Soul of Music</h2> <p> </p> <p>Nevertheless, two writers from different countries and periods give strikingly similar descriptions of Tactus, showing a strong continuity from the 16th to the 18th centuries, and a noticeable differences from modern practice. </p> <p><strong>Venice 1592</strong></p> <p><em>Sotto il tatto si pone questa figura & quella, & per questo si dice che l’harmonia nasce dalla consideratione di diverse figure sotto una determinata quantita di Tempo constituite </em>(Zacconi <em>Prattica </em>Book 1 Chapter 29 <em>Del Tempo Musicale & delle sue divisioni</em>): Under the Tactus you put this note and that, and by this we say that harmony is born from the consideration of various notes organised within a certain amount of Time.<br /><br /><strong>Halle 1789</strong></p> <p><em>Der Takt… ist eine Anzahl von Noten in einen gewissen Zeitraum eingetheilt</em> (Türk <em>Klavierschule </em>Chapter IV <em>Vom Takte</em>): The Tactus … is a number of notes organised into a certain amount of Time.</p> <h3>Semantic Fields</h3> <p>For both writers, the term they are trying to define has a wide and rich semantic field. Time ~ mensuration Sign; Tactus; Measure of duration; Rhythm, i.e. the division of time into note-values, written and performed; a specific note-value; the act of beating time and the Beat itself; speed; Metre.<br /><br /><strong>Venice 1592</strong></p> <p><em>Tempo: il quale si forma con un segno che ne da inditio… dal tatto che è la misura </em>(Chapter 28) <strong>Time</strong> [mensuration sign of <em>Tempus</em>]: which is formed by a <strong>Sign</strong> that indicates the <strong>Tactus</strong> and the <strong>Measure</strong>.</p> <p><em>Il tatto e quando dal Tempo in atto le vengan misurate, & che si cantano… il Tatto occupase tutto un Tempo… il Tempo essendo atto a diverdersi </em>(Chapter 30 <em>Del origine del Tempo</em>) The <strong>Tactus</strong> is when [the note-values] are <strong>measured</strong> in real <strong>Time </strong>and are sung. The Tactus occupies a complete [unit of] time… Time [<strong>Rhythm</strong>] is action of <strong>dividing</strong> [the note-values] </p> <p><em>Se per vigor di segno vanno due Semibreve al tatto, over due Minime </em>(Chapter 33 <em>Del division del tatto & sua sumministratione</em>) [<strong>A specific note-value</strong>] Whether according to the <strong>Sign</strong> two semibreves go to the Tactus, or two minims. <span style="color:#0000ff;">[ALK: In the late 16th century, identification of equal Tactus with the breve, i.e. down for one semibreve, up for the second semibreve, was being replaced by identification with the semibreve, i.e. down for one minim, up for the second minim, with triple metre proportions replacing <em>tempus perfectum</em>. The difficulty of reconciling older theory and notation with new practices accounts for much of the confusion about proportional notation in the early baroque period.] </span></p> <p><em>Onde si come il tatto si divide, nel equale & nel inequale; cosi essi segni contenuti sotto questo nome di Tempo si dividano nel perfetto, & nel imperfetto. </em>(Chapter 29) So just as the <strong>Tactus</strong> is <strong>divided</strong> into equal (duple <strong>metre</strong>) and unequal (triple metre); so these <strong>Signs </strong>included under this term <em>Tempus </em>are divided into perfect (triple) and imperfect (duple).</p> <p><em>Piu tatti possano essere quali piu presti, & quali piu tardi, secondo il loco, il tempo, & l’occasione</em> (Chapter 33) [<strong>Speed</strong>] Different [ways of <strong>beating</strong>] <strong>Tactus </strong>can be faster or slower, according to the place, the time and the occasion.<br /><br /><em>Le misure alla fine non son altro che quantità di tempo </em>(Chapter 30) <strong>Measures </strong>finally are nothing else than amounts of Time [<strong>duration</strong>]</p> <p><em>Quelli intervalli Musicali che sotto il Tempo si misurano… in dua modi… Il modo occulto Modo occulto è quello con cui componendole il compositore le misura & fa che gl’intervalli di tutte la parti correspondino in uno… Il modo manifesto puoi è quello quando le si cantano. </em>(Chapter 29) Those musical <strong>durations</strong> which are <strong>measured</strong> by <strong>Time</strong> in two ways: the hidden [<strong>notated</strong>] way is whilst composing them, the composer measures them and makes the durations of all the parts correspond in unity; the revealed [<strong>performed</strong>] way then is when they are sung.</p> <p><em>L’attione o l’atto che si fa… alle volte si chiama tempo, alle volte misura, alle volte battuta et alle volte tatto</em> (Chapter 32 <em>Che cosa sia misura, tatto, & battuta</em>) The action [<strong>beating Time</strong>] which is actually done… is sometimes called <strong>Time</strong>, sometimes <strong>Measure</strong>, sometimes <strong>Beat</strong> and sometimes <strong>Tactus</strong>.</p> <p><strong>Halle 1789</strong></p> <p>T<em>akt… die Noten, welchen in einem einzigen, zu Anfange des Tonstückes bestimmten Zeitraume enthalten, und zwischen zwey Stricken eingeschlossen sind.</em> [Mensuration <strong>Sign</strong> & <strong>notation</strong> of rhythm]: the notes contained in a single amount of time [<strong>duration</strong>], specified at the beginning of the piece [sign], and enclosed by two lines [bar-lines].</p> <p><em>Unter Takt, in sofern von der Ausübung die Rede ist, versteht man daher gemeiniglich, die richtige Eintheilung einer gewissen Anzahl Noten &c, welche in einer bestimmten Zeit gespielt werden sollen. </em>Tactus, when we talk about <strong>performance</strong>, is commonly understood to be the correct organisation of a specific number of Notes etc, which should be played in a certain <strong>time </strong>[<strong>duration</strong>].</p> <p><em>Takt… die ganze Taktnote </em>[<strong>A specific note-value</strong>] … the whole-note [semibreve]</p> <p><em>Takt … Taktart, z.B. dieses Tonstück steht in geraden Takte.</em> [<strong>Metre</strong>]: Type of Tactus, e.g. this piece is in equal [duple] time. </p> <p><em>Takt … Bewegung, z.B. dieser Satz hat sehr geschwinden Takt </em> [<strong>Speed</strong>]: Movement, e.g. this composition has a very fast Tactus</p> <p><em>Takt… von der äusern Abtheilung durch die Bewegung mit der Hand, z.B. den Takt schlagen. </em> About the showing of <strong>division</strong> [i.e. <strong>beats</strong> within a bar] by moving the hand, e.g. <strong>beating</strong> <strong>time</strong>. </p> <p><em>Der Takt ist das Maß der Bewegung eines musikalischen Satzes </em>Tactus is the <strong>Measure</strong> of the <strong>movement</strong> of a musical composition.</p> <p><em>Takt… ist das Zeitmaß der Musik, die Abmessung der Zeit und der Noten </em>Tactus is the <strong>Measure</strong> of <strong>Time </strong>[<strong>duration</strong>] in music, the measuring of Time and of the notes. </p> <p> </p> <h3>Differences between 1592, 1789 & 2020</h3> <p> </p> <p><strong>Barlines</strong></p> <p>As we still do today, Türk associates <em>Takt </em>with notated bar-lines, which are not part of Zaconni’s practice. In the ‘new music’ of early <em>seicento </em>Italy, barlines are either absent, or irregular, and there is no association of bars with a fixed duration in notation or in real-time, and certainly no principle of ‘bar = bar’ for navigating proportional changes.</p> <p><strong>Accent</strong></p> <p>As we still do today, Türk associates <em>Takt </em>– in the sense of Metre – with accent. And so his first definition would have shocked Zacconi: <em>Wenn man, bey einer Folge mehrerer äuserlich gleich langen Töne, einigen derselben, in einer gewissen anhaltenden Ordnung, (Einförmigkeit), mehr Nachdruck giebt, als den andern: so entsteht schon durch diese Accente das Gefühl, welches wir Takt nennen. </em>When, in a succession of many apparently equally-long notes, you give some of them more emphasis in a certain consistent pattern (uniformity): then these Accents produce the feeling that we call Metre.</p> <p><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-on-takt-as-accents.png"><img data-attachment-id="2870" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/turk-on-takt-as-accents/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-on-takt-as-accents.png" data-orig-size="733,236" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Turk on Takt as Accents" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-on-takt-as-accents.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-on-takt-as-accents.png?w=440" loading="lazy" class="alignnone size-full wp-image-2870" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-on-takt-as-accents.png" alt="" width="440" height="142" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-on-takt-as-accents.png?w=440&h=142 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-on-takt-as-accents.png?w=150&h=48 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-on-takt-as-accents.png?w=300&h=97 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-on-takt-as-accents.png 733w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>In sharp contrast, Zacconi discusses Tactus, Time, Measure, Beating Time, Beats and even Metre without any reference at all to accents. In old-fashioned polyphony and in the new music of the 1600s, although the accented syllable of a word often falls on the Tactus-beat, quite frequently it does not. Even if there are bar-lines, they too do not imply accentuation. Tactus is a feature of the measurement of Time, whereas accents are determined by words. Metre – as notated and shown by Tactus-beating – does not necessarily match the poetic scansion of the words, or the dance-rhythms suggested by harmonic changes.<br /><br /><br /></p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png"><img data-attachment-id="2899" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/ecco-pur-marked-up/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png" data-orig-size="417,284" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Ecco pur marked up" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png?w=417" loading="lazy" class="alignnone size-full wp-image-2899" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png" alt="" width="417" height="284" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png 417w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png?w=150&h=102 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png?w=300&h=204 300w" sizes="(max-width: 417px) 100vw, 417px" /></a></p> <p> </p> <p> </p> <p>In this oft-cited excerpt from Monteverdi <em>Orfeo</em>, published in 1609, the mensuration mark of C indicates an equal (i.e. duple, down-up) Tactus beat on minims, something around minim = 60, and the barlines are every four minims. But the harmonic metre is clearly in groups of three minims [as shown by the red brackets] and the word-accents fall mostly (but not exclusively) on the first and third minims of these groups. Thus the notation of musical Time is not matched to the metrical structure of harmony and accents. This allows Monteverdi to notate a steady speed, with three minims corresponding to three one-second Tactus-beats to the metrical unit. Contrariwise, if he had used the triple-metre notation of his time, e.g. a <em>tripla</em> Proportion, this notation would direct the singer to fit the whole metrical unit into one Tactus-beat, three minims in one second of actual time: the music would be heard three times as fast. <br /><br />Unfortunately, many modern editions rebar this song under a 3/2 time signature, which performers then interpret as if it were Monteverdi’s <em>tripla </em>porportion – we often hear this music much too fast! </p> <p>And failure to understand the subtle relationship between Tactus and word-accent (sometimes coinciding, but not always) has led many singers to disregard Monteverdi’s precisely notated rhythms in so-called Recitative. See I<a href="https://andrewlawrenceking.com/2019/06/29/its-recitative-but-not-as-we-know-it/">t’s Recitative, but not as we know it</a>.<br /><br />Re-discovering 17th-century, non-accentual, Time is a considerable challenge for modern-day performers. Well-intentioned 20th-century attempts to ‘escape the tyranny of the bar-line’ have led us to rhythmic Hell: the rejection of the stable self-government of Tactus, even to the anarchy of free rhythm. There is still much work to be done, in learning (not only in theory and practice, but as an instilled habit) how to manage stable, but non-accentual, Tactus-time, and how to weave complex patterns of word-accents (imitated also in instrumental music) around that Tactus. This learning cannot take place in an ensemble directed with modern conducting.</p> <h3>Speed</h3> <p>For both Zacconi and Türk, there is a closer and more specific relationship than for modern musicians between Tactus as sign, notation, duration in real time, a way of beating time, a specific note-value and sub-division of that note-value into various rhythms. Although both writers allow the possibility that the speed of Tactus-beating can vary somewhat, this variation (I would argue) was small: gross changes in the speed of the music (as heard) were acheived by changing the notation whilst the beat remained (more-or-less) constant. <br /><br /></p> <p>After the slow song cited above, Monteverdi continues with the same Tactus and the same relationship between notated Time, indicated Tactus, and note-values as performed. But the sound changes noticeably, as singers, violins and continuo-bass suddenly move in bursts of quavers rather than semibreves & minims. It feels faster.</p> <p><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/mira-cha-se-nalletta.png"><img data-attachment-id="2874" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/mira-cha-se-nalletta/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/mira-cha-se-nalletta.png" data-orig-size="426,276" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Mira ch’a se n’alletta" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/mira-cha-se-nalletta.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/mira-cha-se-nalletta.png?w=426" loading="lazy" class="alignnone size-full wp-image-2874" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/mira-cha-se-nalletta.png" alt="" width="426" height="276" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/mira-cha-se-nalletta.png 426w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/mira-cha-se-nalletta.png?w=150&h=97 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/mira-cha-se-nalletta.png?w=300&h=194 300w" sizes="(max-width: 426px) 100vw, 426px" /></a></p> <p> </p> <p>In the following Ritornello, the Tactus again continues unchanged. But the relationship between that Tactus and notated Time is altered by the sign of Proportion. The black minims now come three to the Tactus – the effect heard is that the music feels three times faster than the first song. </p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ritornello-to-in-questo-prato-adorno.png"><img data-attachment-id="2876" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/ritornello-to-in-questo-prato-adorno/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ritornello-to-in-questo-prato-adorno.png" data-orig-size="409,158" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Ritornello to In questo prato adorno" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ritornello-to-in-questo-prato-adorno.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ritornello-to-in-questo-prato-adorno.png?w=409" loading="lazy" class="alignnone size-full wp-image-2876" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ritornello-to-in-questo-prato-adorno.png" alt="" width="409" height="158" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ritornello-to-in-questo-prato-adorno.png 409w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/ritornello-to-in-questo-prato-adorno.png?w=150&h=58 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/ritornello-to-in-questo-prato-adorno.png?w=300&h=116 300w" sizes="(max-width: 409px) 100vw, 409px" /></a></p> <p> </p> <p>There is academic debate about the details of precisely how Proportions should be interpreted. But there is general agreement on the essential principle that the Tactus is maintained (or varied only subtly) whilst a proportionally greater amount of music happens within the real-time duration of that Tactus. See <a href="https://andrewlawrenceking.com/2015/02/16/tempus-putationis-getting-back-to-monteverdis-time/">Tempus Putationis: getting back to Monteverdi’s Time</a>. Proportions feel faster.</p> <p>One of the challenges when studying the subjective feeling of Speed in baroque music is that Zacconi and his contemporaries did not share our concept of Newtonian Absolute Time. Within their Aristotelian understanding of Time as dependent on motion, the Tactus did more than indicate a musical beat, it created Time itself. That real-world time was related to notated durations by the signs of <em>tempus </em>and Proportions. We encounter not only differences in period nomenclature, but conceptual gaps in historic language, when we try to unpick ‘the feeling that we call Speed’ for baroque repertoire, just as Türk encountered a similar gap amongst established authorities when trying to define the emerging concept that ‘Accents produce the feeling that we call Metre’. </p> <h3>Addition or Division?</h3> <p>Türk’s statements on <em>Takt </em>seem to be ordered with the most up-to-date ideas first, established views next, and citations of older authorities (some which might even derive from Zacconi) in a footnote. Following his description of <em>Takt </em>as accentual metre, his next remark would have struck musicians of previous generations as fundamentally incomplete.</p> <p><em>Jeder längern oder kürzern Note, Pause &c ihre bestimmte Dauer geben… so spiele man nach dem Takt. </em>Giving longer or shorter notes, rests etc their proper duration… this is playing in Time. </p> <p>Here is an early indication of what was to become the most significance difference in the management of time in practical music-making of the Baroque period from modern-day practices. From the first teaching-book (Milán’s 1536 <em>El maestro</em>, <a href="https://andrewlawrenceking.com/2019/07/20/el-maestro-on-tactus/">discussed here</a>) and even in Türk’s following remarks, it is not sufficient that performers add up the durations of each individual note and rest… they must also ensure that the <span style="text-decoration:underline;">total</span> duration of the note-values that add-up to a unit of notated time corresponds to the duration of real-world time, as shown by the Tactus.</p> <p><em>Saber quantas de las sobredichas cifras entran en un compas </em>(Milán, 1536) Know how many of the above-mentioned notes come in a Tactus [in notation, and in performance]. </p> <p>The essential control of period rhythm was <span style="text-decoration:underline;">not</span> by adding-up small note-values, but by maintaining the relationship of notated Time to real-world Time through (and at the level of) the Tactus. As Roger Mathew Grant aptly expresses it in <a href="https://global.oup.com/academic/product/beating-time-and-measuring-music-in-the-early-modern-era-9780199367283?cc=ee&lang=en&">Beating Time and Measuring Music</a> (2014), notation is “calibrated” to real-world Time by the Tactus. Smaller note-values were found by <span style="text-decoration:underline;">dividing</span><em> </em>the Tactus – a universal principle underlying the specific practice of ornamental ‘diminutions’ or ‘divisions’.</p> <p>This is the concept of Tactus as the Measure of Time. In actual music-making, it’s the practice of using Tactus to measure Time. And it’s what most musicians do <span style="text-decoration:underline;">not</span> do, nowadays.<br /><br /></p> <h3>Tactus as Measure</h3> <p> </p> <p>In theory, and purely mathematically, it should make no difference whether one adds or divides – the rhythmic total is the same either way. But in practice, and with human performers, there are considerable differences in the resulting delivery and even greater differences in the subjective ‘feel’ of the music. I’ll try to illustrate this visually, by means of the <a href="https://www.hand2mind.com/resources/glossary-of-hands-on-manipulatives/cuisenaire-rods">Cuisenaire Rods</a> used for learning mathematics from the mid-20th century onwards.</p> <p><br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png"><img data-attachment-id="2884" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/tactus-cuisenaire-in-theory/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png" data-orig-size="800,450" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus Cuisenaire in theory" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png?w=440" loading="lazy" class="alignnone size-full wp-image-2884" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png" alt="" width="440" height="248" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png?w=440&h=248 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png?w=150&h=84 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png?w=300&h=169 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png?w=768&h=432 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-theory.png 800w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>In theory, a performer (or conductor) counting with a short beat (e.g. 4 crotchets to the bar) and adding-up the various note-values should arrive at the same total duration as one counting with the long beat of Tactus (one minim down, one minim up).</p> <p><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png"><img data-attachment-id="2883" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/tactus-cuisenaire-in-practice/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png" data-orig-size="800,450" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus Cuisenaire in practice" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png?w=440" loading="lazy" class="alignnone size-full wp-image-2883" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png" alt="" width="440" height="248" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png?w=440&h=248 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png?w=150&h=84 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png?w=300&h=169 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png?w=768&h=432 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-in-practice.png 800w" sizes="(max-width: 440px) 100vw, 440px" /></a><br /><br /></p> <p>In practice, small errors and/or deliberate choices accumulate so that modern counting/conducting and historical Tactus sound – and, even more importantly, <span style="text-decoration:underline;">feel</span> – noticeably different.</p> <p><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png"><img data-attachment-id="2881" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/tactus-cuisenaire-early-music/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png" data-orig-size="800,450" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus Cuisenaire Early Music" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png?w=440" loading="lazy" class="alignnone size-full wp-image-2881" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png" alt="" width="440" height="248" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png?w=440&h=248 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png?w=150&h=84 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png?w=300&h=169 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png?w=768&h=432 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-early-music.png 800w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Ironically, amongst today’s Early Music perfomers, stylised articulations and ideas of ‘musical gesture’ etc often result in even greater disconnect from Tactus-Time. Many of those articulations are based on historical evidence and period principles: good/bad notes <a href="https://andrewlawrenceking.com/2013/09/22/the-good-the-bad-the-early-music-phrase/">here </a>, silences of articulation, over-dotting, etc. Caccini gives examples of how to sing typical phrases more gracefully: the common feature of all his examples is exaggerated contrast in note-values – long notes are lengthened, short notes are shortened.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png"><img data-attachment-id="2882" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/tactus-cuisenaire-hip/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png" data-orig-size="800,450" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus Cuisenaire HIP" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png?w=440" loading="lazy" class="alignnone size-full wp-image-2882" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png" alt="" width="440" height="248" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png?w=440&h=248 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png?w=150&h=84 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png?w=300&h=169 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png?w=768&h=432 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/tactus-cuisenaire-hip.png 800w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>There is no denying the historicity of ‘non-mathematical’ rhythm – varied lengths for notes written as equal, extra contrast for dissimilar note-values, varied articulations between notes etc – but all these subtle adjustments should happen <span style="text-decoration:underline;">within</span> the Tactus. The note-values affected are shorter than the Tactus, and the cumulative result is determined by lining-up with the next Tactus beat. <br /><br />This is the essential difference between modern playing and Tactus-playing: whether or not musical Time is measured by Tactus. And the only way to do Tactus-playing is – to adopt Zacconi’s form of words – by actually doing the action! Unless you study initially and then practice regularly with actual physical Tactus (the down-up motion of hand or foot) then you are not using Tactus to measure your music-making. Unless you rehearse Proportional changes with a Tactus hand-beat, you are not managing Proportions according to Tactus. <br /><br />In the hope that you would like to try it for yourself, here is the first part of my free online course on <a href="https://andrewlawrenceking.com/2018/01/28/the-practice-of-tactus-owners-workshop-manual/">The Practice of Tactus</a>.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-haynes-manual1.png"><img data-attachment-id="1925" data-permalink="https://andrewlawrenceking.com/2018/01/28/the-practice-of-tactus-owners-workshop-manual/tactus-haynes-manual/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-haynes-manual1.png" data-orig-size="649,875" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus Haynes Manual" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-haynes-manual1.png?w=223" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-haynes-manual1.png?w=440" loading="lazy" class="alignnone size-full wp-image-1925" src="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-haynes-manual1.png" alt="" width="440" height="593" srcset="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-haynes-manual1.png?w=440&h=593 440w, https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-haynes-manual1.png?w=111&h=150 111w, https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-haynes-manual1.png?w=223&h=300 223w, https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-haynes-manual1.png 649w" sizes="(max-width: 440px) 100vw, 440px" /></a><br /><br /></p> <p>Frescobaldi explains <a href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/">here </a>that (physical) Tactus facilitates even those difficult (and carefully delimited) moments where the Tactus itself should change. And Monteverdi notates what may well have been a common feature of performance, that soloists may choose to sing elegantly off the beat, whilst the continuo accompaniment remains in Tactus, like a jazz-singer syncopating against the steady groove of the rhythm section. See <a href="https://andrewlawrenceking.com/2015/10/12/monteverdi-caccini-jazz/">Monteverdi, Caccini & Jazz</a>.<br /><br />The Tactus-beat is human, rather than metronomic. The down-up movement has the almost imperceptible ebb and flow of <em>arsis </em>& <em>thesis </em>(look very carefully at the Tactus-Cuisenaire rods in my last example). And the Speed of the movement, which in principle is always the same, changes subtly in practice according to performance venue, ensemble forces, emotional state etc. It does not have to be precisely the same, from one occasion to another [for all this, see Zacconi, above], but you should keep it steady, as much as humanly possible. <br /><br />Ideally, we do not force the Tactus to be faster, in order to mimick emotional agitation; rather we feel the emotional effect of the words, and even though we think we are keeping the same Tactus, actually we are going faster. Tai Chi master <a href="https://entershaolin.com/">Sifu Phu</a> expresses this idea – what actors call ‘working from the inside outwards’: <em>Feel the Force, don’t force the feel! </em>See also the discussion of the psychology and physiology of the Four Humours in Joseph Roach’s (1985) survey of the historical Science of Acting: <a href="https://www.press.umich.edu/7827/players_passion">The Player’s Passion</a>. </p> <p>It should <span style="text-decoration:underline;">feel</span> as if the Tactus is always the same, but since we are human, it will not actually be the same, if we were to measure it objectively with modern equipment. Nevertheless, this subjective feeling of, and striving for perfect steadiness and consistent speed is utterly different from the arbitrary choices and changes of modern conducting. In this sense, Zacconi’s description (Chapter 33) of how the Tactus feels is both what performers should strive for, and what we hope our audiences will perceive.</p> <p><br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png"><img data-attachment-id="1972" data-permalink="https://andrewlawrenceking.com/?attachment_id=1972" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png" data-orig-size="2716,2196" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus is…" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=440" loading="lazy" class="alignnone size-full wp-image-1972" src="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png" alt="" width="440" height="356" srcset="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=440&h=356 440w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=880&h=712 880w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=150&h=121 150w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=300&h=243 300w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=768&h=621 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <blockquote> <p>Tactus is regular, solid, stable, firm… clear, sure, fearless, and without any perturbation.<br /><br /></p> </blockquote> <p><em>Il Tatto… deve essere si equale, saldo, stabile e fermo… chiaro, sicuro, senza paura & senza veruna titubatione, pigliando l’essempio dell’attione del polso o dal moto che fa il tempo dell’Orologgio… </em>following the example of the pulse [heart-beat] or clockwork.</p> <p> </p> <p>When we have come to appreciate the effect of measuring our music-making with Tactus, and remembering Zacconi’s identification of <em>tatto </em>[Tactus] with <em>tempo </em>[real-world time, and the notation of <em>tempus</em>], the full force of his comment that <em>Tempo </em>is ‘soul of music’ becomes apparent. The element that ‘gives life to music’ is not just rhythm in general, but the interconnected working of notation, physical time-beating, real-world time and musical performance, all co-ordinated at the heart-beat level of approximately a minim per second, and (like a heart-beat) rocking to-and-fro in what we feel to be subtly uneven pairs.</p> <blockquote> <p>This is not only the sound of Baroque music, it is the shape of Baroque Time. </p> </blockquote> <p>(ALK, 2020)</p> <h3>Senza misura</h3> <p>There are fascinating repertoires in baroque music that are written with specific note-values, but carry performance instructions for <em>senza misura. </em>Caccini specifies this (once only!) in his example song in <em>Le Nuove Musiche</em> (1601), <a href="https://andrewlawrenceking.com/2015/01/25/play-it-again-sam-the-truth-about-caccinis-sprezzatura/">here</a>. But there are many pieces from the mid-17th century by Froberger that are marked to be played with <em>discrétion</em>, and some of these have the additional instruction in some sources <em>sans observer aucune mesure </em>[without observing any Measure]. See Schulenberg on <a href="http://4hlxx40786q1osp7b1b814j8co-wpengine.netdna-ssl.com/david-schulenberg/files/2016/10/froberger_discretion_examples_with_images.pdf">Discretion here</a>, and on <a href="https://sscm-jscm.org/v13/no1/schulenberg.html#ch5">Froberger sources</a> here.</p> <p> </p> <div data-shortcode="caption" id="attachment_2891" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png"><img aria-describedby="caption-attachment-2891" data-attachment-id="2891" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/froberger-lamentation-sur-ce-que-jay-ete-vole/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png" data-orig-size="964,634" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Froberger Lamentation sur ce que j’ay été volé" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png?w=440" loading="lazy" class="wp-image-2891 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png" alt="" width="440" height="289" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png?w=440&h=289 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png?w=880&h=578 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png?w=150&h=99 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png?w=300&h=197 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/froberger-lamentation-sur-ce-que-jay-c3a9tc3a9-volc3a9.png?w=768&h=505 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-2891" class="wp-caption-text">Froberger Lamentation “sans observer aucune mesure”</p></div> <p> </p> <p>There is plenty of academic discussion of the challenge that Froberger and his copyists faced in trying to notate his highly idiosyncratic performance style. But for today’s performers, rather than taking <em>discrétion</em> as an invitation to introduce 20th-century <em>tempo rubato</em>, a possible approach based on period evidence could be to apply all that we know about articulation, rhythmic adjustments (following Caccini and Monteverdi), good/bad notes, dissonance/resolution etc etc, but <span style="text-decoration:underline;">without</span> any obligation to make all this add up to the Measure of Tactus. <br /><br />One might almost suggest that since the standard practice of much of present-day Early Music is to play without observing Tactus, that Caccini’s <em>senza misura </em>and Froberger’s <em>discrétion</em> are heard in almost every performance of every baroque repertoire, robbing [sic] audiences of the emotional impact of what should be a special effect, by soul-destroying [sic] over-exposure.</p> <h3>Conclusion</h3> <p>Zacconi’s concept of Time as the Soul of Music is much more than a trite platitude to remind us that rhythm matters. Rather, he expresses a fundamental element of Baroque practice, that music (and even the ‘affections of the Soul’ i.e. <em>affetti</em>, emotions) are created by a life-giving three-in-one of notated <strong><em>tempus</em></strong>, physical <strong>Tactus</strong>-beating, and real-world <strong>Time</strong>, operating (in early-<em>seicento </em>Italy) at the level of a semibreve ~ down/up ~ approximately two seconds.</p> <p>Today’s Early Music performers mostly fail even to try this: instead we argue about pitch, temperament and vibrato. “<strong>Doh!</strong><em>“</em> (Dan Castellaneta as <em>Homer Simpson</em>, 1988 – but I use the Oxford English Dictionary spelling from 2001) See <a href="https://andrewlawrenceking.com/2013/08/04/music-expresses-emotions/"><em>Music expresses Emotions?</em></a></p> <p>I give the last word to Türk, who proclaims his continuity with centuries of music-making measured by Tactus, by his translation (explicit) and updating (implicit, since his <em>Takt </em>– however similar – is no longer exactly the same as Zacconi’s <em>tempo</em> and <em>tatto</em>) of that period mantra, as his own last word on the subject. <em>Der T</em><em>akt ist … die Seele der Musik.<br /><br /></em></p> <blockquote> <p>Tactus is the Soul of Music </p> </blockquote> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-der-takt-ist-die-seele-der-musik.png"><img data-attachment-id="2893" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/turk-der-takt-ist-die-seele-der-musik/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-der-takt-ist-die-seele-der-musik.png" data-orig-size="353,33" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Turk Der Takt ist die Seele der Musik" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-der-takt-ist-die-seele-der-musik.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-der-takt-ist-die-seele-der-musik.png?w=353" loading="lazy" class="alignnone size-full wp-image-2893" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-der-takt-ist-die-seele-der-musik.png" alt="" width="353" height="33" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-der-takt-ist-die-seele-der-musik.png 353w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-der-takt-ist-die-seele-der-musik.png?w=150&h=14 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/turk-der-takt-ist-die-seele-der-musik.png?w=300&h=28 300w" sizes="(max-width: 353px) 100vw, 353px" /></a></p> <p> </p> <p> </p> <div id="atatags-370373-67484d1504086"> <script type="text/javascript"> __ATA.cmd.push(function() { __ATA.initVideoSlot('atatags-370373-67484d1504086', { sectionId: '370373', format: 'inread' }); }); </script> </div><span id="wordads-inline-marker" style="display: none;"></span> <div id="atatags-26942-67484d15044f2"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-26942-67484d15044f2', location: 120, formFactor: '001', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); }); </script><div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-2757" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-2757" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Time%3A%20the%20Soul%20of%20Music&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F03%2F29%2Ftime-the-soul-of-music%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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<a href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-and-philosophy/" rel="category tag">Music and Philosophy</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" rel="category tag">Rhythm</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/18th-century/" rel="tag">18th century</a>, <a href="https://andrewlawrenceking.com/tag/baroque/" rel="tag">baroque</a>, <a href="https://andrewlawrenceking.com/tag/baroque-music/" rel="tag">Baroque Music</a>, <a href="https://andrewlawrenceking.com/tag/early-music/" 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Lawrence-King</a></p> </li><!-- #comment-## --> </ol> <div id="respond" class="comment-respond"> <h3 id="reply-title" class="comment-reply-title">I'd like to hear your comments. Please comment here <small><a rel="nofollow" id="cancel-comment-reply-link" href="/2020/03/29/time-the-soul-of-music/#respond" style="display:none;">Cancel reply</a></small></h3><form action="https://andrewlawrenceking.com/wp-comments-post.php" method="post" id="commentform" class="comment-form"> <div id="comment-form__verbum" class="transparent"></div><div class="verbum-form-meta"><input type='hidden' name='comment_post_ID' value='2757' id='comment_post_ID' /> <input type='hidden' name='comment_parent' id='comment_parent' value='0' /> <input type="hidden" name="highlander_comment_nonce" id="highlander_comment_nonce" value="8f09755bc7" /> <input type="hidden" name="verbum_show_subscription_modal" value="" /></div><p style="display: none;"><input type="hidden" id="akismet_comment_nonce" name="akismet_comment_nonce" value="275a7b4674" /></p><p style="display: none !important;" class="akismet-fields-container" data-prefix="ak_"><label>Δ<textarea name="ak_hp_textarea" cols="45" rows="8" maxlength="100"></textarea></label><input type="hidden" id="ak_js_1" name="ak_js" value="238"/><script>document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() );</script></p></form> </div><!-- #respond --> </div><!-- #comments --> <nav id="nav-below"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/2020/03/15/three-types-of-dramatic-monody/" rel="prev"><span class="meta-nav">←</span> Recitative for Idiots (but don’t use that word): three types of Dramatic Monody</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/2020/04/02/welcome-to-spanish-baroque-opera/" rel="next">Welcome to Spanish Baroque Opera <span class="meta-nav">→</span></a></div> </nav><!-- #nav-below --> </div><!-- #content --> </div><!-- #primary --> <div id="secondary" class="widget-area" role="complementary"> <aside id="text-4" class="widget widget_text"><h1 class="widget-title">ANDREW LAWRENCE-KING</h1> <div class="textwidget"><p>Baroque opera, orchestral & ensemble director, imaginative continuo-player, Early Harp virtuoso, specialist in baroque gesture & Historical Action, investigator of Flow, Andrew Lawrence-King is the doyen of historical harping, one of the world’s leading performers of Early Music, and an internationally renowned scholar. </p> <p>His pioneering recordings of Trabaci, Ribayaz, Handel and Carolan re-established the lost worlds of Italian, Spanish, Anglo-Welsh & Irish baroque harps; as co-director of Tragicomedia and director of The Harp Consort, he led a revolution in improvisation & continuo-playing; his research into Tactus has redefined our understanding of baroque rhythm; as guest director, he inspires musicians around the world to reach new levels of technical precision and stylish historicity with fun, energy and passion. </p> <p>Andrew has directed at La Scala, Milan & Sydney Opera House and won Russia's highest theatrical award, the Golden Mask (2012) for Cavalieri’s 'Anima & Corpo'. His direction of Handel’s 'Orlando' (2019) won the Russian Eugene Onegin Award and has been nominated for another Golden Mask. During his long collaboration with Jordi Savall, he has won a Grammy (best ensemble 2011), the Spanish Premio de la Música in duet (2010) & trio (2011), and Australia’s Helpmann Award in duet (2013) & ensemble (2018). His recording of 'Earthly Angels' with soprano Kajsa Dahlbäck was YLE, the Finnish broadcasting company’s CD of the year (2018).</p> <p>2017 saw the premieres of Andrew Lawrence-King’s first two operatic compositions: 'Kalevala: the Opera', setting the Finnish national epic to ancient traditional melodies; and 'Arianna a la recherche', a remake of Monteverdi’s lost 1608 masterpiece from Rinucini’s libretto and the surviving musical fragment, the famous Lamento. Andrew’s latest recording traces the roots of favourite Christmas carols from the Finnish 'Piae Cantiones' (1582) with the Helsinki Utopia Choir, released on Jordi Savall’s AliaVox Diversa label (2019).</p> <p>From 2010-2015, Dr Lawrence-King was Senior Visiting Research Fellow for the Australian Centre for the History of Emotions. He is Professor of Early Harp and Continuo at the Guildhall School of Music & Drama, London and Director of Opera Omnia, Academy for Early Opera & Dance, Institute at Moscow State Theatre 'Natalya Sats'. He is currently working on an English translation of 'Il Corago', the anonymous c1630 guide for baroque opera directors. Inspired by 'Peter & the Wolf' and the 'Young Person’s Guide to the Orchestra', his latest operatic composition, 'The Play of Music & Time: an Explorer’s Guide to Early Opera' will be premiered in 2020.</p> <p>Andrew Lawrence-King directs The Harp Consort, combining state-of-the art early music performance with stylish improvisation & entertaining stage presentation; Il Corago, the production team for historical staging of early opera; the International Baroque Opera Studio and Opera Omnia Moscow. </p> <p>Andrew's hobbies include marathon running, sailing, kayaking, fencing (modern epée & historical rapier) and Tai Chi. He is a qualified hypnotist.</p> </div> </aside><aside id="search-3" class="widget widget_search"><h1 class="widget-title">Search this Blog for content</h1><form method="get" id="searchform" action="https://andrewlawrenceking.com/"> <label for="s" class="assistive-text">Search</label> <input type="text" class="field" name="s" id="s" placeholder="Search" /> <input type="submit" class="submit" name="submit" id="searchsubmit" value="Search" /> </form> </aside><aside id="media_gallery-3" class="widget widget_media_gallery"><h1 class="widget-title">Andrew Lawrence-King</h1><p class="jetpack-slideshow-noscript robots-nocontent">This slideshow requires JavaScript.</p><div id="gallery-2757-1-slideshow" class="jetpack-slideshow-window jetpack-slideshow jetpack-slideshow-black" data-trans="fade" data-autostart="1" data-gallery="[{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-harpsichord-harp-2.jpg?w=440","id":"1674","title":"ALK directs harpsichord \u0026amp; harp\u0026nbsp;2","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/introduction-to-single-action-harp.png?w=440","id":"118","title":"Introduction to Single Action\u0026nbsp;Harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/08\/enargeia.png?w=278","id":"847","title":"Enargeia","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-rovaniemi-orchestra.jpg?w=440","id":"1677","title":"ALK directs Rovaniemi\u0026nbsp;Orchestra","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-arpanetta.jpg?w=363","id":"1670","title":"ALK \u0026amp; Arpanetta","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/copy-alk-huete-small2.png?w=269","id":"25","title":"copy-alk-huete-small2.png","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-tra.jpg?w=440","id":"764","title":"ALK TRA","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/alk-peri.jpg?w=440","id":"1579","title":"ALK \u0026amp; Peri","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-harp-bordeaux-boat.jpg?w=440","id":"1686","title":"ALK, Irish Harp, Bordeaux\u0026nbsp;boat","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-psaltery.jpg?w=247","id":"1683","title":"ALK psaltery","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-sheffield.jpg?w=440","id":"1684","title":"ALK sheffield","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/no-conducting.png?w=240","id":"684","title":"No conducting","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/lord-of-the-strings.jpg?w=440","id":"1562","title":"Lord of the\u0026nbsp;Strings","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/alkzampieri.jpg?w=440","id":"938","title":"ALK\u0026amp;Zampieri","alt":"","caption":"ALK with Rainer Thurau\u0026#8217;s \u0026#8220;Zampieri\u0026#8221; Italian baroque harp","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/05\/the-perfect-musical-director-mattheson-by-alk.png?w=440","id":"1657","title":"The Perfect Musical Director Mattheson by\u0026nbsp;ALK","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-single-action.jpg?w=440","id":"1671","title":"ALK \u0026amp; Single\u0026nbsp;Action","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-from-small-harp.jpg?w=440","id":"1673","title":"Alk directs from small\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-sinfonietta-riga.jpg?w=440","id":"1678","title":"ALK directs Sinfonietta\u0026nbsp;Riga","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/thc-logo-2011-with-background.jpg?w=440","id":"13","title":"THC logo 2011 with\u0026nbsp;background","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/10\/golden-mask.png?w=235","id":"1374","title":"Golden Mask","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-in-rehearsal.jpg?w=431","id":"688","title":"ALK in rehearsal","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-with-chromatic-irish-harp.jpg?w=440","id":"1685","title":"ALK with chromatic Irish\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-lha.jpg?w=440","id":"1676","title":"ALK directs LHA","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/02\/inquartata.jpg?w=340","id":"380","title":"inquartata","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-st-p-baroque-opera-studio.jpg?w=440","id":"1679","title":"ALK directs St P baroque opera\u0026nbsp;studio","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/fingernails.jpg?w=440","id":"908","title":"fingernails","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-at-eihf.jpg?w=440","id":"1672","title":"ALK at EIHF","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-harpsichord-harp.jpg?w=440","id":"1675","title":"ALK directs harpsichord \u0026amp;\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/thc-20-years-ago-web.jpg?w=440","id":"947","title":"THC-20-years-ago-web","alt":"","caption":"Pat O\u0026#8217;Brien, ALK \u0026amp; other founder-members of The Harp Consort, at the recording sessions of Luz y Norte in 1994.","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-masterclass.jpg?w=440","id":"1682","title":"ALK Masterclass","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/alk-director-bow.jpg?w=440","id":"11","title":"ALK-director-bow","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs.jpg?w=440","id":"1680","title":"ALK directs","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-2014.jpg?w=440","id":"1681","title":"ALK Irish 2014","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/the-flow-zone-mashup-2015.jpg?w=440","id":"1550","title":"The Flow Zone mashup\u0026nbsp;2015","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/alk-irish-baroque.jpg?w=440","id":"93","title":"ALK Irish baroque","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/08\/the-theatre-of-dreams.png?w=440","id":"846","title":"The Theatre of\u0026nbsp;Dreams","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/alk-with-huete.jpg?w=440","id":"10","title":"alk-with-huete","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/il-corago.jpg?w=440","id":"12","title":"Il corago","alt":"","caption":"","itemprop":"image"}]" itemscope itemtype="https://schema.org/ImageGallery"></div></aside> <div id="atatags-286348-67484d1510bef"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-286348-67484d1510bef', location: 140, formFactor: '003', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); 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