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Dies》为SATB合唱而作，提供可选小提琴与键盘/通奏低音伴奏，并附带历史与演出提示。本文追溯17世纪北意大利教堂音乐的发展脉络，说明其音乐写作、戏剧性文本表达与对位写作如何融合。编辑说明涵盖力度、速度、表情记号与连奏的版本来源及修订点，便于演奏者准确落实谱面细节。",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/healthcare/","Healthcare",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/faber-baroque-choral-series-alleluia-haec-dies/433796/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/faber-baroque-choral-series-alleluia-haec-dies/433796.png","ImageObject",300,407,{"name":42,"@type":43},"Jordan 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keyboard continuo  \n|  |  |  |  |\n| --- | --- | --- | --- |\n| AUTHOR  \u003Cbr>0AT  \u003Cbr>工   |  | CLASS No.  \u003Cbr>783.4   |  |\n| TITLE  \u003Cbr>cs  \u003Cbr>h.ueC  \u003Cbr>A11elu   |  |  |  |\n|  |  | BOOK No.  \u003Cbr>a009036    |  |\n| This book must be returned on or before the date shown above  \u003Cbr>to the Library from which it was borrowed  \u003Cbr>LANCASHIRE COUNTY LIBRARY  \u003Cbr>143 CORPORATION STREET,PRESTON,PR18RH   |  |  |  |\n\n,-uurch music,none is so fascinating as thentf century,and in this age one of the areas most productivein church music that is both well-written and rewarding to perform wasnorthern Italy,the area bounded by the Venice-Bologna-Milan triangle.Many factors combined to inject a new vigour into the composing ofchurch music:the development of vocal writing and the new awareness ofthe possibilities of dramatic expression of the text,apparent in the earlyoperas,were fused with sound contrapuntal techniques to produce thestyle of the concertato motet.The aspirations of the Council of Trent,thatthe faithful should be uplifted to devotion,were reflected in a new fervencyin church music,which can be seen either in the brilliant colours of large-scale works with instruments and solo voices,or in the prayerful approachof the smaller motet for one or two voices and organ.  \nStanding midway between these two new forms of church music,themotet for the conventional choir in four to six parts received a new leaseof life in the early decades of the I7th century.Grandi,Donati and Crivelliwere among the most progressive composers to concern themselves withthis medium,and their clarity and simplicity of style offers a strong con-trast to the rich sonorities favoured by Prioli and by Bernardi in his lateworks.  \nJEROME ROCHE  \n## Historical Note\n\nSource:Ignazio Donati,I Secondo Libro de Motetti a 5 voci in Concerto,Venice,I629.  \nLibrary of the Conservatorio G.B.Martini,Bologna.  \nIgnazio Donati,who died c.I635,published his second book of five-partmotets while directing the music at the cathedral of Novara,not far fromMilan.He had already composed several volumes of motets for any numberup to six voices and continuo and was a competent master of the concertatostyle of church music that evolved rapidly in the early years of the seven-teenth century,being second only to Grandi in this field.  \n## Hints on Performance\n\nAlleluia,haec dies may be performed with or without the violin part,which adds an extra but inessential line above the four-part interplay of thevoices:there should be more than one violin if the choir is large.The con-tinuo is for organ,though a harpsichord may be used instead ifan organ isnot available.It would be possible to use both by limiting 4/4 sections tothe harpsichord and adding organ for the Alleluias.Embellishments may beadded to the continuo part by those competent to do so.  \n## Editorial Note\n\nAll dynamics,tempi,expression marks,violin phrasings,the continuorealisation and slurs are editorial except:—In the second Alleluia sectionall slurs covering two quavers on the second beat of the bar are original(Al-le-lu-ia),and at bars 66-73 all paired quavers are likewise slurred inthe original.  \nNote values are unchanged in the 4/4 sections,whose original timesignature is C.  \nCorrections:—Bar 33,alto:minim rest missing.  \n48,tenor,fourth note:undotted semibreve.  \n70,tenor,first note:B  \n82,violin,first note:G  \nALLELUIA,HAEC DIES  \nfor SATB,with optional violin and keyboard continuo  \nEdited by Jerome Rocbe  \nF0062  \nF0062  \n20Andante  \nA1-le -lu -ia,A1-le-luAl-le-lu1·ia,Al-le-luAl-le-luAl-le -lu ·ia,Al-le-luia,haecthissame  \n\n|  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |\n|  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n|  |  |  |  |  |  |  |  |  |  |  | ","cbCaige31epV1xLY","https://ap.wps.com/l/cbCaige31epV1xLY","pdf",2075410,24,"English","# Historical Note\n# Hints on Performance\n# Editorial Note","[{\"question\":\"《Alleluia, Haec Dies》适合怎样的演出编制？\",\"answer\":\"该曲为SATB合唱编制，可选择是否加入小提琴声部；通奏低音可用有机体（如风琴）或在条件允许时改用羽管键琴。\"},{\"question\":\"通奏低音一定要使用风琴吗？\",\"answer\":\"建议通奏低音使用风琴；若没有风琴，也可以改用羽管键琴。也可在特定段落采用混用策略，以达到合适的织体效果。\"},{\"question\":\"哪些标记被视为编辑性的，哪些属于原作？\",\"answer\":\"力度、速度与表情记号、小提琴句法、通奏低音实现以及连线多为编辑所加；但文中明确指出第二段Alleluia中部分连线与原始小节范围内的连线属于原作。\"}]","Faber Baroque Choral Series - Alleluia, Haec Dies | PDF",1790665525]