〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗

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〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗
Form and Style of Performance（文艺复兴时期的音乐表现形式）
　　The fantasy was the most developed form of purely instrumental piece with no dance association. Many of the contrapuntal devices later used in the fugue are employed, and in general the fantasy represented the most sophisticated writing of the lute composers. Other instrumental pieces of a more lighthearted nature were given fanciful titles such as toy, nothing, jump, and so on.
　　With the exception of the fantasies the solo forms are predominantly those of dance music. Pa vanes and galliards abound, sometimes linked by the same thematic material as in John Johnson's "The Flatt Pavin" (p.93) and his following "Galliard" (p.96). The pavanes were a more stately dance than the galliards, which had leaping steps and a faster pace. It is clear that not all the pieces were intended for dancing; and some, such as Dowland's "Melancholy Galliard" (p.80) would lose their character if performed in strict dance tempo.
　　The alman (spelled also almain, almayne, and so on) translates literally as "German dance." In this period it was used as the title for pieces in duple time of moderate tempo. In comparing it with the galliard, Thomas Morley wrote, "The Alman is a more heavie daunce than this (fitlie representing the nature of the people [German] whose name it carieth) so that no extraordinary motions are used in the dauncing of it." (A Plaine and Easie Introduction to Practicall Musicke, 1597.)
　　The other principal form is that of theme and variations, usually on a well-known folk melody of the time, Narvaez's "Guardame las vacas" is one of the earliest examples of this form, and English lute music abounds with arrangements of "Walsing-ham," "Go from My Window," "Greensleeves," "Bonny Sweet Robin," and so on.
　　There is so much variety of style from piece to piece that individual recommendations have been given in the notes to each composition. However, it is possible to say in general that Renaissance music does not lend itself to a rubato or romantic style of phrasing. This does not mean that a mechanical performance is necessary for authenticity; there is ample opportunity for variation in dynamics, tone, color, and so on. The music is extremely vital} and a dry academic rendering of it is both dull and inappropriate.
　　Ornamentation has been kept to a minimum, being more a characteristic of the transition to the baroque period. The ornaments are in fact written into the pieces in the form of florid repeats or divisions, and further elaboration succeeds only in gilding the lily.
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〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗