34:40

Composing a four-part motet from scratch!

20:05

Seven misconceptions about nuns and music (1500-1700)

21:02

Score analysis #5 - William Byrd / Hugh Ashton's ground [Tregian’s ground]

28:03

The Magic Table That Lets You Compose Canons Over A Cantus Firmus (1596)

28:53

Period composition (and the truth about Albinoni’s adagio)

21:13

Why do we need scholarly editions of music?

19:40

A Christmas special: Gaudete! And what happened to it in the 20th century

27:13

Why bad performances are bad (according to someone in 1594) / Bottrigari: Il Desiderio

25:15

Conducting in the 16th-18th centuries

21:44

Dario Castello: Sonata Prima! (1629)

20:38

The fascinating counterpoint of Lamentation letters

12:53

Penna: The Fundaments of Playing Upon a Part (1672) [PIE vol. 5]

22:04

Tutorial: intabulating vocal music into keyboard notation

23:54

The Castrati: A dark corner in music history

21:37

The tragically short career of Monteverdi’s star soprano Caterina Martinelli

18:14

Orfeo, Hindemith and the Early Music Revival

20:44

Cantare super librum

20:58

How we realized Monteverdi’s O quam pulchra es

01:31

Early Music Sources special opening themes: 2015-2022

22:12

The Neapolitan Chord

25:04

Bach’s choir: Size matters??

11:19

How to lose your music teaching job in one year: the trial of Pietro Pontio 1566

16:24

Score analysis #4 - Jan Pieterszoon Sweelinck / Mein junges Leben hat ein End

23:31

Joachim Burmeister and his musical-rhetorical figures

25:58

Partimento - Training the Maestri

16:52

The Carlo G manuscript - A precious window to the past

24:03

Who's afraid of Carlo Gesualdo? 🎃

18:17

Unsatisfyingly sweet: Josquin's Mille Regretz

15:47

Vincenzo Galilei VS Polyphony and Word Painting

18:58

Score analysis #3 - Jan Pieterszoon Sweelinck / Ricercar del nono tono

21:31

Giulio Caccini: the good, the bad and the unclear

17:51

Stretto fuga - How to make a masterpiece out of two intervals

24:04

The Rule of the Octave

15:59

Salomone Rossi and his innovations

16:20

Virtuosic Venetian monody from 1625 - “O Maria” by Giovanni Rovetta

13:00

Iconography

17:12

How to improvise polyphony in four voices according to Santa María

13:32

Score analysis #2 - Jan Pieterszoon Sweelinck - Hexachord Fantasia

16:47

Early Word Painting

18:21

Mensural notation - the basics

11:16

Countertenors - Things you didn't know!

14:17

The art of diminution in the 16th century

19:14

Reading from partbooks in the 16th century

20:38

Temperaments - What you need to know

11:02

The Italian keyboard PARTITURA

15:52

Cadenza doppia and five cool things you can do with it!

22:44

Regole di canto figurato, contrappunto, d'accompagnare [PIE no.1]

18:44

Falsobordone, the Miserere of Allegri, and a most bizarre musicological error

17:40

How (not) to produce an opera in 1720s Venice

14:17

The first piece with basso continuo and how it can teach you counterpoint!

15:00

Vocal vibrato 1500-1700

12:29

Emilio de’ Cavalieri’s mysterious enharmonic passage

17:45

False relations in the late Renaissance

21:16

Consonances according to Tomás de Santa María

06:55

EMS SERENISSIMA - Font presentation

20:35

Luzzasco Luzzaschi: Madrigali per cantare et sonare (1601)

14:55

Maffei’s letter on learning how to sing diminutions without a teacher (1562)

02:09

Early Music Sources - Behind the scenes

22:49

Artusi VS Monteverdi

01:44

Early Music Sources PIE - INTRODUCTION