Phrased notation and renaissance polyphony: exploring a new solution to an old problem. An arts practice exploration of a modified music notation system, drawing on Irish based renaissance sources

A 1984 performance of Sicut Cervus by Palestrina raised in this writer’s mind questions regarding the performance of Renaissance polyphony by non-specialist choirs. The initial questions developed into one which asked if a printed edition could materially impact a performance. Subsequent research has indicated that such questions have been asked since the 1930’s, when editors such as Heinrich Besseler attempted to address performance issues relating to Renaissance polyphony through a modified notational style known as mensurstrich. An examination of a selection of editorial styles from 1905 to modern times used in Ireland shows how various editorial styles attempted to deal with problems associated with the performance of Renaissance polyphony. This writer’s musical training, and over forty years’ experience of directing amateur choral groups, has resulted in a unique set of skills being brought to bear on the topic. The writer has devised a notation system which seeks to minimise the impact of modern notation conventions on the performance of Renaissance polyphony while supporting elements of performance known to have been addressed in Renaissance choristers’ training. Music notation is a communication tool. However, Renaissance music notation is a communication tool not generally understood by non-specialist choristers and so requires transcription into some form of modern script which can be understood and used to facilitate performance. In private rehearsals, public performances and independent trials, the Phrased Notation System has been examined in detail and has shown promise in supporting nonspecialist choristers in the performance of Renaissance choral music while, at the same time, garnering acceptance by the choristers who use the system.