Franjo Bilić
Franjo Bilić (Zagreb, Croatia, 1994) studied harpsichord and basso continuo in the class of Pavao Mašić at the Music Academy in Zagreb and harpsichord and early music at Conservatorium van Amsterdam in the class of Menno van Delft. He is studying conducting in the class of Mladen Tarbuk at the Music Academy in Zagreb. He is giving masterclasses and lectures about early music and such as "Clavichord as a pedagogical starting point for other keyboard instruments" and "Andrea Antico da Montona, routes of the first print of keyboard tabulations".franjobilic.com
Address: Croatia
Address: Croatia
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Papers by Franjo Bilić
conceived the topic as a chronological overview of available written and pictorial
sources through history from the 16th century to roughly the middle of the 19th
century. The paper is divided into two main parts. The first part presents primarily
pictorial representations of the practice of ensemble-leading and conducting, while
the second and main part of the dissertation is based on written traces of the abovementioned practice. I collected testimonies, critiques, reviews, letters, and treatises
on conducting and ensemble-leading and ordered them by countries or main centres
and sources of national styles of early music (until circa 1800). The last part of the
paper presents the consequences of the statements made on today's practice of
conducting of above-mentioned repertoire and the vision of the ideal conductor from
the most famous writings of the 17th and 18th centuries.
For this thesis, I used historical pictorial representations, professional literature
and historical writings in English, French, Italian and German.
and F3 or C4 for BASSO) opposite to standard clefs (C1 for CANTO, C3 for ALTO, C4 for
TENOR and F4 for BASSO) has been around for last couple of decades in the early music
circles. The term high clefs have been emerging only in the context of 16th and 17th century
music, unfortunately not enough known today, especially in Croatia.
Discovery of its meaning and use in the above-mentioned period is of paramount
importance for understanding and performing of (above all) vocal polyphony spanning from
renaissance to early baroque style.
This work heads on to a quest to uncover its application and usage in one of the most
well-known pieces from the Dalmatian early baroque heritage. The piece is a five-part sacred
motet Panis Angelicus written by Ivan Lukačić (Šibenik, 1587 – Split, 1648) and printed in
the collection Sacrae Cantiones (Venice, 1620) containing 27 motets featuring the late
renaissance and early baroque style. This research brings detailed insight into many treatises
and musical sources considering the use and performance practice of high clefs during 16th
and 17th century.
Moreover, it shows understanding and meaning of high clefs onto vocal music from
the same era. This practise was important for many theoretical writers and composers back
then as it should be for performers today. The research will present arguments about
significance in understanding the use and performance practice of high clefs in that style and
the consequences of not doing so. After all, it will bring to a focus already mentioned motet
Panis Angelicus which is notated in high clefs (exceptional piece from the collection while all
other 26 were notated in standard clefs) and its connection with the performance practise of
high clefs. In the end, the research will answer the question from the title: “Is it possible that
motet Panis Angelicus has been mostly performed in the wrong manner (with all voices
singing inaccurate notes) for the last hundred years?"
most important manuscripts for the research of medieval instrumental music – codex Faenza
(I-FZc 117). Nowadays it is preserved in the Biblioteca Comunale and consists of 98 sheets of
parchment written in two periods: c1400 – c1420 and 1473 – 1474 by the scripter Johannes
Bonadies form the monastery of saint Paul in Ferrara. Codex is transferred from Ferrara to
Faenza between 1868 and 1889.
precondition for sufficient playing of the piano, harpsichord, and organ. The subject is
conceived in four main parts. Firstly, I will put the clavichord into the historical context
of the 18th century in which it was widely popular. Secondly, I will explain the
mechanics of clavichord from which all the conclusion will be derived for influence on
other keyboard instruments (piano, harpsichord, and organ). In the final part, I will
present historical records as arguments for conclusions of the previous part, as to get
the full perspective of all aspects on the importance of the clavichord for other
keyboard instruments.
I used expert literature and historical treatises on both English and German language
and expert magazine which deal with subjects about clavichord.
conceived the topic as a chronological overview of available written and pictorial
sources through history from the 16th century to roughly the middle of the 19th
century. The paper is divided into two main parts. The first part presents primarily
pictorial representations of the practice of ensemble-leading and conducting, while
the second and main part of the dissertation is based on written traces of the abovementioned practice. I collected testimonies, critiques, reviews, letters, and treatises
on conducting and ensemble-leading and ordered them by countries or main centres
and sources of national styles of early music (until circa 1800). The last part of the
paper presents the consequences of the statements made on today's practice of
conducting of above-mentioned repertoire and the vision of the ideal conductor from
the most famous writings of the 17th and 18th centuries.
For this thesis, I used historical pictorial representations, professional literature
and historical writings in English, French, Italian and German.
and F3 or C4 for BASSO) opposite to standard clefs (C1 for CANTO, C3 for ALTO, C4 for
TENOR and F4 for BASSO) has been around for last couple of decades in the early music
circles. The term high clefs have been emerging only in the context of 16th and 17th century
music, unfortunately not enough known today, especially in Croatia.
Discovery of its meaning and use in the above-mentioned period is of paramount
importance for understanding and performing of (above all) vocal polyphony spanning from
renaissance to early baroque style.
This work heads on to a quest to uncover its application and usage in one of the most
well-known pieces from the Dalmatian early baroque heritage. The piece is a five-part sacred
motet Panis Angelicus written by Ivan Lukačić (Šibenik, 1587 – Split, 1648) and printed in
the collection Sacrae Cantiones (Venice, 1620) containing 27 motets featuring the late
renaissance and early baroque style. This research brings detailed insight into many treatises
and musical sources considering the use and performance practice of high clefs during 16th
and 17th century.
Moreover, it shows understanding and meaning of high clefs onto vocal music from
the same era. This practise was important for many theoretical writers and composers back
then as it should be for performers today. The research will present arguments about
significance in understanding the use and performance practice of high clefs in that style and
the consequences of not doing so. After all, it will bring to a focus already mentioned motet
Panis Angelicus which is notated in high clefs (exceptional piece from the collection while all
other 26 were notated in standard clefs) and its connection with the performance practise of
high clefs. In the end, the research will answer the question from the title: “Is it possible that
motet Panis Angelicus has been mostly performed in the wrong manner (with all voices
singing inaccurate notes) for the last hundred years?"
most important manuscripts for the research of medieval instrumental music – codex Faenza
(I-FZc 117). Nowadays it is preserved in the Biblioteca Comunale and consists of 98 sheets of
parchment written in two periods: c1400 – c1420 and 1473 – 1474 by the scripter Johannes
Bonadies form the monastery of saint Paul in Ferrara. Codex is transferred from Ferrara to
Faenza between 1868 and 1889.
precondition for sufficient playing of the piano, harpsichord, and organ. The subject is
conceived in four main parts. Firstly, I will put the clavichord into the historical context
of the 18th century in which it was widely popular. Secondly, I will explain the
mechanics of clavichord from which all the conclusion will be derived for influence on
other keyboard instruments (piano, harpsichord, and organ). In the final part, I will
present historical records as arguments for conclusions of the previous part, as to get
the full perspective of all aspects on the importance of the clavichord for other
keyboard instruments.
I used expert literature and historical treatises on both English and German language
and expert magazine which deal with subjects about clavichord.