Skip to main content Accessibility help
×
Hostname: page-component-7bb8b95d7b-l4ctd Total loading time: 0 Render date: 2024-09-05T20:17:35.983Z Has data issue: false hasContentIssue false

EXTEMPORE 6 - A Musicological Red Herring: The Etymology of the Counter-Tenor

Published online by Cambridge University Press:  05 November 2014

Simon Ravens
Affiliation:
Performer, writer, and director of Musica Contexta
Get access

Summary

The fact that Elford […] had a range as low as A at the bottom of the bass stave is a musicological red herring, for either Elford was a tenor […] in which case he should not have called himself a counter tenor, or, more likely, this note was falsetto.

G. M. Ardran and David Wulstan

Imagine you are at some large governmental function, and are asked if you would like to meet the ‘secretary’. Armed only with that information, as you are taken across the room perhaps you idly assume the person you are about to meet will have certain office skills, and a relatively passive working nature. You may even make an inappropriate assumption about the secretary's gender. When you then learn that this same person is actually Secretary of State, you may want to revise some of your assumptions. You may also regret the imprecision of language – that one term can be expected to cover such a broad remit: but would you hold the individual responsible for the vagaries of his or her job title?

If a single term can mean two things at the same time and place, we should hardly be surprised that historically it can cover an even broader range of options. This self-evident (but easily forgotten) truth has already been aired in this book. Now, though, we need to think about it with reference to the ‘counter-tenor’ and its companion terms.

Type
Chapter
Information
The Supernatural Voice
A History of High Male Singing
, pp. 144 - 148
Publisher: Boydell & Brewer
Print publication year: 2014

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×