DOCSLIB.ORG

Renaissance Declarative Knowledge

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Renaissance Declarative Knowledge Renaissance Declarative Knowledge Renaissance Sacred Music I. Renaissance Style 1. Golden age of a cappella style 1. imitative polyphony 2. harmony: fuller chords, 3rds and 6ths 3. carefully controlled dissonance 4. duple meter 2. Early Renaissance (1450–1520) 1. Belgium, northern France: Du Fay, Josquin 3. Later Renaissance (1520–1600) 1. Italy: Palestrina, Gabrieli II. The Early Renaissance Mass 1. Ordinary, fixed portion, set to music 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus Dei 2. Cantus firmus (fixed melody) 1. entire mass based on one melody 2. Gregorian chant or popular song III. Du Fay and the Cantus Firmus Mass 1. Guillaume Du Fay (c. 1397–1474) 1. Franco-Flemish composer 2. career in Italy and France 3. well-defined melodies; clear-cut rhythms 2. Listening Guide 8: Du Fay, L’homme armé Mass (The Armed Man Mass), Kyrie (1460s) 1. four-part, a cappella chorus 2. cantus firmus: L’homme armé, popular tune 3. polyphonic, but not imitative 4. three sections: slow triple meter, duple, triple meter 5. harmony: medieval, and fuller 3rds and 6ths of Renaissance IV. The Motet in the Renaissance 1. Motet: became sacred form 1. single Latin text 2. used in the Mass 3. praise of the Virgin Mary http://ibscrewed4music.blogspot.com/ 4. three, four, or more voices of equal importance 5. cantus firmus: chant or popular song V. Josquin des Prez and the Motet 1. Josquin des Prez (c. 1450–1521) 1. northern French composer 2. Italian court positions; papal choir in Rome 3. humanism: expressive harmony, serene melodies 4. sacred and secular compositions 2. Listening Guide 9: Josquin, Ave Maria . virgo serena (Hail Mary . gentle virgin) (1480s) 1. Latin motet 2. four-voice, a cappella choir 3. varied combinations of voices and textures VI. The Reformation and Counter-Reformation 1. Reformation: Protestant Revolt 1. Martin Luther (1483–1546): Ninety-Five Theses, 1517 1. Augustinian monk 2. excommunicated by Catholic church 2. mass in vernacular 3. hymns sung communally 2. Counter-Reformation: Catholic church response 1. recapture loyalty of people: accessible music 2. Council of Trent (1545–1563) concerns 1. embellishments to Gregorian chant 2. objected to certain instruments in church 3. use of popular songs in Masses 4. secular spirit in sacred music 5. irreverent attitude of church musicians 6. complex polyphony obscured the text 3. Council favored pure vocal style 1. simplicity, clarity 2. respected integrity of sacred texts 3. encourage piety VII. Palestrina and the Pope Marcellus Mass 1. Giovanni Pierluigi da Palestrina (c. 1525–1594) 1. Italian composer, organist, choirmaster 2. worked at St. Peter’s in Rome and Sistine Chapel Choir 3. mostly sacred compositions; over 100 Masses 4. pure, a cappella, vocal polyphony 2. Listening Guide 10: Palestrina, Pope Marcellus Mass, Gloria (1567) 1. six-part, a cappella male choir http://ibscrewed4music.blogspot.com/ 2. monophonic opening 3. homorhythmic and polyphonic textures follow 4. clear declamation of the text 5. full, consonant harmony PIECES: Josquin, Ave Maria… virgo serena Palestrina, Pape Marcellus Mass Renaissance Secular Music I. Music in Court and City Life 1. Professional musicians: court and civic festivities 2. Merchant class: music-making in the home 3. Women in music 1. music education: well-bred women 2. women achieved fame as professional singers 4. Important genres: chanson and madrigals II. The Chanson 1. Favored genre at Burgundian courts throughout 16th century 1. three or four voices 2. courtly love 3. freer poetic structures 4. preeminent composers: Du Fay, Josquin 2. Listening Guide 11: Josquin, Mille regretz (A thousand regrets) (1520) 1. four-voice, a cappella French chanson 2. through-composed, four-line love poem 3. homorhythmic and polyphonic textures 4. modal harmony: expresses sadness 5. syllabic, with melisma on “regretz” III. The Italian Madrigal 1. Secular vocal composition for three to eight voices 1. flourished at Italian courts 2. short poems: lyric or reflective character 3. music enhanced poetry 4. word painting: music depicts emotional words 1. weeping, sighing, trembling, etc. 5. instruments double or substitute voices 2. Early madrigal (c. 1525–50) 3. Later madrigal (1580–1620) 1. extends into Baroque era http://ibscrewed4music.blogspot.com/ 2. rich chromatic harmony, vocal virtuosity 3. Claudio Monteverdi: transitional composer 4. Jacques Arcadelt (c. 1507–1568) 1. Franco-Flemish composer; early madrigalist 2. worked in Italy and France 3. secular compositions: chansons, madrigals 4. sacred compositions: Masses, motets 5. simpler, lyrical style 5. Listening Guide 12: Arcadelt, Il bianco e dolce cigno (The white and sweet swan) (1538) 1. four-voice, a cappella madrigal 2. through-composed 10-line poem 3. lyrical, conjunct melody 4. mostly homophonic, consonant, full harmony 5. emotional words: dissonance, chromaticism, melisma, repetition IV. The English Madrigal 1. Flourished during Elizabethan era (1558–1603) 1. “Englished” Italian madrigals 2. less serious, lighter texts 3. composers: Thomas Morley (1557–1603), Thomas Weelkes (c. 1575– 1623), John Farmer 2. John Farmer (c. 1570–1603) 1. English composer, organist 2. composed only one madrigal collection 3. light-hearted style, clever word painting 3. Listening Guide 13: Farmer, Fair Phyllis (1599) 1. four-voice, a cappella English madrigal 2. dancelike, lively rhythms 3. varied textures 4. word painting: “all alone,” and “up and down” V. Instrumental Dance Music 1. 16th century: purely instrumental music developed 1. printing: published music readily available 2. books of dances for solo instruments or small ensembles 3. instrumentation not specified: determined by occasion 4. percussion parts not notated: improvised 5. dance types: pavane, saltarello, galliard, allemande, ronde 2. Tielman Susato (c. 1515–1571) 1. Flemish composer, instrumentalist, printer 2. Danserye: popular instrumental dance collection (1551) 3. Listening Guide 14: Susato, Three Dances (1551) http://ibscrewed4music.blogspot.com/ 1. three rondes, each in binary form (A-A-B-B) 2. repeated sections: improvised embellishments 3. dances flow from one to the next 4. duple meter, homophonic texture 5. consonant harmony; Ronde 2, modal 6. performed by loud wind band 1. shawm, sackbut, cornetto, tabor, tambourine 4. From the Renaissance to the Baroque 1. humanistic spirit 2. sought expressive means 3. shift to single-line music VI. Giovanni Gabrieli and Instrumental Music in Venice 1. Venice: important musical center by end of 16th century 1. major seaport; at crossroads of trade with the East 2. Venetian style 1. multiple choirs of voices and instruments 2. antiphonal: groups play in alternation 3. influenced composers all over Europe 3. Giovanni Gabrieli (c. 1557–1612) 1. composer and organist 2. worked at St. Mark’s in Venice 3. sacred and secular compositions 4. instrumental ensemble music; polychoral works 5. first to indicate dynamics; specify specific instruments 4. Listening Guide 15: Gabrieli, Canzona septimi toni (1597) 1. instrumental canzona: sectional work 2. two instrumental groups: antiphonal style 3. shifting meters: duple and triple 4. mostly homophonic PIECES: Arcadelt, Il Bianco e dolce cigno Farmer, Fair Phyllis Susato, Three Dances http://ibscrewed4music.blogspot.com/ Comparison between Renaissance and Baroque Renaissance Baroque Simple melodies Ornate melodies Melody Mostly stepwise Dramatic leaps common Consistent rhythms Wider variety of rhythms Slow underlying pulse Faster, more regular pulse Rhythm Consistent tempos Varied tempos between movements Often based on text Often based on dance rhytms Triadic, based on major/minor Triadic, based on modes tonality Harmony Dissonance on weak beats Dissonance a fundamental part of chords Basso continuo accompaniment Equal voices Wide variety of instrumental colors Like instruments (consorts) Free mix of voices and instruments Sounds Voices or instruments alone Instrumentation defined by Instrumentation up to performer composer Single dynamic level Dynamic contrasts (terraced) Texture Imitative or homophonic Melody and accompaniment New and abstract forms (binary and Form Based on text or dance forms ternary) based on repetition The Renaissance: (1450 - 1600) o The Era: Rebirth of learning and culture, expressly the ideas of ancient Greece and Rome. Age of exploration and discovery: Christopher Columbus, Vasco da Gama, Ferdinand Magellan. Advances in science and astronomy. Copernicus. Gunpowder, the printing press. scientific inquiry. Humanism. Leonardo Da Vinci. the Renaissance man: scholar, painter, sculptor, inventor, scientist, musician. Visual art: perspective, realistic portrayal of the human figure, portraits, nude sculpture. Botticelli (Birth of Venus 1480) [PMG MAA p 108] . Donatello (David 1400’s) [EOM p 84] . Michalangelo (David 1504) [MAA p109] . Da Vinci (Madonna and St. Anne 1500’s) - compare with Medieval madonna. [MAA plates] http://ibscrewed4music.blogspot.com/ It’s a veritable who’s who: Lorenzo de Medici (Machiavelli), Lucrecia Borgia, Erasmus, Luther, Galileo, Cervantes, Marlowe, Shakespeare. Gutenberg, Petrucci. Style: Form imitation, homorhythm, cantus firmus, text-dominated forms Melody relatively conjunct, contrapuntal lines, word painting Tone Color families or consorts of instruments, blend Harmony interval of the third; firmly regulated treatment of dissonance Rhythm smooth regular flow, or restless. Dance music strongly metrical, but in general complex interlocking phrases without emphasis on meter. Syncopation. Genres:
Load more

Recommended publications
  • Digibooklet Co'l Dolche Suono
    Co‘l dolce suono Ulrike Hofbauer ensemble arcimboldo | Thilo Hirsch JACQUES ARCADELT (~1507-1568) | ANTON FRANCESCO DONI (1513-1574) Il bianco e dolce cigno 2:35 Anton Francesco Doni, Dialogo della musica, Venedig 1544 Text: Cavalier Cassola, Diminutionen*: T. Hirsch FRANCESCO DE LAYOLLE (1492-~1540) Lasciar’ il velo 3:04 Giovanni Camillo Maffei, Delle lettere, [...], Neapel 1562 Text: Francesco Petrarca, Diminutionen: G. C. Maffei 1562 ADRIANO WILLAERT (~1490-1562) Amor mi fa morire 3:06 Il secondo Libro de Madrigali di Verdelotto, Venedig 1537 Text: Bonifacio Dragonetti, Diminutionen*: A. Böhlen SILVESTRO GANASSI (1492-~1565) Recercar Primo 0:52 Silvestro Ganassi, Lettione Seconda pur della Prattica di Sonare il Violone d’Arco da Tasti, Venedig 1543 Recerchar quarto 1:15 Silvestro Ganassi, Regola Rubertina, Regola che insegna sonar de viola d’archo tastada de Silvestro Ganassi dal fontego, Venedig 1542 GIULIO SEGNI (1498-1561) Ricercare XV 5:58 Musica nova accomodata per cantar et sonar sopra organi; et altri strumenti, Venedig 1540, Diminutionen*: A. Böhlen SILVESTRO GANASSI Madrigal 2:29 Silvestro Ganassi, Lettione Seconda, Venedig 1543 GIACOMO FOGLIANO (1468-1548) Io vorrei Dio d’amore 2:09 Silvestro Ganassi, Lettione Seconda, Venedig 1543, Diminutionen*: T. Hirsch GIACOMO FOGLIANO Recercada 1:30 Intavolature manuscritte per organo, Archivio della parrochia di Castell’Arquato ADRIANO WILLAERT Ricercar X 5:09 Musica nova [...], Venedig 1540 Diminutionen*: Félix Verry SILVESTRO GANASSI Recercar Secondo 0:47 Silvestro Ganassi, Lettione Seconda, Venedig 1543 SILVESTRO GANASSI Recerchar primo 0:47 Silvestro Ganassi, Regola Rubertina, Venedig 1542 JACQUES ARCADELT Quando co’l dolce suono 2:42 Il primo libro di Madrigali d’Arcadelt [...], Venedig 1539 Diminutionen*: T.
    [Show full text]
  • High School Madrigals May 13, 2020
    Concert Choir Virtual Learning High School Madrigals May 13, 2020 High School Concert Choir Lesson: May 13, 2020 Objective/Learning Target: students will learn about the history of the madrigal and listen to examples Bell Work ● Complete this google form. A Brief History of Madrigals ● 1501- music could be printed ○ This changed the game! ○ Reading music became expected ● The word “Madrigal” was first used in 1530 and was for musical settings of Italian poetry ● The Italian Madrigal became popular because the emphasis was on the meaning of the text through the music ○ It paved the way to opera and staged musical productions A Brief History of Madrigals ● Composers used text from popular poets at the time ● 1520-1540 Madrigals were written for SATB ○ At the time: ■ Cantus ■ Altus ■ Tenor ■ Bassus ○ More voices were added ■ Labeled by their Latin number ● Quintus (fifth voice) ● Sextus (sixth voice) ○ Originally written for 1 voice on a part A Brief History of Madrigals Homophony ● In the sixteenth century, instruments began doubling the voices in madrigals ● Madrigals began appearing in plays and theatre productions ● Terms to know: ○ Homophony: voices moving together with the same Polyphony rhythm ○ Polyphony: voices moving with independent rhythms ● Early madrigals were mostly homophonic and then polyphony became popular with madrigals A Brief History of Madrigals ● Jacques Arcadelt (1507-1568)was an Italian composer who used both homophony and polyphony in his madrigals ○ Il bianco e dolce cigno is a great example ● Cipriano de Rore
    [Show full text]
  • Direction 2. Ile Fantaisies
    CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
    [Show full text]
  • An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways.
    [Show full text]
  • Instrumental Music in the Urban Centres of Renaissance Germany Author(S): Keith Polk Reviewed Work(S): Source: Early Music History, Vol
    Instrumental Music in the Urban Centres of Renaissance Germany Author(s): Keith Polk Reviewed work(s): Source: Early Music History, Vol. 7 (1987), pp. 159-186 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/853891 . Accessed: 02/11/2011 18:18 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music History. http://www.jstor.org KEITH POLK INSTRUMENTAL MUSIC IN THE URBAN CENTRES OF RENAISSANCE GERMANY* Modern scholarship about Renaissance instrumental music has suffered from a scarcity of musical sources. Consequently current research efforts often seem to operate in the manner of archaeologi- cal excavations; at times it is only as one layer is painstakingly uncovered that the configurations of another are revealed. This was certainly the experience of this contribution, which began as an investigation into late fifteenth-century Italian instrumental prac- tices. The early phases of the Italian study involved sifting through many archival documents, and one initial miscellaneous impression was that German players frequently appeared in Italian ensembles. Pursuit of this almost casual observation led first to an awareness that German presence in Italy was substantial, then, further, to the fact that the oltramontanidominated aspects of instrumental music.
    [Show full text]
  • Une Jeune Pucelle 3’43 Se Chante Sur « Une Jeune Fillette »
    menu tracklist texte en français text in english textes chantés / lyrics AU SAINCT NAU 1 Procession Conditor alme syderum 2’40 2 Procession Conditor le jour de Noel 1’20 Se chante sur « Conditor alme syderum » 3 Eustache Du Caurroy Fantaisie n°4 sur Conditor alme syderum 1’48 (Orgue seul) 4 Jean Mouton - Noe noe psallite noe 3’21 5 Jacques Arcadelt - Missa Noe noe, Kyrie 8’06 Alterné avec le Kyrie « le jour de noël », qui se chante sur Kyrie fons bonitatis 6 Clément Janequin - Il estoyt une fillette 3’01 Se chante sur « Il estoit une fillette » 7 Anonyme/Christianus de Hollande Plaisir n’ay plus que vivre en desconfort 4’03 Se chante sur « Plaisir n’ay plus » 8 Claudin de Sermizy Dison Nau à pleine teste 3’27 Se chante sur « Il est jour, dist l’alouette » 9 Claudin de Sermizy - Au bois de deuil 3’49 Se chante sur « Au joly boys » 10 Eustache Du Caurroy Fantaisie n°31 sur Une jeune fillette 1’48 (Orgue seul) 3 11 Loyset Pieton O beata infantia 8’20 12 Eustache Du Caurroy Fantaisie n°30 sur Une jeune fillette 1’37 (Orgue seul) 13 Eustache Du Caurroy Une jeune pucelle 3’43 Se chante sur « Une jeune fillette » 14 Guillaume Costeley - Allons gay bergiere 1’37 15 Claudin de Sermizy L’on sonne une cloche 3’35 Se chante sur « Harri bourriquet » 16 Anonyme - O gras tondus 1’42 17 Claudin de Sermizy Vous perdez temps heretiques infames 2’16 Se chante sur « Vous perdez temps de me dire mal d’elle » 18 Claude Goudimel Esprit divins, chantons dans la nuit sainte 2’16 Se chante sur « Estans assis aux rives aquatiques » (Ps.
    [Show full text]
  • Illinois Wind Orchestra Barry L. Houser, Conductor Long-Tao Tang, Graduate Associate Conductor Oak Prairie Junior High School B
    Illinois Wind Orchestra Barry L. Houser, conductor Long-Tao Tang, graduate associate conductor Oak Prairie Junior High School Band Bill Rank, conductor Foellinger Great Hall Krannert Center for the Performing Arts Tuesday, October 28, 2014 7:30 PM TIELMAN SUSATO The Battle Pavane (1551/1984) (1500-1561) arr. Bob Margolis WILLIAM OWENS The Blue Orchid (A Tango for Band) (2005) (b.1963) TRADITIONAL All the Pretty Little Horses (1998) arr. Anne McGinty ROBERT W. SMITH The Great Locomotive Chase (2000) (b.1958) KARL L. KING Allied Honor March (1955) (1891-1971) arr. James Swearingen INTERMISSION PERCY GRAINGER The Duke of Marlborough Fanfare (1939/2000) (1882-1961) arr. Donald Hunsberger Long-Tao Tang, conductor (continued) The University of Illinois Bands Staff Linda R. Moorhouse, interim director of bands FRANK TICHELI Sanctuary (2006) Barry L. Houser, director of athletic bands | assistant director of bands (b.1958) J. Ashley Jarrell, assistant director of bands Barry L. Houser, conductor Lana Custer, financial associate Terri Daniels, business administrative associate Elaine Li, bands performance collection librarian ALFRED REED El Camino Real (1986) Brian Coffill, graduate assistant (1921-2005) Morganne Garcia, graduate assistant Philip Meyer, graduate assistant GIACOMO PUCCINI Scossa Elettrica (1896/2001) Trent Shuey, graduate assistant (1858-1924) Long-Tao Tang, graduate assistant arr. Charles D. Yates Brad Wallace, graduate assistant SERGEI PROKOFIEV March, Op. 99 (1946) University of Illinois Bands Selected Events (1891-1953) October
    [Show full text]
  • A Musical Correspondence from the Time of Philip II
    Ignace Bossuyt 0 socii durate A musical correspondence from the time of Philip II ANTOINE Perrenot de Granvelle (1517-86) was painted by, among others, Titian, Antonio Moro one of the most fascinating personalities to have and Leone Leoni. patronized the arts in the second half of the 16th cen- Music, too, meant much to him, as is apparent tury. He played a crucial role both as a prince of the from his contacts with the most prominent com- church and as a politician in the Netherlands under posers of his time. His extensive correspondence the Spanish domination. After studying at the uni- contains a wealth of hitherto unknown musical versities of Leuven (Louvain) and Padua, he became data. A systematic examination of his letters, some Bishop of Arras in 1538, aged 21 years. In 1550 he suc- of which are preserved in the Palacio Real and the ceeded his father, Nicolas Perrenot, as prime minis- Biblioteca Nacional in Madrid,' has yielded particu- ter to Charles V, King of Spain and Holy Roman larly interesting information on his relationship Emperor, and retained this post after Charles's son with two composers of international stature: Adrian Philip II became ruler of the Netherlands in 1555. Willaert (c.1490-1562), who was maestro di cappella Following Philip's return to Spain in 1559 Antoine of St Mark's in Venice between 1527 and 1562, and became first counsellor to Margaret of Parma. Op- Orlande de Lassus (1530/32-1594), a tenor at the position to him increased steadily from 1561, espe- Bavarian court in Munich from September 1556 and cially after his elevation to cardinal and archbishop Kapellmeister there from 1563 until his death in of Malines (Mechelen).
    [Show full text]
  • Universiv Microtlms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]
  • English Lute Manuscripts and Scribes 1530-1630
    ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 An examination of the place of the lute in 16th- and 17th-century English Society through a study of the English Lute Manuscripts of the so-called 'Golden Age', including a comprehensive catalogue of the sources. JULIA CRAIG-MCFEELY Oxford, 2000 A major part of this book was originally submitted to the University of Oxford in 1993 as a Doctoral thesis ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 All text reproduced under this title is © 2000 JULIA CRAIG-McFEELY The following chapters are available as downloadable pdf files. Click in the link boxes to access the files. README......................................................................................................................i EDITORIAL POLICY.......................................................................................................iii ABBREVIATIONS: ........................................................................................................iv General...................................................................................iv Library sigla.............................................................................v Manuscripts ............................................................................vi Sixteenth- and seventeenth-century printed sources............................ix GLOSSARY OF TERMS: ................................................................................................XII Palaeographical: letters..............................................................xii
    [Show full text]
  • Annotated Bibliography of Renaissance Dance This Bibliography Is the Joint Effort of Many Subscribers to the RENDANCE Electronic Mailing List
    Bibliography 1 Annotated Bibliography of Renaissance Dance This bibliography is the joint effort of many subscribers to the RENDANCE electronic mailing list. It may be copied and freely distributed for no commercial gain. It may not be sold or included in collections to be sold for a profit. A small fee to cover copying costs is permissible. The compiler claims no responsibility for the correctness or usefulness of any of the information contained in this bibliography, and shall not be liable for damages arising from the use or misuse of the material contained herein. Since the original edition, a couple of on-line editions have appeared. This copy was compiled from one produced by Andrew Draskoy, using a web based bibliography package that he wrote. Additional code to convert the database to this format was written by myself. Some transcription errors may have occurred in the conversion – notably I had some difficulties converting some of the international characters used (e.g: é, ç, ü, etc) into the format used by OpenOffice, and so I apologise for any errors that were introduced in this stage. Hopefully Andrew's on-line edition will be released for public usage shortly but at the moment it only exists on a private server. Books & Articles (author unknown). fonds fr. 5699. , formerly fonds fr. 10279. , Le ballet de la royne de Cessile. Matt Larsen: Flyleaf choreographies to a copy of Geste des nobles Francoys in Paris, Bibliotheque Nationale. Dances transcribed in Sachs, pp. 313-314. This document lists the dances which were performed at a court function in 1445, and includes the choreographies for each dance.
    [Show full text]
  • Instructions for Authors
    Journal of Science and Arts Supplement at No.1- 2, pp. 33-44, 2011 GREAT SCHOOLS OF CHORAL COMPOSITION AND INTERPRETATION IN RENAISSANCE EMIL FLORIN NICOLAE BADEA1 _________________________________________________ Manuscript received: 21.03.2011. Accepted paper: 27.04.2011. Published online: 10.06.2011. Abstract. This article is an analysis of the Renaissance music (mostly of choral music) highlighting the important contributions made by the representative figures of the Franco- Flemish and Italian (Roman and Venetian) schools, which imposed genres such as the madrigal, the chanson, the ballads, the rondeaux, and motets, virelais and magnificates. Keywords: Renaissance polyphony, chason, motet, missa, requiem, madrigal, song, psalm, hymn, Cantus firmus. 1. THE FRANCO-FLEMISH SCHOOL Although musicology has established a specifi c period of music history to be nam ed new art (Ars nova, XIII-XIV cen turies), I consider it would be more appropriate that Renaissance art should acquire this title - new art (or birth as stated above) since, through the synthesis realized by the m ain schools of composition and m usical performance, the Renaissance created a com pletely original m usic, inspired by the fundamentals of hum an being, fully aware of its own concerns and feelings. At the beginning of the Renaissance, the m ain centers of dissem ination of the new creative methods were to be found in Flande rs and Burgundy - Belgium, Netherlands and Luxembourg today. Along with a series of wa rs, in the anxious Europe, an unprecedented flowering of artistic activities took place. It was mainly in cities which, by their nature, were primarily economical centers (Amsterdam, Bruges, Brussels, Antwerp, Liege, Rotterdam) that developed an art - especially the painting belonging to masters who succeeded to let free their imagination, controlled by the m ost luxurious representations, unfolding in countless plans and which would echo in the polyphonic musical creation as well.
    [Show full text]