DOCSLIB.ORG

La Improvisación En La Historia De La Música Y De La Educación: Estudio Comparativo De La Creatividad En La Música En Niños De 7 a 14 Años

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Improvisación En La Historia De La Música Y De La Educación: Estudio Comparativo De La Creatividad En La Música En Niños De 7 a 14 Años UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE MÚSICA TESIS DOCTORAL LA IMPROVISACIÓN EN LA HISTORIA DE LA MÚSICA Y DE LA EDUCACIÓN: ESTUDIO COMPARATIVO DE LA CREATIVIDAD EN LA MÚSICA EN NIÑOS DE 7 A 14 AÑOS de Cristina Alcalá-Galiano Ferrer para la obtención del grado de doctor en Historia y Ciencias de la Música Director Tutor D. José Luis Linaza Iglesias D. Alfredo Vicent López Catedrático Interfacultativo de Psicología Director del Centro Superior de Evolutiva y de la Educación Investigación y Promoción de la Música Coordinador del programa de Doctorado Prof. Contr. Doctor del Dpto. de Música En la UAM En la UAM Madrid, Mayo de 2007. A mi madre Isabel, ferviente improvisadora y a mi padre Alfonso que me enseño el valor de la música A mi esposo Alfonso, sin su paciente ayuda esta tesis no hubiera sido posible “En el punto donde se detiene la ciencia, empieza la imaginación” Charles Baudelaire (París 1821-1867) INDICE AGRADECIMIENTOS............................................................................................................................. 9 INTRODUCCIÓN ................................................................................................................................... 11 1. JUSTIFICACIÓN DEL TEMA.......................................................................................................... 11 2. RAZONES PARA LA INVESTIGACIÓN........................................................................................ 14 3. HIPÓTESIS.......................................................................................................................................... 15 4. METODOLOGÍA................................................................................................................................ 16 4.1. Antecedentes de la investigación ................................................................................................... 17 4.2. Etapas establecidas......................................................................................................................... 17 4.3. Criterios de la elaboración ............................................................................................................. 19 4.4. Presentación y redacción................................................................................................................ 20 4.5. Resumen y Estructura de la Tesis .................................................................................................. 20 PRIMERA PARTE: LA IMPROVISACIÓN EN LA HISTORIA DE LA MÚSICA Y DE LA EDUCACIÓN........................................................................................................................................... 26 CAPÍTULO 1: LA IMPROVISACIÓN................................................................................................. 26 1.1. Descripción de la Improvisación: definiciones diversas ................................................................ 28 1.2. Estudio, teoría y práctica de la Improvisación ............................................................................... 33 1.3. Diversos enfoques en la enseñanza de la improvisación................................................................ 35 1.4. El Proceso de la Improvisación...................................................................................................... 37 1.5. La Improvisación en diferentes Culturas........................................................................................ 40 CAPÍTULO 2: LOS ORÍGENES DE LA MÚSICA............................................................................. 46 2.1. La música en la Prehistoria: Aproximación básica ........................................................................ 46 2.2. Los primeros colonizadores en la Peninsula Ibérica ...................................................................... 53 CAPÍTULO 3: PERIODO GRECO-ROMANO................................................................................... 58 3.1. Historia y cultura greco-romana: aproximación básica.................................................................. 58 3.1.1. Concepción filosófica y de la educación ................................................................................ 62 3.1.2. La Educación musical: formación general, vocal e instrumental ........................................... 63 3.1.2.1. La formación y técnica de la voz así como la práctica ................................................... 65 3.1.2.2. La Improvisación como parte de la formación musical.................................................. 67 CAPÍTULO 4: LA EDAD MEDIA......................................................................................................... 70 4.1. La Música en la Edad Media en Europa, hasta el siglo XII .......................................................... 70 4.1.1. De la Música oral a la escrita ................................................................................................. 71 4.1.2. Notación musical.................................................................................................................... 72 4.1.2.1. Otras notaciones posteriores........................................................................................... 75 4.1.2.2. Odón de Cluny y Guido D’Arezzo ................................................................................. 75 4.1.3. Formas musicales: Principio de la Forma............................................................................... 77 4.1.3.1. Formas musicales improvisatorias.................................................................................. 79 4.1.3.2. Otras formas musicales improvisadas más comunes en este periodo ............................ 80 4.1.3.3. La canción monódica profana en latín............................................................................ 83 4.1.4. La lírica trovadoresca y trovera: la canción monódica y vernácula........................................ 84 4.1.4.1. La práctica de ejecución (improvisada) .......................................................................... 88 4.1.5. La lírica provenzal en España y Portugal ............................................................................... 89 4.1.5.1. Las Cantigas de Santa Maria .......................................................................................... 91 4.1.6. La poesía Italiana. Las Laude................................................................................................. 93 4.2. La Edad Media europea hasta el siglo XIV.................................................................................... 95 4.2.1. La Polifonía: su nacimiento.................................................................................................... 95 4.2.1.1. La polifonía improvisada................................................................................................ 97 4.2.2. La improvisación en las formas musicales: discanto, organum, motete................................. 98 4.2.3. Otras formas musicales a finales del siglo XIV: ballades, rondeaux, chansons balladées, virelais............................................................................................................................................ 102 4.2.4. La música inglesa hasta el siglo XV: el gymel y el discanto inglés...................................... 104 4.2.5. La polifonía improvisada y método para su ejecución ......................................................... 107 CAPÍTULO 5: EL RENACIMIENTO ................................................................................................ 109 5.1. El Periodo de Transición hacia el Renacimiento.......................................................................... 109 5.2. Escuelas Flamenca y Borgoñona.................................................................................................. 109 5.3. Las Escuelas o Capillas y la Pedagogía musical .......................................................................... 112 5.4. Los principios de la Imprenta musical ......................................................................................... 115 5.5. Teóricos destacados en el Renacimiento: tratados, teorías y planteamientos acerca de la improvisación...................................................................................................................................... 116 5.6. Los Géneros más destacados en el s. xv, donde la improvisación tuvo también su importancia . 122 5.7. La Música instrumental y los nuevos instrumentos ..................................................................... 125 5.8. Prácticas de la improvisación que continuaron en el siglo XVI: diferenciación de estilos escrito e improvisado...................................................................................................................................... 127 5.8.1. Tratadista y compositor español: Diego Ortiz..................................................................... 129 5.9. La ornamentación en la composición del siglo XVI .................................................................... 130 5.10. La improvisación en los “instrumentos perfectos”..................................................................... 132 5.11. Nuevas formas musicales basadas en la improvisación: variaciones, fantasías, pavana, galliarda, etc....................................................................................................................................... 134 5.12.
Load more

Recommended publications
  • Song As Literature in Late Medieval Italy Lauren Lambert Jennings A
    TRACING VOICES: SONG AS LITERATURE IN LATE MEDIEVAL ITALY Lauren Lambert Jennings A DISSERTATION in Music Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2012 Supervisor of Dissertation Emma Dillon, Professor of Music and Chair of the Department Graduate Group Chairperson Timothy Rommen, Associate Professor of Music and Director of Graduate Studies Dissertation Committee Emily Dolan, Assistant Professor of Music Kevin Brownlee, Professor of Romance Languages Fabio Finotti, Mariano DiVito Professor of Italian Studies Tr acing Voices: Song as Literature in Late Medieval Italy © 2012 Lauren Lambert Jennings iii A cknowledgement I owe a deep debt of gratitude to all who have offered me guidance and assistance throughout my graduate studies at the University of Pennsylvania. First and foremost, this project could never have come to fruition without the support and encouragement of my advisor, Emma Dillon, who took me under her wing the moment I arrived in Philadelphia. Her seminars sparked my interest in the study of manuscripts as material objects and were the starting point for this project. I am especially grateful for the guidance she has offered throughout the dissertation process, reading drafts of the proposal, grant applications, and chapters. Her suggestions and comments have pushed me to clarify my thoughts and to investigate questions I might otherwise have left aside. The rest of my committee deserves recognition and many thanks as well. Emily Dolan has been an invaluable mentor as both a scholar and a teacher throughout my time at Penn. Outside of the music department, I am indebted to Kevin Brownlee for his constant support of my work and for his seminars, which helped to shape the literary side of my dissertation, as well as for his assistance with the translations in Chapter 1.
    [Show full text]
  • La Caccia Nell'ars Nova Italiana
    8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16.
    [Show full text]
  • JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road  Ridgefield, Connecticut 06877 (203) 994-7244  [email protected]
    JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy.
    [Show full text]
  • José Morales.Pdf
    HISTORIA GRÁFICA DE LA NOTACIÓN MEDIEVAL EN EL OCCIDENTE EUROPEO - El signo en la escritura musical. De las primeras fuentes del siglo IX al Ars Nova - José Morales luna Trabajo final de máster MÁSTER EN IDENTIDAD EUROPEA MEDIEVAL Tutor: Màrius Bernadó Tarragona Universitat de Lleida 2018 UNIVERSITAT DE LLEIDA (COORDINADORA) - UNIVERSITAT AUTÒNOMA DE BARCELONA UNIVERSITAT DE GIRONA - UNIVERSITAT ROVIRA I VIRGILI - UNIVERSIDAD DE MURCIA 1. Introducción …….…………….……………………………………………...…… 3 1.1 Objeto del estudio.…………….……………………………………..….….5 2. Primeros sistemas de notación musical …….…………….………..…………10 2.1 Fuentes y teorías del origen …………….…………….…….………….….10 2.2 Neumas …………….…………….……………………………………..….17 2.2.1 Neumas - tipos de signos y grafía………………………………...22 2.2.2 Neumas de notas simples : punctum y virga ………………………25 2.2.3 Ligaduras de dos notas : podatus-pes y clivis-flexa …………….…28 2.2.4 Neumas de tres o más notas……………………………………....31 2.2.5 Neumas “ornamentales” –licuescentes y repercusivas -………….36 2.3 Estilos de notación. Características generales ……………….……….….44 2.3.1 Notación paleofranca………………………………………….…45 2.3.2 Notación bretona…………………………………………....……47 2.3.3 Notación francesa y alemana…………………………….....…....48 2.3.4 Notación mesina o lorena…………………………………..…….51 2.3.5 Notación aquitana…………………………………….………….52 2.3.6 Notaciones italianas……………………………………….……..54 2.3.7 Notaciones visigótico-mozárabe y catalana…………….………..57 2.4 Notación interválica …………………………..…………………………...61 2.4.1 Otros sistemas - Notación alfabética…………………………..…61 2.4.2 Notación
    [Show full text]
  • On Landini and Ser Lorenzo
    ON LANDINI AND SER LORENZO NINO PIRROTTA The beginning of 1997 has broughtwith it a revivalof interest inFrancesco on Landini, "il cieco degli organi," who died six centuries ago, the second day of as in on his stone in the September 1397, leaving, stated the inscription sepulcral Florentine church of San Lorenzo, "his remains here, his soul on the stars."1 some I to recon Having been involved myself in of the celebrations, should like a some in some a sider suggestion Imade years ago that he might have been way or son Maso or was a pupil of Laurentius Masii Masini (the of Masino), who one canon, and an influential at that, in the chapter of the ancient basilica of San or Lorenzo from at least 1348 until his death, in late 1372 early 1373.2 two must have for A personal relationship between the existed, Landini, too, as a e at 1365 to was active in San Lorenzo "cappellano organista,, from least up his own death.3 we Furthermore, cannot exclude the possibility that he had already been some case present in the same ecclesiastical milieu for time before 1365. In any the coexistence in a narrow, selective ambience of a young composer and an older was or once and authoritative person, who still engaging, who had engaged, in the some sort same rather uncommon activity of writing polyphonic music, makes or an interest of a direct relationship inevitable. Lorenzo certainly was, had been, not too a as the ing if productive composer with bent for teaching, suggested by nonmensural monophonie piece Diligenter advertant cantores, found in the Lon di ser don manuscript, British Library, Add.
    [Show full text]
  • Mille Ans De Musique En Occident 550-A14/BD4-VL
    Daniel Mille ans de musique en Occident 550-A14/BD4-VL 550-A14/BD4-VL • Mille ans de musique en occident A1. Classification historique : un survol 1 Classification historique : un survol Époque Moderne (1900-1950) Le Néo-classicisme (1920-1960) Post-Moderne A1 3 Classification historique : un survol A1 4 2 Classification historique : un survol Un changement de période artistique coïncide en général avec l’évolution de l’un ou de plusieurs de ses éléments de langage (grammaire, vocabulaire, effets de style, modes d’expression, etc.). En musique dite « sérieuse », la succession de périodes artistiques se joue parfois en termes de dizaines d’années seulement (ex: Classique); en musique pop, ces temps s’avèrent encore plus réduits. De plus, il arrive que certaines de ces périodes se chevauchent au lieu de se succéder. À partir du Romantisme, des sous-périodes se greffent aux périodes principales afin de mieux expliciter les tangentes esthétiques complémentaires - voire contradictoires ! -, de celles-ci. A1 5 Classification historique : un survol Ces périodes artistiques s’enchaînent souvent, chez les créateurs qui y participent, selon des principes de réaction : naturel vs artificiel; complexité vs simplicité; émotivité vs rationalité, etc. Théorie de la double pente linéaire croisée : Depuis mille ans, on assiste à la complexification ou la montée en importance des paramètres du langage musical, de la musique profane, de l’utilisation d’instruments de musique, de la présence des femmes dans les activités musicales, des formes et durées des œuvres musicales, ainsi que de leur diffusion et pénétration au sein de la population au détriment de la musique sacrée, de l’utilisation de la voix, de la présence nettement majoritaire des hommes, du symbolisme et et des métalangages musicaux.
    [Show full text]
  • Fourteenth-Century Italian Cacce. Edited by WT MARROCCO. Second
    THE MEDIAEVAL ACADEMY OF AMERICA PUBLICATION No. 39 FOURTEENTH-CENTURY ITALIAN CACCE to: fu fu Tu fu ct^bcl tcm p>.1\ Ucttai can tctr tree uieUtc pnmem tc. .^r ncllj pi.-y^ia Atvunnct olbi tni^iieibniccbiTtsinut fa a. !buflatct»^m b » cufiwle macdjuAcqus^i av*c attclaaabu uic nc.CaitblapTcinbdaa late JiilftJllIfil. Plate I. Tosto che l'alba, codex Palatino Wl_ (Squarcialupi) folio 25v-26r, Biblioteca Medicea-Laurenziana, Florence. FOURTEENTH - CENTURY ITALIAN CACCE EDITED BY W.THOMAS MARROCCO Second Edition, Revised THE MEDIAEVAL ACADEMY OF AMERICA CAMBRIDGE, MASSACHUSETTS 1961 The publication of this book was made possible by grants of funds to the Academy from the Carnegie Corporation of New York, the American Council of Learned Societies, and the Eastman School of Music of the University of Rochester. Copyright by THE MEDIAEVAL ACADEMY OF AMERICA First Edition, 1942 Second Edition, Reviled, 1961 Library of Congress Catalog Card Number- 60-13484 lithoprinted in U.S.A. EDWARDS BROTHERS, INC. Ann Arbor, Michigan To Nino Pirrotta PREFACE TO THE SECOND EDITION The present revision of this book is the result of further study in Italy as a Fulbright research Fellow in 1950. The munificent grant made it possible for me to examine Italian music codices first-hand and to discover six additional compositions in canon form. These are numbers 8, 11, 12, 14, 17, and 22. Because interest In the music of the Italian trecento has grown considerably during the past two decades, complete collections of the music of one composer or of one form are indispensable. I am particularly indebted to the Mediaeval Academy of America which understood the need for and made possible the pub- lication of the second edition.
    [Show full text]
  • Programación Consort
    CPM Gonzalo Martín Tenllado CONSEJERÍA DE EDUCACIÓN Y DEPORTE Consort Flauta de Pico ConsortConsort FlautaFlauta dede PicoPico Enseñanzas Profesionales Programación de la asignatura Glorieta 11 de Marzo, 2. 29004 Málaga Tel.: 951 298 372 Fax: 951 298 375 Correo-e: [email protected] CPM Gonzalo Martín Tenllado Consort Flauta de Pico CONSEJERÍA DE EDUCACIÓN Y DEPORTE Consort - Flauta de Pico 1.- Introducción.............................................................................................................3 2.- Objetivos, contenidos y criterios de evaluación generales.............................3 2.1.- Objetivos...................................................................................................................................................3 2.2.- Contenidos...............................................................................................................................................4 2.3.- Criterios de evaluación.........................................................................................................................4 3.- Programación por cursos.......................................................................................5 3.1.- 3º de enseñanzas profesionales........................................................................................................5 Objetivos...................................................................................................................................................5 Contenidos...............................................................................................................................................6
    [Show full text]
  • Produzione, Consumo E Diffusione Della Musica in Italia Nel Tardo Medioevo*
    Produzione, consumo e diffusione della musica in Italia nel tardo medioevo* Galliano CILIBERTI Perugia. L'improvvisa, colta e raffinata fioritura musicale che si ebbe in Italia e in special modo a Firenze, nel XIV secolo e nei primi decenni del XV vide l'affermazione di due grandi e moderni concetti: la possibilità di misurare esattamente il tempo della musica e lo sviluppo della tecnica polifonica.1 *Base di questo lavoro è il percorso della mostra <<Amor che ne la mente mi ra­ giona», Firenze e l'Ars Nova del XIV secolo ideata assieme a Biancamaria Brumana e allestita a Firenze in Palazzo Vecchio (17-30 aprile 1986) dall'associazione Musicus Concentus per le manifestazioni di << Firenze Capitale Europea della Cultura>>. Per non appesantire il corpo delle note si fornisce di seguito l'elenco delle sigle delle fonti citate nel corso dei riferimenti: D-B40613 = Berlin, Staatsbibliothek, 40613 (olim Wernigerode, Flirstlich Stolbergsche Bibliothek, Zb. 14); D-Mbs352b = Miinchen Bayeri­ sche Staatsbibliothek, Cim. 352b ( olim 3725 ); F-Pn568 = Paris, Bibliothèque Nationale, fonds ital. 568; F-Pn4379 = Paris, Bibliothèque Nationale, fond.q nouv. acq. frç. 4379; F-Pn6771 = Paris, Bibliothèque Nationale, fonds nouv. acq. frç. 6771 (Cod. Reina); GB-Lbm29987 = London, British Museum, add. 29987; GB-Obll2 = Oxford, Bodleian Library, Can. Class. lat. 112; GB-Ob213 = Oxford, Bodleian Library, Can. mise. 213; I-Bc15 =Bologna, Civico Museo Bibliografico Musicale, Q 15 ( olim Liceo 37 ); I-Fcll75 =Firenze, Biblioteca del Conservatorio, D 1175; I-F187 = Firenze, Biblioteca Medicea Laurenziana, Med. Pal. 87 (Cod. Squarcialupi); I-Fn26 = Firenze, Biblioteca Nazionale Centrale, Panciatichi 26; I-FZcll7 = Faenza, Biblioteca Comunale, 117; I-GR16 = Grottaferrata, Biblioteca della Badia Greca, E.
    [Show full text]
  • Ÿþl a I M P R O V I S a C I Ó
    UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE MÚSICA TESIS DOCTORAL LA IMPROVISACIÓN EN LA HISTORIA DE LA MÚSICA Y DE LA EDUCACIÓN: ESTUDIO COMPARATIVO DE LA CREATIVIDAD EN LA MÚSICA EN NIÑOS DE 7 A 14 AÑOS de Cristina Alcalá-Galiano Ferrer para la obtención del grado de doctor en Historia y Ciencias de la Música Director Tutor D. José Luis Linaza Iglesias D. Alfredo Vicent López Catedrático Interfacultativo de Psicología Director del Centro Superior de Evolutiva y de la Educación Investigación y Promoción de la Música Coordinador del programa de Doctorado Prof. Contr. Doctor del Dpto. de Música En la UAM En la UAM Madrid, Mayo de 2007. A mi madre Isabel, ferviente improvisadora y a mi padre Alfonso que me enseño el valor de la música A mi esposo Alfonso, sin su paciente ayuda esta tesis no hubiera sido posible “En el punto donde se detiene la ciencia, empieza la imaginación” Charles Baudelaire (París 1821-1867) INDICE AGRADECIMIENTOS............................................................................................................................. 9 INTRODUCCIÓN ................................................................................................................................... 11 1. JUSTIFICACIÓN DEL TEMA.......................................................................................................... 11 2. RAZONES PARA LA INVESTIGACIÓN........................................................................................ 14 3. HIPÓTESIS.........................................................................................................................................
    [Show full text]
  • Introduction
    INTRODUCTION T HIS volume, the seventh in the series Polyphonic lv1usic of the Fourteenth Century, contains the music of Vincenzo da Ri mini, Rosso de Chollegrana, D onato da Firenze, Gherardello da Firenze, and Lorenzo da Firenze, whose compositions are representative of the middle period of trecento polyphonic music, circa 1 3 5o to 1 375. Little is known about the li ves of these composers . Rosso de Chollegrana is known through one solitary composition preserved in Lo. Vincenzo da Ri mini's music is preserved in three sources: Lo, Pit, and Sq. ln the fi rst he is listed as Prate Vinrenro, in Pit as L' Abate Virencio da lmola, and in Sq as A1agister Abbas V icentius de Arimino. Aside from the fact that he was a member of the Bene­ dictine order (he wears Benedictine dress in the Sq miniature), ·we know nothing of his life. Nor do the texts which he set to music give us clues such as those which may be gleaned from Jacopo da Bologna's madrigals.' While Jacopo was deeply concerned with contemporary events, Vincenzo's texts deal only with mythological characters, shepherdesses, and bucolic scenes . Even the place associated with his name is difficult to identify. Was it lmola or Rimini? Both cities are in the Emilia-Romagna province, Imola being situated about 20 miles southeast of Bologna. lt is unfortunate that only six pieces by this competent composer, whose skill shows professional discipline, have survived. The absence of a polyphonic ballata suggests that he may have been a con temporary of Jacopo da Bologna and slightly younger than Gherardell o and Lorenzo da Firenze.
    [Show full text]
  • Renaissance a History of Choral Music
    A History of Choral Music 1000 1100 1200 1300 1400 1500 1600 1700 1800 1900 2000 plainsong / chant (later: tenor) cantus firmus/missa/mass drone/organistrum? (controversial) ison/drone responsories precenting/lining out organum (4ths, 5ths, 8vas) +3rd, +6th +7th +9th, +2nd [since ~870] +duplum: organum duplum chorale & chorale motet [no 3rd, 6th] +triplum: motet anthem Sacred Harp gospel winds double or substitute instrumental accompaniment opera musical jazz & organ trecento chanson/canzone staff of keyboard madrigal cantata & oratorio theatre swing Guido d'Arezzo villancico barbershop rhythmic rhythmic notation of notation of Philippe de Vitry frottola madrigal caroling manuscripts Franco of Cologne printing Internet oral Notre Ars Ars tradition Antiqua Nova Renaissance Baroque Classical Romantic and Dame ModernistVernal neumes/ Francesco de Layolle Lechner de Lienas Boyce Gounod Distler Hawley Gothic........High Gothic Ferko znamën Claudin de Sermisy A. Lobo Jerusalem Biebl Gade Paulus Johannes Ciconia Nicolas Gombert Galuppi Duruflé Marenzio de Padilla T. A. Wal- Walton G. Ives Casciolini misley Philippe Verdelot Massaino Swayne Adam de la Halle Greene Verdi Finzi Zacara da Teramo John Taverner Tollius ThompsonRutter Pierre Passereau Leo Perotin Nicolò da Perugia Handl Gibbons Zipoli Liszt Weyrauch Tavener Adrian Willaert W.H.Harris CaurroyAllegri Schu- Kostiainen Leonin Francesco Landini Ludwig Senfl J.S.Bach mann Howells Clement Janequin Dering D. Scarlatti Mendels Mathews -sohn G. Holst St. Hildegard von Bingen Vicenzo da Rimini Robert Carver Victoria Durante Lauridsen S.S.Wesley Willan Donato da Cascia Richard Pygott Byrd Telemann Bainton Schrader Cost. & Sebast. Festa Applebaum Bishop Ato de Troyes Giovanni da Cascia White M. Franck Handel Berlioz Chesnokov Mateo Flecha, Sr.
    [Show full text]