DOCSLIB.ORG

Chansons Polyphoniques Françaises

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chansons Polyphoniques Françaises 1/23 Data Chansons polyphoniques françaises Thème : Chansons polyphoniques françaises Origine : RAMEAU Domaines : Musique Autre forme du thème : Polyphonies françaises Notices thématiques en relation (2 ressources dans data.bnf.fr) Termes reliés (2) Airs de cour Chansons françaises Documents sur ce thème (28 ressources dans data.bnf.fr) Livres (26) La chanson de Debussy à , Aix-en-Provence : Bookelis La chanson polyphonique , Marielle Cafafa, Paris : Ravel , 2018 française au temps de l'Harmattan , impr. 2017 (2018) Debussy, Ravel et Poulenc (2017) Songs, scribes, and society , Jane Elise Alden, New Allegorical play in the Old , Sylvia Jean Huot, Stanford (2010) York (N.Y.) : Oxford French motet (Calif.) : Stanford University University Press , 2010 (1997) press , 1997 De Guillaume Dufay à , Ignace Bossuyt, Paris : Hexachord, Mensur und , Christian Berger, Stuttgart Roland de Lassus Cerf ; Bruxelles : Racine , Textstruktur : F. Steiner , 1992 (1996) 1996 (1992) Die Chansons Johannes , Clemens Goldberg, Laaber The Partbooks of a , George Karl Diehl, Ann Ockeghems : Laaber-Verlag , 1992 Renaissance merchant Arbor ; London : University (1992) (1978) microfilms international , 1978 data.bnf.fr 2/23 Data The chanson in the humanist era. - [5] A Chanson rustique of the early Renaissance : Bon (1976) temps. - [21] (1967) Aspects littéraires de la , Georges Dottin, Lille : La Chanson française au XVIe siècle. - [33] chanson musicale à Faculté des lettres et (1960) l'époque de Marot sciences humaines , 1964 (1964) Le "Livre des vers du luth", , André Verchaly A Chanson sequence, by Fevin. - [18] manuscrit d'Aix-en- (1903-1976), Aix-en- (1957) Provence. Préface de Paul Provence : la Pensée Juif universitaire , [1958] (1958) Notes sur quelques chansons normandes du manuscrit Vaudeville, vers mesurés et , Kenneth Jay Levy, [S.l.] : de Bayeux. - [4] airs de cour [s.n.] , 1954 (1957) (1954) Musique et poésie en , Geneviève Thibault Le Chant orphique de , Daniel Pickering Walker France au XVIe siècle avant (1902-1975), [S.l.] : [s.n.] , Marsile Ficin (1914-1985), [S.l.] : [s.n.] , les "Amours" de Ronsard 1954 (1954) 1954 (1954) Musikdrucke aus den , Hans Albrecht A propos d'un recueil de , Claude Frissard, Paris : Jahren 1576-1580 in (1902-1961), [S.l.] : [s.n.] , chansons de Jehan [s.n.] , 1948 Wilster (Halstein). Von 1949 Chardavoine Hans Albrecht (1948) (1949) Probleme der , Dénes Bartha Bibliographische Notizen , Dénes Bartha Chansongeschichte im 16. (1908-1993), Leipzig : [s.n.] zum Repertoire der (1908-1993), Leipzig : [s.n.] Jahrundert. Nicolas , 1930-1931 Handschrift Cambrai 124 , 1930-1931 Gombert - Benedictus (125-128) Appenzeller (1930) (1930) data.bnf.fr 3/23 Data Horace en musique. , Paul-Marie Masson Chants historiques français , Paris : A. Colin , 1903 Contribution à l'étude de (1882-1954), Paris : [s.n.] , du XVIe siècle, recueillis et l'humanisme musical en 1906 publiés par Émile Picot,... France en XVIe s. Règnes de Louis XII et de (1906) François Ier (1903) Ronsard et la musique de , Julien Tiersot Répertoire monodique, , Paule Guiomar, Paule son temps (1857-1936), Leipzig : [s.n.] chanson de farce et Chaillon, [S.l.n.d.] (1902) , 1902-1903 chansons à trois au XVIe siècle, Paule Chaillon Documents multimédia (1) Nicolas Gombert et , Paris : Kargo : l'Éclat l'aventure de la polyphonie franco-flamande (2004) Partitions (1) Chansonnier de Jean de , Firminus Caron, Johannes Montchenu Regis (1425?-1496?), (2007) Walter Frye (14..-1475?) [et autre(s)], Valencia : Vicent García editores , 2007 data.bnf.fr 4/23 Data Documents (Chansons polyphoniques françaises) (371 ressources dans data.bnf.fr) Partitions (368) Settings of liturgical texts, , Gaspar van Weerbeke Or oyez les introïts , Guiard (compositeur, songs, and instrumental (1445?-1517?), [S.l.] : (2019) 15..-15..), [Lille] : Musiques works American institute of en Flandres , [2019] (2020) musicology Dieu qui conduis , Gentian, [Lille] : Musiques Toutes les nuits je ne , Guillaume Costeley (2019) en Flandres , [2019] pense (1530?-1606), [Lille] : (2019) Musiques en Flandres , [2019] Fricassée , [Lille] : Musiques en Dessus le marché d'Arras , Adrian Willaert (2019) Flandres , [2019] (2019) (1490?-1562), [Lille] : Musiques en Flandres , [2019] Las ! voulez-vous qu'une , Roland de Lassus Je sens sur mon âme , Guillaume Costeley personne chante (1532-1594), [Lille] : pleuvoir (1530?-1606), [Lille] : (2019) Musiques en Flandres , (2019) Musiques en Flandres , [2019] [2019] Bonjour, et puis, quelles , Roland de Lassus Martin menait son , Allaire (compositeur, nouvelles ? (1532-1594), [Lille] : pourceau 15..-15..), [Lille] : Musiques (2019) Musiques en Flandres , (2019) en Flandres , [2019] [2019] Ouvrez-moi l'huis , Clément Janequin Martin s'en allait au lendit , Pierre Certon (1515-1572), (2019) (1485?-1558), [Lille] : (2019) [Lille] : Musiques en Musiques en Flandres , Flandres , [2019] [2019] Secourez-moi, ma dame , Claudin de Sermisy L'alouette , Clément Janequin (2019) (1490?-1562), [Lille] : (2019) (1485?-1558), [Lille] : Musiques en Flandres , Musiques en Flandres , [2019] [2019] Une bergère un jour , Nicolas de Marle, [Lille] : Un doux regard , Pierre de Manchicourt (2019) Musiques en Flandres , (2019) (1510?-1564), [Lille] : [2019] Musiques en Flandres , [2019] Suzanne, un jour , [Lille] : Musiques en Tu as tout seul, Jean, Jean , Jan Pieterszoon (2019) Flandres , [2019] (2019) Sweelinck (1562-1621), [Lille] : Musiques en Flandres , [2019] data.bnf.fr 5/23 Data Que de passions et , Guillaume Costeley Las, il n'a nul mal , Monsieur de Bussy douleurs (1530?-1606), [Lille] : (2019) (1553-1583), [Lille] : (2019) Musiques en Flandres , Musiques en Flandres [2019] Pilons l'orge , Claudin de Sermisy Le jeu, le rire, le , Guillaume Costeley (2019) (1490?-1562), [Lille] : passetemps (1530?-1606), Lyon : Musiques en Flandres (2019) Éditions À coeur joie Las viens me secourir , Clément Janequin Allons au vert bocage , Guillaume Costeley (2019) (1485?-1558), [Lille] : (2019) (1530?-1606), [Lille] : Musiques en Flandres Musiques en Flandres , [2019] Les fillettes d'Ypres , Gilles Bracquet En l'ombre d'un buissonet , Josquin Des Prés (2018) (compositeur, 15..-15..), (2018) (145.-1521), [Lille] : [Lille] : Musiques en Musiques en Flandres Flandres , [2018] L'autre jour, je fis un voyage , [Lille] : Musiques en Joyeusement il fait bon , [Lille] : Musiques en (2018) Flandres vivre Flandres (2018) Père Bacchus , Francis Rappart, [Lille] : L'autre jour m'en revenant , [Lille] : Musiques en (2018) Musiques en Flandres (2018) Flandres Ce me semblent choses , Francesco de Layolle Hardis Français , Guillaume Costeley perdues (1492-1540?), [Lille] : (2018) (1530?-1606), [Lille] : (2018) Musiques en Flandres , Musiques en Flandres , [2018] [2018] Mirelaridon , Guillaume Le Heurteur, Le jeune moine , Roland de Lassus (2018) [Lille] : Musiques en (2018) (1532-1594), [Lille] : Flandres , [2018] Musiques en Flandres , [2018] Qui ne regretterait le gentil , Jean Mouton En venant de Lyon , Jean Mouton Févin (1459?-1522), [Lille] : (2018) (1459?-1522), [Lille] : (2018) Musiques en Flandres , Musiques en Flandres , [2018] [2018] Pour toi, ton prince , Clément Janequin Puisqu'on ne peut un jour , [Lille] : Musiques en (2018) (1485?-1558), [Lille] : (2018) Flandres Musiques en Flandres , [2018] Mon père et ma mère , Pierre Bonnet Mon coeur se recommande , Roland de Lassus (2018) (compositeur, 15..-16..), à vous (1532-1594), Lambersart : [Lille] : Musiques en (2017) Musiques en Flandres , Flandres [2017] data.bnf.fr 6/23 Data Celle qui a fâcheux mari , Pierre de Manchicourt Une jeune fillette / La , Joachim Magdeburg (2017) (1510?-1564), Lambersart : Monica [Fasc. 1] (compositeur, 15..-16..), Musiques en Flandres , (2017) Jean Chardavoine [2017] (1538-1580?), Pérennès, Henri (15..-16..) [et autre(s)], Paris : Société française de luth , [2017] À ce matin trouvai une , Delafont (compositeur, Chambrière, chambrière , Jean Planson fillette 15..-15..), Lambersart : (2017) (1559?-161.?), Lambersart (2017) Musiques en Flandres , : Musiques en Flandres , [2017] [2017] Je vois des glissantes eaux , Guillaume Costeley Au joli jeu du pousse avant , Clément Janequin les ruisseaux (1530?-1606), Lambersart : (2017) (1485?-1558), Lambersart : (2017) Musiques en Flandres , Musiques en Flandres , [2017] [2017] En chansons & accordz... , Lyon : Éditions À coeur Si Dieu voulait que je fusse , Clément Janequin (2017) joie , 2017 arondelle (1485?-1558), Lambersart : (2017) Musiques en Flandres , [2017] Plût à Dieu que fusse , Clément Janequin Si je trépasse , François Regnart arondelle (1485?-1558), Lambersart : (2017) (1540?-159.?), Lambersart (2017) Musiques en Flandres , : Musiques en Flandres , [2017] [2017] Ce faux amour , Clément Janequin Tu disais que j'en mourrais , Claudin de Sermisy (2017) (1485?-1558), Lambersart : (2017) (1490?-1562), Lambersart : Musiques en Flandres , Musiques en Flandres , [2017] [2017] J'ai le rebours , Pierre Certon (1515-1572), Okéanos , Georges Migot (2017) Lambersart : Musiques en (2017) (1891-1976), Haguenau : Flandres , [2017] les Amis de l'oeuvre et de la pensée de Georges Migot , 2017 Vray dieu d'amours , Antoine Brumel Il était une fillette , Clément Janequin (2017) (1460?-1512?), Minneapolis (2017) (1485?-1558), Lambersart : : Viola da Gamba Society of Musiques en Flandres , America , 2017 [2017] Je ne veux point que dans , Nicolas Chastelet Ma bouche chante, mon , Cornelius Canis l'histoire (1593?-16..),
Load more

Recommended publications
  • Radio 3 Listings for 12 – 18 June 2010 Page 1
    Radio 3 Listings for 12 – 18 June 2010 Page 1 of 11 SATURDAY 12 JUNE 2010 Symphony No.22 in E flat, 'The Philosopher' Tom Service meets conductor Jonathan Nott, principal Amsterdam Bach Soloists conductor of the Bamberg Symphony Orchestra, and talks to SAT 01:00 Through the Night (b00smvg2) tenor Ian Bostridge and director David Alden about performing Jonathan Swain presents rarities, archive and concert recordings 4:35 AM Janacek. Robin Holloway talks about the appeal for from Europe's leading broadcasters Abel, Carl Friedrich (1723-1787) contemporary composers of Schumann's music, plus a report on Sonata No.6 in G major (Op.6 No.6) classical club nights. 1:01 AM Karl Kaiser (transverse flute), Susanne Kaiser (harpsichord) Wagner, Richard (1813-1883) Wie Lachend sie mir Lieder singen ( Tristan und Isolde, Act 1) 4:45 AM SAT 13:00 The Early Music Show (b00sq42f) Brigit Nilsson (Isolde), Irene Dalis (Brangäne), Metropolitan Rore, Cipriano de (c1515-1565) Ghostwriter: The Story of Henri Desmarest Opera Orchestra, Karl Böhm (conductor) Fera gentil The Consort of Musicke, Anthony Rooley (director) Henry Desmarest was obviously a talented musican and 1:10 AM composer, first boy page and then musician in Louis XIV's Wagner, Richard (1813-1883) 4:51 AM court, he began ghost-writing Grands Motets for one of the Amfortas! Die Wunde! (Parsifal, Act 1) Berlioz, Hector (1803-1869) chapel directors Nicholas Goupillet when he was in his early Jon Vickers (Parsifal), Christa Ludwig (Kundry), Metropolitan Le Carnaval romain - overture (Op.9) twenties.
    [Show full text]
  • Le Sieur De Machy and the French Solo Viol Tradition
    Le Sieur de Machy and the French Solo Viol Tradition Shaun Kam Fook Ng This thesis is presented for the degree of Master of Arts of The University of Western Australia School of Music 2008 ii Abstract During the late seventeenth century in France, the viol was beginning to emerge as one of the most important musical instruments of the day. French luthiers had created the quintessential French viol, which allowed violists in France to make their mark on viol playing, both as performers and teachers. So fervent was this enterprise that players soon formed cliques, creating two opposing schools of viol playing. One of the main protagonists who is the focus of this thesis, De Machy, led one of these schools. Although we are fully aware of this historical dichotomy, it is widely assumed that De Machy’s rivals were the eventual victors of this conflict, and thus have become the model for modern violists to emulate. This has, however, encouraged modern violists to completely disregard the efforts of De Machy, which, as this thesis shall demonstrate, are as important as those of his contemporaries. Chapter 1 discusses De Machy’s place in modern scholarship, giving readers an overall view of the kinds of biases and prejudices that currently exist. It also serves to act as a brief collation and analysis of modern writings that discuss De Machy. Chapter 2 provides us with a historical account of the viol in France, giving special emphasis to solo viol playing. It also traces the evolution of musical style and playing technique as well as the development of the instrument within its social role.
    [Show full text]
  • PMMS L'homme Arme' Masses Discography
    Missa L’homme armé Discography Compiled by Jerome F. Weber This discography of almost forty Masses composed on the cantus firmus of L’homme armé (twenty- eight of them currently represented) makes accessible a list of this group of recordings not easily found in one place. A preliminary list was published in Fanfare 26:4 (March/April 2003) in conjunction with a recording of Busnoys’s Mass. The composers are listed in the order found in Craig Wright, The Maze and the Warrior (Cambridge and London: Harvard University Press, 2001), p. 288; the list is alphabetical within broad eras. In particular, he discusses Du Fay (pp. 175ff.), Regis (pp. 178ff.), the Naples Masses (pp. 184ff.), and Josquin des Prez (pp. 188ff.). Richard Taruskin, “Antoine Busnoys and the L’Homme armé Tradition,” Journal of AMS, XXXIX:2 (Summer 1986), pp. 255-93, writes about Busnoys and the Naples Masses, suggesting (pp. 260ff.) that Busnoys’s Mass is the earliest of the group and that the Naples Masses are also by him. Fabrice Fitch, Johannes Ockeghem: Masses and Models (Paris, 1997, pp. 62ff.), suggests that Ockeghem’s setting is the earliest. Craig Wright, op. cit. (p. 175), calls Du Fay’s the first setting. Alejandro Planchart, Guillaume Du Fay (Cambridge, 2018, p. 594) firmly calls Du Fay and Ockeghem the composers of the first two Masses, jointly commissioned by Philip the Good in May 1461. For a discussion of Taruskin’s article, see Journal of AMS, XL:1 (Spring 1987), pp. 139-53 and XL:3 (Fall 1987), pp. 576-80. See also Leeman Perkins, “The L’Homme armé Masses of Busnoys and Okeghem: A Comparison,” Journal of Musicology, 3 (1984), pp.
    [Show full text]
  • Introduction
    INTRODUCTION. Nicola Vicentino dei Vicentini was born in Vicenza in 1511 and died around 1576-77 in Milan. His name and birthplace are recorded in a document concerning his appointment as chapel master in Vicenza in 1563.1 His date of birth can be assumed from two references in his trea- tise Ancient Music Adapted to Modern Practice (Rome, 1555): the wood- cut giving his age as forty-four and his assertion that he was thirty-nine in 1550. The year of his death, shortly after the plague that ravaged north- ern Italy in 1575 and again in 1576, is given by Ercole Bottrigari in // Desiderio (Venice, 1599).2 Vicentino studied in Venice under Adrian Willaert sometime during the 1530s. His first book of five-voice madrigals (Venice, 1546) proudly announces his indebtedness to his "unique" and "divine" master.3 Given the unexceptional music in this collection, Vicentino's comments about his new or rediscovered styles of composing, allegedly influenced by Willaert, amount to little more than the customary platitudes. Vicentino styled himself "Don" on the title-page, indicating that he should be considered a distinguished priest. Several other documents corroborate his vocation.4 Possibly this title of respect was accorded to Vicentino when he entered the service of Ippolito II d'Este, cardinal of Ferrara. Just as we cannot ascertain when Vicentino began and ended his studies with Willaert, so we cannot say when he joined and quit the retinue of the cardinal. It is possible, however, to suggest some reason- able hypotheses. For the years of study under Willaert, the mid- to late 1530s are plausible.
    [Show full text]
  • Hieronymus Praetorius
    Hieronymus Praetorius Maundy Thursday Missa Tulerunt Dominum meum 1 Orlande de Lassus (1532–1594) Tristis est anima mea [4:10] 2 Jacob Handl (Gallus) (1550–1591) Filiae Jerusalem, nolite [4:48] SIGLO DE ORO | PATRICK ALLIES Good Friday 3 Hieronymus Praetorius (1560–1629) O vos omnes [4:05] 4 Hans Leo Hassler (1564–1612) Deus, Deus meus [3:44] Easter Day 5 Hieronymus Praetorius Tulerunt Dominum meum [6:47] 6 Hieronymus Praetorius Missa Tulerunt Dominum meum – Kyrie [3:02] 7 Missa Tulerunt Dominum meum – Gloria [5:35] Delphian Records and Siglo de Oro are grateful to the Friends and Patrons of Siglo de Oro, Steve Brosnan, Jill Franklin and Bob Allies, Fred and Barbara Gable, Sonia Jacobson, Alan Leibowitz, Séamus McGrenera, Felix and 8 Andrea Gabrieli (c.1533–1585) Maria stabat ad monumentum [5:22] Lizzie Meston, Benedict and Anne Singer and Melissa Scott; to Morgan Rousseaux for sponsoring track 5; and to the Gemma Classical Music Trust for their generous contribution towards the production of this recording. Gemma Classical Music Trust is a Registered Charity No 1121090. 9 Missa Tulerunt Dominum meum – Credo [9:39] 10 Missa Tulerunt Dominum meum – Sanctus & Benedictus [4:04] Siglo de Oro are grateful also to Dr Frederick K. Gable for his help and supervision in the preparation for this disc. The Praetorius motets and mass were edited from the original prints by Frederick K. Gable and the Missa Tulerunt Dominum 11 Missa Tulerunt Dominum meum – Agnus Dei [4:35] meum is published by the American Institute of Musicology in Corpus Mensurabilis Musicae, vol.
    [Show full text]
  • 16Th Century
    16th century notes towards the end of the piece are deliberate, and won’t seem so bad if you play them well? In bars 115 and 117 Cherici reproduces the notes as Mudarra had them, but I EDITIONS wonder if there is a case for changing them to match the rest of the sequence from bars 111 to 122, if only in a footnote. Anthology of Spanish Renaissance Music In three of the Fantasias by Mudarra the player is required for Guitar: to use the “dedillo” technique – using the index finger to Works by Milán, Narváez, Mudarra, Valderrábano, Pisador, play up and down like a plectrum. Of the nine pieces from Fuenllana, Daça, Ortiz Enriquez Valderrábano’s Silva de Sirenas (1547), three are Transcribed by Paolo Cherici marked “Primero grado”, i.e. easiest to play. Diego Pisador is Bologna: Ut Orpheus, 2017 CH273 less well known than the other vihuelists, perhaps because accid his Libro de musica de vihuela (1552) contains pages and his well-chosen anthology comprises solo music pages of intabulations of sacred music by Josquin and for the vihuela transcribed into staff notation others. However, there are some small-scale attractive for the modern guitar, and music for the viola da pieces of which Cherici picks five including a simple setting T of La Gamba called Pavana muy llana para tañer. The eight gamba with SATB grounds arranged for two guitars. For the vihuela pieces the guitar must have the third string tuned pieces from Miguel de Fuenllana’s Orphenica Lyra (1554) a semitone lower to bring it into line with vihuela tuning.
    [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]
  • Program Notes
    Ma maistresse: Songs, masses & a motet for My Lady Born in Saint Ghislain in the county of Hainaut (now in Belgium), probably around 1420, Johannes Ockeghem enters the historical record in 1443 as a vicaire-chanteur at the church of Our Lady in Antwerp, a modest appointment appropriate to a young professional singer. By 1446 he was working for Charles I, duke of Bourbon, and in 1451 he joined the chapel of Charles VII, king of France, whom he would serve for the rest of his career, residing mainly in Tours, where he held the prestigious and well-remunerated post of treasurer at the royal collegiate church of St-Martin. Ockeghem was esteemed by his contemporaries and successors as a master beyond compare, learned and skilled as both singer and composer, virtuous, generous, and kind. Johannes Tinctoris, in his Liber de arte contrapuncti of 1477, placed him at the head of an exalted list of composers whose works exuded divine sweetness: At this present time, not to mention innumerable singers of the most beautiful diction, there flourish, whether by the effect of some celestial influence or by the force of assiduous practice, countless composers, among them Johannes Ockeghem, Johannes Regis, Antoine Busnoys, Firminus Caron, and Guillaume Faugues, who glory in having studied this divine art under John Dunstable, Gilles Binchois, and Guillaume Du Fay, recently deceased. Nearly all the works of these men exhale such sweetness that in my opinion they are to be considered most suitable, not only for men and heroes, but even for the immortal gods, Indeed, I never hear them, I never study them, without coming away more refreshed and wiser.
    [Show full text]
  • AMS Program & Abstracts
    A MS Program & Abstracts MS Program Essential new scholarship from Ashgate... AMS Program & Abstracts The Music and Art WASHINGTON, D.C., OCTOBER 27–30 2005 of Radiohead Edited by Joseph Tate,ate,ate, Oregon State University ASHGATE POPULAR AND FOLK MUSIC SERIES May 2005 232 pages Perspectives Hardback 0 7546 3979 7 on Gustav Mahler Paperback 0 7546 3980 0 Edited by Jeremy Barham, University of Surrey, UK ‘Speak to Me’: August 2005 628 pages Hardback 0 7546 0709 7 The Legacy of Pink Floyd’s The Dark Side Thomas Tomkins: of the Moon Edited by RRRussellussell RRussell eising,eising,eising, The Last Elizabethan University of Toledo Edited by Anthony Boden,,, with Denis Stevens, David R.A. Evans,Evans,.A. ASHGATE POPULAR AND FOLK MUSIC SERIES September 2005 246 pages PPPetereter James and Bernard RRBernard oseoseose Hardback 0 7546 4018 3 June 2005 387 pages Paperback 0 7546 4019 1 Hardback 0 7546 5118 5 From Renaissance Giacomo Meyerbeer to Baroque and Music Drama in Change in Instruments Nineteenth-Century Paris and Instrumental Music Mark Everist, University in the Seventeenth Century of Southampton, UK Edited by Jonathan Wainwright,ainwright,ainwright, VARIORUM COLLECTED STUDIES SERIES: CS805 University of York, UK and July 2005 460 pages Hardback 0 86078 915 2 PPPetereter Holman,,, University of Leeds, UK July 2005 342 pages Timba: The Sound Hardback 0 7546 0403 9 of the Cuban Crisis VVVincenzoincenzo PPincenzo ernaernaerna D.C. 2005 Washington, Musical Voices of Early SOAS MUSICOLOGY SERIES Modern Women April 2005 370 pages Many-Headed Melodies Hardback 0 7546 3941 X Edited by Thomasin LaMay,,, Goucher College A Briefe Introduction WOMEN AND GENDER IN THE EARLY to the Skill of Song MODERN WORLD April 2005 470 pages by William Bathe Hardback 0 7546 3742 5 Edited by Kevin C.
    [Show full text]
  • Mid-Fifteenth-Century English Mass Cycles in Continental Sources, Vol
    Mid-Fifteenth-Century English Mass Cycles in Continental Sources, vol. 1 James Matthew Cook Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2014 Abstract Fifteenth-century English music had a profound impact on mainland Europe, with several important innovations (e.g. the cyclic cantus firmus Mass) credited as English in origin. However, the turbulent history of the Church in England has left few English sources for this deeply influential repertory. The developing narrative surrounding apparently English technical innovations has therefore often focussed on the recognition of English works in continental manuscripts, with these efforts most recently crystallised in Curtis and Wathey’s ‘Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory’. The focus of discussion until now has generally been on a dichotomy between English and continental origin. However, as more details emerge of the opportunities for cultural cross-fertilisation, it becomes increasingly clear that this may be a false dichotomy. This thesis re-evaluates the complex issues of provenance and diffusion affecting the mid-fifteenth-century cyclic Mass. By breaking down the polarization between English and continental origins, it offers a new understanding of the provenance and subsequent use of many Mass cycles. Contact between England and the continent was frequent, multifarious and quite possibly reciprocal and, despite strong national trends, there exists a body of work that can best be understood in relation to international cultural exchange. This thesis helps to clarify the i provenance of a number of Mass cycles, but also suggests that, for Masses such as the anonymous Thomas cesus and Du cuer je souspier, Le Rouge’s So ys emprentid, and even perhaps Bedyngham’s Sine nomine, cultural exchange is key to our understanding.
    [Show full text]
  • Johannes Tinctoris, in His Liber De Arte Contrapuncti
    Ockeghem, Binchois, and Du Fay Johannes Tinctoris, in his Liber de arte contrapuncti of 1477, remarked on recent developments in the art of music and placed Johannes Ockeghem at the head of an exalted list of composers whose works exuded divine sweetness: Although it seems beyond belief, there does not exist a single piece of music, not composed within the last forty years, that is regarded by the learned as worth hearing. Yet at this present time, not to mention innumerable singers of the most beautiful diction, there flourish, whether by the effect of some celestial influence or by the force of assiduous practice, countless composers, among them Johannes Ockeghem, Johannes Regis, Antoine Busnoys, Firminus Caron, and Guillaume Faugues, who glory in having studied this divine art under John Dunstable, Gilles Binchois, and Guillaume Du Fay, recently deceased. Nearly all the works of these men exhale such sweetness that in my opinion they are to be considered most suitable, not only for men and heroes, but even for the immortal gods, Indeed, I never hear them, I never study them, without coming away more refreshed and wiser. Born in St-Ghislain in the county of Hainaut (now in Belgium) around 1420, Ockeghem enters the historical record in 1443 as a vicaire-chanteur at the church of Our Lady in Antwerp, a modest appointment appropriate to a young professional singer. By 1446 he had become one of seven singers in the chapel of Charles I, Duke of Bourbon, and in 1451 he joined the musical establishment of Charles VII, king of France.
    [Show full text]
  • Viol in Oxford Music Online Oxford Music Online
    14.3.2011 Viol in Oxford Music Online Oxford Music Online Grove Music Online Viol article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/29435 Viol [viola da gamba, gamba] (Fr. viole ; Ger. Gambe ; It. viola , viola da gamba ). A bowed string instrument with frets; in the Hornbostel-Sachs system it is classified as a bowed lute (or fiddle). It is usually played held downwards on the lap or between the legs (hence the name ‘viola da gamba’, literally ‘leg viol’). It appeared in Europe towards the end of the 15th century and subsequently became one of the most popular of all Renaissance and Baroque instruments and was much used in ensemble music ( see CONSORT and CONTINUO ). As a solo instrument it continued to flourish until the middle of the 18th century. In 18th- and 19th-century American usage the term BASS VIOL was applied to a four-string instrument of the violin family. 1. Structure. During its history the viol was made in many different sizes: pardessus (high treble), treble, alto, small tenor, tenor, bass and violone (contrabass). Only the treble, tenor and bass viols, however, were regular members of the viol consort. The pardessus de viole did not emerge until the late 17th century, and the violone – despite its appearance in the 16th century – was rarely used in viol consorts. The alto viol was rarely mentioned by theorists and there is some doubt as to how often it was used. Two small bass instruments called ‘lyra’ and ‘division’ viols were used in the performance of solo music in England ( see LYRA VIOL and DIVISION VIOL ).
    [Show full text]