Chronology Antiquity and the Middle Ages

Total Page:16

File Type:pdf, Size:1020Kb

Chronology Antiquity and the Middle Ages Chronology Antiquity and the Middle Ages MUSIC AND MUSICIANS POLITICS, WAR, RULERS (Be) (BC) c970 Death of David, King ofJudah; the earliest psalms may date from this time. 776 First recorded Olympic Games, the c962-22 Worship in the Temple of first certain date in Greek history. Solomon organized involving musicians and a professional music school. 753 According to tradition, Romulus founded Rome. All subsequent Roman 7th century Terpander is believed to have events are dated from this year. established the nomos kitharodikos. Music of the Phrygians, influential in Greek music, reached its height. c724 The Spartan victory in the First Messenian War gives her control over the c700 Olympus the Mysian, Phrygian aulos rich plains of Messenia. player and composer, is credited with the introduction ofinstumental music into 616 Date traditionally given for the Greece and the invention of the Etruscan Tarquins becoming kings of enharmonic genus and the Lydian mode. Rome. The first was Tarquinius Priscus. c600 Sappho and Alcaeus lead the Aeolian school oflyric poetry at Lesbos. The 597 Fall ofjerusalem. Beginning of the Dithyramb, a choral song of Dionysus, Babylonian captivity (-538). assumes its conventional form under Arion at Corinth. 594 Solon appointed archon of Athens. He reforms the Draconian laws and founds 586 Sakadas wins at the Pythian games the Athenian democracy. with his aulos solo depicting the victory of Apollo over the Dragon. 510 Tarquinius Superbus expelled from Rome (d495); the Republic commences. c530-497 Pythagoras active: he propounded the scientific basis of music and established a school of Greek music 509 Cleisthenes rises to power in Athens. In theory. 507 he reforms the law and the constitution; ten new tribes replace the late 5th century Sophocles and Euripides previous four and all citizens given a vote admired for their music. in the Assembly. c450 Pindar excels in the choral lyric. 480 Xerxes, the son of Darius, crosses the Hellespont and advances to the pass of c450-c360 Thimotheus, Greek composer Thermopylae where the heroic Spartans and singer to the kithara, active. under Leonidas fight to the death; Athens is taken, but then the Athenians defeat the 406 Death of Euripides, who added sulo Persian fleet in the Bay of Salamis. monody to the musical resources of the Athenian tragedy. 442 Pericles becomes sole ruler of Athens 405 The Frogs of Aristophanes depicts a until 429. During his reign Athens is musical contest in Hades between dominant militarily, commercially and Euripides and Aeschylus. culturally. c400 The heyday ofPhiloxenos and 431 The Peloponnesian war between Timotheus, who marked the end of Athens and Sparta (-404 BC) results in classical Greek music with their virtuosic the loss of Athenian leadership in Greece innovations. and the end ofher 'Golden Age'. 314 Chronology, 1000-400 BC LITERATURE, SCIENCE, FINE AND PHILOSOPHY, TECHNOLOGY, DECORATIVE ARTS, RELIGION DISCOVERY ARCHITECTURE (BC) (BC) (BC) c800 Composition of the 763 First record of an Late 8th century End of great Homeric epics, the eclipse of the sun appears the Geometric period of Iliad and the Odyssey. in Assyrian archives. Greek art and beginning c733-701 Isaiah preaches of the Archaic; anatomy of the coming of a Messiah. 668 King Assur-bani-pal of the human body becomes early 8th century The Assyria accumulates a a preoccupation. Boeotian poet Hesiod library at Nineveh with writes his Works and Days over 22,000 clay tablets c630 The Doric order of and the Theogony. recording Assyrian Greek architecture first 641Josiah, Kingofjudah, achievements in medicine, recognizable at Thermon. oversees the mathematics and Deuteronomic reform and astronomy (-631). c600-580 The earliest centralizes worship at the surviving large-scale Temple in jerusalem 600 Chaldean astronomers architectural sculptures in (-610 BC). invent the signs of the stone on the west c600 Jeremiah active, Zodiac, name many pediment of the temple of prophet ofjerusalem's constellations, establish Artemis in Corfu. destruction and purported the seven-day week and author of the Lamentations. the 24-hour day (-550). mid-6th century Earliest 600 Thales, 'The First appearance of the Ionic Greek Philosopher', seeks c590 Anaximander is said order in the gigantic the origin of all things in to have introduced the temples of Artemis at the element of water sundial (gnomon) to Greece Ephesus and Hera at (-546 BC). and to have made the first Samos in Asia Minor. The c590 Zoroaster reforms the map of the world (--c550). black-figure style of vase Persian religion from a painting reaches its form of polytheism to the maturity whilst the red- worship of a single god. c530 Pythagoras and his followers are considered to figure technique is in its c534 Thespis is reputed to have founded the earliest stages. have developed Greek tragedy from the mathematical study of c480 Archaic period in art Dionysian dithyramb. acoustics and music, ends with the destruction together with many early 484 Aeschylus wins first of Athens by the Persians; prize in the Athenian geometrical discoveries the classical period Tragedy competition. including the Pythagorean begins. 468 Sophocles defeats Theorem. Aeschylus and wins the c470 Temple of Zeus at prize for Tragedy. c432 Meton, Athenian Olympia (--c455 BC), an astronomer, announces early classical masterpiece 455 Euripides produces the the discovery of the first of c92 plays; 18 of the Doric order. survive, including Alcestis, ennaedecateris, a luni-solar Medea, The Trojan Women calendar of235 months or 447 Building of the and lphigenia in Tauris. 19 years. It later became Parthenon on the Acropolis c450 Protagorus active, the the model for the Persian, at Athens (-432 BC). first of the Sophists. Chinese and jewish c435-30 The work of c440 Herodotus travels to calendars, and the method Babylon and Egypt to by which the date of Phidias culminates in his research his history of the Easter is calculated. great statues of Athena at Persian Wars. the Parthenon and Zeus at 424 Aristophanes begins c430 Hippocrates ofChios, Olympia. writing comedies, II of Greek mathematician, which survive, including active (--c400 BC). Euclid c420 The Temple of Apolla The Clouds, The Wasps, The bases the third and fourth Epicurius at Bassae Birds, Lysistrata and The books of his Elements on containing the first Frogs. Hippocrates' lost work. Corinthian columns. 315 Antiquity and the Middle Ages MUSIC AND MUSICIANS POLITICS, WAR, RULERS cS80 Plato proposes the ideal Greek SS6 Alexander the Great wins for himself musical education in his Republic. the greatest empire ever. ?cSSO The Books of Chronicles tell of S2S After the death of Alexander his empire instrumentally accompanied psalmody in is fragmented. the Temple ofjerusalem. 264 First Punic War between Rome and Carthage, ending in victory for Rome's ?elliS Aristoxenus, greatest of the Greek new navy at the Aegates in 241. musical theorists, writes his Harmonic Elements. 219 Second Punic War (-201 BC). Hannibal invades Italy by crossing the Alps in 218 cSOO Euclid, Greek mathematician, active and defeats the Romans in 217. in Alexandria; two musical works are attributed to him, Introduction to Harmonics 166Judas Maccabee takes over the jewish (more likely by Cleonides) and Division of rebellion against Antioch us IV of Syria the Monochord. (-161 BC). 149 Third Punic War (-146 BC). Carthage c240 Eratosthenes, Greek scholar, writes on is besieged for two years and is finally the mathematical theory of music in his taken by Scipio Africanus the Younger. Platonikos. The province of Africa established. c%20 Plautus incorporated features of 146 Rome crushes a revolt in Macedonia Hellenistic song and Euripidean monody which becomes a Roman province. with Greek literary style in his Roman Corinth is destroyed and Greece comes comedies. The introduction to Stichus under Roman hegemony. names the musician Marcipor as the composer of the accompaniments. 60 Pompey, Crassus and julius Caesar form the first Triumvirate. c200 A setting of Euripides' Orestes survives 57 Caesar defeats the Gaulish and Belgian on the papyrus, with music possibly by tribes. He invades Britain in 55. Euripides. 52 Revolt of the Gauls under Vercingetorix. cl66 Terence's sixfabulae palliatae include Crushed by Caesar at Alesia, his greatest much recitative cantica, lines intoned to military success. pipe accompaniment. In the prefaces he mentions four kinds of pipe and names the 49 Caesar crosses the Rubicon initiating composer Flaccus. civil war with Pompey and his allies. Caesar triumphs and by 45 BC maintains cl38 'First Delphic Hymn', in 'vocal' dictatorial power. notation; one of two hymns in honour of 44 After refusing a king's crown, offered by Apollo engraved in stone in the Athenian Mark Antony, Caesar is assassinated on treasury at Delphi. the ides of March. Octavian, Caesar's grand-nephew, claims the succession. cl28-12 'Second Delphic Hymn', in 'instrumental' notation by Limenius of SO Octavian triumphs over Mark Antony Athens, uniquely describing the place of and his bride Cleopatra at Actium; he is music in sacrifice. declared 'Augustus' in 28 BC, thus signalling the beginning of the Empire. cliO Vitruvius, Latin writer, who described the hydraulis in some detail. 4 Death of Herod the Great after the execution of his eldest son. Jerusalem pacified by a Roman Legion after a revolt by the Pharisees; Herod Anti pas succeeds to the Tetrarchy of Galilee. 316 Chronology~ 399-1 BC LITERATURE, SCIENCE, FINE AND PHILOSOPHY, TECHNOLOGY, DECORATIVE ARTS, RELIGION DISCOVERY ARCHITECTURE 399 The death of Socrates, c377 Death of Hippocrates, whose teachings are considered the founder of 336 presented in Plato's scientific medicine. The conquests of dialogues. Alexander bring the classical period of Greek 323 c368 Plato's Republic, his Death of Aristotle, art to an end and influential central work. exponent of introduce the fourth and empirical method and first 343 final period, the Aristotle (384-22) great botanist and becomes Hellenistic (323 BC).
Recommended publications
  • A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
    A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography.
    [Show full text]
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
    [Show full text]
  • Trecento Cacce and the Entrance of the Second Voice
    1 MIT Student Trecento Cacce and the Entrance of the Second Voice Most school children today know the song “Row, Row, Row Your Boat” and could probably even explain how to sing it as a canon. Canons did not start off accessible to all young children, however. Thomas Marrocco explains that the early canons, cacce, were not for all people “for the music was too refined, too florid, and rhythmically intricate, to be sung with any degree of competence by provincial or itinerant musicians.”1 The challenge in composing a caccia is trying to create a melody that works as a canon. Canons today (think of “Row, Row, Row Your Boat,” Pachelbel's “Canon in D,” or “Frère Jacques”) are characterized by phrases which are four or eight beats long, and thus the second voice in modern popular canons enters after either four or eight beats. One might hypothesize that trecento cacce follow a similar pattern with the second voice entering after the first voice's four or eight breves, or at least after the first complete phrase. This is not the case. The factors which determine the entrance of the second voice in trecento cacce are very different from the factors which influence that entrance in modern canons. In trecento cacce, the entrance of the second voice generally occurs after the first voice has sung a lengthy melismatic line which descends down a fifth from its initial pitch. The interval between the two voices at the point where the second voice enters is generally a fifth, and this is usually just before the end of the textual phrase in the first voice so that the phrases do not line up.
    [Show full text]
  • June 2015 Broadside
    T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff.
    [Show full text]
  • VU Research Portal
    VU Research Portal The impact of empire on market prices in Babylon Pirngruber, R. 2012 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Pirngruber, R. (2012). The impact of empire on market prices in Babylon: in the Late Achaemenid and Seleucid periods, ca. 400 - 140 B.C. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 25. Sep. 2021 THE IMPACT OF EMPIRE ON MARKET PRICES IN BABYLON in the Late Achaemenid and Seleucid periods, ca. 400 – 140 B.C. R. Pirngruber VRIJE UNIVERSITEIT THE IMPACT OF EMPIRE ON MARKET PRICES IN BABYLON in the Late Achaemenid and Seleucid periods, ca. 400 – 140 B.C. ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad Doctor aan de Vrije Universiteit Amsterdam, op gezag van de rector magnificus prof.dr.
    [Show full text]
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • The Trecento Lute
    UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain.
    [Show full text]
  • IMAGES of WOMEN in the TROBAIRITZ1 POETRY (Vocabulary and Imagery)
    Olaru Laura Emanuela IMAGES OF WOMEN IN THE TROBAIRITZ1 POETRY (Vocabulary and Imagery) M. A. Thesis in Medieval Studies CEU eTD Collection The Central European University Budapest June 1998 I, the undersigned, Laura Emanuela OLARU, candidate for the M. A. degree in Medieval Studies declare herewith that the present thesis is exclusively my own work, based on my research and only such external information as properly credited in notes and bibliography. I declare that no unidentified and illegitimate use was made of the work of others, and no part of the thesis infringes on any person's or institution's copyright. I also declare that no part of the thesis has been submitted in this form to any other institution of higher education for an academic degree. Budapest, 15 June 1998 Signature CEU eTD Collection Images of Women in the Trobairitz Poetry (Vocabulary and Imagery) by Laura Emanuela Olaru (Romania) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies Accepted in conformance with the standards of the CEU Chair, Exarffination Comittee External Examiner /\/ Examiffgp/^''^ Budapest June 1998 CEU eTD Collection Images of Women in the Trobairitz' Poetry (Vocabulary and Imagery) ABSTRACT The present study has focused on the poetry of the trobairitz, who wrote during 1180-1260 in Occitania, in the environment of the court. Its purpose is to extract the images of women as depicted in and through the vocabulary and the imagery. The study of vocabulary and imagery seemed the best way to understand the significance and the richness of the types of women depicted in the poems: the conscious woman, the authoritative figure, the fighter, the lover, the beloved, the uncourtly woman.
    [Show full text]
  • The Troubadours
    The Troubadours H.J. Chaytor The Project Gutenberg EBook of The Troubadours, by H.J. Chaytor This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Troubadours Author: H.J. Chaytor Release Date: May 27, 2004 [EBook #12456] Language: English and French Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE TROUBADOURS *** Produced by Ted Garvin, Renald Levesque and the Online Distributed Proofreading Team. THE TROUBADOURS BY REV. H.J. CHAYTOR, M.A. AUTHOR OF "THE TROUBADOURS OF DANTE" ETC. Cambridge: at the University Press 1912 _With the exception of the coat of arms at the foot, the design on the title page is a reproduction of one used by the earliest known Cambridge printer, John Siberch, 1521_ PREFACE This book, it is hoped, may serve as an introduction to the literature of the Troubadours for readers who have no detailed or scientific knowledge of the subject. I have, therefore, chosen for treatment the Troubadours who are most famous or who display characteristics useful for the purpose of this book. Students who desire to pursue the subject will find further help in the works mentioned in the bibliography. The latter does not profess to be exhaustive, but I hope nothing of real importance has been omitted. H.J. CHAYTOR. THE COLLEGE, PLYMOUTH, March 1912. CONTENTS PREFACE CHAP. I. INTRODUCTORY II.
    [Show full text]
  • Madrigal, Lauda, and Local Style in Trecento Florence
    Madrigal, Lauda, and Local Style in Trecento Florence BLAKE McD. WILSON I T he flowering of vernacular traditions in the arts of fourteenth-century Italy, as well as the phenomenal vitality of Italian music in later centuries, tempts us to scan the trecento for the earliest signs of distinctly Italianate styles of music. But while the 137 cultivation of indigenous poetic genres of madrigal and caccia, ac- corded polyphonic settings, seems to reflect Dante's exaltation of Italian vernacular poetry, the music itself presents us with a more culturally refracted view. At the chronological extremes of the four- teenth century, musical developments in trecento Italy appear to have been shaped by the more international traditions and tastes associated with courtly and scholastic milieux, which often combined to form a conduit for the influence of French artistic polyphony. During the latter third of the century both forces gained strength in Florentine society, and corresponding shifts among Italian patrons favored the importation of French literary and musical culture.' The cultivation of the polyphonic ballata after ca. 1370 by Landini and his contem- poraries was coupled with the adoption of three-part texture from French secular music, and the appropriation of certain French nota- tional procedures that facilitated a greater emphasis on syncopation, Volume XV * Number 2 * Spring 1997 The Journal of Musicology ? 1997 by the Regents of the University of California On the shift in patronage and musical style during the late trecento, see Michael P. Long, "Francesco Landini and the Florentine Cultural Elite," Early Music History 3 (1983), 83-99, and James Haar, Essays on Italian Poetry and Music in the Renaissance, 1350-1600 (Berkeley, CA, 1986), 22-36.
    [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]
  • News from Around the Region Geraldine Elliott, Director North
    Geraldine Elliott, Director North Central Region, AHS 753 Crestwood Dr. Waukesha, WI 53188 262.547.8539 [email protected] A tax-exempt non-profit corporation founded in 1962 Greetings to All Harpists in the North Central Region. I am honored to be your Regional Director at this exciting time in the life of the American Harp Society. Please let me know how I can facilitate communications between and among harpists in the Region. This Newsletter is one means of spreading the word among all the chapters in the Region, but it comes only once a year. There will be a second, email-only, message in the spring, so it is vitally important that we have accurate email addresses for all harpists. We send this newsletter to let you know about harp-happenings that are closer and less expensive (some are even free!) than the National meetings that are coming up. Please let me know of new items that arise so I can include them in the spring email blast. And donʼt forget to send me your accurate email address. THE AMERICAN HARP SOCIETY 9TH SUMMER INSTITUTE AND 19TH NATIONAL COMPETITION JUNE 19-23, 2011 THE LYON AND HEALY AWARDS JUNE 18-19, 2011 DENTON, TX (DALLAS/FT. WORTH AREA) WWW.MUSIC.UNT.EDU/HARP The University of North Texas welcomes the American Harp Society to enjoy a wonderful week. All events will be geared towards students and will include master classes, workshops, ensemble performances and viewing of historic harps. Performances will feature harpists of the Southwest and Emily Mitchell, guest artist and Heidi Van Hoesen Gorton, the AHS Concert Artist, and Michael Colgrass will be guest clinician.
    [Show full text]