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Discographie (51 Cds)
Discographie (51 CDs) PEÑALOSA - CABEZON (LP. épuisé) Missa "Nunca fué pena mayor" AUVIDIS - AV 4952 IN OMNEM TERRAM (LP. épuisé) Chant grégorien et chants liturgiques du Moyen-âge . AUVIDIS - AV 4953 VERITAS MEA Chant Grégorien, le répertoire des chantres STIL/CD - 2106 SAN 84 Choc de la Musique ÉCOLE DE NOTRE-DAME DE PARIS (vol.1) Organum, conduits et motets HARMONIC Records - H/CD 8611 Choc de la Musique NOVA CANTICA Latin songs of the high Middle-ages Deutsche HARMONIA MUNDI Diapason d’or “Documenta” - RD 77196 GUILLAUME DUFAY - GILLES BINCHOIS HARMONIC Records - H/CD 8719 “Triste plaisir et douleureuse joye” Choc de la Musique / Diapason d’or GUILLAUME DE MACHAUT (vol 1) “Le vray remède d’amour” HARMONIC Records - H/CD 8825 Choc de l’année 90 / Référence de Compact /Événement exceptionnel de Télérama / Recommandé par Classica LES TONS DE LA MUSIQUE Chant Grégorien HARMONIC Records - H/CD 8827 Choc de la Musique / Diapason d’or CODEX ENGELBERG avec la Schola Cantorum Basiliensis Deutsche HARMONIA MUNDI “Documenta” - RD 77185 GUILLAUME DE MACHAUT (vol 2) Messe de Nostre Dame HARMONIC Records - H/CD 8931 Diapason d’or / Choc de la Musique, /10 de Répertoire LE BANQUET DU VOEU 1454 Musique à la cour de Bourgogne-15è s. VIRGIN “Veritas” - VC 7 91441 2 Diapason d’or de l’Année 91 LE MANUSCRIT DU PUY L’offce du nouvel an à la cathédrale du Puy-en-Velay XIIè-XVIè s. Choc de la Musique / Diapason d’or VIRGIN “Veritas” - VC 7 59238 2 LES ESCHOLIERS DE PARIS Motets, chansons et estampies - XIIIè s. -
Songs in Fixed Forms
Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain. -
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. -
Flauti Dolci & Amici I Flauti Dolci & Amici I
Foothill Community Concert Series - Early Music - Flauti Dolci & Amici I Flauti Dolci & Amici I Upcoming early music concerts: Sat. April 6, 3PM Flauti Dolci & Amici II Sat. April 27, 7:30 PM Ensemble Virtu Sat, June 1, 3PM the Peralta Consort The Foothill Presbyterian Church Music Series was created to promote varied music to the community. Proceeds from the Music Series Concerts will go to the Foothill Church Music Series Fund to provide more musical events like these. Thank you for your support. (http://www.FoothillPC.org) Foothill Presbyterian Church 5301 McKee Road ● San José, CA 95127 Concerto Celestini Quartetto Paradiso Consorte Paradiso ● Amaranta SDQ ● Ensemble Trecento Rev. Lindsay Woods Wong Co-Pastor Rev. Andy Wong Co-Pastor Judi Sherwood FCCS Administrator Foothill Presbyterian Church Kraig Williams Early Music Series Director San José, California Saturday, March 9, 2019, 3:00 PM Flauti Dolci & Amici I Intermission March 9, 2019 Program Quartetto Paradiso Trio sonata in C Johann Joachim Quantz Consorte Paradiso Affetuoso (1697-1773) Fantasia for 6 John Ward Alla breve mixed consort of recorders and viols (ca 1680 - ca 1755) Larghetto Vivace Allegro from Symphony 5 William Boyce arr. Fred Palmer (1710 - 1779) SDQ Compel the Hawk to Sit William Byrd Ensemble Trecento (c. 1540-1623) S’aucunne fois Fortunne Anonymous (French Cypriot, late 14th c.) Mia benigna fortuna Giaches de Wert (1535-1596) My wofull hert Anonymous (English, 15th c.) Time in a Bottle Jim Croce arr. Greta Haug-Hryciw (1943-1973) Ma tre dol Rosignol Borlet (Trebor?) (French, 14th c.) Amaranta Vuur (2014) Pieter Campo Concerto Celestini Sonata D Major Antoine Dornel Fipplicious (2019) Glen Shannon Ouverture (ca 1680-ca 1755) (world premiere) (b. -
A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564
A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Music Michael C. Evans March 2011 © 2011 Michael C. Evans. All Rights Reserved. 2 This thesis titled A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 by MICHAEL C. EVANS has been approved for the School of Music and the College of Fine Arts by Richard D. Wetzel Professor of Music History and Literature Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT EVANS, MICHAEL C., M.M., March 2011, Music History and Literature A New Look At Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 Director of Thesis: Richard D. Wetzel The ars subtilior is a medieval style period marked with a high amount of experimentation and complexity, lying in between the apex of the ars nova and the newer styles of music practiced by the English and the Burgundians in the early fifteenth century. In scholarly accounts summarizing the period, however, musicologists and scholars differ, often greatly, on the precise details that comprise the style. In this thesis, I will take a closer look at the music of the period, with special relevance to the Codex Chantilly (F-CH-564), the main source of music in the ars subtilior style. In doing so, I will create a more exact definition of the style and its characteristics, using more precise language. -
Program Notes Silent Films Were Never Meant to Be Silent; They Were Intended to Be Performed with Musical Accompaniment
Early Music Hawaii presents Early Music - Early Movies Period Music for Gems of the Silent Screen performed by Ensemble Hesperus Tina Chancey viola da gamba, renaissance violin, recorder Grant Herreid baroque guitar, vihuela, tenor Priscilla Herreid recorders, shawm, bagpipe, crumhorn, soprano Nell Snaidas soprano, renaissance guitar Robin Hood with Douglas Fairbanks Saturday, January 16, 2016, 7:00 pm Lutheran Church of Honolulu The Hunchback of Notre Dame with Lon Chaney Thursday, January 21, 2016, 7:00 pm Queen Emma Community Center, Kealakekua Touring groups are supported in part by the Western States Arts Foundation (WESTAF), the Hawaii State Foundation on Culture & the Arts & the National Endowment for the Arts Robin Hood with live early music score Partial List of Music In Sherwood lived stout Robin Hood Thomas Campion (1567-1620) La Bounette/La Doune cella The Mulliner Book (16th c. Eng.) La Roque Pierre Attaignant (1494-1551) Ohne Fels Tielmann Susato (c.1500-1561) Pastime with good Company Henry VIII (1491-1547) And I were a Maiden Court of Henry VIII L’Homme armé 15th c. French Palesteinlied 13th c. German Chançonetta Tedescha 12th c. French Istampitta Isabella/Istampitta Belica 14th c. Italian Dame vostre douce viare Guillaume de Machaut (1300-1377) short intermission Se d’amer Machaut Oh my heart 16th c. English Tandernaken Henry VIII Blow thy horn, Hunter/Le Buffon William Cornish (d. 1502) Bransle de la Torche Pierre Phalèse (c. 1507-1575) Le Chat & Le Soulier/Tourdion Pierre Attaignant Helas Madame Henry VIII Washerwoman Bransle/Pease Bransle 16th c. French Tant que Vivray Claudin de Sermisy (c.1490-1562) Philip van Wilder’s Dompe The Mulliner Book 2 Robin Hood Douglas Fairbanks’ 1922 silent film masterpiece Program Notes Silent films were never meant to be silent; they were intended to be performed with musical accompaniment. -
Thèse Présentée Pour L'obtention Du Grade De Docteur De L'utc
Par Flora FISCHER Les normativités des technologies numériques : approche d’une éthique « by design » Thèse présentée pour l’obtention du grade de Docteur de l’UTC Soutenue le 14 décembre 2020 Spécialité : Philosophie, Épistémologie, Histoire des Sciences et des Techniques : Unité de recherche COSTECH (EA-2223) D2583 Ecole doctorale 71 « Sciences pour l’ingénieur » Laboratoire Connaissance, Organisation et Systèmes Techniques (COSTECH – EA2223) et ETHICS (EA7446) LES NORMATIVITÉS DES TECHNOLOGIES NUMÉRIQUES : APPROCHE D’UNE ÉTHIQUE « BY DESIGN » Spécialité : Philosophie, Épistémologie, Histoire des Sciences et des Techniques THÈSE en vue de l’obtention du grade académique de Docteur en philosophie de l’Université de Technologie de Compiègne Présentée et soutenue publiquement par Flora FISCHER Le 14 décembre 2020 Sous la direction de : M. Xavier GUCHET et M. Malik BOZZO-REY Membres du Jury Bruno BACHIMONT, Enseignant-chercheur, Philosophie des sciences, Directeur à la Recherche Faculté des Sciences Sorbonne Université (examinateur) Jean-Michel BESNIER, Professeur de Philosophie émérite, La Sorbonne (rapporteur) Malik BOZZO-REY, Directeur de recherche en Éthique, Université Catholique de Lille (directeur de thèse) Isabelle COLLET, Professeur Associée en sciences de l’éducation et informaticienne, Université de Genève (rapporteure) Xavier GUCHET, Professeur de philosophie et d’éthique des techniques, Université de Technologie de Compiègne (directeur de thèse) Anthony MASURE, Responsable de l’Institut de Recherche en Art & Design (IRAD) de -
Apéndice - Principales Manuscritos Musicales Medievales
Rafael Fernández de Larrinoa [email protected] APÉNDICE - PRINCIPALES MANUSCRITOS MUSICALES MEDIEVALES POLIFONÍA PRIMITIVA (Tratados con ejemplos musicales) Bamberg, SB, Msc. Var. l Musica enchiriadis y Scholia enchiriadis (ca. 900). Originarios de Reims. Primera descripción de (alt HJ IV 20). la polifonía en movimiento paralelo. Con ejemplos en notación dasiana. Varios manuscritos. Micrologus , de Guido d’Arezzo (ca. 1030). Uno de los tratados musicales más influyentes y más difundidos de la Edad Media, se conserva en más de 70 manuscritos de entre los siglos XI al XV. Primera descripción del movimiento contrario para (junto con el oblicuo) cerrar las frases del organum . Con ejemplos musicales. http://www.music.indiana.edu/tml/9th-11th/GUIMIC_TEXT.html Milán, BA, M. 17 sup. Ad organum faciendum [tratado de organum de Milán] (ca. 1100). Descripción de cómo componer organa en estilo discanto. Se emplea casi exclusivamente el movimiento contrario salvo en los finales de frase, en el que se utiliza también el paralelo y el oblicuo. Con ejemplos en notación alfabética. http://www.music.indiana.edu/tml/9th-11th/ADORFA_TEXT.html http://www.musicologie.org/Biographies/a/ad_organum.html http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=926 Roma, BAV, Ottoboni lat. Ars organi [tratado de organum vaticano] (ca. 1170 -1180). Método para la composición de 3025 organa floridos. Con ejemplos en notación diastemática. http://www.music.indiana.edu/tml/12th/ARSORG_TEXT.html POLIFONÍA PRIMITIVA (Repertorios musicales) Cambridge, CCC, MS 473 ca. 1000. Contiene 150 organa a 2 voces que exhiben principalmente movimiento paralelo, (Tropario de Winchester) reservándose el contrario y el oblicuo para los finales de frase. -
Billetterie 02 35 98 74 78 Operaderouen.Fr
in.com licences d’entrepreneur de spectacle : 1-1032362, 2-1032363, 3-1032364 - photo : © Emmanuelle Brisson maquette : jérôme -peller de spectacle : 1-1032362, 2-1032363, 3-1032364 - photo © Emmanuelle Brisson licences d’entrepreneur Billetterie 02 35 98 74 78 operaderouen.fr Éditos 4 Les artistes 6 Sommaire Opéra 8 Concerts au Théâtre des Arts 18 Concerts à la Chapelle Corneille 34 Danse 42 En famille 48 En tournée 50 Actions culturelles 52 Actions pédagogiques 58 Mécénat 60 En pratique 62 ÉDITO Madame, Monsieur, L’Opéra de Rouen Normandie fait de l’excellence et de la diversité les deux principales exigences de sa programmation pour la saison 2015- 2016. Cette année encore, nous vous proposons une saison lyrique de grande qualité, qui rend compte de l’ensemble du répertoire et fait également la promotion de la création contemporaine. Le nombre élevé de coproductions et de partenaires, souvent prestigieux, qui soutiennent ces projets ambitieux, attestent de notre ambition. Ce ne sont pas moins de seize maisons d’opéra qui participent au financement des Caprices de Marianne. La présentation de Daral Shaga, à notre connaissance le premier opéra circassien de l’histoire, repose à la fois sur les épaules de notre maison lyrique et sur celles du Cirque-Théâtre d’Elbeuf. Sans parler de la complicité renouvelée chaque année avec le Théâtre de Côme autour de l’opéra participatif. Ces belles solidarités, par les temps qui courent, sont salutaires et fructueuses. Au-delà de cette programmation de spectacles lyriques et chorégraphiques ainsi que de dizaines de concerts donnés par l’Orchestre, tant au Théâtre des Arts qu’en tournée en Normandie, je n’oublie pas Je tiens à remercier tous ceux qui accompagnent fidèlement la Région : l’événement de cette prochaine saison : l’ouverture en février 2016 de la Ville de Rouen, l’État, le Département de l’Eure et la Métropole Rouen l’Auditorium de la Chapelle Corneille. -
1554874724524.Pdf
Art Assets This overhaul was made in accordance to Wizards of Listed alphabetically the Coast's Fan Content Policy. This is unofficial Art of Bartlett content made by me, /u/Galiphile, with some collaboration (listed below). AV-6R7 Chris Trevas Cristi Balanescu Dark Dream Credits David Kegg echostain First and foremost, I have to thank the person who got me Eiluvision into D&D: my buddy, Ross. That playgroup was not great, but Fantasy Flight Games it started my journey. Jason Edmiston Second, I have the thank the original guinea pigs of this Joel Hustak conversion: Drew, Eric, and Rickey. It was comically bad, but we had fun with it. Jhomar Soriano Knight of Malta Lastly, while I would love to say that I created everything in this conversion, that wouldn't be entirely true. The following Matt Difa people deserve credit as well: RamArtwork Shout out to the /r/sw5e mod team Sam Wood /u/karbacca for the epic cover and SW5e logo Somarinoa /u/Grelite for the Matukai Order Monk archetype Stu Cunningham /u/Charrmeleon for the entire Scholar class Weasyl /u/MayB_259 for their Human race Whitelight369 /u/SpiketailDrake for the Bloodstorm Approach Berserker William O'Connor archetype /u/TheGentGamer for the Warchief Approach Berserker And of course archetype Star Wars Star Wars: Rebels Star Wars: The Clone Wars Star Wars: The Old Republic If I missed you and you feel you deserve credit please let me know. I've been working on this for years, and I'm fallible. I hope you like it. Chapter 6: Customization Options Preface New multiclassing requirements/proficiencies, and with the This conversion has been a labor of love of mine starting three exception of the spell point variant (discussed in chapter 10), years ago. -
APRIL 2016 LIST See Inside for Valid Dates
tel 0115 982 7500 fax 0115 982 7020 APRIL 2016 LIST See inside for valid dates Dear Customer, Where to start?! This is the question that always arises when we come to pick our priority new releases each month. Generally speaking, the more established labels feature the artists and repertoire that are most likely to be at the top of the agenda for us all, but sometimes other names will sneak in there, proving themselves worthy of some extra attention. Resonus Classics is a prime example of a label that has been gradually building a stong reputation in recent years. Initially offering only downloads, they have now ventured into the more costly exercise of producing CDs and we are very pleased to be in a position to offer all of these at a discount for a couple of months (back page). Their latest release can be found on p.3 - a wonderful performance from The Queen’s Six of music by the likes of Byrd, Morley and Weelkes - and don’t forget their multi-award winning recording of Bach’s Cello Suites from David Watkin. Production values are high and the company comes with our highest recommendation. Four renowned pianists issue new discs this month: Stephen Hough gives us concertos from Dvorak and Schumann (Hyperion); Ingrid Fliter also performs Schumann, but coupled with Mendelssohn (Linn); Paul Lewis is magnificent in Brahms (Harmonia Mundi) and Yevgeny Sudbin gives a technically stunning performance of sonatas by Scarlatti (BIS). Other new releases to highlight are the beginning of a Vaughan Williams cycle from Andrew Manze and the RLPO, the continuation of Neeme Jarvi’s exploration of French orchestral music on Chandos with a disc of music by Ibert, glorious Monteverdi from The Sixteen (Coro) and enthralling Schubert from the Quatuor Ebene (Erato). -
Apel, Willi/ French Secular Music of the Late Fourteenth Century. Edited
THE MEDIAEVAL ACADEMY OF AMERICA PUBLICATION NO. 55 FRENCH SECULAR MUSIC OF THE LATE FOURTEENTH CENTURY FRENCH SECULAR MUSIC OF THE LATE FOURTEENTH CENTURY Edited by WILLI APEL Edition of the Literary Texts by ROBERT W. LINKER and URBAN T. HOLMES, JR. University of North Carolina With Foreword by PAUL HINDEMITH Yale University MEDIAEVAL ACADEMY OF AMERICA CAMBRIDGE, MASSACHUSETTS 1950 COPYRIGHT BY THE MEDIAEVAL ACADEMY OF AMERICA 1950 PRINTED IN U. S. A. JOHANNES WOLF IN MEMORIAM FOREWORD There is no need to praise once more the expert scholar- hints will suffice to make us aware of the creative power ship of this book's author, nor can anything be added to that keeps those structures in motion and of the human the laudable fact that a publisher's idealism makes pos- quality that guided their creators. sible the edition of a large selection of hitherto unknown To the performers the immediate contingence with this mediaeval compositions. But as a composer and as a music will open up new horizons. They will learn to performer of the earlier masters' compositions I feel that understand the shortsighted attitude of our present musi- a few words of encouragement, coming from a practical cal culture, which adores only those idols of audible musician, would help to a better appreciation of this high- beauty that are not much older than two hundred years. ly interesting, valuable, and stimulating publication. They soon will find it necessary to replace our contem- The modern musician's problems, of which there arc porary ways of performing, which oscillate between two so many, will lose some of their puzzling oppression if extremes — over-individualistic exhibitionism on the one compared with those of our early predecessors, as they side and the dullest metric-dynamic motorism on the appear in this volume.