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Cancioneiro De Elvas
The ''Cancioneiro de Elvas'' (in English: ''Elvas Songbook'') is one of the four Renaissance songbooks of Portuguese music from the 16th century - along with the Lisbon Songbook, the Belém Songbook, and the Paris songbook. It is one important source of secular music from the Iberian Renaissance. The songs are composed in Portuguese and Spanish languages. General description The Elvas Songbook was found in 1928 in the library of Elvas, by the musicologist Manuel Joaquim. It was copied in the 16th century and is divided in two parts: *The first part is musical: contains 65 works of polyphonic (3 voices) secular music from Portugal and Spain. The poems used are villancicos and cantigas. *The second part is literary: contains 36 poems without music. The musical part of the songbook has been studied and transcribed by three musicologists - Manuel Joaquim, Manuel Morais and Gil Miranda. Dating of the Songbook There are no dates in the manuscript, therefore it is impossible to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantiga
A ''cantiga'' (''cantica'', ''cantar'') is a medieval monophonic song, characteristic of the Galician-Portuguese lyric. Over 400 extant ''cantigas'' come from the ''Cantigas de Santa Maria'', narrative songs about miracles or hymns in praise of the Holy Virgin. There are near 1700 secular ''cantigas'' but music has only survived for a very few: six cantigas de amigo by Martín Codax and seven ''cantigas de amor'' by Denis of Portugal. Cantiga is also the name of a poetic and musical form of the Renaissance, often associated with the villancico and the canción. See also *Cantigas de Santa Maria *Galician-Portuguese lyric *Martin Codax *Pergaminho Sharrer *Pergaminho Vindel References * Rip Cohen. ''500 Cantigas d’Amigo,'' edição crítica/critical edition. Porto: Campo das Letras, 2003. * Giulia Lanciani and Giuseppe Tavani (edd.). ''Dicionário da Literatura Medieval Galega e Portuguesa''. Lisbon: Caminho, 1993. * Manuel Pedro Ferreira. ''O Som de Martin Codax. Sobre a di ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Renaissance Music
Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century '' ars nova'', the Trecento music was treated by musicology as a coda to Medieval music and the new era dated from the rise of triadic harmony and the spread of the ' ''contenance angloise'' ' style from Britain to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period. The period may be roughly subdivided, with an early period corresponding to the career of Guillaume Du Fay (c. 1397–1474) and the cultivation of cantilena style, a middle dominated by Franco-Flemish School and the four-part textures favored by Johannes Ockeghem (1410's or 20's – 1497) and Josquin des Prez (late 1450's – 1521), and culminating during the Counter-Reformation in the florid counterpoint of Palest ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Portuguese Music History
Portuguese may refer to: * anything of, from, or related to the country and nation of Portugal ** Portuguese cuisine, traditional foods ** Portuguese language, a Romance language *** Portuguese dialects, variants of the Portuguese language ** Portuguese man o' war, a dangerous marine cnidarian that resembles an 18th-century armed sailing ship ** Portuguese people, an ethnic group See also * * ''Sonnets from the Portuguese'' * "A Portuguesa", the national anthem of Portugal * Lusofonia * Lusitania Lusitania (; ) was an ancient Iberian Roman province located where modern Portugal (south of the Douro river) and a portion of western Spain (the present Extremadura and the province of Salamanca) lie. It was named after the Lusitani or Lusita ... * {{disambiguation Language and nationality disambiguation pages ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
16th Century In Portugal
16 (sixteen) is the natural number following 15 and preceding 17. 16 is a composite number, and a square number, being 42 = 4 × 4. It is the smallest number with exactly five divisors, its proper divisors being , , and . In English speech, the numbers 16 and 60 are sometimes confused, as they sound very similar. Sixteen is the fourth power of two. For this reason, 16 was used in weighing light objects in several cultures. The British have 16 ounces in one pound; the Chinese used to have 16 ''liangs'' in one ''jin''. In old days, weighing was done with a beam balance to make equal splits. It would be easier to split a heap of grains into sixteen equal parts through successive divisions than to split into ten parts. Chinese Taoists did finger computation on the trigrams and hexagrams by counting the finger tips and joints of the fingers with the tip of the thumb. Each hand can count up to 16 in such manner. The Chinese abacus uses two upper beads to represent the 5s and 5 low ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
16th Century In Music
16 (sixteen) is the natural number following 15 and preceding 17. 16 is a composite number, and a square number, being 42 = 4 × 4. It is the smallest number with exactly five divisors, its proper divisors being , , and . In English speech, the numbers 16 and 60 are sometimes confused, as they sound very similar. Sixteen is the fourth power of two. For this reason, 16 was used in weighing light objects in several cultures. The British have 16 ounces in one pound; the Chinese used to have 16 ''liangs'' in one ''jin''. In old days, weighing was done with a beam balance to make equal splits. It would be easier to split a heap of grains into sixteen equal parts through successive divisions than to split into ten parts. Chinese Taoists did finger computation on the trigrams and hexagrams by counting the finger tips and joints of the fingers with the tip of the thumb. Each hand can count up to 16 in such manner. The Chinese abacus uses two upper beads to represent the 5s and 5 low ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
16th-century Books
The 16th century begins with the Julian year 1501 ( MDI) and ends with either the Julian or the Gregorian year 1600 ( MDC) (depending on the reckoning used; the Gregorian calendar introduced a lapse of 10 days in October 1582). The 16th century is regarded by historians as the century which saw the rise of Western civilization and the Islamic gunpowder empires. The Renaissance in Italy and Europe saw the emergence of important artists, authors and scientists, and led to the foundation of important subjects which include accounting and political science. Copernicus proposed the heliocentric universe, which was met with strong resistance, and Tycho Brahe refuted the theory of celestial spheres through observational measurement of the 1572 appearance of a Milky Way supernova. These events directly challenged the long-held notion of an immutable universe supported by Ptolemy and Aristotle, and led to major revolutions in astronomy and science. Galileo Galilei became a champion ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
American Institute Of Musicology
The American Institute of Musicology (AIM) is a musicological organization that researches, promotes and produces publications on early music. Founded in 1944 by Armen Carapetyan, the AIM's chief objective is the publication of modern editions of medieval, Renaissance and early Baroque compositions and works of music theory. Among the series it produces are the ''Corpus mensurabilis musicae'' (CMM), ''Corpus Scriptorum de Musica'' (CSM) and ''Corpus of Early Keyboard Music'' (CEKM). In CMM specifically, the AIM has published the entire surviving ''oeuvres'' of a considerable amount of composers, most notably the complete works of Guillaume de Machaut and Guillaume Du Fay, among many others. The CSM, which focuses on music theory, has published the treatises of important theorists such as Guido of Arezzo and Jean Philippe Rameau. The breadth and quality of publications produced by the AIM constitutes a central contribution to the study, practice and performance of early music. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedro De Pastrana
Pedro is a masculine given name. Pedro is the Spanish, Portuguese, and Galician name for ''Peter''. Its French equivalent is Pierre while its English and Germanic form is Peter. The counterpart patronymic surname of the name Pedro, meaning "son of Peter" (compare with the English surname Peterson) is Pérez in Spanish, and Peres in Galician and Portuguese, Pires also in Portuguese, and Peiris in coastal area of Sri Lanka (where it originated from the Portuguese version), with all ultimately meaning "son of Pêro". The name Pedro is derived via the Latin word "petra", from the Greek word "η πέτρα" meaning "stone, rock". The name Peter itself is a translation of the Aramaic ''Kephas'' or '' Cephas'' meaning "stone". An alternate archaic spelling is ''Pêro''. Pedro may refer to: Notable people Monarchs, mononymously *Pedro I of Portugal *Pedro II of Portugal *Pedro III of Portugal *Pedro IV of Portugal, also Pedro I of Brazil *Pedro V of Portugal *Pedro II of Bra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedro De Escobar
Pedro de Escobar (c. 1465 – after 1535), a.k.a. ''Pedro do Porto'', was a Portuguese composer of the Renaissance, mostly active in Spain. He was one of the earliest and most skilled composers of polyphony in the Iberian Peninsula, whose music has survived. Life He was born at Porto, Kingdom of Portugal, but nothing is known of his life until he entered the service of Isabella I of Castile in 1489. His surname is of Castilian origin, and maybe he was born to Castilian immigrants, or descendants, established in Porto. But Castilians regarded him as Portuguese. He was a singer in the Catholic Queen's chapel for ten years, and clearly was working as a composer as well; in addition he was the only member of her chapel described in court records as Portuguese. In 1499 he returned to his native Portugal, but in 1507 received an offer of employment, which he accepted, as the ''maestro de capilla'' (chapel master in the Castilian language) at the cathedral in Seville. While there ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan Del Encina
Juan del Encina (July 12, 1468 – 1529 or 1530) was a composer, poet, and playwright, often called the founder, along with Gil Vicente, of Spanish drama. His birth name was Juan de Fermoselle. He spelled his name Enzina, but this is not a significant difference; it is two spellings of the same sound, in a time when "correct spelling" as we know it barely existed. Life He was born in 1468 near Salamanca, probably at Encina de San Silvestre, one of at least 7 known children of Juan de Fermoselle, a shoemaker, and his wife. He was of Jewish converso descent. After leaving Salamanca University sometime in 1492 he became a member of the household of Don Fadrique de Toledo, the second Duke of Alba, although some sources believe that he did not work for the Duke of Alba until 1495. A plausible argument is that his first post was as a Corregidor in northern Spain. Fermoselle was a Chaplain at the Salamanca Cathedral in the early 1490s. It was here that he changed his name from Juan de F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Villancico
The ''villancico'' (Spanish, ) or vilancete (Portuguese, ) was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Manuel de Zumaya, Juana Inés de la Cruz, Gaspar Fernandes, and Juan Gutiérrez de Padilla.Pope, "Villancico." Spain and the New World Derived from medieval dance forms, the 15th century Spanish villancico was a type of popular song sung in the vernacular and frequently associated with rustic themes. The poetic form of the Spanish villancico was that of an estribillo (or refrain) and coplas (stanzas), with or without an introduction. While the exact order and number of repetitions of the estribillo and coplas varied, the most typical form was a loose ABA framework, often in triple meter, ABA framework. The villancico developed as a secular polyphonic genre until religious villancicos gained popularity in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
