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Capilla Flamenca
Capilla Flamenca is a vocal and instrumental early music consort based in Leuven, Belgium. The group specialises in 14th to 16th century music from Flanders and takes its name from the historical Flemish chapel (capilla flamenca), the choir of the court chapel of Emperor Charles V. When the emperor left Flanders in 1517, he took his best musicians with him to Spain to accompany him as "living polyphony". The ensemble's Artistic Director, Dirk Snellings, died in 2014. The ensemble had ceased performing in November of the previous year.''Gramophone Magazine'' (21 July)"Capilla Flamenca's Dirk Snellings has died" Retrieved 22 July 2015. Members The core of the Capilla Flamenca is four male singers, Marnix De Cat (Countertenor), Tore Tom Denys (Tenor, who succeeded Jan Caals in 2006), Lieven Termont (Baritone) and Dirk Snellings (1959-2014),( Bass), who is also the group's artistic director, and a musicologist. For each performance, the vocal core is enlarged either with complementary ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Early Music
Early music generally comprises Medieval music (500–1400) and Renaissance music (1400–1600), but can also include Baroque music (1600–1750). Originating in Europe, early music is a broad musical era for the beginning of Western classical music. Terminology Interpretations of historical scope of "early music" vary. The original Academy of Ancient Music formed in 1726 defined "Ancient" music as works written by composers who lived before the end of the 16th century. Johannes Brahms and his contemporaries would have understood Early music to range from the High Renaissance and Baroque, while some scholars consider that Early music should include the music of ancient Greece or Rome before 500 AD (a period that is generally covered by the term Ancient music). Music critic Michael Kennedy excludes Baroque, defining Early music as "musical compositions from heearliest times up to and including music of heRenaissance period". Musicologist Thomas Forrest Kelly considers that the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lute
A lute ( or ) is any plucked string instrument with a neck and a deep round back enclosing a hollow cavity, usually with a sound hole or opening in the body. It may be either fretted or unfretted. More specifically, the term "lute" can refer to an instrument from the family of European lutes. The term also refers generally to any string instrument having the strings running in a plane parallel to the sound table (in the Hornbostel–Sachs system). The strings are attached to pegs or posts at the end of the neck, which have some type of turning mechanism to enable the player to tighten the tension on the string or loosen the tension before playing (which respectively raise or lower the pitch of a string), so that each string is tuned to a specific pitch (or note). The lute is plucked or strummed with one hand while the other hand "frets" (presses down) the strings on the neck's fingerboard. By pressing the strings on different places of the fingerboard, the player can sho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mensural Notation
Mensural notation is the musical notation system used for European vocal polyphonic music from the later part of the 13th century until about 1600. The term "mensural" refers to the ability of this system to describe precisely measured rhythmic durations in terms of numerical proportions between note values. Its modern name is inspired by the terminology of medieval theorists, who used terms like ''musica mensurata'' ("measured music") or ''cantus mensurabilis'' ("measurable song") to refer to the rhythmically defined polyphonic music of their age, as opposed to ''musica plana'' or ''musica choralis'', i.e., Gregorian plainchant. Mensural notation was employed principally for compositions in the tradition of vocal polyphony, whereas plainchant retained its own, older system of neume notation throughout the period. Besides these, some purely instrumental music could be written in various forms of instrument-specific tablature notation. Mensural notation grew out of an earlier, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musica Ficta
''Musica ficta'' (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of ''musica recta'' or ''musica vera'' ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo. Modern use Today, the term is often loosely applied to all unnotated inflections (whether they are actually ''recta'' or ''ficta'' notes; see below) that must be inferred from the musical context and added either by an editor or by performers themselves. However, some of the words used in modern reference books to represent ''musica ficta'', such as "inflection", "alteration", and "added accidentals" lie outside the way many Medieval and Renaissance theorists described the term. Historical sense and relation to hexachords Throughout the period that incorporated ''musica ficta'', singers sight read melodies ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Authentic Performance
Historically informed performance (also referred to as period performance, authentic performance, or HIP) is an approach to the performance of classical music, which aims to be faithful to the approach, manner and style of the musical era in which a work was originally conceived. It is based on two key aspects: the application of the stylistic and technical aspects of performance, known as performance practice; and the use of period instruments which may be reproductions of historical instruments that were in use at the time of the original composition, and which usually have different timbre and temperament from their modern equivalents. A further area of study, that of changing listener expectations, is increasingly under investigation. Given no sound recordings exist of music before the late 19th century, historically informed performance is largely derived from musicological analysis of texts. Historical treatises, pedagogic tutor books, and concert critiques, as well as addi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ars Subtilior
''Ars subtilior'' (Latin for 'subtler art') is a musical style characterized by rhythmic and notational complexity, centered on Paris, Avignon in southern France, and also in northern Spain at the end of the fourteenth century.Hoppin 1978, 472–73. The style also is found in the French Cypriot repertory. Often the term is used in contrast with ars nova, which applies to the musical style of the preceding period from about 1310 to about 1370; though some scholars prefer to consider ''ars subtilior'' a subcategory of the earlier style. Primary sources for ''ars subtilior'' are the Chantilly Codex, the Modena Codex (Mod A M 5.24), and the Turin Manuscript (Torino J.II.9). Overview and history Musically, the productions of the ''ars subtilior'' are highly refined, complex, and difficult to sing, and probably were produced, sung, and enjoyed by a small audience of specialists and connoisseurs. Musicologist Richard Hoppin suggests the superlative ''ars subtilissima'', saying, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jacob Obrecht
Jacob Obrecht (also Hobrecht; 1457/8 – late July 1505) was a Flemish composer of masses, motets and songs. He was the most famous composer of mass (music), masses">Rob C. Wegman. "Obrecht, Jacob." In Grove Music Online. Oxford Music Online, (accessed 24 September 2020). – late July 1505) was a Flemish composer of masses, motets and songs. He was the most famous composer of mass (music), masses in Europe of the late 15th century and was only eclipsed after his death by Josquin des Prez. Life What little is known of Obrecht's origins and early childhood comes mostly from his motet ''Mille quingentis''. He was the only son of Ghent city trumpeter Willem Obrecht and Lij ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johannes Prioris
Johannes Prioris (c. 1460 – c. 1514) was a Netherlandish composer of the Renaissance. He was one of the first composers to write a polyphonic setting of the Requiem Mass. On the basis of documents surrounding Saint-Sauveur in Blois, Theodor Dumitrescu has argued that Prioris is to be identified with the composer "Denis Prieur," making his Latin name "Dionysius Proris." The name "Johannes" is attested in a single source.ibid., p.19 He may have been born in Brabant. Very little is known about his life, except what can be inferred by the distribution of his manuscripts, and from his musical style. There is some evidence that he spent time in Rome as a singer at St. Peter's, since a similar name to his appears in the account ledgers, and his music appears in seven separate manuscript sources in the Vatican archives. Some time after 1500 he probably moved to France, since he is twice called the ''maître de chapelle'' to King Louis XII; once in a letter from Ferrara, and once b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Isaac
Heinrich Isaac (ca. 1450 – 26 March 1517) was a Netherlandish Renaissance composer of south Netherlandish origin. He wrote masses, motets, songs (in French, German and Italian), and instrumental music. A significant contemporary of Josquin des Prez, Isaac influenced the development of music in Germany. Several variants exist of his name: Ysaac, Ysaak, Henricus, Arrigo d'Ugo, and Arrigo il Tedesco among them. (''Tedesco'' means "Flemish" or "German" in Italian.) Early life Little is known about Isaac's early life (or indeed what he called himself), but it is probable that he was born in Flanders, probably in Brabant. During the late 15th century, standards of music education in the region were excellent, and he was probably educated in his homeland, although the location is not known.New Grove Dictionary of Music and Musicians. December 2001. Stanley Sadie Sixteenth-century Swiss music theorist and writer Heinrich Glarean claimed Isaac for Germany by dubbing him "Henricus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Josquin Des Prez
Josquin Lebloitte dit des Prez ( – 27 August 1521) was a composer of High Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of his predecessors Guillaume Du Fay and Johannes Ockeghem, he developed a complex style of expressive—and often imitative—movement between independent voices (polyphony) which informs much of his work. He further emphasized the relationship between text and music, and departed from the early Renaissance tendency towards lengthy melismatic lines on a single syllable, preferring to use shorter, repeated motifs between voices. Josquin was a singer, and his compositions are mainly vocal. They include masses, motets and secular chansons. Josquin's biography has been continually revised by modern scholarship, and remains highly u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre De La Rue
Pierre de la Rue ( – 20 November 1518) was a Franco-Flemish composer and singer of the Renaissance. His name also appears as Piersson or variants of Pierchon and his toponymic, when present, as various forms of de Platea, de Robore, or de Vico. A member of the same generation as Josquin des Prez, and a long associate of the Habsburg- Burgundian musical chapel, he ranks with Agricola, Brumel, Compère, Isaac, Obrecht, and Weerbeke as one of the most famous and influential composers in the Netherlands polyphonic style in the decades around 1500. Biography Early life La Rue was probably born at Tournai, in modern Belgium, and likely educated at the Notre-Dame Cathedral there, which had a substantial musical establishment. He may have been the son of Jean de la Rue, a master ''enlumineur'' of the town of Tournai. While no records remain of his childhood, a Peter vander Straten (the Flemish equivalent of his name) is mentioned in the archives of the cathedral of Ste. Gudule in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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