|
Colart Le Boutellier
Colart le Boutellier (''Floruit, fl.'' 1240–60) was a well-connected trouvère from Arras. There are no references to him independent of his own and others' songs, found in the chansonniers. One of these depicts the known coat-of-arms used by the Boutillier family, one of the petty noble clans of Arras, and assigns it to Colart. Another manuscript does not show any arms for ColartBibliothèque Nationale de France, F-Pn Old French, fr.844 and it can be surmised that he was in fact a member of one of the middle-class families of the same name that could then be found in Arras. He may have been a relative of Robert le Boutellier, who judged a between Thomas Herier and Gillebert de Berneville.Theodore Karp"Colart le Boutellier."Grove Music Online. Oxford Music Online. Accessed 20 September 2008. Two of his songs, and , Colart dedicated to a certain "" (William the master, i.e. teacher or one with a master's degree). This Guillaume is probably identical to the trouvère Guillaume li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Colart Le Boutellier (Vatican)
Colart le Boutellier (''Floruit, fl.'' 1240–1260) was a well-connected trouvère from Arras. There are no references to him independent of his own and others' songs, found in the chansonniers. One of these depicts the known coat-of-arms used by the Boutillier family, one of the petty noble clans of Arras, and assigns it to Colart. Another manuscript does not show any arms for ColartBibliothèque Nationale de France, F-Pn Old French, fr.844 and it can be surmised that he was in fact a member of one of the middle-class families of the same name that could then be found in Arras. He may have been a relative of Robert le Boutellier, who judged a between Thomas Herier and Gillebert de Berneville.Theodore Karp"Colart le Boutellier."Grove Music Online. Oxford Music Online. Accessed 20 September 2008. Two of his songs, and , Colart dedicated to a certain "" (William the master, i.e. teacher or one with a master's degree). This Guillaume is probably identical to the trouvère Guillaume l ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Incipit
The incipit () of a text is the first few words of the text, employed as an identifying label. In a musical composition, an incipit is an initial sequence of notes, having the same purpose. The word ''incipit'' comes from Latin and means "it begins". Its counterpart taken from the ending of the text is the explicit. Before the development of titles, texts were often referred to by their incipits, as with for example ''Agnus Dei''. During the medieval period in Europe, incipits were often written in a different script or colour from the rest of the work of which they were a part, and "incipit pages" might be heavily decorated with illumination. Though the word ''incipit'' is Latin, the practice of the incipit predates classical antiquity by several millennia and can be found in various parts of the world. Although not always called by the name of ''incipit'' today, the practice of referring to texts by their initial words remains commonplace. Historical examples Sumerian In th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cauda
{{About, the musical feature The cauda is a characteristic feature of songs in the conductus style of '' a cappella'' music which flourished between the mid-12th and the mid-13th century. The conductus style placed strict rules on composition, and some such rules were devoted to the cauda, which came at the penultimate syllable of each verse. It takes the form of a lengthy section of counterpoint - where several simultaneous melodies are combined into one - slurred over the one syllable. The cauda was repeated in each verse. The significance of the cauda in conductus music is such that most conducti were divided into the categories ''conductus cum cauda'' and ''conductus sine cauda'' (conductus with or without cauda.) The latter made up less than a third of the repertoire. The writing of medieval music did not include strict rhythmic notation, but when multiple notes were given to one syllable, known as a melisma, special notation, known as rhythmic modes, were used. As the cauda ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedes
The foot is the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry, including English accentual-syllabic verse and the quantitative meter of classical ancient Greek and Latin poetry. The unit is composed of syllables, and is usually two, three, or four syllables in length. The most common feet in English are the iamb, trochee, dactyl, and anapest. The foot might be compared to a bar, or a beat divided into pulse groups, in musical notation. The English word "foot" is a translation of the Latin term ''pes'', plural ''pedes'', which in turn is a translation of the Ancient Greek ποῦς, pl. πόδες. The Ancient Greek prosodists, who invented this terminology, specified that a foot must have both an arsis and a thesis, that is, a place where the foot was raised ("arsis") and where it was put down ("thesis") in beating time or in marching or dancing. The Greeks recognised three basic types of feet, the iambic (where th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mode (music)
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar Form
Bar form (German: ''die Barform'' or ''der Bar'') is a musical form of the pattern AAB. Original use The term comes from the rigorous terminology of the Meistersinger guilds of the 15th to 18th century who used it to refer to their songs and the songs of the predecessors, the minnesingers of the 12th to 14th century. In their work, a ''Bar'' is not a single stanza (which they called a ''Liet'' or ''Gesätz''); rather, it is the whole song. The word ''Bar'' is most likely a shortening of ''Barat'', denoting a skillful thrust in fencing. The term was used to refer to a particularly artful song – the type one composes in songwriters' guilds. The AAB pattern does, however, describe each stanza in a Meistersinger's ''Bar'', which is divided into two ''Stollen'' (A), which are collectively termed the ''Aufgesang'', followed by an ''Abgesang''. The musical form thus contains two repetitions of one melody (''Stollen'' – 'stanzas') followed by a different melody (''Abgesang'' – 'aft ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Isometre
In music, homorhythm (also homometer) is a texture having a "similarity of rhythm in all parts"Griffiths, Paul (2005). ''The Penguin Companion to Classical Music'', p.375. . or "very similar rhythm" as would be used in simple hymn or chorale settings.Randel, Don Michael (2002). ''The Harvard Concise Dictionary of Music and Musicians'', p.305. . Homorhythm is a condition of homophony. All voices sing the same rhythm. This texture results in a homophonic texture, which is a blocked chordal texture. Homorhythmic texture delivers lyrics with clarity and emphasis. Texture in which parts have different rhythms is heterorythmic or heterometric. The term is used for compositions in which all the voice-parts move simultaneously in the same rhythm, forming a succession of chords.Apel, Willi (1969). ''Harvard Dictionary of Music'', p.426. Harvard. . It may also be called '' chordal style'', ''familiar style'', ''note-against-note style'', ''isometric'', and ''homophonic''. ''Isometric'' may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chastelain De Couci
Le Chastelain de Couci (modern orthography Le Châtelain de Coucy) was a French trouvère of the 12th century. He may have been the Guy de Couci who was castellan of Château de Coucy from 1186 to 1203. Some twenty-six songs, written in langue d'oïl are attributed to him, and about fifteen or sixteen are considered authentic. They are modelled very closely on Provençal originals, but are saved from the category of mere imitations by a grace and simplicity peculiar to the author. The legend of the love of the Châtelain de Coucy and the Lady of Fayel, in which there figures a jealous husband who makes his wife eat the heart of her lover, has no historical basis, and dates from a late 13th century romance by Jakemon Sakesep. The story, which seems to be Breton in origin, has been also told of a Provençal troubadour, Guilhem de Cabestaing, and of the minnesinger Reinmar von Brennenberg Reinmar von Brennenberg (or Reinmar der Brennenberger) was a minnesinger and ministerialis to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrafactum
In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". The earliest known examples of this procedure (sometimes referred to as ''adaptation''), date back to the 9th century used in connection with Gregorian Chant. Categories Translations meant for singing are not usually intentional "substitution". Types of contrafacta that are wholesale substitution of a different text include the following: Poems set to music An existing tune already possessing secular or sacred words is given a new poem, which often happens in hymns, and sometimes, more than one new set of words is created over time. Examples include: * The words of ''What Child Is This?'' were fitted to the tune of the folksong "Greensleeves". * The Charles Wesley hymn text Hark! The Herald Angels Sing was fitted by William Hayman Cummings to a tune from Mendelssohn's Gutenberg cantata Festgesang. * The hymn tune "Dix" has been giv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Henri Amion
Henri is an Estonian, Finnish, French, German and Luxembourgish form of the masculine given name Henry. People with this given name ; French noblemen :'' See the 'List of rulers named Henry' for Kings of France named Henri.'' * Henri I de Montmorency (1534–1614), Marshal and Constable of France * Henri I, Duke of Nemours (1572–1632), the son of Jacques of Savoy and Anna d'Este * Henri II, Duke of Nemours (1625–1659), the seventh Duc de Nemours * Henri, Count of Harcourt (1601–1666), French nobleman * Henri, Dauphin of Viennois (1296–1349), bishop of Metz * Henri de Gondi (other) * Henri de La Tour d'Auvergne, Duke of Bouillon (1555–1623), member of the powerful House of La Tour d'Auvergne * Henri Emmanuel Boileau, baron de Castelnau (1857–1923), French mountain climber * Henri, Grand Duke of Luxembourg (born 1955), the head of state of Luxembourg * Henri de Massue, Earl of Galway, French Huguenot soldier and diplomat, one of the principal commanders o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Incipit")
