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Cancioneiro De Lisboa
:''This article refers to a Renaissance songbook. For the Portuguese medieval songbook, see Cancioneiro da Biblioteca Nacional'' ''Cancioneiro musical da Biblioteca Nacional'' or simply ''Cancioneiro de Lisboa'' is the name given to the manuscript CIC 60 which is kept in the Portuguese National Library, in Lisbon. It is one of the four Portuguese Renaissance songbooks of Portuguese music (along with the Elvas Songbook, the Bel̩m Songbook and the Paris Songbook). It was produced between 1530 and 1550 and contains 72 folios sized 96x146 mm each. The current cover is from the 17th century. Some of the folios have suffered corrosion from the ink and the music in them can't be completely recovered. This songbook compiles both secular and sacred music of the 15th and 16th centuries. There is not a single reference on composers, but some works are known to be composed by Francisco de Pe̱alosa, Juan de Anchieta, Pedro de Escobar Pedro de Escobar (c. 1465 Рafter 1535), a.k.a. ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancioneiro Da Biblioteca Nacional
The ''Cancioneiro da Biblioteca Nacional'' (, ; "The National Library Songbook"), commonly called ''Colocci-Brancuti'', is a compilation of Galician-Portuguese lyrics by both troubadours and ''jograes'' (non-noble performers and composers) . These ''cantigas'' (songs) are classified, following indications in the poems themselves and in the manuscript tradition, into three main genres: ''cantigas de amigo'' (female-voiced love songs, about a boyfriend), ''cantigas de amor'' (male-voiced love songs) and ''cantigas de escárnio e mal-dizer'' (songs of mockery and insult). The poems were copied in Italy (presumably from a manuscript from Portugal or Spain) around 1525-1526 by the order of humanist Angelo Colocci (1467-1549), who numbered all the songs, made an index (commonly called the ''Tavola Colocciana'' olocci's table, and annotated the codex. In the 19th century the ''cancioneiro'' belonged to Count Paolo Brancuti di Cagli, from Ancona, in whose private library it was discover ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lisbon
Lisbon (; pt, Lisboa ) is the capital and largest city of Portugal, with an estimated population of 544,851 within its administrative limits in an area of 100.05 km2. Grande Lisboa, Lisbon's urban area extends beyond the city's administrative limits with a population of around 2.7 million people, being the List of urban areas of the European Union, 11th-most populous urban area in the European Union.Demographia: World Urban Areas - demographia.com, 06.2021 About 3 million people live in the Lisbon metropolitan area, making it the third largest metropolitan area in the Iberian Peninsula, after Madrid and Barcelona. It represents approximately 27% of the country's population. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Portuguese Renaissance
The Portuguese Renaissance refers to the cultural and artistic movement in Portugal during the 15th and 16th centuries. Though the movement coincided with the Spanish and Italian Renaissances, the Portuguese Renaissance was largely separate from other European Renaissances and instead was extremely important in opening Europe to the unknown and bringing a more worldly view to those European Renaissances, as at the time the Portuguese Empire spanned the globe. As the pioneer of the Age of Discoveries, Portugal flourished in the 15th, 16th, and 17th centuries, with voyages to India, the Orient, the Americas, and Africa. This immense trade network would create an extremely wealthy Portuguese nobility and monarchy, that would become patrons for an immense flourishing of culture, arts, and technology in Portugal and all over the world. Context Diplomats, merchants, students, humanists, scholars, and artists, from all over Europe, were drawn to Portugal during its Renaissance. The ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Portugal
Portuguese music includes many different styles and genres, as a result of its history. These can be broadly divided into classical music, traditional/folk music and popular music and all of them have produced internationally successful acts, with the country seeing a recent expansion in musical styles, especially in popular music. In traditional/folk music, fado had a significant impact, with Amália Rodrigues still the most recognizable Portuguese name in music, and with more recent acts, like Dulce Pontes and Mariza. The genre is one of two Portuguese music traditions in the UNESCO Intangible Cultural Heritage Lists, with the other being Cante Alentejano. Regional folk music remains popular too, having been updated and modernized in many cases, especially in the northeastern region of Trás-os-Montes. Some more recent successful fado/folk-inspired acts include Madredeus and Deolinda, the latter being part of a folk revival that has led to a newfound interest in this type of mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
Cancioneiro De Belém
The Cancioneiro Musical de Belém (English: Belém Musical Songbook) or simply Cancioneiro de Belém (Santa Maria de Belém, Lisbon, National Archaeology Museum, Ms 3391) is a Portuguese Renaissance manuscript from the beginning of the 17th century. General description This little manuscript with just 18 songs was found in the archives of the National Archaeology Museum, in Belém (Lisbon), by the end of the 1960s by professors Arthur Lee-Francis Askins and Jack Sage, specialists in Iberian lyric of the 16th century. It was later studied by Manuel Morais, who published in 1988 a critical edition of the cancioneiro, together with a musical transcription to modern notation of all eighteen songs. Currently with 77 folios sized 191 x 130 mm, the songs proper are found between folios 58v and 74. In recent times (possibly in the 19th century) the manuscript received a brown leather cover, to which side a title was added: ''Manuscriptos / Varios''. Inside the songbook, an inscrip ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancioneiro De Paris
The ''Cancioneiro de Paris'' (in English: ''Paris Songbook'' - École Nationale Supérieure des Beaux-Arts, manuscript Masson 56) is one of the four Renaissance songbooks of Portuguese music from the 16th century. It is one important source of secular music of the Portuguese Renaissance and the largest one of Portuguese secular Renaissance music. It contains 130 secular villancicos and cantigas. Out of them, 55 works are polyphonic (2, 3 and 4 voices), while the other 75 works have only their melody copied. All works are anonymous, but it is known that some of them were composed by the Portuguese composer 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 musi .... References 16th-century books 16th century in music 16th century in Portugal Portuguese music history ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Secular Music
Non-religious secular music and sacred music were the two main genres of Western music during the Middle Ages and Renaissance era. The oldest written examples of secular music are songs with Latin lyrics.Grout, 1996, p. 60 However, many secular songs were sung in the vernacular language, unlike the sacred songs that followed the Latin language of the Church. These earliest types were known as the chanson de geste (song of deeds) and were popular amongst the traveling jongleurs and minstrels of the time.Grout, 1996, p. 61 The largest collection of secular music from this period comes from poems of celebration and chivalry of the troubadours from the south of France. These poems contain clever rhyme-schemes, varied use of refrain-lines or words, and different metric patterns. The minstrels of this time were not themselves poets or composers. Instead they adapted the compositions of others to sing, play, and dance to in their own unique versions. Other styles included love songs, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sacred Music
Religious music (also sacred music) is a type of music that is performed or composed for religious use or through religious influence. It may overlap with ritual music, which is music, sacred or not, performed or composed for or as ritual. Religious songs have been described as a source of strength, as well as a means of easing pain, improving one's mood, and assisting in the discovery of meaning in one's suffering. While style and genre vary broadly across traditions, religious groups still share a variety of musical practices and techniques. Religious music takes on many forms and varies throughout cultures. Religions such as Islam, Judaism, and Sinism demonstrate this, splitting off into different forms and styles of music that depend on varying religious practices. Religious music across cultures depicts its use of similar instruments, used in accordance to create these melodies. drums (and drumming), for example, is seen commonly in numerous religions such as Rastafari and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Francisco De Peñalosa
Francisco de Peñalosa (c. 1470 – April 1, 1528) was a Spanish composer of the middle Renaissance. Life He was born in Talavera de la Reina in the province of Toledo. He spent most of his career in Seville, serving as the ''maestro di capilla'', though he also spent time in Burgos, and three years in Rome at the papal chapel (1518–1521). He died in Seville. Music and influence Peñalosa was one of the most famous Spanish composers of the generation before Cristóbal de Morales, and his compositions were highly regarded at the time. Unfortunately for him, his music was not widely distributed; he did not benefit from the invention of printing, since he mostly remained in Spain, away from cities such as Venice and Antwerp which were the first centers of printed music. Later generations of Spanish composers—Guerrero, Morales, Victoria—went to Italy for parts of their careers, where their compositions were printed and were as widely distributed as the music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan De Anchieta
Juan de Anchieta (Azpeitia, Gipuzkoa, Spain, 1462 – Azpeitia, 1523) was a leading Spanish Basque composer of the Renaissance, at the Royal Court Chaplaincy in Granada of Queen Isabel I of Castile. History Born into a leading Basque family, his mother was a great-aunt of Ignatius of Loyola, founder of the Society of Jesus. In 1489 he was appointed to the chapel of Queen Isabella and in 1495 became ''maestro di capilla'' to Prince Don Juan, returning to the Queen's service after the Prince's death in 1497, and in 1504 to that of the new Queen, Joanna the Mad. He held various church benefices, from 1518 as Abbot of Arbós, town located at the province of Tarragona, as a chaplain at Granada Cathedral, spending his final years in a Franciscan convent he had founded in Azpeitia. Sacred Music Some thirty of Juan de Anchieta's compositions survive, among them two complete Masses, two Magnificats, a Salve Regina, four attributed Passion settings, with other sacred works and fo ... [...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] |
