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Costanzo Porta
Costanzo Porta (1528 or 1529 – 19 May 1601) was an Italian composer of the Renaissance, and a representative of what is known today as the Venetian School. He was highly praised throughout his life both as a composer and a teacher, and had a reputation especially as an expert contrapuntist.Lilian P. Pruett, Grove online Biography Porta was born in Cremona. Details of his early life are slim, but he probably was educated at the Convent Porta San Luca in Cremona. Around 1550 he is thought to have studied with Adrian Willaert, who was ''maestro di cappella'' at St. Mark's in Venice; while he was there he met Claudio Merulo, who was also a student; they remained close friends throughout their lives. In 1552 Porta became ''maestro di cappella'' at Osimo Cathedral; in 1565 he took a position in Padua briefly, but took a more important position in Ravenna the next year, where he was hired to build an entirely new music practice at the cathedral. By 1580 his services were ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Costanzo Porta
Costanzo Porta (1528 or 1529 – 19 May 1601) was an Italian composer of the Renaissance, and a representative of what is known today as the Venetian School. He was highly praised throughout his life both as a composer and a teacher, and had a reputation especially as an expert contrapuntist.Lilian P. Pruett, Grove online Biography Porta was born in Cremona. Details of his early life are slim, but he probably was educated at the Convent Porta San Luca in Cremona. Around 1550 he is thought to have studied with Adrian Willaert, who was ''maestro di cappella'' at St. Mark's in Venice; while he was there he met Claudio Merulo, who was also a student; they remained close friends throughout their lives. In 1552 Porta became ''maestro di cappella'' at Osimo Cathedral; in 1565 he took a position in Padua briefly, but took a more important position in Ravenna the next year, where he was hired to build an entirely new music practice at the cathedral. By 1580 his services were ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Introit
The Introit (from Latin: ''introitus'', "entrance") is part of the opening of the liturgical celebration of the Eucharist for many Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and ''Gloria Patri'', which are spoken or sung at the beginning of the celebration. It is part of the Proper of the liturgy: that is, the part that changes over the liturgical year. In the Roman Rite of the Catholic Church it is known as the ''antiphona ad introitum'' (Entrance antiphon), as in the text for each day's Mass, or as the ''cantus ad introitum'' (Entrance chant) as in the General Instruction of the Roman Missal, 47 and the First Roman Ordo (sixth to seventh century).Fortescue, A. (1910)"Introit" '' The Catholic Encyclopedia''. Retrieved 2 May 2009 In pre-1970 editions of the Roman Missal, the word ''Introitus'' was used, distinguished from the normal meaning of the word (entrance) by being capitalized. In Ambrosian chant and Beneventan chant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigal (music)
A madrigal is a form of secular vocal music most typical of the Renaissance (15th–16th c.) and early Baroque (1600–1750) periods, although revisited by some later European composers. The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but usually features three to six voices, whilst the metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike the verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung. As written by Italianized Franco–Flemish composers in the 1520s, the madrigal partly originated from the three-to-four voice frottola (1470–1530); partly from composers' renewed interest in poetry written in vernacular Italian; partly from the stylistic influence of the French chanson; and fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Venetian Polychoral Style
The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation. It represented a major stylistic shift from the prevailing polyphonic writing of the middle Renaissance, and was one of the major stylistic developments which led directly to the formation of what is now known as the Baroque style. A commonly encountered term for the separated choirs is ''chori spezzati''—literally, "broken choruses" as they were called, added the element of spatial contrast to Venetian music. These included the echo device, so important in the entire baroque tradition; the alternation of two contrasting bodies of sound, such as chorus against chorus, single line versus a full choir, solo voice opposing full choir, instruments pitted against voices and contrasting instrumental groups; the alternation of high and low voices; soft level of sound alternated with a loud one; the fragmentary versus the c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polychoral
An antiphon (Greek ἀντίφωνον, ἀντί "opposite" and φωνή "voice") is a short chant in Christian ritual, sung as a refrain. The texts of antiphons are the Psalms. Their form was favored by St Ambrose and they feature prominently in Ambrosian chant, but they are used widely in Gregorian chant as well. They may be used during Mass, for the Introit, the Offertory or the Communion. They may also be used in the Liturgy of the Hours, typically for Lauds or Vespers. They should not be confused with Marian antiphons or processional antiphons. When a chant consists of alternating verses (usually sung by a cantor) and responds (usually sung by the congregation), a refrain is needed. The looser term antiphony is generally used for any call and response style of singing, such as the kirtan or the sea shanty and other work songs, and songs and worship in African and African-American culture. Antiphonal music is that performed by two choirs in interaction, often singing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chromaticism
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes. Chromaticism is in contrast or addition to tonality or diatonicism and modality (the major and minor, or "white key", scales). Chromatic elements are considered, "elaborations of or substitutions for diatonic scale members".Matthew Brown; Schenker, "The Diatonic and the Chromatic in Schenker's "Theory of Harmonic Relations", ''Journal of Music Theory'', Vol. 30, No. 1 (Spring 1986), pp. 1–33, citation on p. 1. Development of chromaticism Chromaticism began to develop in the late Renaissance period, notably in the 1550s, often as part of '' musica reservata'', in the music of Cipriano de Rore, in Orlando Lasso's '' Proph ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consonance And Dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term ''sonance'' has been proposed to encompass or refer indistinctly to the terms ''consonance'' and ''dissonance''. De ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Pierluigi Da Palestrina
Giovanni Pierluigi da Palestrina ( – 2 February 1594) was an Italian composer of late Renaissance music. The central representative of the Roman School, with Orlande de Lassus and Tomás Luis de Victoria, Palestrina is considered the leading composer of late 16th-century Europe. Primarily known for his masses and motets, which number over 105 and 250 respectively, Palestrina had a long-lasting influence on the development of church and secular music in Europe, especially on the development of counterpoint. According to ''Grove Music Online'', Palestrina's "success in reconciling the functional and aesthetic aims of Catholic church music in the post-Tridentine period earned him an enduring reputation as the ideal Catholic composer, as well as giving his style (or, more precisely, later generations’ selective view of it) an iconic stature as a model of perfect achievement." Biography Palestrina was born in the town of Palestrina, near Rome, then part of the Papal States to N ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Council Of Trent
The Council of Trent ( la, Concilium Tridentinum), held between 1545 and 1563 in Trent (or Trento), now in northern Italy, was the 19th ecumenical council of the Catholic Church. Prompted by the Protestant Reformation, it has been described as the embodiment of the Counter-Reformation."Trent, Council of" in Cross, F. L. (ed.) ''The Oxford Dictionary of the Christian Church'', Oxford University Press, 2005 (). The Council issued condemnations of what it defined to be heresies committed by proponents of Protestantism, and also issued key statements and clarifications of the Church's doctrine and teachings, including scripture, the biblical canon, sacred tradition, original sin, justification, salvation, the sacraments, the Mass, and the veneration of saints.Wetterau, Bruce. ''World History''. New York: Henry Holt and Company, 1994. The Council met for twenty-five sessions between 13 December 1545 and 4 December 1563. Pope Paul III, who convoked the Council, oversaw th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prolation Canon
In music, a prolation canon (also called a mensuration canon or proportional canon) is a type of canon, a musical composition wherein the main melody is accompanied by one or more imitations of that melody in other voices. Not only do the voices sing or play the same melody, they do so at different speeds (or ''prolations'', a mensuration term that dates to the medieval and Renaissance eras). Accompanying voices may enter either simultaneously or successively. If voices extend the rhythmic values of the leader (for example, by doubling all note values), a procedure known as augmentation, the resulting canon can be called an augmentation canon or canon by augmentation (''canon per augmentationem'') or sloth canon (recalling the slow movement of the sloth). Conversely, if they reduce the note values in diminution, it can be called a diminution canon or canon by diminution (''canon per diminutionem''). Examples Prolation canons are among the most difficult canons to write, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canon (music)
In music, a canon is a contrapuntal ( counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or ''dux''), while the imitative melody, which is played in a different voice, is called the follower (or ''comes''). The follower must imitate the leader, either as an exact replication of its rhythms and intervals or some transformation thereof. Repeating canons in which all voices are musically identical are called rounds—"Row, Row, Row Your Boat" and "Frère Jacques" are popular examples. An accompanied canon is a canon accompanied by one or more additional independent parts that do not imitate the melody. History Medieval and Renaissance During the Middle Ages, Renaissance, and Baroque—that is, through the early 18th century—any kind of imitative musical counterpoints were called fugues, with the strict ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicolas Gombert
Nicolas Gombert (c. 1495 – c. 1560)Atlas, p. 396 was a Franco-Flemish composer of the Renaissance. He was one of the most famous and influential composers between Josquin des Prez and Palestrina, and best represents the fully developed, complex polyphonic style of this period in music history. Life Details of his early life are sketchy, but he was probably born around 1495 in southern Flanders, probably between Lille and Saint-Omer, possibly in the town of La Gorgue. German writer and music theorist Hermann Finck wrote that Gombert studied with Josquin; this would have been during the renowned composer's retirement in Condé-sur-l'Escaut, sometime between 1515 and 1521.Nugent/Jas, Grove online Gombert was employed by the emperor Charles V as a singer in his court chapel in 1526 and possibly as a composer as well. Most likely he was taken on while Charles was passing through Flanders, for the emperor traveled often, bringing his retinue with him, and picking up new members a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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