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En Habit De Cheval
''En habit de cheval'' (''In Riding Gear'') is a 1911 suite for piano four hands by Erik Satie. He arranged it for orchestra that same year. It is a transitional work, composed towards the end of Satie's studies at the Schola Cantorum in Paris (1905-1912) and foreshadowing his pre-World War I "humoristic" or "fantaisiste" period. Robert Orledge wrote that "''En habit de cheval'' offers the best example of Satie integrating Schola teaching with his own composition, and in it he also worked out his own individual concept of orchestration." In performance it lasts about 7 minutes. Composition history The year 1911 was a turning point for Satie, when after decades of comparative obscurity he was suddenly thrust into the public eye. On 16 January Maurice Ravel played some of his early piano pieces at a concert sponsored by his progressive Société musicale indépendante (SMI), which began to promote him as an important precursor of modern trends in French music. This prompted Satie's ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cabaret
Cabaret is a form of theatrical entertainment featuring music, song, dance, recitation, or drama. The performance venue might be a pub, a casino, a hotel, a restaurant, or a nightclub with a stage for performances. The audience, often dining or drinking, does not typically dance but usually sits at tables. Performances are usually introduced by a master of ceremonies or MC. The entertainment, as done by an ensemble of actors and according to its European origins, is often (but not always) oriented towards adult audiences and of a clearly underground nature. In the United States, striptease, burlesque, drag shows, or a solo vocalist with a pianist, as well as the venues which offer this entertainment, are often advertised as cabarets. Etymology The term originally came from Picard language or Walloon language words ''camberete'' or ''cambret'' for a small room (12th century). The first printed use of the word ''kaberet'' is found in a document from 1275 in Tournai. The term was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plainsong
Plainsong or plainchant (calque from the French ''plain-chant''; la, cantus planus) is a body of chants used in the liturgy, liturgies of the Western Church. When referring to the term plainsong, it is those sacred pieces that are composed in Latin text. Plainsong was the exclusive form of Christian church music until the ninth century, and the introduction of polyphony. The Monophony, monophonic chants of plainsong have a non-metric rhythm. Their rhythms are generally freer than the metered rhythm of later Western music, and they are sung A cappella, without musical accompaniment. There are three types of chant melodies that plainsongs fall into, Syllabic verse, syllabic, Neume, neumatic, and melismatic. The free flowing melismatic melody form of plainsong is still heard in Middle Eastern music being performed today. Although the Catholic Church (both its Eastern and Western halves) and the Eastern Orthodoxy, Eastern Orthodox churches did not East–West Schism, split until lo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dorian Mode
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek ''harmoniai'' (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself. : Greek Dorian mode The Dorian mode (properly ''harmonia'' or ''tonos'') is named after the Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the ''hypate meson'' to the ''nete diezeugmenon''. In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third. : In the chromatic genus, they are semitone–semitone–minor third. : In the diatonic genus, they are semitone–tone–tone. : In the diatonic genus, the sequence over the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rosicrucianism
Rosicrucianism is a spiritual and cultural movement that arose in Europe in the early 17th century after the publication of several texts purported to announce the existence of a hitherto unknown esoteric order to the world and made seeking its knowledge attractive to many. Yates, Frances A. (1972), ''The Rosicrucian Enlightenment'', London The mysterious doctrine of the order is "built on esoteric truths of the ancient past", which "concealed from the average man, provide insight into nature, the physical universe, and the spiritual realm." The manifestos do not elaborate extensively on the matter, but clearly combine references to Kabbalah, Hermeticism, alchemy, and Christian mysticism. The Rosicrucian manifestos heralded a "universal reformation of mankind", through a science allegedly kept secret for decades until the intellectual climate might receive it. Controversies arose on whether they were a hoax, whether the "Order of the Rosy Cross" existed as described in the manif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Medieval Music
Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period. Following the traditional division of the Middle Ages, medieval music can be divided into Early (500–1150), High (1000–1300), and Late (1300–1400) medieval music. Medieval music includes liturgical music used for the church, and secular music, non-religious music; solely vocal music, such as Gregorian chant and choral music (music for a group of singers), solely instrumental music, and music that uses both voices and instruments (typically with the instruments accompanying the voices). Gregorian chant was sung by monks during Catholic Mass. The Mass is a reenactment of Christ's Last Supper, intended to provide a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parade (ballet)
''Parade'' is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917 at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet. Overview The idea of the ballet seems to have come from Jean Cocteau. He had heard Satie's ''Trois morceaux en forme de poire'' ("Three Pieces in the Shape of a Pear") in a concert and thought of writing a ballet scenario to such music. Satie welcomed the idea of composing ballet music (which he had never done before) but refused to allow any of his previous compositions to be used for the occasion, so Cocteau started writing a scenario (the theme being a publicity parade in which three groups of circus artists try to attract an audience to an indoor performanc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sports Et Divertissements
''Sports et divertissements'' (''Sports and Pastimes'') is a cycle of 21 short piano pieces composed in 1914 by Erik Satie. The set consists of a prefatory chorale and 20 musical vignettes depicting various sports and leisure activities. First published in 1923, it has long been considered one of his finest achievements.Pierre-Daniel Templier, "Erik Satie", MIT Press, 1969, p. 85. Translated from the original French edition published by Rieder, Paris, 1932.Patrick Gowers and Nigel Wilkins, "Erik Satie", "The New Grove: Twentieth-Century French Masters", Macmillan Publishers Limited, London, 1986, p. 140. Reprinted from "The New Grove Dictionary of Music and Musicians", 1980 edition. Musically it represents the peak of Satie's humoristic piano suites (1912-1915), but stands apart from that series in its fusion of several different art forms. ''Sports'' originally appeared as a collector's album with illustrations by Charles Martin, accompanied by music, prose poetry and calligraph ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Choses Vues à Droite Et à Gauche (sans Lunettes)
''Choses vues à droite et à gauche (sans lunettes)'', commonly translated as ''Things Seen Right-to-Left (Without Glasses)'', is a suite for violin and piano by Erik Satie. Composed in January 1914 and published in 1916, it is the only work he produced for violin-piano duet. A typical performance lasts about 5 minutes. Description One of Satie's infrequent excursions into chamber music, the ''Choses vues'' is contemporaneous with the bulk of his humoristic piano suites (1913-1914) and was conceived in a similar spirit. It has been interpreted as a spoof of academic musical training, in particular that of the Schola Cantorum in Paris, where the composer had recently ended his studies (at age 46) with Vincent d'Indy. The suite's three brief pieces are satirical reinventions of Baroque musical forms, enhanced by Satie's characteristic droll titles and performance directions. ''1. Choral hypocrite'' (''Hypocritical Chorale'') - G Major - ''Grave'' Satie had a singular attitu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consonance And Dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive Sound, 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' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque Music
Baroque music ( or ) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition, the galant style. The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word ''barroco'', meaning " misshapen pearl". The works of George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Antonio Vivaldi, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Copyist
A copyist is a person that makes duplications of the same thing. The term is sometimes used for artists who make copies of other artists' paintings. However, the modern use of the term is almost entirely confined to music copyists, who are employed by the music industry to produce neat copies from a composer or arranger's manuscript. Music copyists Until the 1990s, most copyists worked by hand to write out scores and individual instrumental parts neatly, using a calligraphy pen, manuscript paper, and often a ruler. Producing parts for an entire orchestra from a full score was a huge task. In the 1990s, copyists began using scorewriters - computer programs which are the music notation equivalent of a word processor. (Such programs include ''Sibelius'', '' Finale'', '' MuseScore'' or ''GNU LilyPond''). Scorewriters allow the composer or songwriter to "enter" the melodies, rhythms and lyrics to their compositions into the computer using a mouse or by playing the notes on a MIDI-equi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
