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F. Andrieu
F. Andrieu (; possibly François or Franciscus Andrieu) was a French composer in the style of late medieval music. Nothing is known for certain about him except that he wrote ''Armes, amours/O flour des flours'' (''Weapons, loves/O flower of flowers''), a double Ballade (forme fixe), ballade Lament, ''déploration'', for the death of Guillaume de Machaut in 1377. The work has been widely praised and analyzed; it is notable for being one of two extant medieval double ballades for four voices, the only known contemporary musical setting of Eustache Deschamps and the earliest representative of the longstanding medieval and Renaissance music, Renaissance lamentation tradition between composers. He may be the same person as Magister Franciscus, although the scholarly consensus on this identification is unclear. With P. des Molins, Jehan Vaillant and Grimace (composer), Grimace, Andrieu was one of the "post-Machaut" generation whose pieces retain enough qualities to be differentiated ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musée Condé
The Musée Condé – in English, the Condé Museum – is a French museum located inside the Château de Chantilly in Chantilly, Oise, 40 km north of Paris. In 1897, Henri d'Orléans, Duke of Aumale, son of Louis Philippe I, bequeathed the château and its collections to the Institut de France. It included rooms remodeled as museum spaces and those left as residential quarters in the styles of the 18th and 19th centuries. Collections The collection of old master paintings is among the most important in France. It consists predominantly of Italian and French works and includes three paintings by Fra Angelico, three by Raphael, five by Nicolas Poussin, four by Antoine Watteau and five signed by Jean-Auguste-Dominique Ingres. The museum harbors a collection of 2,500 drawings and a library including 1,500 manuscripts, of which 200 are illuminated. The most renowned of the latter are the ''Très Riches Heures du Duc de Berry''. In addition to these, there are collections of prin ... [...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] |
Gilles Binchois
Gilles de Bins dit Binchois (also Binchoys; – 20 September 1460) was a Franco-Flemish composer of early Renaissance music. A central figure of the Burgundian School, Binchois and his colleague Guillaume Du Fay were deeply influenced by the ''contenance angloise'' style of John Dunstaple. His efforts in consolidating a 'Burgundian tradition' would be important for the formation of the Franco-Flemish School. One of the three most famous composers of the early 15th century, Binchois is often ranked behind Du Fay and Dunstable by contemporary scholars, but his works were still widely cited, emulated and used as source material after his death. Described by the musicologist Anthony Pryer as a "supreme miniaturist", he generally avoided large scale works, and is most admired for his shorter secular chansons. Despite this, it is thought that considerably more of his sacred music survives than secular music, creating a 'paradoxical image' of the composer. Reflecting on his style, th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johannes Ockeghem
Johannes Ockeghem ( – 6 February 1497) was a Franco-Flemish composer and singer of early Renaissance music. Ockeghem was the most influential European composer in the period between Guillaume Du Fay and Josquin des Prez, and he was—with his colleague Antoine Busnois—the leading European composer in the second half of the 15th century. He was an important proponent of the early Franco-Flemish School. Ockeghem was well associated with other leading composers of the time, and spent most of his career serving the French royal court under Charles VII, Louis XI and Charles VIII. Numerous poets and musicians lamented his death, including Erasmus, Guillaume Crétin, Jean Molinet and Josquin, who composed the well known ''Nymphes des bois'' for him. It is thought that Ockeghem's extant works represent only a small part of his entire ''oeuvre'', including around 14 masses, 20 chansons and less than 10 motets—though the exact numbers vary due to attribution uncertainties. His be ... [...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] |
Tenor
A tenor is a type of classical music, classical male singing human voice, voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word ''wikt:teneo#Latin, tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contratenor
A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6.A sopranist is a term used to describe a countertenor whose vocal range is so high it is equivalent to that of a soprano; however, this term is widely used falsely. Countertenors often are baritones or tenors at core, but only on rare occasions do they use their lower vocal range, instead preferring their falsetto or high head voice. The nature of the countertenor voice has radically changed throughout musical history, from a modal voice, to a modal and falsetto voice, to the primarily falsetto voice which is denoted by the term today. This is partly because of changes in human physiology and partly because of fluctuations in pitch. The term first came into us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Superius
In early music polyphony, ''superius'' or cantus is the Latin language-derived name given to the highest voice or part.Arnold D. (ed), ''New Oxford Companion to Music'', Oxford, (1983) See also * Voice type * Quintus (vocal music) The Latin word quintus, also ''quinta'' or ''quinta vox'', refers to the fifth voice in addition to the ''superius'', ''altus'', ''tenor'' and '' bassus'' in a piece of vocal polyphony. In Baroque vocal music, this fifth voice was added to the prin ... References External links * {{Music-theory-stub Vocal music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphonic
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "su ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gustave Reese
Gustave Reese ( ; 29 November 1899 – 7 September 1977) was an American musicologist and teacher. Reese is known mainly for his work on medieval and Renaissance music, particularly with his two publications ''Music in the Middle Ages'' (1940) and ''Music in the Renaissance'' (1954); these two books remain the standard reference works for these two eras, with complete and precise bibliographical material, allowing for almost every piece of music mentioned to be traced back to a primary source. Early life and education Reese was born in New York City on 29 November 1899. He was an avid scholar and had interests in many areas outside music, including art, architecture, and literature. He studied law at New York University, graduating in 1921. Though he was admitted to the New York State Bar, he opted to re-enroll and pursue a Bachelor of Music from NYU, which he received in 1930. Career In 1927, however, he was already teaching classes at the university in medieval and Renaiss ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musica Nova (French Ensemble)
Formed in 2000, the Musica Nova ensemble unites singers and musicians under the artistic direction of singer and conductor Lucien Kandel. A passionate quest in search of emotion through music drives the group to produce a diverse musical programme. From the Middles Age to Baroque, Musica Nova departs into various musical periods and universes. The ensemble approaches its music with an eye for historical accuracy, through the use of original manuscripts. Working with the documents from the era is conducted with reflection upon the musical rules of the time (such as musica ficta and pronunciation) as well as the intended nuances of the pieces. The singers and musicians read their music in facsimile and their interpretation of it is thus inevitably modified. The result is a sound, a movement, a line, which makes Musica Nova so exceptionally rich and vibrant; the acoustic of which transports the listener; temporally and spiritually. The Musica Nova Ensemble appears on prestigious stag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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