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Folia (other)
''La Folía'' (Spanish), or ''Follies'' (English), also known as ''folies d'Espagne'' (French), ''La Follia'' (Italian), and ''Folia'' (Portuguese), is one of the oldest remembered European musical themes, or primary material, generally melodic, of a composition, on record. The theme exists in two versions, referred to as early and late ''folias'', the earlier being faster. History Due to its musical form, style and etymology of the name, it has been suggested that the melody arose as a dance in the mid or late fifteenth century throughout the Iberian Peninsula, either in Portugal or in the area of the old Kingdom of León, or maybe in the Kingdom of Valencia. The epithet "Folia" has several meanings in music. Western classical music features both "early Folia", which can take different shapes, and the better-known "later Folia" (also known as "Follia" with double l in Italy, "Folies d'Espagne" in France, and "'s Ground" in England). Recent research suggests that the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theme (music)
In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue, this may be known as the theme. Characteristics A subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or motif, a subject is usually a complete phrase or period. The ''Encyclopédie Fasquelle'' defines a theme (subject) as " y element, motif, or small musical piece that has given rise to some variation becomes thereby a theme". Thematic changes and processes are often structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as "associational" and thus outside his cognitive-based generative theory's scope of analysis. In different types of music Music based on a single theme is called 'monothematic', while music based on several themes is ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Improvisation (music)
Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music and many other kinds of music. One definition is a "performance given extempore without planning or preparation". Another definition is to "play or sing (music) extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies". ''Encyclopædia Britannica'' defines it as "the extemporaneous composition or free performance of a musical passage, usually in a manner conforming to certain stylistic norms but unfettered by the prescriptive features of a specific musical text." Improvisation is often done within (or based on) a pre-existing harmonic framework or chord p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Catholic Monarchs
The Catholic Monarchs were Queen Isabella I of Castile and King Ferdinand II of Aragon, whose marriage and joint rule marked the ''de facto'' unification of Spain. They were both from the House of Trastámara and were second cousins, being both descended from John I of Castile; to remove the obstacle that this consanguinity would otherwise have posed to their marriage under canon law, they were given a papal dispensation by Sixtus IV. They married on October 19, 1469, in the city of Valladolid; Isabella was eighteen years old and Ferdinand a year younger. It is generally accepted by most scholars that the unification of Spain can essentially be traced back to the marriage of Ferdinand and Isabella. Spain was formed as a dynastic union of two crowns rather than a unitary state, as Castile and Aragon remained separate kingdoms until the Nueva Planta decrees of 1707–16. The court of Ferdinand and Isabella was constantly on the move, in order to bolster local support for the crow ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancionero De Palacio
The Cancionero de Palacio (Madrid, Biblioteca Real, MS II–1335), or Cancionero Musical de Palacio (CMP), also known as Cancionero de Barbieri, is a Spanish manuscript of Renaissance music. The works in it were compiled during a time span of around 40 years, from the mid-1470s until the beginning of the 16th century, approximately coinciding with the reign of the Catholic Monarchs. The manuscript The first ten folios are not numbered; the remaining folios are numbered from 1 to 304. Based on the index of works included in the beginning of the manuscript, it originally had 548 works. Many folios have been lost, reducing the number of works currently in the manuscript to 458. The manuscript was written by 9 different people and, in all, received 11 successive additions: *The first addition happened in the first years of the 16th century, most probably after 1505, as a result of the reorganization of the Court's musical chapel ordered by Ferdinand II of Aragon, one year after th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Francisco De Salinas
Francisco de Salinas (1513, Burgos – 1590, Salamanca) was a Spanish music theorist and organist, noted as among the first to describe meantone temperament in mathematically precise terms, and one of the first (along with Guillaume Costeley) to describe, in effect, 19 equal temperament. In his ''De musica libri septem'' of 1577 he discusses 1/3-, 1/4- and 2/7-comma meantone tunings. Of 1/3-comma meantone, which is essentially identical to the meantone of 19-et, he remarks that it is "languid" but not "offensive to the ear", and he notes that a keyboard of 19 tones to the octave suffices to give a circulating version of meantone. The 19th-century musicologist Alexander John Ellis maintained that Salinas really meant to characterize 1/6-comma meantone, and made a mistake due to his blindness. Others point out that Salinas's descriptions of his tuning as "languid" but not "offensive to the ear" seem to apply to 1/3-comma meantone, not to 1/6-comma meantone, which in any case has a m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gil Vicente
Gil Vicente (; c. 1465c. 1536), called the Trobadour, was a Portuguese playwright and poet who acted in and directed his own plays. Considered the chief dramatist of Portugal he is sometimes called the "Portuguese Plautus," often referred to as the "Father of Portuguese drama" and as one of Western literature's greatest playwrights. Also noted as a lyric poet, Vicente worked in Spanish as much as he worked in Portuguese and is thus, with Juan del Encina, considered joint-father of Spanish drama. Vicente was attached to the courts of the Portuguese kings Manuel I and John III. He rose to prominence as a playwright largely on account of the influence of Queen Dowager Leonor, who noticed him as he participated in court dramas and subsequently commissioned him to write his first theatrical work. He may also have been identical to an accomplished goldsmith of the same name at the court of Évora; the goldsmith is mentioned in royal documents from 1509 to 1517 and worked ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
History Of Theatre
The history of theatre charts the development of theatre over the past 2,500 years. While performative elements are present in every society, it is customary to acknowledge a distinction between theatre as an art form and entertainment and ''theatrical'' or ''performative'' elements in other activities. The history of theatre is primarily concerned with the origin and subsequent development of the theatre as an autonomous activity. Since classical Athens in the 5th century BC, vibrant traditions of theatre have flourished in cultures across the world. Origins Despite theatre's resemblance to the performance of ritual activities, and the important relationship that theatre shares with ritual, there is no conclusive evidence to show that theatre originated from ritual.Cohen and Sherman (2020, ch. 7). This similarity of early theatre to ritual is negatively attested by Aristotle, who in his ''Poetics'' defined theatre in contrast to the performances of sacred mysteries: theatre di ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beethoven Symphony No
Ludwig van Beethoven (baptised 17 December 177026 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire and span the Transition from Classical to Romantic music, transition from the Classical period (music), Classical period to the Romantic music, Romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. His early period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as heroic. During this time, he began to grow increasingly Hearing loss, deaf. In his late period, from 1812 to 1827, he extended his innovations in musical form and expression. Beethoven was born in Bo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor And Major
In Western music, the adjectives major and minor may describe a chord, scale, or key. As such, composition, movement, section, or phrase may be referred to by its key, including whether that key is major or minor. Intervals Some intervals may be referred to as ''major'' and ''minor''. A major interval is one semitone larger than a minor interval. The words ''perfect'', ''diminished'', and ''augmented'' are also used to describe the quality of an interval. Only the intervals of a second, third, sixth, and seventh (and the compound intervals based on them) may be major or minor (or, rarely, diminished or augmented). Unisons, fourths, fifths, and octaves and their compound interval must be perfect (or, rarely, diminished or augmented). In Western music, a minor chord "sounds darker than a major chord". Kamien, Roger (2008). ''Music: An Appreciation'', 6th Brief Edition, p. 46. . Scales and chords The other uses of ''major'' and ''minor'' generally refer to scales and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Later Folia B
{{disambiguation ...
Later may refer to: * Future, the time after the present Television * ''Later'' (talk show), a 1988–2001 American talk show * '' Later... with Jools Holland'', a British music programme since 1992 * ''The Life and Times of Eddie Roberts'', or ''L.A.T.E.R.'', a 1980 American sitcom * "Later" (''BoJack Horseman''), an episode Other uses * ''Later'' (magazine), a 1999–2001 British men's magazine * ''Later'' (novel), a 2021 novel by Stephen King * "Later" (song), a 2016 song by Example * ''Later: My Life at the Edge of the World'', a book by Paul Lisicky See also * * L8R (other) * Late (other) * See You Later (other) * Sooner or Later (other) Sooner or Later may refer to: Music Albums * ''Sooner or Later'' (BBMak album), 2000 * ''Sooner or Later'' (Murray Head album), 1987 * ''Sooner or Later'' (Rex Smith album), 1979 * '' Sooner or Later in Spain'', 2006 DVD/CD by Marah Songs * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ensalada (music)
The (Spanish for salad) is a genre of polyphonic secular music mixing languages and dialects and nonsensical quodlibets. The term is known mainly through a publication, ' Prague (1581), by Mateo Flecha the Younger, that contains six long four-part vocal compositions by his uncle Mateo Flecha (1481–1553). Each of these is divided into several sections, ranging from seven to twelve. The music is for four voices. Apart from the by Mateo Flecha, there are also two examples by Mateo Flecha the younger, two by Pere Alberch Vila, several by Bartolomé Cárceres, one by the unknown F. Chacón and several anonymous sources. There is also an instrumental for organ by Sebastián Aguilera de Heredia. Works Prague 1581 # El Fuego (the fire) – Flecha # La Bomba (the pump) – Flecha # La Negrina (the black girl) – Flecha # La Guerra (the battle) – Flecha # El Bon Jorn (the good day) – Vila # La Justa (the joust) – Flecha # La Viuda (the widow) – Flecha # La Feria (the fair ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancionero Musical De Palacio
The Cancionero de Palacio (Madrid, Biblioteca Real, MS II–1335), or Cancionero Musical de Palacio (CMP), also known as Cancionero de Barbieri, is a Spanish manuscript of Renaissance music. The works in it were compiled during a time span of around 40 years, from the mid-1470s until the beginning of the 16th century, approximately coinciding with the reign of the Catholic Monarchs. The manuscript The first ten folios are not numbered; the remaining folios are numbered from 1 to 304. Based on the index of works included in the beginning of the manuscript, it originally had 548 works. Many folios have been lost, reducing the number of works currently in the manuscript to 458. The manuscript was written by 9 different people and, in all, received 11 successive additions: *The first addition happened in the first years of the 16th century, most probably after 1505, as a result of the reorganization of the Court's musical chapel ordered by Ferdinand II of Aragon, one year after the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
