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Felice Anerio
Felice Anerio (26 or 27 September 1614) was an Italian composer of the late Renaissance and early Baroque eras, and a member of the Roman School of composers. He was the older brother of another important, and somewhat more progressive composer of the same period, Giovanni Francesco Anerio. Life Anerio was born in Rome and lived his entire life there. He sang as a boy soprano at the Julian Chapel (the Cappella Giulia) from 1568 until 1577 (by which time he was an alto) and then he sang at another church until 1580. Around this time, he began to compose, especially madrigals; this was one of the few periods in his life during which he wrote secular music. Likely he was influenced by Luca Marenzio, who was hugely popular at the time and who was in Rome at the same time Anerio began composing. By 1584, Anerio had been appointed ''maestro di cappella'' at the Collegio degli Inglesi; he also seems to have been the choirmaster at another society of Rome's leading musicians called th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Felice Anerio
Felice Anerio (26 or 27 September 1614) was an Italian composer of the late Renaissance and early Baroque eras, and a member of the Roman School of composers. He was the older brother of another important, and somewhat more progressive composer of the same period, Giovanni Francesco Anerio. Life Anerio was born in Rome and lived his entire life there. He sang as a boy soprano at the Julian Chapel (the Cappella Giulia) from 1568 until 1577 (by which time he was an alto) and then he sang at another church until 1580. Around this time, he began to compose, especially madrigals; this was one of the few periods in his life during which he wrote secular music. Likely he was influenced by Luca Marenzio, who was hugely popular at the time and who was in Rome at the same time Anerio began composing. By 1584, Anerio had been appointed ''maestro di cappella'' at the Collegio degli Inglesi; he also seems to have been the choirmaster at another society of Rome's leading musicians called th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Responsory
A responsory or respond is a type of chant in western Christian liturgies. Definition The most general definition of a responsory is any psalm, canticle, or other sacred musical work sung responsorially, that is, with a cantor or small group singing verses while the whole choir or congregation respond with a refrain. However, this article focuses on those chants of the western Christian tradition that have traditionally been designated by the term responsory. In the Roman Rite and rites strongly influenced by it, such as the pre-reformation English rite and the monastic rite of the Rule of St. Benedict, these chants ordinarily follow readings at services of the Divine Office (also called the Liturgy of the Hours); however, they have also been used as processional chants. Structure and performance A responsory has two parts: a respond (or refrain), and a verse. Methods of performance vary, but typically the respond will be begun by the cantor then taken up by the entire choi ... [...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] |
Karl Proske
Karl Proske (11 February 1794, Gröbnig (Upper Silesia) – 20 December 1861), was a German Catholic cleric, also known as Carolus Proske and Carl Proske. In his youth, Proske was a medical doctor, and worked for the Prussian military during the 1813-15 engagement. In 1821 he entered the seminary, and was ordained in Regensburg on April 11, 1826. The following year, he was made a vicar choral of Regensburg Cathedral. Proske was never to leave this post at Regensburg, and, in addition to his duties as a cleric, devoted all his energies and spent his entire private income on the restoration of what he called "vere musica ecclesiae," the "true music of the Church." This he considered to be the ancient Gregorian chant and especially the polyphonic works of the Renaissance masters (such as Palestrina, Nanini, Marenzio, Lassus, etc.). He searched all throughout Germany and Italy, making many trips to Rome, in order to collect ancient manuscripts for his library, which grew to contain t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigale Spirituale
A madrigale spirituale (Italian; pl. ''madrigali spirituali'') is a madrigal, or madrigal-like piece of music, with a sacred rather than a secular text. Most examples of the form date from the late Renaissance and early Baroque eras, and principally come from Italy and Germany. ''Madrigali spirituali'' were almost always intended for an audience of cultivated, often aristocratic amateurs. They were performed at private houses, academies, and courts of noblemen in Italy and adjacent countries, but almost certainly were not used liturgically. The ''madrigale spirituale'' was an a cappella form, though instrumental accompaniment was used on occasion, especially after 1600. During the Counter-Reformation, there was, to some degree, a reaction against the secularization of the art of music in Italy, Spain and the southern (Catholic) portion of Germany. While that did not stop the composition of secular music (indeed, the explosion of forms and styles of secular music continued unabated ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basso Continuo
Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic structure of the music by supplying a bassline and a chord progression. The phrase is often shortened to continuo, and the instrumentalists playing the continuo part are called the ''continuo group''. Forces The composition of the continuo group is often left to the discretion of the performers (or, for a large performance, the conductor), and practice varied enormously within the Baroque period. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any number of instruments that play in the bass register may be included, such as cello, double bass, bass viol, or bassoon. In modern performances of chamber works, the most common combination is harpsichord and cello for instrumental works and secular vocal works, such as operas, and organ and cello for sacred music. A double bass may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lodovico Grossi Da Viadana
Lodovico Grossi da Viadana (usually Lodovico Viadana, though his family name was Grossi; c. 1560 – 2 May 1627) was an Italian composer, teacher, and Franciscan friar of the Order of Friars Minor Observants. He was the first significant figure to make use of the newly developed technique of figured bass, one of the musical devices which was to define the end of the Renaissance and beginning of the Baroque eras in music. Life He was born in Viadana, a town in the province of Mantua (Italy). According to a document dating from about 150 years after his death, he was a member of the Grossi family but took the name of his birth city, Viadana, when he entered the order of the Minor Observants prior to 1588. Though there is no contemporary evidence, it has been claimed that he studied with Costanzo Porta, becoming choirmaster at the cathedral in Mantua by 1594. In 1597 he went to Rome, and in 1602 he became choirmaster at the cathedral of San Luca in Mantua. He held a succession of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claudio Monteverdi
Claudio Giovanni Antonio Monteverdi (baptized 15 May 1567 – 29 November 1643) was an Italian composer, choirmaster and string player. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and Baroque periods of music history. Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua () and then until his death in the Republic of Venice where he was ''maestro di cappella'' at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale religious works, such as his ''Vespro della Beata Vergine'' (''Vespers for the Blessed Virgin'') ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Monody
In music, monody refers to a solo vocal style distinguished by having a single melodic line and instrumental accompaniment. Although such music is found in various cultures throughout history, the term is specifically applied to Italian song of the early 17th century, particularly the period from about 1600 to 1640. The term is used both for the style and for individual songs (so one can speak both of monody as a whole as well as a particular monody). The term itself is a recent invention of scholars. No composer of the 17th century ever called a piece a monody. Compositions in monodic form might be called madrigals, motets, or even concertos (in the earlier sense of "concertato", meaning "with instruments"). In poetry, the term monody has become specialized to refer to a poem in which one person laments another's death. (In the context of ancient Greek literature, monody, , could simply refer to lyric poetry sung by a single performer, rather than by a chorus.) History Music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Homophonic
In music, homophony (;, Greek: ὁμόφωνος, ''homóphōnos'', from ὁμός, ''homós'', "same" and φωνή, ''phōnē'', "sound, tone") is a texture in which a primary part is supported by one or more additional strands that flesh out the harmony. One melody predominates while the other parts play either single notes or an elaborate accompaniment. This differentiation of roles contrasts with equal-voice polyphony (in which similar lines move with rhythmic and melodic independence to form an even texture) and monophony (in which all parts move in unison or octaves). Historically, homophony and its differentiated roles for parts emerged in tandem with tonality, which gave distinct harmonic functions to the soprano, bass and inner voices. A homophonic texture may be homorhythmic, which means that all parts have the same rhythm. Chorale texture is another variant of homophony. The most common type of homophony is melody-dominated homophony, in which one voice, often the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Venetian School (music)
In music history, the Venetian School was the body and work of composers working in Venice from about 1550 to around 1610, many working in the Venetian polychoral style. The Venetian polychoral compositions of the late sixteenth century were among the most famous musical works in Europe, and their influence on musical practice in other countries was enormous. The innovations introduced by the Venetian school, along with the contemporary development of monody and opera in Florence, together define the end of the musical Renaissance and the beginning of the musical Baroque. History Several major factors came together to create the Venetian School. The first was political: after the death of Pope Leo X in 1521 and the Sack of Rome in 1527, the long dominant musical establishment in Rome was eclipsed: many musicians either moved elsewhere or chose not to go to Rome, and Venice was one of several places to have an environment conducive to creativity.Gangwere, p. 246. Another fa ... [...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 a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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