French Baroque Music
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French Baroque Music
France has a rich music history that was already prominent in Europe as far back as the 10th century. French music originated as a unified style in medieval times, focusing around the Notre-Dame school of composers. This group developed the motet, a specific musical composition. Notable in the high Middle Ages were the troubadours and trouvères soon began touring France, composing and performing many original songs. The styles of ars nova and ars subtilior sprung up in the 14th century, both of which focused on secular songs. As Europe moved into the Renaissance age, the music of France evolved in sophistication. The popularity of French music in the rest of Europe declined slightly, yet the popular chanson and the old motet were further developed during this time. The epicenter of French music moved from Paris to Burgundy, as it followed the Burgundian School of composers. During the Baroque period, music was simplified and restricted due to Calvinist influence. The ''air de ...
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Music Of France
In France, music reflects a diverse array of styles. In the field of classical music, France has produced several prominent romantic composers, while folk and popular music have seen the rise of the chanson and cabaret style. The earliest known sound recording device in the world, the phonautograph, was patented in France by Édouard-Léon Scott de Martinville in 1857. France is also the 5th largest market by value in the world, and its music industry has produced many internationally renowned artists, especially in the nouvelle chanson and electronic music. Classical music Medieval French music history dates back to organum in the 10th century, followed by the Notre Dame School, an organum composition style. Troubadour songs of chivalry and courtly love were composed in the Occitan language between the 10th and 13th centuries, and the Trouvère poet-composers flourished in Northern France during this period. The fiddle was their instrument of choice. By the end of the 12th c ...
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Organum
''Organum'' () is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or '' bourdon'') may be sung on the same text, the melody may be followed in parallel motion (parallel organum), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody (the ''vox principalis''), ...
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Trope (music)
A trope or tropus may refer to a variety of different concepts in medieval, 20th-, and 21st-century music. The term ''trope'' derives from the Greek (''tropos''), "a turn, a change", related to the root of the verb (''trepein''), "to turn, to direct, to alter, to change". The Latinised form of the word is ''tropus''. In music, a trope is adding another section, or trope to a plainchant or section of plainchant, thus making it appropriate to a particular occasion or festival. Medieval music From the 9th century onward, trope refers to additions of new music to pre-existing chants in use in the Western Christian Church. Three types of addition are found in music manuscripts: # new melismas without text (mostly unlabelled or called "trope" in manuscripts) # addition of a new text to a pre-existing melisma (more often called ''prosula'', ''prosa'', ''verba'' or ''versus'') # new verse or verses, consisting of both text and music (mostly called trope, but also ''laudes'' or ' ...
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Prose
Prose is a form of written or spoken language that follows the natural flow of speech, uses a language's ordinary grammatical structures, or follows the conventions of formal academic writing. It differs from most traditional poetry, where the form consists of verse (writing in lines) based on rhythmic metre or rhyme. The word "prose" first appears in English in the 14th century. It is derived from the Old French ''prose'', which in turn originates in the Latin expression ''prosa oratio'' (literally, straightforward or direct speech). Works of philosophy, history, economics, etc., journalism, and most fiction (an exception is the verse novel), are examples of works written in prose. Developments in twentieth century literature, including free verse, concrete poetry, and prose poetry, have led to the idea of poetry and prose as two ends on a spectrum rather than firmly distinct from each other. The British poet T. S. Eliot noted, whereas "the distinction between verse and pro ...
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Abbey Of Saint Martial, Limoges
The Abbey of Saint Martial (french: Abbaye Saint-Martial, Limoges; Limousin: ''Abadiá de Sent Marçau de Limòtges'') was a monastery in Limoges, France, founded in 848 and dissolved in 1791. The buildings were razed at the beginning of the 19th century. The only remaining part is the 10th-century crypt, which was rediscovered in 1960, and which contains the tomb of Saint Martial, the first bishop of Limoges, and also that of Saint Valerie of Limoges, another, possibly legendary, early martyr. Origins The origins of the abbey lie in the graveyard outside the original Roman settlement of Augustoritum. This is the site of the Place de la République, at the commercial heart of modern Limoges. The cemetery was the reputed burial place of early Christian martyrs, including Saint Martial, the first bishop of Limoges. This evolved into a place of pilgrimage in Merovingian times. By the 6th century, according to Gregory of Tours, there was a funerary chapel above Saint Martial's tomb, ...
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Adam De La Halle
Adam de la Halle (1245–50 – 1285–8/after 1306) was a French poet-composer ''trouvère''. Among the few medieval composers to write both monophonic and polyphonic music, in this respect he has been considered both a conservative and progressive composer, resulting in a complex legacy: he cultivated admired representatives of older trouvère genres, but also experimented with newer dramatic works. Adam represented the final generation of the ''trouvère'' tradition and "has long been regarded as one of the most important musical and literary figures of thirteenth-century Europe". Adam's literary and musical works include chansons and jeux-partis (poetic debates) in the style of the ''trouvères''; polyphonic rondel and motets in the style of early liturgical polyphony; and a musical play, '' Jeu de Robin et Marion'' (), which is considered the earliest surviving secular French play with music. He was a member of the Confrérie des jongleurs et bourgeois d'Arras, a frat ...
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Lai (poetic Form)
A ''lai'' (or ''lay lyrique'', "lyric lay", to distinguish it from a ''lai breton'') is a lyrical, narrative poem written in octosyllabic couplets that often deals with tales of adventure and romance. ''Lais'' were mainly composed in France and Germany, during the 13th and 14th centuries. The English term ''lay'' is a 13th-century loan from Old French ''lai''. The origin of the French term itself is unclear; perhaps it is itself a loan from German '' Leich'' (reflected in archaic or dialectal English ''lake'', "sport, play" and in modern Swedish (leker = to play). The terms ''note'', ''nota'' and ''notula'' (as used by Johannes de Grocheio) appear to have been synonyms for ''lai''. The poetic form of the ''lai'' usually has several stanzas, none of which have the same form. As a result, the accompanying music consists of sections which do not repeat. This distinguishes the lai from other common types of musically important verse of the period (for example, the rondeau and the ...
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Ballade (forme Fixe)
The ''ballade'' (; ; not to be confused with the ballad) is a form of medieval and Renaissance French poetry as well as the corresponding musical chanson form. It was one of the three ''formes fixes'' (the other two were the rondeau and the virelai) and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. The formes fixes were standard forms in French-texted song of the fourteenth and fifteenth centuries. The ballade is usually in three stanzas, each ending with a refrain (a repeated segment of text and music). The ballade as a verse form typically consists of three eight-line stanzas, each with a consistent metre and a particular rhyme scheme. The last line in the stanza is a refrain. The stanzas are often followed by a four-line concluding stanza (an ''envoi'') usually addressed to a prince. The rhyme scheme is therefore usually , where the capital "C" is a refrain. The many different rhyming words that are needed (the ' ...
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Jongleur
A minstrel was an entertainer, initially in medieval Europe. It originally described any type of entertainer such as a musician, juggler, acrobat, singer or fool; later, from the sixteenth century, it came to mean a specialist entertainer who sang songs and played musical instruments. Description Minstrels performed songs which told stories of distant places or of existing or imaginary historical events. Although minstrels created their own tales, often they would memorize and embellish the works of others. Frequently they were retained by royalty and high society. As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets; a decline in their popularity began in the late 15th century. Minstrels fed into later traditions of travelling entertainers, which continued to be moderately strong into the early 20th century, and which has some continuity in the form of today's bu ...
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Troubadour
A troubadour (, ; oc, trobador ) was a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350). Since the word ''troubadour'' is etymologically masculine, a female troubadour is usually called a ''trobairitz''. The troubadour school or tradition began in the late 11th century in Occitania, but it subsequently spread to the Italian and Iberian Peninsulas. Under the influence of the troubadours, related movements sprang up throughout Europe: the Minnesang in Germany, ''trovadorismo'' in Galicia and Portugal, and that of the trouvères in northern France. Dante Alighieri in his ''De vulgari eloquentia'' defined the troubadour lyric as ''fictio rethorica musicaque poita'': rhetorical, musical, and poetical fiction. After the "classical" period around the turn of the 13th century and a mid-century resurgence, the art of the troubadours declined in the 14th century and around the time of the Black Death (1348) it died out. The texts of troubadou ...
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Saint Martial School
The Saint Martial School was a medieval school of music composition centered in the Abbey of Saint Martial, Limoges, France. Most active from the 9th to 12th centuries, some scholars describe its practices, music, and manuscripts as 'Aquitanian'. It is known for the composition of tropes, sequences, and early organum. In this respect, it was an important precursor to the Notre Dame School. Adémar de Chabannes and his nephew Roger de Chabannes were important proponents of this school. History of the Abbey Saint Martial de Limoges Many of the modern musicological studies concerning a "Saint Martial School" focus on four manuscripts with remarkably innovative compositions for the 12th century. It is often assumed that these fragments derived from different Southern French monasteries, despite the lack of cantor attributions in the rubrics. However, Sarah Fuller has suggested that this may not be the case, discussing the "myth of a Saint Martial school", where she suggests that ...
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