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Gaidifer D'Avion
Gaidifer (Gadifer) d'Avion ( fl. 1230–50) was an Artesian trouvère from Avion. He entered the Church and was associated with the poets of the so-called "School of Arras". Gaidifer was well-connected to contemporary poets. He was a respondent to Jehan Bretel in two '' jeux partis'' judged by the trouvères Perrin d'Angicourt and Jehan le Cuvelier d'Arras and the banker Audefroi Louchart. Gaidifer was a judge of Jehan de Grieviler and Robert de Castel in two other ''jeux partis''. Besides his two ''jeux'', Gaidifer wrote seven '' chanson courtoises'', six of which appear only in the Rome Chansonnier. His style is described as "sharply circumscribed": all his poems are isometric and octo- or decasyllabic. All his simple melodies are in bar form, but spanning wide ranges (often an octave or higher). In ''Tant ai d'amours'', which served as a model for Lambert Ferri (''J'ai tant d'amours apris et entendu'') and Adam de la Bassée (''Ave rosa rubens et tenera''), there is repe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Floruit
''Floruit'' (; abbreviated fl. or occasionally flor.; from Latin for "they flourished") denotes a date or period during which a person was known to have been alive or active. In English, the unabbreviated word may also be used as a noun indicating the time when someone flourished. Etymology and use la, flōruit is the third-person singular perfect active indicative of the Latin verb ', ' "to bloom, flower, or flourish", from the noun ', ', "flower". Broadly, the term is employed in reference to the peak of activity for a person or movement. More specifically, it often is used in genealogy and historical writing when a person's birth or death dates are unknown, but some other evidence exists that indicates when they were alive. For example, if there are wills attested by John Jones in 1204, and 1229, and a record of his marriage in 1197, a record concerning him might be written as "John Jones (fl. 1197–1229)". The term is often used in art history when dating the career ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rome Chansonnier
, established_title = Founded , established_date = 753 BC , founder = King Romulus (legendary) , image_map = Map of comune of Rome (metropolitan city of Capital Rome, region Lazio, Italy).svg , map_caption = The territory of the ''comune'' (''Roma Capitale'', in red) inside the Metropolitan City of Rome (''Città Metropolitana di Roma'', in yellow). The white spot in the centre is Vatican City. , pushpin_map = Italy#Europe , pushpin_map_caption = Location within Italy##Location within Europe , pushpin_relief = yes , coordinates = , coor_pinpoint = , subdivision_type = Country , subdivision_name = Italy , subdivision_type2 = Region , subdivision_name2 = Lazio , subdivision_type3 = Metropolitan city , subdivision_name3 = Rome Capital , government_footnotes= , government_type = Strong Mayor–Council , leader_title2 = Legislature , leader_name2 = Capitoline Assembl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theodore Cyrus Karp
Theodore Cyrus Karp (17 July 1926 – 5 November 2015) was an American musicologist. His principal area of study was Secular music, mainly mediaeval monophony, especially the music of the trouvères. He was a major contributor in this area to the ''Grove Dictionary of Music and Musicians''. Biography Born in New York, New York, he attended Queens College of the City University of New York, where he received his B.A. in 1947. He later attended the Juilliard School of Music and, from 1949 to 1950, the Catholic University of Leuven. He returned to New York University, where he studied under Curt Sachs and Gustave Reese. He received his PhD from New York University in 1960. In 1963 he was taken on as a faculty member by the University of California at Davis and in 1971 became a music professor. He moved to Northwestern University in 1973, where he was dean of the department until 1988 and a professor until his retirement in 1996. Besides trouvère monophony, Karp wrote articles on the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cauda
{{About, the musical feature The cauda is a characteristic feature of songs in the conductus style of '' a cappella'' music which flourished between the mid-12th and the mid-13th century. The conductus style placed strict rules on composition, and some such rules were devoted to the cauda, which came at the penultimate syllable of each verse. It takes the form of a lengthy section of counterpoint - where several simultaneous melodies are combined into one - slurred over the one syllable. The cauda was repeated in each verse. The significance of the cauda in conductus music is such that most conducti were divided into the categories ''conductus cum cauda'' and ''conductus sine cauda'' (conductus with or without cauda.) The latter made up less than a third of the repertoire. The writing of medieval music did not include strict rhythmic notation, but when multiple notes were given to one syllable, known as a melisma, special notation, known as rhythmic modes, were used. As the cauda ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adam De La Bassée
Adam de la Bassée (died 25 February 1286) was a canon of the collegiate church of Saint Pierre in Lille, and a poet and musician associated with the circle of trouvères around Arras. Around 1280, he composed the ''Ludus super Anticlaudianum'' ("Play on the ''Anticlaudianus''"), a rhyming paraphrase of Alain de Lille's poem ''Anticlaudianus''. The ''Ludus'' is conserved in one known manuscript, ''F-Lm'' 316 in the Bibliothèque Municipale Jean Levy in Lille, which may be in part a work of Adam's own hand.Hughes, "Adam de la Bassée". Adam's influence can be seen in the ''romans'' composed around Lille, and possibly also in the ''Jeu de Robin et Marion'', written by Adam de la Halle after he left Arras in 1283. The form of the ''Ludus'', "a comprehensive musical anthology ... in which almost every contemporary sacred and secular style is represented", may have been copied directly for the ''Roman de Fauvel'', composed around 1316. Adam was probably not advanced in age when he died ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lambert Ferri
Lambert Ferri (fl. c. 1250–1300) was a trouvère and cleric at the Benedictine monastery at Saint-Léonard, Pas-de-Calais. By 1268 he was a canon and a deacon of the monastery; he is last associated with the monastery in 1282. He was a popular partner for '' jeux partis'', of which some twenty-seven survive between him and other composers, including Jehan Bretel, Jehan le Cuvelier d'Arras, Jehan de Grieviler, Jehan de Marli, Phelipot Verdiere, Robert Casnois, and Robert de La Pierre.Michelle F. Stewart (1979), "The Melodic Structure of Thirteenth-Century ''Jeux-Partis''," ''Acta Musicologica'', 51(1), 86–107. Eleven of his songs have surviving melodies, including seven of the ''jeux partis'', three ''chansons'', and one Marian Marian may refer to: People * Mari people, a Finno-Ugric ethnic group in Russia * Marian (given name), a list of people with the given name * Marian (surname), a list of people so named Places * Marian, Iran (other) * Marian, Queens ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar Form
Bar form (German: ''die Barform'' or ''der Bar'') is a musical form of the pattern AAB. Original use The term comes from the rigorous terminology of the Meistersinger guilds of the 15th to 18th century who used it to refer to their songs and the songs of the predecessors, the minnesingers of the 12th to 14th century. In their work, a ''Bar'' is not a single stanza (which they called a ''Liet'' or ''Gesätz''); rather, it is the whole song. The word ''Bar'' is most likely a shortening of ''Barat'', denoting a skillful thrust in fencing. The term was used to refer to a particularly artful song – the type one composes in songwriters' guilds. The AAB pattern does, however, describe each stanza in a Meistersinger's ''Bar'', which is divided into two ''Stollen'' (A), which are collectively termed the ''Aufgesang'', followed by an ''Abgesang''. The musical form thus contains two repetitions of one melody (''Stollen'' – 'stanzas') followed by a different melody (''Abgesang'' – 'aft ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Decasyllabic
Decasyllable (Italian: ''decasillabo'', French: ''décasyllabe'', Serbian: ''десетерац'', ''deseterac'') is a poetic meter of ten syllables used in poetic traditions of syllabic verse. In languages with a stress accent (accentual verse), it is the equivalent of pentameter with iambs or trochees (particularly iambic pentameter). Medieval French heroic epics (the ''chansons de geste'') were most often composed in 10 syllable verses (from which, the decasyllable was termed "heroic verse"), generally with a regular caesura after the fourth syllable. (The medieval French romance (''roman'') was, however, most often written in 8 syllable (or ''octosyllable'') verse.) Use of the 10 syllable line in French poetry was eclipsed by the 12 syllable alexandrine line, particularly after the 16th century. Paul Valéry's great poem "The Graveyard by the Sea" (Le Cimetière marin) is, however, written in decasyllables. Similarly, South Slavic and in particular Serbian epic p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octosyllable
The octosyllable or octosyllabic verse is a line of verse with eight syllables. It is equivalent to tetrameter verse in trochees in languages with a stress accent. Its first occurrence is in a 10th-century Old French saint's legend, the '' Vie de Saint Leger''; another early use is in the early 12th-century Anglo-Norman '' Voyage de saint Brendan''. It is often used in French, Italian, Spanish and Portuguese poetry. While commonly used in couplets, typical stanzas using octosyllables are: décima, some quatrains, redondilla. In Spanish verse, an octosyllable is a line that has its seventh syllable stressed, on the principle that this would normally be the penultimate syllable of a word (''Lengua Castellana y Literatura'', ed. Grazalema Santillana. El Verso y su Medida, p. 46). If the final word of a line does not fit this pattern, the line could have eight or seven or nine syllables (as normally counted), thus – :1 / 2 / 3 / 4 / 5 / Gra/NA/da :1 / 2 / 3 / 4 / 5 / Ma/DR ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Isometre
In music, homorhythm (also homometer) is a texture having a "similarity of rhythm in all parts"Griffiths, Paul (2005). ''The Penguin Companion to Classical Music'', p.375. . or "very similar rhythm" as would be used in simple hymn or chorale settings.Randel, Don Michael (2002). ''The Harvard Concise Dictionary of Music and Musicians'', p.305. . Homorhythm is a condition of homophony. All voices sing the same rhythm. This texture results in a homophonic texture, which is a blocked chordal texture. Homorhythmic texture delivers lyrics with clarity and emphasis. Texture in which parts have different rhythms is heterorythmic or heterometric. The term is used for compositions in which all the voice-parts move simultaneously in the same rhythm, forming a succession of chords.Apel, Willi (1969). ''Harvard Dictionary of Music'', p.426. Harvard. . It may also be called '' chordal style'', ''familiar style'', ''note-against-note style'', ''isometric'', and ''homophonic''. ''Isometric'' may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chanson Courtoise
The ''grand chant'' (''courtois'') or, in modern French, (''grande'') ''chanson courtoise'' or ''chanson d'amour'', was a genre of Old French lyric poetry devised by the trouvères. It was adopted from the Occitan ''canso'' of the troubadours, but scholars stress that it was a distinct genre. The predominant theme of the ''grand chant'' was courtly love, but topics were more broad than in the ''canso'', especially after the thirteenth century. The monophonic ''grand chant'' of the High Middle Ages (12th–13th centuries) was in many respects the predecessor of the polyphonic ''chanson'' of the Late Middle Ages The Late Middle Ages or Late Medieval Period was the Periodization, period of European history lasting from AD 1300 to 1500. The Late Middle Ages followed the High Middle Ages and preceded the onset of the early modern period (and in much of Eur ... (14th–15th centuries). Reference works *O'Neill, Mary (2006). ''Courtly Love Songs of Medieval France: Transmissi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
