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Giovanni Francesco Anerio
Giovanni Francesco Anerio (7 July 1569 - 11 June 1630) was an Italian composer of the Roman School, of the very late Renaissance and early Baroque eras. He was the younger brother of Felice Anerio. Giovanni's principal importance in music history was his contribution to the early development of the oratorio; he represented the progressive trend within the otherwise conservative Roman School, though he also shared some of the stylistic tendencies of his brother, who was much indebted to Palestrina. Life He was born in Rome on 7 July 1569. He was a choirboy at Cappella Giulia in St. Peter's under Palestrina from 1575 to 1579. He clearly decided to become a priest from an early age, and became associated with the Oratory of Filippo Neri around 1583. In 1595 he was employed as an organist at S Marcello, and likely became ''maestro di cappella'' at the Basilica di San Giovanni in Laterano, after Francesco Soriano, between 1600 or 1601 and 1603. In 1609 he held a similar post at Verona ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roman School
In music history, the Roman School was a group of composers of predominantly church music, in Rome, during the 16th and 17th centuries, therefore spanning the late Renaissance and early Baroque eras. The term also refers to the music they produced. Many of the composers had a direct connection to the Vatican and the papal chapel, though they worked at several churches; stylistically they are often contrasted with the Venetian School of composers, a concurrent movement which was much more progressive. By far the most famous composer of the Roman School is Giovanni Pierluigi da Palestrina, whose name has been associated for four hundred years with smooth, clear, polyphonic perfection. However, there were other composers working in Rome, and in a variety of styles and forms. History and characteristics While composers had almost certainly been working in Rome continuously for the thousand years since the time of Gregory the Great, the development of a consistent style around t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigal (music)
A madrigal is a form of secular vocal music most typical of the Renaissance (15th–16th c.) and early Baroque (1600–1750) periods, although revisited by some later European composers. The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but usually features three to six voices, whilst the metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike the verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung. As written by Italianized Franco–Flemish composers in the 1520s, the madrigal partly originated from the three-to-four voice frottola (1470–1530); partly from composers' renewed interest in poetry written in vernacular Italian; partly from the stylistic influence of the French chanson; and fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conversion Of Saul
The conversion of Paul the Apostle (also the Pauline conversion, Damascene conversion, Damascus Christophany and the "road to Damascus" event) was, according to the New Testament, an event in the life of Saul/ Paul the Apostle that led him to cease persecuting early Christians and to become a follower of Jesus. The New Testament accounts Paul's conversion experience is discussed in both the Pauline epistles and in the Acts of the Apostles. According to both sources, Saul/Paul was not a follower of Jesus and did not know him before his crucifixion. The narrative of the Book of Acts suggests Paul's conversion occurred 4–7 years after the crucifixion of Jesus. The accounts of Paul's conversion experience describe it as miraculous, supernatural, or otherwise revelatory in nature. Before conversion Before his conversion, Paul was known as Saul and was "a Pharisee of Pharisees", who " intensely persecuted" the followers of Jesus. Paul describes his life before conversion in his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prodigal Son
The Parable of the Prodigal Son (also known as the parable of the Two Brothers, Lost Son, Loving Father, or of the Forgiving Father) is one of the parables of Jesus Christ in the Bible, appearing in Luke 15:11–32. Jesus shares the parable with his disciples, the Pharisees and others. In the story, a father has two sons. The younger son asks for his portion of inheritance from his father, who grants his son's request. This son, however, is (i.e., wasteful and extravagant), thus squandering his fortune and eventually becoming destitute. As consequence, he must now return home empty-handed and intends to beg his father to accept him back as a servant. To the son's surprise, he is not scorned by his father but is welcomed back with celebration and a welcoming party. Envious, the older son refuses to participate in the festivities. The father tells the older son: "you are ever with me, and all that I have is yours, but thy younger brother was lost and now he is found." The Prodi ... [...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 f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Obbligato
In Western classical music, ''obbligato'' (, also spelled ''obligato'') usually describes a musical line that is in some way indispensable in performance. Its opposite is the marking ''ad libitum''. It can also be used, more specifically, to indicate that a passage of music was to be played exactly as written, or only by the specified instrument, without changes or omissions. The word is borrowed from Italian (an adjective meaning ''mandatory''; from Latin ''obligatus'' p.p. of ''obligare'', to oblige); the spelling ''obligato'' is not acceptable in British English, but it is often used as an alternative spelling in the US. The word can stand on its own, in English, as a noun, or appear as a modifier in a noun phrase (e.g. ''organ obbligato''). Independence ''Obbligato'' includes the idea of independence, as in C.P.E. Bach's 1780 Symphonies "''mit zwölf obligaten Stimmen''" ("with twelve ''obbligato'' parts") by which Bach was referring to the independent woodwind parts he was us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
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 oppose ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Venice
Venice ( ; it, Venezia ; vec, Venesia or ) is a city in northeastern Italy and the capital of the Veneto region. It is built on a group of 118 small islands that are separated by canals and linked by over 400 bridges. The islands are in the shallow Venetian Lagoon, an enclosed bay lying between the mouths of the Po and the Piave rivers (more exactly between the Brenta and the Sile). In 2020, around 258,685 people resided in greater Venice or the '' Comune di Venezia'', of whom around 55,000 live in the historical island city of Venice (''centro storico'') and the rest on the mainland (''terraferma''). Together with the cities of Padua and Treviso, Venice is included in the Padua-Treviso-Venice Metropolitan Area (PATREVE), which is considered a statistical metropolitan area, with a total population of 2.6 million. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC. The city was historica ... [...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 ... [...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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Figured Bass
Figured bass is musical notation in which numerals and symbols appear above or below (or next to) a bass note. The numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones that a musician playing piano, harpsichord, organ, or lute (or other instruments capable of playing chords) should play in relation to the bass note. Figured bass is closely associated with basso continuo: a historically improvised accompaniment used in almost all genres of music in the Baroque period of Classical music ( 1600–1750), though rarely in modern music. Figured bass is also known as thoroughbass. Other systems for denoting or representing chords include plain staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis; chord letters, sometimes used in modern musicology; the Nashville Number System; and various chord names and symbols used in jazz and popular music (e.g., C Major or simply C; D minor, Dm, or D−; G7, etc. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass (music)
The Mass ( la, missa) is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism), known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be '' a cappella'', that is, without an independent accompaniment, or they can be accompanied by instrumental '' obbligatos'' up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. History Middle Ages The e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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