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Girolamo Diruta
Girolamo Diruta (c. 1546 – 1624 or 1625) was an Italian organist, music theorist, and composer. He was famous as a teacher, for his treatise ''Il Transilvano'' (Venice, 1st part 1593; 2nd part 1609-10) on counterpoint, and for his part in the development of keyboard technique, particularly on the organ. He was born in Deruta, near Perugia. Biography Diruta was born in Deruta in 1546 c. He became a friar minor conventual in the convent Perugia in 1566; later, from 1569 to 1574, he was in the convent of Correggio. Around 1578 he moved to Venice, where he met Claudio Merulo, Gioseffo Zarlino and Costanzo Porta (who was also a friar minor conventual), and he probably studied with each of them. Merulo mentioned Diruta in a prefatory letter to the ''Transilvano'' (1593), as one of his finest students. From 1580 until 1585 he was organist at the Gubbio cathedral. He returned in Venice at the Frari convent, where he was organist from 1586 until 1589. By 1593 he was organist ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vincenzo Bellavere
Vincenzo Bellavere (also Bell'haver, Bell'aver, Belaver) (c.1540-1541 – 29 August 1587) was an Italian composer of the Venetian School. While a fairly minor figure in the Venetian School, he was a competent composer of madrigals and wrote a few works in the grand Venetian polychoral style. Biography Nothing is known about him prior to his appearance in Padua in 1567 as an organist at Crosieri Cathedral. That same year he tried to gain the prestigious job as first organist of the cathedral there. In 1568 he acquired the position of primary organist at the Scuola Grande di San Rocco, a Venetian establishment almost as prestigious as St. Mark's; he held this post until 1584 at which time he returned to Padua to take the post at the cathedral that he at first failed to win. In December 1585 he was fired from his job in Padua, probably because of an unexcused absence, but he returned to Venice to become organist of yet another Venetian church, Santo Stefano. In 1586 he became ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paolo Quagliati
Paolo Quagliati (c. 1555 – 16 November 1628) was an Italian composer of the early Baroque era and a member of the Roman School of composers. He was a transitional figure between the late Renaissance style and the earliest Baroque and was one of the first to write solo madrigals in the conservative musical center of Rome. Life Quagliati was born in Chioggia to an aristocratic family. Most of his life he spent in the service of various royal and aristocratic families. In 1594 he became a Roman citizen, and between 1605 and 1608 Quagliati was employed by Cardinal Odoardo Farnese. Most likely he was organist at Santa Maria Maggiore from around 1608 until his death. During that time he also served as organist for various formal occasions around the city, and eventually he became private chamberlain to Pope Gregory XV. Towards the end of his life he was much respected, if not renowned, by his fellow composers, as can be judged from dedications of collections of music to him; h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonio Romanini
Antonio is a masculine given name of Etruscan origin deriving from the root name Antonius. It is a common name among Romance language-speaking populations as well as the Balkans and Lusophone Africa. It has been among the top 400 most popular male baby names in the United States since the late 19th century and has been among the top 200 since the mid 20th century. In the English language it is translated as Anthony, and has some female derivatives: Antonia, Antónia, Antonieta, Antonietta, and Antonella'. It also has some male derivatives, such as Anthonio, Antón, Antò, Antonis, Antoñito, Antonino, Antonello, Tonio, Tono, Toño, Toñín, Tonino, Nantonio, Ninni, Totò, Tó, Tonini, Tony, Toni, Toninho, Toñito, and Tõnis. The Portuguese equivalent is António (Portuguese orthography) or Antônio (Brazilian Portuguese). In old Portuguese the form Antão was also used, not just to differentiate between older and younger but also between more and less important. In Galician th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luzzasco Luzzaschi
Luzzasco Luzzaschi (c. 1545 – 10 September 1607) was an Italian composer, organist, and teacher of the late Renaissance. He was born and died in Ferrara, and despite evidence of travels to Rome it is assumed that Luzzaschi spent the majority of his life in his native city. He was a skilled representative of the late Italian madrigal style, along with Palestrina, Wert, Monte, Lassus, Marenzio, Gesualdo and others. Biography As a pupil of Cipriano de Rore, Luzzaschi developed his craft and eventually came to be an influential pedagogue himself. Anthony Newcomb writes: In 1564, Luzzaschi was appointed as principal organist to the d'Este court. His facility as a keyboard player must have been paramount, for his competence on Nicola Vicentino's microtonal archicembalo was actively documented throughout his career. Luzzaschi is widely remembered due to his association with the famous ''Concerto delle donne'', a private female vocal ensemble founded by Alfonso II, Duke of Fer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Gabrieli
Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms. Biography Gabrieli was born in Venice. He was one of five children, and his father came from the region of Carnia and went to Venice shortly before Giovanni's birth. While not much is known about Giovanni's early life, he probably studied with his uncle, the composer Andrea Gabrieli, who was employed at St Mark's Basilica from the 1560s until his death in 1585. Giovanni may indeed have been brought up by his uncle, as is implied by the dedication to his 1587 book of concerti, in which he described himself as "little less than a son" to his uncle.Bryant, Grove online Giovanni also went to Munich to study with the renowned Orlando de Lassus at the court of Duke Albert V; most likely he stayed there unti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andrea Gabrieli
Andrea Gabrieli (1532/1533Bryant, Grove online – August 30, 1585) was an Italian composer and organist of the late Renaissance. The uncle of the somewhat more famous Giovanni Gabrieli, he was the first internationally renowned member of the Venetian School of composers, and was extremely influential in spreading the Venetian style in Italy as well as in Germany. Life Details on Gabrieli's early life are uncertain. He was probably a native of Venice, most likely the parish of S. Geremia. He may have been a pupil of Adrian Willaert at St. Mark's in Venice at an early age. There is some evidence that he spent time in Verona in the early 1550s, due to a connection with Vincenzo Ruffo, who worked there as ''maestro di cappella'' – Ruffo published one of Gabrieli's madrigals in 1554, and Gabrieli also wrote some music for a Veronese academy. Gabrieli is known to have been organist in Cannaregio between 1555 and 1557, at which time he competed unsuccessfully for the post of org ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canzona (music)
The canzona is an Italian musical form derived from the Franco-Flemish and Parisian chansons, and during Giovanni Gabrieli's lifetime was frequently spelled canzona, though both earlier and later the singular was spelled either canzon or canzone with the plural canzoni. The use of canzone as the plural is sometimes found in Italian, but is not common. English (and often German) uses the form canzona, with canzonas as the plural. Background The canzona is an instrumental musical form that differs from the similar forms of ricercare and fantasia in its livelier, markedly rhythmic material and separation into distinct sections. At first based on the Franco-Flemish polyphonic songs (chansons) that gave it its name, the instrumental canzona was soon independently composed, not least by Gabrieli in his brass canzonas and by Girolamo Frescobaldi in his keyboard canzonas. As a form, the canzona would influence the fugue, and the ensemble canzonas were the direct ancestors of the 17th-cen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toccata
Toccata (from Italian ''toccare'', literally, "to touch", with "toccata" being the action of touching) is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments (the opening of Claudio Monteverdi's opera ''L'Orfeo'' being a notable example). History Renaissance The form first appeared in the late Renaissance period. It originated in northern Italy. Several publications of the 1590s include toccatas, by composers such as Claudio Merulo, Andrea and Giovanni Gabrieli, Adriano Banchieri, and Luzzasco Luzzaschi. These are keyboard compositions in which one hand, and then the other, performs virtuosic runs and brilliant cascading passages against a chordal accompaniment in the other hand. Among the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Suspension (music)
A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord (see: factor (chord)). Non-chord tones are most often discussed in the context of the common practice period of classical music, but they can be used in the analysis of other types of tonal music as well, such as Western popular music. Nonchord tones are often categorized as ''accented non-chord tones'' and ''unaccented non-chord tones'' depending on whether the dissonance occurs on an accented or unaccented beat (or part of a beat). Over time, some musical styles assimilated chord types outside of the common-practice style. In these chords, tones that might normally be considered nonchord tones are viewed as chord tones, such as the seventh of a minor seventh chord. For example, in 1940s-era bebop jazz, an F played with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
