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Géry De Ghersem
Géry de Ghersem (also Géry Gersem) (1573 to 1575 – 25 May 1630) was a Franco-Flemish composer of the late Renaissance, active both in Spain at the court of Philip II and Philip III, and in his native from Low countries. He was a prolific and highly regarded composer at the time, but little of his work survives, almost all having been destroyed in the Lisbon earthquake and fire of 1755. Life Ghersem was born in Tournai, and received his boyhood musical training there, possibly under the direction of composer George de La Hèle. While still young, "between the ages of 7 and 12" according to the Habsburg chapel records, he was one of 14 boys brought to Spain to sing in the imperial chapel choir, the ''capilla flamenca''. During this period, as during the previous two hundred years, the Low Countries provided a dependable source of talented young musicians for the choirs of kings and aristocrats in other parts of Europe. This practice was shortly to come to an end, as the last ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franco-Flemish School
The designation Franco-Flemish School, also called Netherlandish School, Burgundian School, Low Countries School, Flemish School, Dutch School, or Northern School, refers, somewhat imprecisely, to the style of polyphonic vocal music composition originating from France and from the Burgundian Netherlands in the 15th and 16th centuries as well as to the composers who wrote it. The spread of their technique, especially after the revolutionary development of printing, produced the first true international style since the unification of Gregorian chant in the 9th century. Franco-Flemish composers mainly wrote sacred music, primarily masses, motets, and hymns. Term and controversy Several generations of Renaissance composers from the region loosely known as the Low Countries (Imperial and French fiefs ruled in personal union by the House of Valois-Burgundy in the period from 1384 to 1482)—i.e. present-day Northern France, Belgium and the Southern Netherlands—are grouped under "Fran ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Bull (composer)
John Bull (1562/63 – 12/13 March 1628) was an English composer, organist, virginalist and organ builder. He was a renowned keyboard performer of the virginalist school and most of his compositions were written for this medium. Life and career Bull's place of birth is uncertain. In an article published in 1952, Thurston Dart presumed that Bull's family originated in Somerset, where it is possible the composer was born. It was the 17th-century antiquarian Anthony Wood who first proposed that he was related to the Bull family of Peglich, Somerset, but in 1959 Dart wrote that Bull was ''probably the son of a London goldsmith…''. Then, in the second edition of his ''Calendar of the Life of John Bull'', Dart proposed Hereford as a third possibility. More recent research by Susi Jeans suggests that Bull was born in the Radnorshire parish of Old Radnor within the Diocese of Hereford, although no birth records have yet been discovered. Bull's appointment as organist of Hereford Cat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pietro Cerone
Pietro Cerone (1566–1625) was an Italian music theorist, singer and priest of the late Renaissance. He is most famous for an enormous music treatise he wrote in 1613, which is useful in the studying compositional practices of the 16th century. Life Cerone was born in Bergamo. While Italian, he spent most of his life in Spanish-dominated Naples, Sardinia, and later in Spain: he did most of his writing in Spanish. He was unusual in being an Italian musician in Spain; far more often in the 16th century, Spanish musicians went to Italy, as in the case of Victoria. In 1603 he returned to Naples, where he was a priest and singer until his death. It was in Naples that he wrote his two most famous treatises. Writings The first of these, in Italian, was ''Le regole più necessarie per l'introduzione del canto fermo'', which he published in 1609. It was a didactic and practical work on singing plainsong, which he probably used in his work at the Neapolitan church of Ss Annunziata. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Francisco Guerrero (composer)
Francisco Guerrero (October 4 (?), 1528 – November 8, 1599) was a Spanish Catholic priest and composer of the Renaissance. He was born and died in Seville. Life and career Guerrero's early musical education was with his older brother Pedro and after that with the famous composer Cristóbal de Morales. At the age of 18 he was appointed ''maestro de capilla'' (i.e. music director) at Jaén Cathedral. Three years later he accepted a position of singer at Seville Cathedral. During this time he was much in demand as a singer and composer, establishing an exceptional reputation before his thirtieth birthday; in addition he published several collections of his music abroad, an unusual event for a young composer. After several decades of working and traveling throughout Spain and Portugal, sometimes in the employ of emperor Maximilian II, he went to Italy for a year (1581–1582) where he published two books of his music. After returning to Spain for several years, he decided to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canon (music)
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitation (music), imitations of the melody played after a given duration (music), duration (e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or ''dux''), while the imitative melody, which is played in a different part (music), voice, is called the follower (or ''comes''). The follower must imitate the leader, either as an exact replication of its rhythms and Interval (music), intervals or some transformation thereof. Repeating canons in which all voices are musically identical are called round (music), rounds—"Row, Row, Row Your Boat" and "Frère Jacques" are popular examples. An accompanied canon is a canon accompanied by one or more additional independent parts that do not imitate the melody. History Medieval and Renaissance During the Medieval music, Middle Ages, Renaissance music, Renaissance, and Baroque music, Baroque ... [...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 opposed to " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque Music
Baroque music ( or ) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition, the galant style. The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word ''barroco'', meaning " misshapen pearl". The works of George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Antonio Vivaldi, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chanson
A (, , french: chanson française, link=no, ; ) is generally any lyric-driven French song, though it most often refers to the secular polyphonic French songs of late medieval and Renaissance music. The genre had origins in the monophonic songs of troubadours and trouvères, though the only polyphonic precedents were 16 works by Adam de la Halle and one by Jehan de Lescurel. Not until the '' ars nova'' composer Guillaume de Machaut did any composer write a significant number of polyphonic chansons. A broad term, the word "chanson" literally means "song" in French and can thus less commonly refers to a variety of (usually secular) French genres throughout history. This includes the songs of chansonnier, ''chanson de geste'' and Grand chant; court songs of the late Renaissance and early Baroque music periods, ''air de cour''; popular songs from the 17th to 19th century, ''bergerette'', ''brunette'', ''chanson pour boire'', ''pastourelle'', and vaudeville; art song of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Villancico
The ''villancico'' (Spanish, ) or vilancete (Portuguese, ) was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Manuel de Zumaya, Juana Inés de la Cruz, Gaspar Fernandes, and Juan Gutiérrez de Padilla.Pope, "Villancico." Spain and the New World Derived from medieval dance forms, the 15th century Spanish villancico was a type of popular song sung in the vernacular and frequently associated with rustic themes. The poetic form of the Spanish villancico was that of an estribillo (or refrain) and coplas (stanzas), with or without an introduction. While the exact order and number of repetitions of the estribillo and coplas varied, the most typical form was a loose ABA framework, often in triple meter, ABA framework. The villancico developed as a secular polyphonic genre until religious villancicos gained popularity in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psalm
The Book of Psalms ( or ; he, תְּהִלִּים, , lit. "praises"), also known as the Psalms, or the Psalter, is the first book of the ("Writings"), the third section of the Tanakh, and a book of the Old Testament. The title is derived from the Greek translation, (), meaning "instrumental music" and, by extension, "the words accompanying the music". The book is an anthology of individual Hebrew religious hymns, with 150 in the Jewish and Western Christian tradition and more in the Eastern Christian churches. Many are linked to the name of David, but modern mainstream scholarship rejects his authorship, instead attributing the composition of the psalms to various authors writing between the 9th and 5th centuries BC. In the Quran, the Arabic word ‘Zabur’ is used for the Psalms of David in the Hebrew Bible. Structure Benedictions The Book of Psalms is divided into five sections, each closing with a doxology (i.e., a benediction). These divisions were probably intro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magnificat
The Magnificat (Latin for "[My soul] magnifies [the Lord]") is a canticle, also known as the Song of Mary, the Canticle of Mary and, in the Eastern Christianity, Byzantine tradition, the Ode of the Theotokos (). It is traditionally incorporated into the liturgical services of the Catholic Church, the Eastern Orthodox churches, and the Anglican Communion. Its name comes from the incipit of the Latin version of the text. The text of the canticle is taken from the Gospel of Luke () where it is spoken by Mary, mother of Jesus, Mary upon the occasion of her Visitation (Christianity), Visitation to her cousin Elizabeth (biblical figure), Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the latter moves within Elizabeth's womb. Elizabeth praises Mary for her Faith in Christianity, faith (using words partially reflected in the Hail Mary), and Mary responds with what is now known as the Magnificat. The Magnificat is one of the eight most a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lamentations Of Jeremiah The Prophet
''The Lamentations of Jeremiah the Prophet'' have been set by various composers. Renaissance England Thomas Tallis set the first lesson, and second lesson, of Tenebrae on Maundy Thursday between 1560, and 1569: "when the practice of making musical settings of the Holy Week readings from the Book of Jeremiah enjoyed a brief and distinguished flowering in England (the practice had developed on the continent during the early 15th century)". The lessons are drawn from ''Lamentations'' (Lam. 1, vv.1-2, and Lam. 1, vv.3-5). These famous and notably expressive settings are both ''a'' 5 for ATTBB and employ a sophisticatedly imitative texture. Tallis like many other composers included the following text: * the announcements ''Incipit Lamentatio Ieremiae Prophetae'' ("Here begins the Lamentation of Jeremiah the Prophet"), and ''De Lamentatione Ieremiae Prophetae'' ("From the Lamentation of Jeremiah the Prophet"); * the Hebrew letters ALEPH, BETH, GIMEL, DALETH, and HE, that headed each ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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