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Jean De Macque
Giovanni de Macque (Giovanni de Maque, Jean de Macque) (1548/1550 – September 1614) was a Dutch School (music), Netherlandish composer of the late Renaissance music, Renaissance and early Baroque music, Baroque, who spent almost his entire life in Italy. He was one of the most famous Naples, Neapolitan composers of the late 16th century; some of his experimentation with chromaticism was likely influenced by Carlo Gesualdo, who was an associate of his. Life Macque was born in Valenciennes, but moved to Vienna at an early age, where he sang as a choirboy, and where he studied with Philippe de Monte, the renowned composer of madrigal (music), madrigals. When his voice broke in late 1563 — the only evidence for his birthdate — he was moved out of the choir and into a Jesuit college, and sometime before 1574 he moved to Rome, where he worked as a composer and as an organist; he published his first book of madrigals in 1576 (in Venice, which had a much more active publishing ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dutch School (music)
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] |
Luigi Rossi
Luigi Rossi (c. 1597 – 20 February 1653) was an Italian Baroque composer. Born in Torremaggiore, a small town near Foggia, in the ancient kingdom of Naples, at an early age he went to Naples where he studied music with the Franco-Flemish composer Jean de Macque, organist of the Santa Casa dell’Annunziata and ''maestro di cappella'' to the Spanish viceroy. Rossi later entered the service of the Caetani, dukes of Traetta. Life Rossi composed two operas: '' Il palazzo incantato'', which was given at Rome in 1642; and ''Orfeo'', written after he was invited by Cardinal Mazarin in 1646 to go to Paris for that purpose and given its premiere there in 1647. Rossi returned to France in 1648 hoping to write another opera, but no production was possible because the court had sought refuge outside Paris. Rossi returned to Rome by 1650 and never attempted anything more for the stage. A collection of cantatas published in 1646 describes him as musician to Cardinal Antonio Barberin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrafactum Motet
In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". The earliest known examples of this procedure (sometimes referred to as ''adaptation''), date back to the 9th century used in connection with Gregorian Chant. Categories Translations meant for singing are not usually intentional "substitution". Types of contrafacta that are wholesale substitution of a different text include the following: Poems set to music An existing tune already possessing secular or sacred words is given a new poem, which often happens in hymns, and sometimes, more than one new set of words is created over time. Examples include: * The words of ''What Child Is This?'' were fitted to the tune of the folksong "Greensleeves". * The Charles Wesley hymn text Hark! The Herald Angels Sing was fitted by William Hayman Cummings to a tune from Mendelssohn's Gutenberg cantata Festgesang. * The hymn tune "Dix" has been giv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Laude
The ''lauda'' (Italian pl. ''laude'') or ''lauda spirituale'' was the most important form of vernacular sacred song in Italy in the late medieval era and Renaissance. ''Laude'' remained popular into the nineteenth century. The lauda was often associated with Christmas, and so is in part equivalent to the English carol, French noel, Spanish villancico, and like these genres occupies a middle ground between folk and learned lyrics. Origin and spread of the lauda Originally, the ''lauda'' was a monophonic (single-voice) form, but a polyphonic type developed in the early fifteenth century. The early ''lauda'' was probably influenced by the music of the troubadours, since it shows similarities in rhythm, melodic style, and especially notation. Many troubadours had fled their original homelands, such as Provence, during the Albigensian Crusade in the early 13th century, and settled in northern Italy where their music was influential in the development of the Italian secular style. A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Litany
Litany, in Christian worship and some forms of Judaic worship, is a form of prayer used in services and processions, and consisting of a number of petitions. The word comes through Latin ''litania'' from Ancient Greek λιτανεία (''litaneía''), which in turn comes from λιτή (''litḗ''), meaning "supplication". Christianity Western Christianity This form of prayer finds its model in Psalm 136: "Praise the Lord, for he is good: for his mercy endures for ever. Praise ye the God of gods . . . the Lord of lords . . . Who alone doth great wonders . . . Who made the heavens", etc., with the concluding words in each verse, "for his mercy endures for ever." The Litany originated in Antioch in the fourth century and from there was taken to Constantinople and through it to the rest of the East...From Constantinople the Litany was taken to Rome and the West. Josef Andreas Jungmann explains how the ''Kyrie'' in the Roman Mass is best seen as a vestige of a litany at the beginn ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motet
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.Margaret Bent,The Late-Medieval Motet in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 (Berkeley, California: University of California Press, 1992): 114. . The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". Etymology In the early 20th century, it was generally believed the name ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Organ (music)
Carol Williams performing at the United States Military Academy West Point Cadet Chapel.">West_Point_Cadet_Chapel.html" ;"title="United States Military Academy West Point Cadet Chapel">United States Military Academy West Point Cadet Chapel. In music, the organ is a keyboard instrument of one or more Pipe organ, pipe divisions or other means for producing tones, each played from its own Manual (music), manual, with the hands, or pedalboard, with the feet. Overview Overview includes: * Pipe organs, which use air moving through pipes to produce sounds. Since the 16th century, pipe organs have used various materials for pipes, which can vary widely in timbre and volume. Increasingly hybrid organs are appearing in which pipes are augmented with electric additions. Great economies of space and cost are possible especially when the lowest (and largest) of the pipes can be replaced; * Non-piped organs, which include: ** pump organs, also known as reed organs or harmoniums, which ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Capriccio (music)
A capriccio or caprice (sometimes plural: ''caprices'', ''capri'' or, in Italian, ''capricci''), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of madrigals. In the late 16th and early 17th centuries, it could refer to madrigals, music intended alternatively for voices or instruments, or strictly instrumental pieces, especially keyboard compositions. Schwandt, Erich. 2001. "Capriccio (i)". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Examples * Charles-Valentin Alkan: ''Capriccio alla soldatesca'' (1859) * Fikret Amirov: ''Azerbaijan Cap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ricercar
A ricercar ( , ) or ricercare ( , ) is a type of late Renaissance and mostly early Baroque instrumental composition. The term ''ricercar'' derives from the Italian verb which means 'to search out; to seek'; many ricercars serve a preludial function to "search out" the key or mode of a following piece. A ricercar may explore the permutations of a given motif, and in that regard may follow the piece used as illustration. The term is also used to designate an etude or study that explores a technical device in playing an instrument, or singing. In its most common contemporary usage, it refers to an early kind of fugue, particularly one of a serious character in which the subject uses long note values. However, the term has a considerably more varied historical usage. Among the best-known ricercars are — for harpsichord — the two contained in Bach's ''Musical Offering'', and Domenico Gabrielli's set of seven for solo cello. The latter set contains what are considered to be some ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canzona
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-centu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Interval (music)
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord. In Western music, intervals are most commonly differences between notes of a diatonic scale. Intervals between successive notes of a scale are also known as scale steps. The smallest of these intervals is a semitone. Intervals smaller than a semitone are called microtones. They can be formed using the notes of various kinds of non-diatonic scales. Some of the very smallest ones are called commas, and describe small discrepancies, observed in some tuning systems, between enharmonically equivalent notes such as C and D. Intervals can be arbitrarily small, and even imperceptible to the human ear. In physical terms, an interval is the ratio between two sonic freq ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ferrara
Ferrara (, ; egl, Fràra ) is a city and ''comune'' in Emilia-Romagna, northern Italy, capital of the Province of Ferrara. it had 132,009 inhabitants. It is situated northeast of Bologna, on the Po di Volano, a branch channel of the main stream of the Po River, located north. The town has broad streets and numerous palaces dating from the Renaissance, when it hosted the court of the House of Este. For its beauty and cultural importance, it has been designated by UNESCO as a World Heritage Site. History Antiquity and Middle Ages The first documented settlements in the area of the present-day Province of Ferrara date from the 6th century BC. The ruins of the Etruscan town of Spina, established along the lagoons at the ancient mouth of Po river, were lost until modern times, when drainage schemes in the Valli di Comacchio marshes in 1922 first officially revealed a necropolis with over 4,000 tombs, evidence of a population centre that in Antiquity must have played a major rol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
