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Johannes Ciconia
Johannes Ciconia ( – between 10 June and 13 July 1412) was an important Flemish composer and music theorist of trecento music during the late Medieval era. He was born in Liège, but worked most of his adult life in Italy, particularly in the service of the papal chapels in Rome and later and most importantly at Padua Cathedral. Life He was the son of a priest (also named Johannes Ciconia) and a woman of high social standing. Since at least three other men around Liège had that name as well, this has created biographical confusion, first solved by David Fallows in 1975. A Johannes Ciconia, probably the composer's father, worked in Avignon in 1350 as a clerk for the wife of Pope Clement VI's nephew. Another Johannes Ciconia is recorded in Liège in 1385 as a , generally identifying a person of young age; scholars agree that this is the composer himself. Papal records suggest that Ciconia was in the service of Pope Boniface IX in Rome in 1391. His whereabouts between the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
MIDI
MIDI (; Musical Instrument Digital Interface) is a technical standard that describes a communications protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music. The specification originates in the paper ''Universal Synthesizer Interface'' published by Dave Smith and Chet Wood of Sequential Circuits at the 1981 Audio Engineering Society conference in New York City. A single MIDI cable can carry up to sixteen channels of MIDI data, each of which can be routed to a separate device. Each interaction with a key, button, knob or slider is converted into a MIDI event, which specifies musical instructions, such as a note's pitch, timing and loudness. One common MIDI application is to play a MIDI keyboard or other controller and use it to trigger a digital sound module (which contains synthesized musical sounds) to generate sounds, which t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Squarcialupi Codex
The Squarcialupi Codex (Florence, Biblioteca Medicea Laurenziana, Med. Pal. 87) is an illuminated manuscript compiled in Florence in the early 15th century. It is the single largest primary source of music of the 14th-century Italian ''Trecento'' (also known as the " Italian ars nova"). It consists of 216 parchment folios, organized by composer, with each composer's section beginning with a portrait of the composer richly illuminated in gold, red, blue and purple. The manuscript is in good condition, and musical pieces are complete. Included in the codex are 146 complete pieces by Francesco Landini, 37 by Bartolino da Padova, 36 by Niccolò da Perugia, 29 by Andrea da Firenze, 28 by Jacopo da Bologna, 17 by Lorenzo da Firenze, 16 by Gherardello da Firenze, 15 by Donato da Cascia, 12 pieces by Giovanni da Cascia, 6 by Vincenzo da Rimini, and smaller amounts of music by others. It contains 16 blank folios, intended for the music of Paolo da Firenze, since they are labeled as such ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Florence
Florence ( ; it, Firenze ) is a city in Central Italy and the capital city of the Tuscany region. It is the most populated city in Tuscany, with 383,083 inhabitants in 2016, and over 1,520,000 in its metropolitan area.Bilancio demografico anno 2013, datISTAT/ref> Florence was a centre of medieval European trade and finance and one of the wealthiest cities of that era. It is considered by many academics to have been the birthplace of the Renaissance, becoming a major artistic, cultural, commercial, political, economic and financial center. During this time, Florence rose to a position of enormous influence in Italy, Europe, and beyond. Its turbulent political history includes periods of rule by the powerful Medici family and numerous religious and republican revolutions. From 1865 to 1871 the city served as the capital of the Kingdom of Italy (established in 1861). The Florentine dialect forms the base of Standard Italian and it became the language of culture throughout Ital ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prosdocimus De Beldemandis
Prosdocimus de Beldemandis (or Prosdocimo de' Beldomandi) (died 1428) was an Italian mathematician, music theorist, and physician. He studied at the University of Padua and the University of Bologna. The earliest works by him date from the early 15th century. He took the doctorate in arts at Padua on 15 May 1409, and received a physician's license on 15 April 1411. In 1412 he stayed in Montagnana, where he wrote a number of treatises. From c. 1420/22 to 1428, the year of his death, Prosdocimus taught a wide variety of subjects at Padua. His was interested in, among other things, arithmetic, music, astronomy, and astrology; this range of interests, however, was common for a Paduan doctor of his day. He wrote the last significant treatise on the art of musical notation as practiced by the Italians. He was held in high regard long after his death: some of the non-musical treatises were reprinted in the 16th century, and Luca Pacioli ranked him alongside Euclid and Boethius. Selected ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marchetto Of Padua
Marchetto da Padova (Marchettus of Padua; fl. 1305 – 1319) was an Italian music theorist and composer of the late medieval era. His innovations in notation of time-values were fundamental to the music of the Italian ars nova, as was his work on defining the modes and refining tuning. In addition, he was the first music theorist to discuss chromaticism. Life Most likely he was born in Padua. Little is known about his life, but he is recorded as being music teacher for the choirboys at the cathedral in Padua in 1305 and 1306, and he left Padua in 1308 to work in other cities in the Veneto and the Romagna. His two major treatises seem to have been written between 1317 and 1319, shortly before Philippe de Vitry produced his '' Ars nova'' (c. 1322), which gave its name to the music of the age. Marchetto indicated in the treatises themselves that he wrote them at Cesena and Verona. There are no other reliable records of his life, although his fame was evidently widespread ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Isorhythm
Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a ''talea'', in at least one voice part throughout a composition. ''Taleae'' are typically applied to one or more melodic patterns of pitches or ''colores'', which may be of the same or a different length from the ''talea''. History and development Isorhythms first appear in French motets of the 13th century, such as in the Montpellier Codex. Although 14th-century theorists used the words ''talea'' and ''color''—the latter in a variety of senses related to repetition and embellishment—the term "isorhythm" was not coined until 1904 by musicologist Friedrich Ludwig (1872–1930), initially to describe the practice in 13th-century polyphony. Ludwig later extended its use to the 14th-century music of Guillaume de Machaut. Subsequently, Heinrich Besseler and other musicologists expanded its scope further as an organizing structural element in 14th- and early 15th-cen ... [...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 earli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigal (Trecento)
The Trecento Madrigal is an Italian musical form of the 14th century. It is quite distinct from the madrigal of the Renaissance and early Baroque, with which it shares only the name. The madrigal of the Trecento flourished ca. 1340–1370 with a short revival near 1400. It was a composition for two (or rarely three) voices, sometimes on a pastoral subject. In its earliest development it was simple construction: Francesco da Barberino in 1300 called it a "raw and chaotic singalong". The text of the madrigal is divided into three sections: two strophes called terzetti set to the same music and a concluding section called the ritornello usually in a different meter, creating an aaB form. History The origins of the madrigal are obscure, and debated, with one school of thought seeing it as a secular mutation of the conductus of the ''ars antiqua'', and another seeing it as deriving from 13th-century secular monophonic song with an improvised accompaniment. Little Italian music from t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ballate
The ''ballata'' (plural: ''ballate'') is an Italian poetic and musical form in use from the late 13th to the 15th century. It has the musicapenim AbbaA, with the first and last stanzas having the same texts. It is thus most similar to the French musical ' forme fixe' virelai (and not the ballade as the name might otherwise suggest). The first and last "A" is called a ''ripresa'', the "b" lines are ''piedi'' (feet), while the fourth line is called a "volta". Longer ballate may be found in the form AbbaAbbaA, etc. Unlike the virelai, the two "b" lines usually have exactly the same music and only in later ballate pick up the (formerly distinctly French) first and second (open and close) endings. The term comes from the verb ''ballare'', to dance, and the form certainly began as dance music. The ballata was one of the most prominent secular musical forms during the trecento, the period often known as the Italian '' ars nova''. Ballate are sung at the end of each day of Bocca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Virelai
A ''virelai'' is a form of medieval French verse used often in poetry and music. It is one of the three ''formes fixes'' (the others were the ballade and the rondeau) and was one of the most common verse forms set to music in Europe from the late thirteenth to the fifteenth centuries. One of the most famous composers of virelai is Guillaume de Machaut (c. 1300–1377), who also wrote his own verse; 33 separate compositions in the form survive by him. Other composers of virelai include Jehannot de l'Escurel, one of the earliest (d. 1304), and Guillaume Dufay (c. 1400–1474), one of the latest. By the mid-15th century, the form had become largely divorced from music, and numerous examples of this form (including the ballade and the rondeau) were written, which were either not intended to be set to music, or for which the music has not survived. A virelai with only a single stanza is also known as a bergerette. Musical virelai The virelai as a song form of the 14t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
