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Lodovico Agostini
Lodovico Agostini (1534 – 20 September 1590) was an Italian composer, singer, priest, and scholar of the late Renaissance. He was a close associate of the Ferrara Estense court, and one of the most skilled representatives of the progressive secular style which developed there at the end of the 16th century. Life He was born in Ferrara, and spent most of his life there. He was the illegitimate son of Agostino Agostini, a singer and priest of Ferrara mostly active in the 1540s. Lodovico may have studied for a time in Rome, based on the evidence of a madrigal published there, and he became a priest. By 1572, he was singing in the chapel of Ferrara Cathedral, and by 1578 he was on the payroll of Duke Alfonso II d'Este, one of the most famous patrons of music of the late 16th century. Clearly Lodovico was a favorite of the Duke, and he remained in his service for the rest of his life. In the 1580s, he was a composition teacher to the Duke of Mantua, Guglielmo Gonzaga; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Renaissance Music
Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century '' ars nova'', the Trecento music was treated by musicology as a coda to Medieval music and the new era dated from the rise of triadic harmony and the spread of the ' ''contenance angloise'' ' style from Britain to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period. The period may be roughly subdivided, with an early period corresponding to the career of Guillaume Du Fay (c. 1397–1474) and the cultivation of cantilena style, a middle dominated by Franco-Flemish School and the four-part textures favored by Johannes Ockeghem (1410's or 20's – 1497) and Josquin des Prez (late 1450's – 1521), and culminating during the Counter-Reformation in the florid counterpoint of Palest ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Concerto Di Donne
The ''concerto delle donne'' (; also ''concerto di donne'' or ''concerto delle (or di) dame'') was a group of professional female singers in the late Italian Renaissance, primarily in the court of Ferrara, Italy. Renowned for their technical and artistic virtuosity, the ensemble was founded by Alfonso II, Duke of Ferrara, in 1580 and was active until the court was dissolved in 1597. Giacomo Vincenti, a music publisher, praised the women as ''"virtuose giovani"'' (young virtuosas), echoing the sentiments of contemporaneous diarists and commentators. The origins of the ensemble lay in an amateur group of high-placed courtiers who performed for each other within the context of the Duke's informal ''musica secreta'' () in the 1570s. The ensemble evolved into an all-female group of professional musicians, the ''concerto delle donne'', who performed formal concerts for members of the inner circle of the court and important visitors. Their signature style of florid, highly ornamente ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigale Spirituale
A madrigale spirituale (Italian; pl. ''madrigali spirituali'') is a madrigal, or madrigal-like piece of music, with a sacred rather than a secular text. Most examples of the form date from the late Renaissance and early Baroque eras, and principally come from Italy and Germany. ''Madrigali spirituali'' were almost always intended for an audience of cultivated, often aristocratic amateurs. They were performed at private houses, academies, and courts of noblemen in Italy and adjacent countries, but almost certainly were not used liturgically. The ''madrigale spirituale'' was an a cappella form, though instrumental accompaniment was used on occasion, especially after 1600. During the Counter-Reformation, there was, to some degree, a reaction against the secularization of the art of music in Italy, Spain and the southern (Catholic) portion of Germany. While that did not stop the composition of secular music (indeed, the explosion of forms and styles of secular music continued unabated ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luigi Tansillo
Luigi Tansillo (1510–1568) was an Italian poet of the Petrarchian school. Born in Venosa, he entered the service of Pedro Álvarez de Toledo in 1536 and in 1540 entered the Accademia degli Umidi, soon renamed Accademia Fiorentina. He was associated with the Court of Naples and served as Captain of Justice at Gaeta. His work ''Il vendemmiatore'', written in his youth, was considered licentious enough to be placed on the Index Librorum Prohibitorum by Pope Paul IV. His work ''Il podere'', concerned with agronomy, was inspired by Columella with its precise observations on the choice of a good agricultural estate. Jacquet de Berchem set some of his texts, as did Giovanni Tommaso Benedictis da Pascarola. François de Malherbe’s ''Larmes de Saint Pierre'', imitated from Tansillo, appeared in 1587, and in 1594 Orlando di Lasso also set Le lagrime di San Pietro. William Roscoe’s translation of Tansillo's ''Nurse'' appeared in 1798, and went through several editions. Tansi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lute
A lute ( or ) is any plucked string instrument with a neck and a deep round back enclosing a hollow cavity, usually with a sound hole or opening in the body. It may be either fretted or unfretted. More specifically, the term "lute" can refer to an instrument from the family of European lutes. The term also refers generally to any string instrument having the strings running in a plane parallel to the sound table (in the Hornbostel–Sachs system). The strings are attached to pegs or posts at the end of the neck, which have some type of turning mechanism to enable the player to tighten the tension on the string or loosen the tension before playing (which respectively raise or lower the pitch of a string), so that each string is tuned to a specific pitch (or note). The lute is plucked or strummed with one hand while the other hand "frets" (presses down) the strings on the neck's fingerboard. By pressing the strings on different places of the fingerboard, the player can sho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viol
The viol (), viola da gamba (), or informally gamba, is any one of a family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Frets on the viol are usually made of gut, tied on the fingerboard around the instrument's neck, to enable the performer to stop the strings more cleanly. Frets improve consistency of intonation and lend the stopped notes a tone that better matches the open strings. Viols first appeared in Spain in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic '' rebab'' and the medieval European vielle,Otterstedt, Annette. ''The Viol: History of an Instrument. ''Kassel: Barenreiter;-Verlag Karl Votterle GmbH & Co; 2002. but later, more direct possible ancestors include the Venetian ''viole'' and the 15th- and 16th-century Spanish ''vihue ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Livia D'Arco
Livia d'Arco (c. 1565–1611) was an Italian singer in the court of Alfonso II d'Este in Ferrara. Biography She was sent there with the household of Margherita Gonzaga d'Este at the time of Margherita's marriage to Alfonso in 1579, and was a young woman at the time, around fifteen. Livia was the daughter of a minor Mantuan nobleman from Arco family, and was perhaps sent to the court in Ferrara because of her musical potential. When she arrived, she began studying the viol with Luzzasco Luzzaschi and Ippolito Fiorini. After a few years of study she joined Laura Peverara, Tarquinia Molza and Anna Guarini in the ''Concerto delle donne''; the first record of her singing with them was in 1582. Like the other members of the ''Concerto'', poems were written in her honor, specifically by Torquato Tasso and Angelo Grillo under the pseudonym Livio Celiano. In 1585 she was married to Count Alfonso Bevilacqua Bevilacqua () is a ''comune ''with 1,927 inhabitants in the province of Verona, I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anna Guarini
Anna Guarini, Contessa Trotti (1563 – 3 May 1598) was an Italian virtuoso singer of the late Renaissance. She was one of the most renowned singers of the age, and was one of the four ''concerto di donne'' at the Ferrara court of the d' Este family, for whom many composers wrote in a progressive style. Life and murder She was the daughter of the famous poet Giovanni Battista Guarini, author of ''Il pastor fido''. Details of her early years are scanty, but it is known that she began her employment with the court of the d'Este family at the age of seventeen, and immediately attracted attention for the beauty and control of her singing voice. In addition to singing, she was a talented player of the lute. The Duchess of Ferrara, Margherita Gonzaga d'Este, apparently kept her and the other three members of the ''concerto di donne'' (Laura Peverara, Tarquinia Molza and Livia d'Arco) as frequent companions wherever she went; and the four musicians sang so beautifully together that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Laura Peverara
Laura Peverara or Peperara (c. 1550 – 4 January 1601) was an Italian virtuoso singer who was also a harpist and dancer; born and raised in Mantua. Her father, Vincenzo, was a merchant, an intellectual who tutored princes, leading to Laura being brought up in courtly society. In the 1570s she was singing in Verona. Alfred Einstein identified Laura as a member of the renowned ''musica secreta'' ensemble ''il Concerto delle donne'' in Ferrara. She was the first member, starting in 1580, and remained in the group until its dissolution in 1597. It is now clear from reappraisal of the source material that there were two ''concerti'' at Ferrara and that Einstein's "Three Ladies" are drawn from different groups. Peverara and Anna Guarini were the only two of the original members to sing at the ensemble's first recorded performance. Three anthologies were put together in her honor, including one by Torquato Tasso (''Il Lauro verde'') in celebration of her marriage to Ferrarese Count A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chromaticism
Chromaticism is a compositional technique interspersing the primary diatonic scale, diatonic pitch (music), pitches and chord (music), chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes. Chromaticism is in contrast or addition to tonality or diatonic and chromatic, diatonicism and modality (music), modality (the major scale, major and minor scale, minor, or "white key", scales). Chromatic elements are considered, "elaborations of or substitutions for diatonic scale members".Matthew Brown; Schenker, "The Diatonic and the Chromatic in Schenker's "Theory of Harmonic Relations", ''Journal of Music Theory'', Vol. 30, No. 1 (Spring 1986), pp. 1–33, citation on p. 1. Development of chromaticism Chromaticism began to develop in the late Renaissance music, Renaissance p ... [...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] |
Ars Subtilior
''Ars subtilior'' (Latin for 'subtler art') is a musical style characterized by rhythmic and notational complexity, centered on Paris, Avignon in southern France, and also in northern Spain at the end of the fourteenth century.Hoppin 1978, 472–73. The style also is found in the French Cypriot repertory. Often the term is used in contrast with ars nova, which applies to the musical style of the preceding period from about 1310 to about 1370; though some scholars prefer to consider ''ars subtilior'' a subcategory of the earlier style. Primary sources for ''ars subtilior'' are the Chantilly Codex, the Modena Codex (Mod A M 5.24), and the Turin Manuscript (Torino J.II.9). Overview and history Musically, the productions of the ''ars subtilior'' are highly refined, complex, and difficult to sing, and probably were produced, sung, and enjoyed by a small audience of specialists and connoisseurs. Musicologist Richard Hoppin suggests the superlative ''ars subtilissima'', saying, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
