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Missa Sine Nomine (Josquin)
The ''Missa Sine nomine'' is a setting of the Ordinary of the Mass by Renaissance composer Josquin des Prez. It is a work of his maturity, probably dating from the period after he returned to Condé-sur-l'Escaut in 1504. It is one of Josquin's only masses not to be based on pre-existing material, and like the '' Missa ad fugam'', it is a canonic mass.Bloxam, in Scherr, p. 204 The circumstances of its composition are unknown. Since its first appearance was in Ottaviano Petrucci's third book of Josquin's masses (Fossombrone, 1514), and since it then also appeared in later manuscript copies, it is presumed that it was relatively recently composed at the time of publication; in addition stylistic characteristics suggest it was a late work. Josquin wrote only two canonic masses, the ''Missa ad fugam'' and the ''Missa sine nomine''; they seem to stand at opposite ends of his career, and in the latter work he seemed to revisit some of the compositional problems he tackled in his ear ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ordinary Of The Mass
The ordinary, in Roman Catholic and other Western Christian liturgies, refers to the part of the Mass or of the canonical hours that is reasonably constant without regard to the date on which the service is performed. It is contrasted to the ''proper'', which is that part of these liturgies that varies according to the date, either representing an observance within the liturgical year, or of a particular saint or significant event, or to the ''common'' which contains those parts that are common to an entire category of saints such as apostles or martyrs. The ordinary of both the Eucharist and the canonical hours does, however, admit minor variations following the seasons (such as the omission of "Alleluia" in Lent and its addition in Eastertide). These two are the only liturgical celebrations in which a distinction is made between an ordinary and other parts. It is not made in the liturgy of the other sacraments or of blessings and other rites. In connection with liturgy, the te ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanctus
The Sanctus ( la, Sanctus, "Holy") is a hymn in Christian liturgy. It may also be called the ''epinikios hymnos'' ( el, ἐπινίκιος ὕμνος, "Hymn of Victory") when referring to the Greek rendition. In Western Christianity, the ''Sanctus'' forms part of the Ordinary and is sung (or said) as the final words of the Preface of the Eucharistic Prayer of remembrance, consecration, and praise. The preface, which alters according to the season, usually concludes with words describing the praise of the worshippers joining with the angels, who are pictured as praising God with the words of the ''Sanctus''. In the Byzantine Rite and general Eastern Orthodox Christianity, the ''Sanctus'' is offered as a response by the choir during the Holy Anaphora. ''Tersanctus'' ("Thrice Holy") is another, rarer name for the Sanctus. The same name is sometimes used for the ''Trisagion''. Text In Greek ''Hágios, hágios, hágios, Kýrios Sabaṓth; plḗrēs ho ouranós kaí hē gê ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gustave Reese
Gustave Reese ( ; 29 November 1899 – 7 September 1977) was an American musicologist and teacher. Reese is known mainly for his work on medieval and Renaissance music, particularly with his two publications ''Music in the Middle Ages'' (1940) and ''Music in the Renaissance'' (1954); these two books remain the standard reference works for these two eras, with complete and precise bibliographical material, allowing for almost every piece of music mentioned to be traced back to a primary source. Early life and education Reese was born in New York City on 29 November 1899. He was an avid scholar and had interests in many areas outside music, including art, architecture, and literature. He studied law at New York University, graduating in 1921. Though he was admitted to the New York State Bar, he opted to re-enroll and pursue a Bachelor of Music from NYU, which he received in 1930. Career In 1927, however, he was already teaching classes at the university in medieval and Renaiss ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jeremy Noble (musicologist)
Jeremy Noble (27 March 1930 – 30 June 2017) was an English musicologist and music critic. His career comprised two fields, musicological scholarship and music criticism. In the former, he focused on early English music, Venetian music and particularly the life and work of Renaissance composer Josquin des Prez. His colleague Stanley Sadie noted that "Although only a fraction of his research has been published, the breadth and depth of his knowledge and his generosity towards fellow scholars have made him an important participant in late 20th-century musicology." As an "acute and often acerbic critic," Noble held posts at ''The Times'' and ''The Sunday Telegraph''. Life and career Jeremy Noble was born on 27 March 1930 in London. His father James Noble was the son of South African missionaries, while his mother Avis "came from Cornish farming stock". After attending the Aldenham School, Jeremy Noble had a brief stint in the Intelligence Corps of Allied-occupied Austria. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plainsong
Plainsong or plainchant (calque from the French ''plain-chant''; la, cantus planus) is a body of chants used in the liturgy, liturgies of the Western Church. When referring to the term plainsong, it is those sacred pieces that are composed in Latin text. Plainsong was the exclusive form of Christian church music until the ninth century, and the introduction of polyphony. The Monophony, monophonic chants of plainsong have a non-metric rhythm. Their rhythms are generally freer than the metered rhythm of later Western music, and they are sung A cappella, without musical accompaniment. There are three types of chant melodies that plainsongs fall into, Syllabic verse, syllabic, Neume, neumatic, and melismatic. The free flowing melismatic melody form of plainsong is still heard in Middle Eastern music being performed today. Although the Catholic Church (both its Eastern and Western halves) and the Eastern Orthodoxy, Eastern Orthodox churches did not East–West Schism, split until lo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nymphes Des Bois
''Nymphes des bois'', also known as ''La Déploration de Johannes Ockeghem'', is a lament composed by Josquin des Prez on the occasion of the death of his predecessor Johannes Ockeghem in February 1497. The piece, based on a poem by Jean Molinet and including the funeral text Requiem Aeternam as a cantus firmus, is in five voices. In the first of its two parts Josquin cleverly mimics the contrapuntal style of Ockeghem. This 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 s ... is one of Josquin's best-known works, and often considered one of the most haunting and moving memorial works ever penned. References * Compositions by Josquin des Prez Funerary and memorial compositions Composer tributes (classical music) {{Classical-composition-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johannes Ockeghem
Johannes Ockeghem ( – 6 February 1497) was a Franco-Flemish composer and singer of early Renaissance music. Ockeghem was the most influential European composer in the period between Guillaume Du Fay and Josquin des Prez, and he was—with his colleague Antoine Busnois—the leading European composer in the second half of the 15th century. He was an important proponent of the early Franco-Flemish School. Ockeghem was well associated with other leading composers of the time, and spent most of his career serving the French royal court under Charles VII, Louis XI and Charles VIII. Numerous poets and musicians lamented his death, including Erasmus, Guillaume Crétin, Jean Molinet and Josquin, who composed the well known ''Nymphes des bois'' for him. It is thought that Ockeghem's extant works represent only a small part of his entire ''oeuvre'', including around 14 masses, 20 chansons and less than 10 motets—though the exact numbers vary due to attribution uncertainties. His be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Agnus Dei
is the Latin name under which the " Lamb of God" is honoured within the Catholic Mass and other Christian liturgies descending from the Latin liturgical tradition. It is the name given to a specific prayer that occurs in these liturgies, and is the name given to the music pieces that accompany the text of this prayer. The use of the title "Lamb of God" in liturgy is based on , in which St. John the Baptist, upon seeing Jesus, proclaims "Behold, the Lamb of God, who takes away the sin of the world!" Liturgical usage Latin Catholic The Syrian custom of a chant addressed to the Lamb of God was introduced into the Roman Rite Mass by Pope Sergius I (687–701) in the context of his rejection of the Council of Trullo of 692 (which was well received in the Byzantine East), whose canons had forbidden the iconographic depiction of Christ as a lamb instead of a man. The verse used in the first and second invocations may be repeated as many times as necessary whilst the celebr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Credo
In Christian liturgy, the credo (; Latin for "I believe") is the Nicene-Constantinopolitan Creed – or its shorter version, the Apostles' Creed – in the Mass, either as a prayer, a spoken text, or sung as Gregorian chant or other musical settings of the Mass. History After the formulation of the Nicene Creed, its initial liturgical use was in baptism, which explains why the text uses the singular "I ...." instead of "we...." The text was gradually incorporated into the liturgies, first in the east and in Spain, and gradually into the north, from the sixth to the ninth centuries. In 1014 it was accepted by the Church of Rome as a legitimate part of the Mass. It is recited in the Western Mass directly after the homily on all Sundays and solemnities; in modern celebrations of the Tridentine Mass as an extraordinary form of the Roman Rite, the Credo is recited on all Sundays, feasts of the I class, II class feasts of the Lord and of the Blessed Virgin, on the days within the octav ... [...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] |
