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Pietro Aaron
Pietro Aron, also known as Pietro (or Piero) Aaron (c. 1480 – after 1545), was an Italian music theorist and composer. He was born in Florence and probably died in Bergamo (other sources state Florence or Venice). Biography Very little is known about Aron's early life but at least one source claims he may have been Jewish. He was educated in Italy. Aron was a self-taught musician. He claimed in his ''Toscanello in musica'' (1523) that he had been friends with Obrecht, Josquin, and Heinrich Isaac in Florence. If true, the time frame would have been most likely in 1487. Between 1515 and 1522, he was Church Cantor at the Cathedral of Imola. In 1516 he became a priest there. In February 1523 Aron went to Venice and became cantor of Rimini Cathedral, where he worked for Sebastiano Michiel, who was Grand Prior of the Knights of St. John of Jerusalem. In 1525, he was "maestro di casa" in a Venetian house. In 1536, after the death of Michiel, he joined a monastery in Bergamo where ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Theory
Music theory is the study of the practices and possibilities of music. ''The Oxford Companion to Music'' describes three interrelated uses of the term "music theory". The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built." Music theory is frequently concerned with describing how musicians and composers make music, including tuning systems and composition methods among other topics. Because of the ever-expanding conception of what constitutes music, a more inclusive definition could be the consideration of any sonic phenomena, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Latin
Latin (, or , ) is a classical language belonging to the Italic branch of the Indo-European languages. Latin was originally a dialect spoken in the lower Tiber area (then known as Latium) around present-day Rome, but through the power of the Roman Republic it became the dominant language in the Italian region and subsequently throughout the Roman Empire. Even after the fall of Western Rome, Latin remained the common language of international communication, science, scholarship and academia in Europe until well into the 18th century, when other regional vernaculars (including its own descendants, the Romance languages) supplanted it in common academic and political usage, and it eventually became a dead language in the modern linguistic definition. Latin is a highly inflected language, with three distinct genders (masculine, feminine, and neuter), six or seven noun cases (nominative, accusative, genitive, dative, ablative, and vocative), five declensions, four verb conjuga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bologna, Italy
Bologna (, , ; egl, label= Emilian, Bulåggna ; lat, Bononia) is the capital and largest city of the Emilia-Romagna region in Northern Italy. It is the seventh most populous city in Italy with about 400,000 inhabitants and 150 different nationalities. Its metropolitan area is home to more than 1,000,000 people. It is known as the Fat City for its rich cuisine, and the Red City for its Spanish-style red tiled rooftops and, more recently, its leftist politics. It is also called the Learned City because it is home to the oldest university in the world. Originally Etruscan, the city has been an important urban center for centuries, first under the Etruscans (who called it ''Felsina''), then under the Celts as ''Bona'', later under the Romans (''Bonōnia''), then again in the Middle Ages, as a free municipality and later ''signoria'', when it was among the largest European cities by population. Famous for its towers, churches and lengthy porticoes, Bologna has a well-preserved ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ottaviano Petrucci
Ottaviano Petrucci (born in Fossombrone on 18 June 1466 – died on 7 May 1539 in Venice) was an Italian printer. His ''Harmonice Musices Odhecaton'', a collection of chansons printed in 1501, is commonly misidentified as the first book of sheet music printed from movable type. Actually that distinction belongs to the Roman printer Ulrich Han's ''Missale Romanum'' of 1476. Nevertheless, Petrucci's later work was extraordinary for the complexity of his white mensural notation and the smallness of his font, and he did in fact print the first book of polyphony using movable type. He also published numerous works by the most highly regarded composers of the Renaissance, including Josquin des Prez and Antoine Brumel. Life He was born in Fossombrone (Pesaro), and probably was educated at Urbino. Around 1490 he went to Venice to learn the art of printing, and in 1498 he petitioned the Doge for the exclusive right to print music for the next 20 years. The right was very probably granted ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frottola
The frottola (; plural frottole) was the predominant type of Italian popular secular song of the late fifteenth and early sixteenth century. It was the most important and widespread predecessor to the madrigal. The peak of activity in composition of frottole was the period from 1470 to 1530, after which time the form was replaced by the madrigal. While "frottola" is a generic term, several subcategories can be recognized, as would be expected of a musical form which was used for approximately a hundred years, maintaining immense popularity for more than half of that time. Most typically, a frottola is a composition for three or four voices (more towards the end of the period), with the uppermost voice containing the melody: instrumental accompaniments may have been used. The poem usually has a rhyme scheme of ''abba'' for a ''ripresa'' (reprise), and a stanza of ''cdcdda'' or ''cdcddeea'', though there is much variation between subtypes of frottola. Most likely the poetic form ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Spataro
Giovanni may refer to: * Giovanni (name), an Italian male given name and surname * Giovanni (meteorology), a Web interface for users to analyze NASA's gridded data * ''Don Giovanni'', a 1787 opera by Wolfgang Amadeus Mozart, based on the legend of Don Juan * Giovanni (Pokémon), boss of Team Rocket in the fictional world of Pokémon * Giovanni (World of Darkness), a group of vampires in ''Vampire: The Masquerade/World of Darkness'' roleplay and video game * "Giovanni", a song by Band-Maid from the 2021 album ''Unseen World'' * ''Giovanni's Island'', a 2014 Japanese anime drama film * ''Giovanni's Room'', a 1956 novel by James Baldwin * Via Giovanni, places in Rome See also * * *Geovani *Giovanni Battista *San Giovanni (other) *San Giovanni Battista (other) San Giovanni Battista is the Italian translation of Saint John the Baptist. It may also refer to: Italian churches * San Giovanni Battista, Highway A11, a church in Florence, Italy * San Giovanni Battista, Pra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accidental (music)
In music, an accidental is a note of a pitch (or pitch class) that is not a member of the scale or mode indicated by the most recently applied key signature. In musical notation, the sharp (), flat (), and natural () symbols, among others, mark such notes—and those symbols are also called accidentals. In the measure (bar) where it appears, an accidental sign raises or lowers the immediately following note (and any repetition of it in the bar) from its normal pitch, overriding the key signature. A note is usually raised or lowered by a semitone, and there are double sharps or flats, which raise or lower the indicated note by two semitones. Accidentals usually apply to all repetitions within the measure in which they appear, unless canceled by another accidental sign, or tied into the following measure. If a note has an accidental and the note is repeated in a different octave within the same measure the accidental is usually repeated, although this convention is far from uni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadence (music)
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. Cadences are strong indicators of the tonic or central pitch of a passage or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mode (music)
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quarter-comma Meantone
Quarter-comma meantone, or -comma meantone, was the most common meantone temperament in the sixteenth and seventeenth centuries, and was sometimes used later. In this system the perfect fifth is flattened by one quarter of a syntonic comma (81:80), with respect to its just intonation used in Pythagorean tuning (frequency ratio 3:2); the result is × () = ≈ 1.49535, or a fifth of 696.578 cents. (The 12th power of that value is 125, whereas 7 octaves is 128, and so falls 41.059 cents short.) This fifth is then iterated to generate the diatonic scale and other notes of the temperament. The purpose is to obtain justly intoned major thirds (with a frequency ratio equal to 5:4). It was described by Pietro Aron in his ''Toscanello de la Musica'' of 1523, by saying the major thirds should be tuned to be "sonorous and just, as united as possible." Later theorists Gioseffo Zarlino and Francisco de Salinas described the tuning with mathematical exactitude. Construction In a meantone t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Tuning
In music, there are two common meanings for tuning: * Tuning practice, the act of tuning an instrument or voice. * Tuning systems, the various systems of pitches used to tune an instrument, and their theoretical bases. Tuning practice Tuning is the process of adjusting the pitch of one or many tones from musical instruments to establish typical intervals between these tones. Tuning is usually based on a fixed reference, such as A = 440 Hz. The term "''out of tune''" refers to a pitch/tone that is either too high (sharp) or too low (flat) in relation to a given reference pitch. While an instrument might be in tune relative to its own range of notes, it may not be considered 'in tune' if it does not match the chosen reference pitch. Some instruments become 'out of tune' with temperature, humidity, damage, or simply time, and must be readjusted or repaired. Different methods of sound production require different methods of adjustment: * Tuning to a pitch with one's voic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
