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Ensalada (music)
The (Spanish for salad) is a genre of polyphonic secular music mixing languages and dialects and nonsensical quodlibets. The term is known mainly through a publication, ' Prague (1581), by Mateo Flecha the Younger, that contains six long four-part vocal compositions by his uncle Mateo Flecha (1481–1553). Each of these is divided into several sections, ranging from seven to twelve. The music is for four voices. Apart from the by Mateo Flecha, there are also two examples by Mateo Flecha the younger, two by Pere Alberch Vila, several by Bartolomé Cárceres, one by the unknown F. Chacón and several anonymous sources. There is also an instrumental for organ by Sebastián Aguilera de Heredia. Works Prague 1581 # El Fuego (the fire) – Flecha # La Bomba (the pump) – Flecha # La Negrina (the black girl) – Flecha # La Guerra (the battle) – Flecha # El Bon Jorn (the good day) – Vila # La Justa (the joust) – Flecha # La Viuda (the widow) – Flecha # La Feria (the fair ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphonic
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "su ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancionero De Uppsala
The , also known by the titles Cancionero del Duque de Calabria and Cancionero de Venecia, is a volume of mostly anonymous Spanish music printed in Venice in 1556. Its actual title is ''Villancicos de diversos Autores, a dos, y a tres, y a quatro, y a cinco bozes, agora nuevamente corregidos. Ay mas ocho tonos de Canto llano, y ocho tonos de Canto de Organo para que puedan aprovechar los que A cantar començaren. Venetiis, Apud Hieronymum Scotum, MDLVI''. It survives in a unique copy at the Uppsala University Library and was edited in 1909 by Rafael Mitjana; the subsequent literature has mostly adopted his spelling "Upsala" ("''Upsala''" being the historic Swedish spelling of "Uppsala" until the major spelling reform of 1906). A facsimile was first published by Alamire ( Peer, Belgium 1984) and later by the Biblioteca Valenciana (Valencia, Spain 2003). Contents ''Villancicos a dos bozes'' (for two voices) ''Villancicos a tres bozes'' (for three voices) ''Villancicos a quat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphonic Singing
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "suc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spanish Music
In Spain, music has a long history. It has played an important role in the development of Western music, and has greatly influenced Latin American music. Spanish music is often associated with traditional styles such as flamenco and classical guitar. While these forms of music are common, there are many different traditional musical and dance styles across the regions. For example, music from the north-west regions is heavily reliant on bagpipes, the jota is widespread in the centre and north of the country, and flamenco originated in the south. Spanish music played a notable part in the early developments of western classical music, from the 15th through the early 17th century. The breadth of musical innovation can be seen in composers like Tomás Luis de Victoria, styles like the zarzuela of Spanish opera, the ballet of Manuel de Falla, and the classical guitar music of Francisco Tárrega. Nowadays commercial pop music dominates. Origins of the music of Spain The Iberian pe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Early Music
Early music generally comprises Medieval music (500–1400) and Renaissance music (1400–1600), but can also include Baroque music (1600–1750). Originating in Europe, early music is a broad musical era for the beginning of Western classical music. Terminology Interpretations of historical scope of "early music" vary. The original Academy of Ancient Music formed in 1726 defined "Ancient" music as works written by composers who lived before the end of the 16th century. Johannes Brahms and his contemporaries would have understood Early music to range from the High Renaissance and Baroque, while some scholars consider that Early music should include the music of ancient Greece or Rome before 500 AD (a period that is generally covered by the term Ancient music). Music critic Michael Kennedy excludes Baroque, defining Early music as "musical compositions from heearliest times up to and including music of heRenaissance period". Musicologist Thomas Forrest Kelly considers that the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diego Pisador
Diego Pisador (1509/10? – after 1557) was a Spanish vihuelist and composer of the Renaissance. Life Little is known of the details of Pisador's life, not even the exact dates of his birth and death. It is known that he was born in Salamanca around the years 1509 or 10. He was the oldest son of Alonso Pisador and Isabel Ortiz, who married in 1508. Ortiz's father, Alfonso III of Fonseca, Archbishop of Santiago, was a great patron of music. Alonso Pisador worked as a notary in the audience of the archbishop and, in 1524, he moved to Toledo, following his steps. There he entered the service of the count of Monterrey, possibly Alonso de Acevedo y Zúñiga, who was also a grandson of Alfonso III. In 1526 Pisador took minor orders, but did not continue in an ecclesiastical career. In 1532, his father moved to Galicia following Alonso de Acevedo y Zúñiga as the corregidor of Monterrey. He would not return to Salamanca until 1551, after his wife died in September 1550. He settled in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Enríquez De Valderrábano
Enríquez de Valderrábano (c. 1500 – after 1557) was a Spanish Vihuela, vihuelist and composer. There is little biographical data on this composer of early music, but his ''Libro de música de vihuela intitulado Silva de Sirenas'', published in Valladolid, Spain, in 1547, states he is a citizen of Peñaranda de Duero, and the book is dedicated to Francisco de Zúñiga, the Fourth Count of Miranda. This dedication is probably the source of Juan Bermudo's unconfirmed assertion in his ''Declaración de instrumentos musicales'' of 1555 that Valderrábano was employed by the count.Griffiths, John. 2001. "Valderrábano, Enríquez de". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (musicologist), John Tyrrell. London: Macmillan. Valderrábano's book of music has seven parts containing ''fugue, fugas'', ''counterpoint, contrapuntos'', ''sonetos'', ''bajas'', ''vacas'', ''discantes'', ''pavane, pavanas'', ''proverbios'', ''c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Miguel De Fuenllana
Miguel de Fuenllana (c.1500–1579) was a Spanish vihuelist and composer of the Renaissance. Biography Little is known of his life. It is assumed from his name that his roots lie in the municipality of Fuenllana, in the province of Ciudad Real, although he was born in Navalcarnero, Madrid. Blind from birth, he composed a ''Libro de música para vihuela intitulado Orphenica Lyra '' (Seville, 1554), dedicated to Philip II of Spain. At the arrival of Isabel de Valois, third wife of Philip II, she brought with her a group of French instrumental musicians who wished to stay in the Spanish court; Fuenllana alternated with this group and his musical works were performed together with those of foreign artists. At the death of the queen in 1568, he continued serving in the Spanish court. He later served Don Sebastian of Portugal in Lisbon starting in 1574. Works ''Orphénica Lyra'' comprises 182 pieces in six volumes. In the first three, the pieces are ordered ascending by the numb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jacques Moderne
Jacques Moderne - Giacomo Moderno (Pinguente, Istria Buzet.html"_;"title="ow_Buzet">ow_Buzet,_Croatia.html" ;"title="Buzet">ow_Buzet,_Croatia.html" ;"title="Buzet.html" ;"title="ow Buzet">ow Buzet, Croatia">Buzet.html" ;"title="ow Buzet">ow Buzet, Croatia">Buzet">ow_Buzet,_Croatia.html" ;"title="Buzet.html" ;"title="ow Buzet">ow Buzet, Croatia">Buzet.html" ;"title="ow Buzet">ow Buzet, Croatia c.1495–1500 – Lyons, after 1560) was an Italy, Italian-born Music publisher (sheet music), music publisher active in France in the Renaissance music, Renaissance Era. Moderne was the second printer to publish music on a large scale in France using the single-impression method. The first one was Pierre Attaingnant (c. 1494–1551/2) of Paris Paris () is the capital and most populous city of France, with an estimated population of 2,165,423 residents in 2019 in an area of more than 105 km² (41 sq mi), making it the 30th most densely populated city in the world in 2020. S ..., ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancionero De Medinaceli
The Cancionero de Medinaceli or Cancionero Musical de Medinaceli (CMM) is a manuscript containing Spanish music of the Renaissance. It was copied during the second half of the 16th century and kept at the library of the Duke of Medinaceli's house, hence its name. Is it probably the most important compilation of Spanish secular polyphony of the Renaissance after the Cancionero de Palacio The Cancionero de Palacio (Madrid, Biblioteca Real, MS II–1335), or Cancionero Musical de Palacio (CMP), also known as Cancionero de Barbieri, is a Spanish manuscript of Renaissance music. The works in it were compiled during a time span of aro .... External links * Music books Chansonniers (books) Renaissance music manuscript sources Spanish music Medinaceli {{Spain-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quodlibet
A quodlibet (; Latin for "whatever you wish" from ''quod'', "what" and '' libet'', "pleases") is a musical composition that combines several different melodies—usually popular tunes—in counterpoint, and often in a light-hearted, humorous manner. There are three main types of quodlibet: * A ''catalogue quodlibet'' consists of a free setting of catalogue poetry (usually humorous lists of loosely related items). * In a ''successive quodlibet'', one voice has short musical quotations and textual quotations while the other voices provide homophonic accompaniment. * In a ''simultaneous quodlibet'', two or more pre-existing melodies are combined. The simultaneous quodlibet may be considered a historical antecedent to the modern-day musical mashup. History Renaissance The quodlibet originated in 15th-century Europe, during a time when the practice of combining folk tunes was popular. Composer first used the term in a specifically musical context in 1544. Francisco de Peñalo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancionero De Barcelona
A chansonnier ( ca, cançoner, oc, cançonièr, Galician and pt, cancioneiro, it, canzoniere or ''canzoniéro'', es, cancionero) is a manuscript or printed book which contains a collection of chansons, or polyphonic and monophonic settings of songs, hence literally " song-books"; however, some manuscripts are called chansonniers even though they preserve the text but not the music, for example, the Cancioneiro da Vaticana and Cancioneiro da Biblioteca Nacional, which contain the bulk of Galician-Portuguese lyrics. The most important chansonniers contain lyrics, poems and songs of the troubadours and trouvères used in the medieval music. Prior to 1420, many song-books contained both sacred and secular music, one exception being those containing the work of Guillaume de Machaut. Around 1420, sacred and secular music was segregated into separate sources, with large choirbooks containing sacred music, and smaller chansonniers for more private use by the privileged. Chansonniers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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