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Gavotte
The gavotte (also gavot, gavote, or gavotta) is a French dance, taking its name from a folk dance of the Gavot, the people of the Pays de Gap region of Dauphiné in the southeast of France, where the dance originated, according to one source. According to another reference, the word ''gavotte'' is a generic term for a variety of French folk dances, and most likely originated in Lower Brittany in the west, or possibly Provence in the southeast or the French Basque Country in the southwest of France. It is notated in or time and is usually of moderate tempo, though the folk dances also use meters such as and . In late 16th-century Renaissance dance, the gavotte is first mentioned as the last of a suite of branles. Popular at the court of Louis XIV, it became one of many optional dances in the classical suite of dances. Many were composed by Lully, Rameau and Gluck, and the 17th-century cibell is a variety. The dance was popular in France throughout the 18th century and s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gavotte Dance
The gavotte (also gavot, gavote, or gavotta) is a French dance, taking its name from a folk dance of the Gavot, the people of the Gap, Hautes-Alpes, Pays de Gap region of Dauphiné in the southeast of France, where the dance originated, according to one source. According to another reference, the word ''gavotte'' is a generic term for a variety of French folk dances, and most likely originated in Lower Brittany in the west, or possibly Provence in the southeast or the French Basque Country in the southwest of France. It is notated in or time signature, time and is usually of moderate tempo, though the folk dances also use meters such as and . In late 16th-century Renaissance dance, the gavotte is first mentioned as the last of a suite of branles. Popular at the court of Louis XIV of France, Louis XIV, it became one of many optional dances in the classical suite (music), suite of dances. Many were composed by Jean-Baptiste Lully, Lully, Rameau and Gluck, and the 17th-century cibe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gavotte Dance Pattern
The gavotte (also gavot, gavote, or gavotta) is a French dance, taking its name from a folk dance of the Gavot, the people of the Pays de Gap region of Dauphiné in the southeast of France, where the dance originated, according to one source. According to another reference, the word ''gavotte'' is a generic term for a variety of French folk dances, and most likely originated in Lower Brittany in the west, or possibly Provence in the southeast or the French Basque Country in the southwest of France. It is notated in or time and is usually of moderate tempo, though the folk dances also use meters such as and . In late 16th-century Renaissance dance, the gavotte is first mentioned as the last of a suite of branles. Popular at the court of Louis XIV, it became one of many optional dances in the classical suite of dances. Many were composed by Lully, Rameau and Gluck, and the 17th-century cibell is a variety. The dance was popular in France throughout the 18th century and spread ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gavotte Rhythm
The gavotte (also gavot, gavote, or gavotta) is a French dance, taking its name from a folk dance of the Gavot, the people of the Pays de Gap region of Dauphiné in the southeast of France, where the dance originated, according to one source. According to another reference, the word ''gavotte'' is a generic term for a variety of French folk dances, and most likely originated in Lower Brittany in the west, or possibly Provence in the southeast or the French Basque Country in the southwest of France. It is notated in or time and is usually of moderate tempo, though the folk dances also use meters such as and . In late 16th-century Renaissance dance, the gavotte is first mentioned as the last of a suite of branles. Popular at the court of Louis XIV, it became one of many optional dances in the classical suite of dances. Many were composed by Lully, Rameau and Gluck, and the 17th-century cibell is a variety. The dance was popular in France throughout the 18th century and spread ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Suite (music)
A suite, in Western classical music and jazz, is an ordered set of instrumental or orchestral/ concert band pieces. It originated in the late 14th century as a pairing of dance tunes and grew in scope to comprise up to five dances, sometimes with a prelude, by the early 17th century. The separate movements were often thematically and tonally linked. The term can also be used to refer to similar forms in other musical traditions, such as the Turkish fasıl and the Arab nuubaat. In the Baroque era, the suite was an important musical form, also known as ''Suite de danses'', ''Ordre'' (the term favored by François Couperin), '' Partita'', or ''Ouverture'' (after the theatrical " overture" which often included a series of dances) as with the orchestral suites of Christoph Graupner, Telemann and J.S. Bach. During the 18th century, the suite fell out of favour as a cyclical form, giving way to the symphony, sonata and concerto. It was revived in the later 19th century, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Branle
A branle (, ), also bransle, brangle, brawl, brawle, brall(e), braul(e), brando (in Italy), bran (in Spain), or brantle (in Scotland), is a type of French dance popular from the early 16th century to the present, danced by couples in either a line or a circle. The term also refers to the music and the characteristic step of the dance. History Beginnings and courtly adoption The name ''branle'' derives from the French verb ''branler'' (to shake, wave, sway, wag, wobble), referring to the side-to-side movement of a circle or chain of dancers holding hands or linking arms. Dances of this name are encountered from about 1500 and the term is used for dances still danced in France today. Before 1500, the only dance-related use of this word is the "swaying" step of the basse danse. The branle was danced by a chain of dancers, usually in couples, with linked arms or holding hands. The dance alternated a number of larger sideways steps to the left (often four) with the same number of sm ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bourrée
The bourrée ( oc, borrèia; also in England, borry or bore) is a dance of French origin and the words and music that accompany it. The bourrée resembles the gavotte in that it is in double time and often has a dactylic rhythm. However, it is somewhat quicker, and its phrase starts with a quarter-bar anacrusis or "pick-up", whereas a gavotte has a half-bar anacrusis. In the Baroque era, after the Academie de Dance was established by Louis XIV in 1661, the French court adapted the bourrée, like many such dances, for the purposes of concert dance. In this way it gave its name to a ballet step characteristic of the dance, a rapid movement of the feet while en pointe or demi-pointe, and so to the sequence of steps called . The bourrée became an optional movement in the classical suite of dances, and J. S. Bach, Handel and Chopin wrote bourrées, not necessarily intending them to be danced. History The bourrée originates in Auvergne in France. It is sometim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Philippe Rameau
Jean-Philippe Rameau (; – ) was a French composer and music theorist. Regarded as one of the most important French composers and music theorists of the 18th century, he replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer of his time for the harpsichord, alongside François Couperin. Little is known about Rameau's early years. It was not until the 1720s that he won fame as a major theorist of music with his ''Treatise on Harmony'' (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe. He was almost 50 before he embarked on the operatic career on which his reputation chiefly rests today. His debut, ''Hippolyte et Aricie'' (1733), caused a great stir and was fiercely attacked by the supporters of Lully's style of music for its revolutionary use of harmony. Nevertheless, Rameau's pre-eminence in the field of French opera was soon acknowledged, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cibell
A cibell, alternatively spelled ''cebell'', is a gavotte-like musical piece in duple metre, predominantly heard in Baroque music. It is named after the chorus praising the goddess Cybele in Jean Baptiste Lully's '' Atys''. Later cibells have been written either for voiceThurston Dart: The Cibell, 1952, Societé Belge de Musicologie, p. 1 or a variety of instruments, such as the trumpet The trumpet is a brass instrument commonly used in classical and jazz ensembles. The trumpet group ranges from the piccolo trumpet—with the highest register in the brass family—to the bass trumpet, pitched one octave below the standard ... or harpsichord. A typical example is Henry Purcell's ''Cibell for trumpet, strings and basso continuo in C major'' (Z 678). References {{Reflist Musical forms Baroque music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Baptiste Lully
Jean-Baptiste Lully ( , , ; born Giovanni Battista Lulli, ; – 22 March 1687) was an Italian-born French composer, guitarist, violinist, and dancer who is considered a master of the French Baroque music style. Best known for his operas, he spent most of his life working in the court of Louis XIV of France and became a French subject in 1661. He was a close friend of the playwright Molière, with whom he collaborated on numerous '' comédie-ballets'', including '' L'Amour médecin'', '' George Dandin ou le Mari confondu'', '' Monsieur de Pourceaugnac'', '' Psyché'' and his best known work, '' Le Bourgeois gentilhomme''. Biography Lully was born on November 28, 1632, in Florence, Grand Duchy of Tuscany, to Lorenzo Lulli and Caterina Del Sera, a Tuscan family of millers. His general education and his musical training during his youth in Florence remain uncertain, but his adult handwriting suggests that he manipulated a quill pen with ease. He used to say that a Francis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rameau
Jean-Philippe Rameau (; – ) was a French composer and music theorist. Regarded as one of the most important French composers and music theorists of the 18th century, he replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer of his time for the harpsichord, alongside François Couperin. Little is known about Rameau's early years. It was not until the 1720s that he won fame as a major theorist of music with his ''Treatise on Harmony'' (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe. He was almost 50 before he embarked on the operatic career on which his reputation chiefly rests today. His debut, ''Hippolyte et Aricie'' (1733), caused a great stir and was fiercely attacked by the supporters of Lully's style of music for its revolutionary use of harmony. Nevertheless, Rameau's pre-eminence in the field of French opera was soon acknowledged, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The New Grove Dictionary Of Music And Musicians
''The New Grove Dictionary of Music and Musicians'' is an encyclopedic dictionary of music and musicians. Along with the German-language ''Die Musik in Geschichte und Gegenwart'', it is one of the largest reference works on the history and theory of music. Earlier editions were published under the titles ''A Dictionary of Music and Musicians'', and ''Grove's Dictionary of Music and Musicians''; the work has gone through several editions since the 19th century and is widely used. In recent years it has been made available as an electronic resource called ''Grove Music Online'', which is now an important part of ''Oxford Music Online''. ''A Dictionary of Music and Musicians'' ''A Dictionary of Music and Musicians'' was first published in London by Macmillan and Co. in four volumes (1879, 1880, 1883, 1889) edited by George Grove with an Appendix edited by J. A. Fuller Maitland in the fourth volume. An Index edited by Mrs. E. Wodehouse was issued as a separate volume in 1890. I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Italianization
Italianization ( it, italianizzazione; hr, talijanizacija; french: italianisation; sl, poitaljančevanje; german: Italianisierung; el, Ιταλοποίηση) is the spread of Italian culture, language and identity by way of integration or assimilation. It is also known for a process organized by the Kingdom of Italy to force cultural and ethnic assimilation of the native populations living, primarily, in the former Austro-Hungarian territories that were transferred to Italy after World War I in exchange for Italy having joined the Triple Entente in 1915; this process was mainly conducted during the period of Fascist rule between 1922 and 1943. Regions and populations affected Between 1922 and the beginning of World War II, the affected people were the German-speaking and Ladin-speaking populations of Trentino-Alto Adige, and Slovenes and Croats in the Julian March. The program was later extended to areas annexed during World War II, affecting Slovenes in the Province of Lj ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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