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Inganno
"''Inganno''" ( it, deception) is an Italian term for one of the two musical devices: an interrupted cadence, or a type of transposition used in 16th- and early 17th-century Italian music. This article will concentrate on the latter meaning. The earliest explanation of the term is given by Giovanni Artusi in his ''Seconda parte dell'Artusi'' (1603). An ''inganno'' occurs when one voice states a theme, and then the other picks it up without using the same intervals, but retaining the names of the hexachord syllables. Artusi provides the following example: Here the original theme is in the natural hexachord. The first note is then transposed to the hard hexachord (''G sol'' into ''D sol''), the second is retained, the third and the fourth are transposed to the soft hexachord ''F fa'' into ''B fa'', ''C ut'' into ''F ut''), and so on. Only one piece is known to explicitly refer to ''inganni'' in the title: Giovanni Maria Trabaci's ''Recercare con tre fughe et inganni'' from 16 ... [...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] |
Jacques Brunel
Jacques Brunel (''Brumel'', ''Brumello'', ''Brunello'', ''Giaches Brumel'', etc.) (died 1564) was a French organist and composer, active mostly in Italy. Life He may have been organist at the Rouen Cathedral until December 1524, when a certain ''Jacques Brunel'' left the post. From 1532 until 1564 a ''Brunel'', probably the same person, worked as organist at the Este chapel in Ferrara, where in 1547–1558 he served under the famous composer Cipriano de Rore. Between 1543 and 1559 Brunel received money for the keep of a horse, which he needed to travel to oversee the Este chapels at Modena and Reggio nell'Emilia. At the request of Guidobaldo II della Rovere, Duke of Urbino, Brunel also stayed in Pesaro and Urbino in the summer of 1534, and later in 1561–63. The last references to him in the archives are from early 1564: he was last paid in March, and had died by May. He was succeeded by his son Virginio Brunel, who later became organist at the Basilica of San Vitale. He ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Italian Language
Italian (''italiano'' or ) is a Romance language of the Indo-European language family that evolved from the Vulgar Latin of the Roman Empire. Together with Sardinian, Italian is the least divergent language from Latin. Spoken by about 85 million people (2022), Italian is an official language in Italy, Switzerland (Ticino and the Grisons), San Marino, and Vatican City. It has an official minority status in western Istria (Croatia and Slovenia). Italian is also spoken by large immigrant and expatriate communities in the Americas and Australia.Ethnologue report for language code:ita (Italy) – Gordon, Raymond G., Jr. (ed.), 2005. Ethnologue: Languages of the World, Fifteenth edition. Dallas, Tex.: SIL International. Online version Itali ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Transposition (music)
In music, transposition refers to the process or operation of moving a collection of notes ( pitches or pitch classes) up or down in pitch by a constant interval. For example, one might transpose an entire piece of music into another key. Similarly, one might transpose a tone row or an unordered collection of pitches such as a chord so that it begins on another pitch. The transposition of a set ''A'' by ''n'' semitones is designated by ''T''''n''(''A''), representing the addition ( mod 12) of an integer ''n'' to each of the pitch class integers of the set ''A''. Thus the set (''A'') consisting of 0–1–2 transposed by 5 semitones is 5–6–7 (''T''5(''A'')) since , , and . Scalar transpositions In scalar transposition, every pitch in a collection is shifted up or down a fixed number of scale steps within some scale. The pitches remain in the same scale before and after the shift. This term covers both chromatic and diatonic transpositions as follows. Chromatic transpo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Artusi
Giovanni Maria Artusi (c. 154018 August 1613) was an Italian music theory, theorist, composer, and writer. Artusi fiercely condemned the new musical innovations that defined the early Baroque music, Baroque style developing around 1600 in his treatise ''L'Artusi, overo Delle imperfettioni della moderna musica'' [Artusi, or On the Imperfections of Modern Music]. He was also a scholar and cleric at the Congregation Santissimo Salvatore, Bologna, and remained throughout his life devoted to his teacher Gioseffo Zarlino (the principal music theorist of the late sixteenth century). When Vincenzo Galilei first attacked Zarlino in the ''Dialogo'' of 1581, it provoked Artusi to defend his teacher and the style he represented. In 1600 and 1603, Artusi attacked the "crudities" and "license" shown in the works of a composer he initially refused to name (it was Claudio Monteverdi). Monteverdi replied in the introduction to his fifth book of madrigals (1605) with his discussion of the division ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Interval (music)
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord. In Western music, intervals are most commonly differences between notes of a diatonic scale. Intervals between successive notes of a scale are also known as scale steps. The smallest of these intervals is a semitone. Intervals smaller than a semitone are called microtones. They can be formed using the notes of various kinds of non-diatonic scales. Some of the very smallest ones are called commas, and describe small discrepancies, observed in some tuning systems, between enharmonically equivalent notes such as C and D. Intervals can be arbitrarily small, and even imperceptible to the human ear. In physical terms, an interval is the ratio between two sonic freq ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hexachord
In music, a hexachord (also hexachordon) is a six-note series, as exhibited in a scale (hexatonic or hexad) or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory. The word is taken from the gr, ἑξάχορδος, compounded from ἕξ (''hex'', six) and χορδή (''chordē'', string f the lyre whence "note"), and was also the term used in music theory up to the 18th century for the interval of a sixth ("hexachord major" being the major sixth and "hexachord minor" the minor sixth). Middle Ages The hexachord as a mnemonic device was first described by Guido of Arezzo, in his ''Epistola de ignoto cantu''. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ''ut'', ''re'', ''mi'', ''fa'', ''sol'', and ''la'', with the semitone between ''mi'' and ''fa''. These six names are derived from the fir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Maria Trabaci
Giovanni Maria Trabaci (ca. 1575 – 31 December 1647) was an Italian composer and organist. He was a prolific composer, with some 300 surviving works preserved in more than 10 publications; he was especially important for his keyboard music. Biography Trabaci was born in Montepeloso (now Irsina, near Matera). Nothing is known about his early life. On 1 December 1594 he was appointed tenor at Santissima Annunziata Maggiore in Naples, but already in 1597 he must have been known as an organist and organ expert, because he was invited that year to test the organ of Oratorio dei Filippini. He served as organist there for a while, and then became, in 1601, organist to the Spanish viceroys at the Chapel Royal of Naples. The second organist was Ascanio Mayone, and Giovanni de Macque was ''maestro di cappella.'' Trabaci succeeded Macque in 1614 after the latter's death, and held the post for the rest of his life. Between 1625 and 1630 he also worked at the Oratorio dei Filippini. Trab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Girolamo Frescobaldi
Girolamo Alessandro Frescobaldi (; also Gerolamo, Girolimo, and Geronimo Alissandro; September 15831 March 1643) was an Italian composer and virtuoso keyboard player. Born in the Duchy of Ferrara, he was one of the most important composers of keyboard music in the late Renaissance and early Baroque periods. A child prodigy, Frescobaldi studied under Luzzasco Luzzaschi in Ferrara, but was influenced by many composers, including Ascanio Mayone, Giovanni Maria Trabaci, and Claudio Merulo. Girolamo Frescobaldi was appointed organist of St. Peter's Basilica, a focal point of power for the Cappella Giulia (a musical organisation), from 21 July 1608 until 1628 and again from 1634 until his death. Frescobaldi's printed collections contain some of the most influential music of the 17th century. His work influenced Johann Jakob Froberger, Johann Sebastian Bach, Henry Purcell, and other major composers. Pieces from his celebrated collection of liturgical organ music, '' Fiori musicali' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigal (music)
A madrigal is a form of secular vocal music most typical of the Renaissance music, Renaissance (15th–16th c.) and early Baroque music, Baroque (1600–1750) periods, although revisited by some later European composers. The Polyphony, polyphonic madrigal is Accompaniment, unaccompanied, and the number of voices varies from two to eight, but usually features three to six voices, whilst the Metre (music), metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike the verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung. As written by Italianized Franco–Flemish composers in the 1520s in music, 1520s, the madrigal partly originated from the three-to-four voice frottola (1470–1530); partly from composers' renewed interest in poetry written in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carlo Gesualdo
Carlo Gesualdo da Venosa ( – 8 September 1613) was Prince of Venosa and Count of Conza. As a composer he is known for writing madrigals and pieces of sacred music that use a chromatic language not heard again until the late 19th century. He is also known for killing his first wife and her aristocratic lover upon finding them ''in flagrante delicto''. Biography Early life Gesualdo's family had acquired the principality of Venosa in what is now the Province of Potenza, Southern Italy, in 1560. He was probably born on March 30, 1566, three years after his older brother Luigi, though some sources have stated that he was born on March 8. Older ones give the year of birth as 1560 or 1561, but this is no longer accepted. A letter from Gesualdo's mother, Geronima Borromeo, indicates that the year is most likely 1566. Gesualdo's uncle was Carlo Borromeo, later Saint Charles Borromeo. His mother was the niece of Pope Pius IV. Most likely Carlo was born at Venosa, then par ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
