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Mass (music)
The Mass ( la, missa) is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism), known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be ''a cappella'', that is, without an independent accompaniment, or they can be accompanied by instrumental ''obbligatos'' up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. History Middle Ages The earli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Obbligato
In Western classical music, ''obbligato'' (, also spelled ''obligato'') usually describes a musical line that is in some way indispensable in performance. Its opposite is the marking ''ad libitum''. It can also be used, more specifically, to indicate that a passage of music was to be played exactly as written, or only by the specified instrument, without changes or omissions. The word is borrowed from Italian (an adjective meaning ''mandatory''; from Latin ''obligatus'' p.p. of ''obligare'', to oblige); the spelling ''obligato'' is not acceptable in British English, but it is often used as an alternative spelling in the US. The word can stand on its own, in English, as a noun, or appear as a modifier in a noun phrase (e.g. ''organ obbligato''). Independence ''Obbligato'' includes the idea of independence, as in C.P.E. Bach's 1780 Symphonies "''mit zwölf obligaten Stimmen''" ("with twelve ''obbligato'' parts") by which Bach was referring to the independent woodwind parts he was usi ... [...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] |
Guillaume Dufay
Guillaume Du Fay ( , ; also Dufay, Du Fayt; 5 August 1397(?) – 27 November 1474) was a French composer and music theorist of the early Renaissance. Considered the leading European composer of his time, his music was widely performed and reproduced. Du Fay was well-associated with composers of the Burgundian School, particularly his colleague Gilles Binchois, but was never a regular member of the Burgundian chapel himself. While he is among the best-documented composers of his time, Du Fay's birth and family is shrouded with uncertainty, though he was probably the illegitimate child of a priest. He was educated at Cambrai Cathedral, where his teachers included Nicolas Grenon and Richard Loqueville, among others. For the next decade, Du Fay worked throughout Europe: as a subdeacon in Cambrai, under Carlo I Malatesta in Rimini, for the House of Malatesta in Pesaro, and under Louis Aleman in Bologna, where he was ordained priest. As his fame began to spread, he settled in Rome ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantus Firmus
In music, a ''cantus firmus'' ("fixed melody") is a pre-existing melody forming the basis of a polyphonic composition. The plural of this Latin term is , although the corrupt form ''canti firmi'' (resulting from the grammatically incorrect treatment of ''cantus'' as a second- rather than a fourth-declension noun) can also be found. The Italian is often used instead: (and the plural in Italian is ). History The term first appears in theoretical writings early in the 13th century (e.g., Boncampagno da Signa, ''Rhetorica novissima'', 1235). The earliest polyphonic compositions almost always involved a cantus firmus, typically a Gregorian chant, although by convention the term is not applied to music written before the 14th century. The earliest surviving polyphonic compositions, in the ''Musica enchiriadis'' (around 900 AD), contain the chant in the top voice, and the newly composed part underneath; however, this usage changed around 1100, after which the cantus firmus typicall ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guillaume De Machaut
Guillaume de Machaut (, ; also Machau and Machault; – April 1377) was a French composer and poet who was the central figure of the style in late medieval music. His dominance of the genre is such that modern musicologists use his death to separate the from the subsequent movement. Regarded as the most significant French composer and poet of the 14th century, he is often seen as the century's leading European composer. One of the earliest European composers on whom considerable biographical information is available, Machaut has an unprecedented amount of surviving music, in part due to his own involvement in his manuscripts' creation and preservation. Machaut embodies the culmination of the poet-composer tradition stretching back to the traditions of troubadour and ''trouvère''; well into the 15th century his poetry was greatly admired and imitated by other poets, including Geoffrey Chaucer and Eustache Deschamps, the latter of whom was Machaut's student. Machaut compos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Messe De Nostre Dame
''Messe de Nostre Dame'' (''Mass of Our Lady'') is a polyphonic mass composed before 1365 by French poet and composer Guillaume de Machaut (c. 1300–1377). Widely regarded as one of the masterpieces of medieval music and of all religious music, it is historically notable as the earliest complete setting of the Ordinary of the Mass attributable to a single composer (in contrast to earlier compilations such as the Tournai Mass). Structure The ''Messe de Nostre Dame'' consists of 5 movements, the ''Kyrie'', '' Gloria'', ''Credo'', ''Sanctus'', and ''Agnus Dei'', followed by the dismissal ''Ite, missa est''. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus and Agnus correspond to Vatican Mass XVII and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another.Gombosi, O."Machaut's 'Messe Notre-Dame'." ''The Musical Quarterly'', Vol. 36, No. 2 (April, 1950), pp. 204–224 Machaut's ''Messe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tournai Mass
Tournai or Tournay ( ; ; nl, Doornik ; pcd, Tornai; wa, Tornè ; la, Tornacum) is a city and municipality of Wallonia located in the province of Hainaut, Belgium. It lies southwest of Brussels on the river Scheldt. Tournai is part of Eurometropolis Lille–Kortrijk–Tournai, which had 2,155,161 residents in 2008. Tournai is one of the oldest cities in Belgium and has played an important role in the country's cultural history. It was the first capital of the Frankish Empire, with Clovis I being born here. Geography Tournai is located in the Picardy Wallonia and Romance Flanders region of Belgium, at the southern limit of the Flemish plain, in the basin of the River Scheldt (''Escaut'' in French, ''Schelde'' in Dutch). Administratively, the town is part of the Province of Hainaut, itself part of Wallonia. It is also a municipality that is part of the French-speaking Community of Belgium. Tournai has its own arrondissements, both administrative and judicial. Its area of mak ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anonymous Work
Anonymous works are works, such as art or literature, that have an anonymous, undisclosed, or unknown creator or author. In the case of very old works, the author's name may simply be lost over the course of history and time. There are a number of reasons anonymous works arise. Description In the United States, anonymous work is legally defined as "a work on the copies or phonorecords of which no natural person is identified as author." Explanations In the case of very old works, the author's name may simply be lost over the course of history and time. In such cases the author is often referred to as Anonymus, the Latin form of "anonymous". In other cases, the creator's name is intentionally kept secret. The author's reasons may vary from fear of persecution to protection of his or her reputation. Legal reasons may also bar an author from self-identifying. An author may also wish to remain anonymous to avoid becoming famous for their work. See also * Anonymous post * Lis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Avignon
Avignon (, ; ; oc, Avinhon, label=Provençal dialect, Provençal or , ; la, Avenio) is the Prefectures in France, prefecture of the Vaucluse Departments of France, department in the Provence-Alpes-Côte d'Azur Regions of France, region of Southeastern France. Located on the left bank of the river Rhône, the Communes of France, commune had a population of 93,671 as of the census results of 2017, with about 16,000 (estimate from Avignon's municipal services) living in the ancient town centre enclosed by its Walls of Avignon, medieval walls. It is Functional area (France), France's 35th largest metropolitan area according to Institut national de la statistique et des études économiques, INSEE with 336,135 inhabitants (2019), and France's 13th largest urban unit with 458,828 inhabitants (2019). Its urban area was the fastest-growing in France from 1999 until 2010 with an increase of 76% of its population and an area increase of 136%. The Communauté d'agglomération du Grand Av ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motet
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.Margaret Bent,The Late-Medieval Motet in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 (Berkeley, California: University of California Press, 1992): 114. . The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". Etymology In the early 20th century, it was generally believed the name ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
