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Voice Crossing
In music, voice crossing is the intersection of melodic lines in a composition, leaving a lower voice on a higher pitch than a higher voice (and vice versa). Because this can cause registral confusion and reduce the independence of the voices,Edgar W. Williams, Jr., ''Harmony and Voice Leading'', New York: Harper Collins, 1992, 63. it is sometimes avoided in composition and pedagogical exercises. History Voice crossing appears in free organum, with examples appearing as early as John Cotton's treatise '' De musica'' (1100). Voice crossing is inherent in voice exchange, which became an important compositional technique in the 12th and 13th centuries. Later, as different voices were thought of occupying more distinct vocal ranges, crossing is less frequent. In the 15th-century English discant style, such as in the Old Hall manuscript, the three voices rarely cross. In the three-part music of Guillaume Dufay, a special use of voice crossing at the cadence involves a Landini caden ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kyrie Cuncti Ravenna Crossing
Kyrie, a transliteration of Greek , vocative case of (''Kyrios''), is a common name of an important prayer of Christian liturgy, also called the Kyrie eleison ( ; ). In the Bible The prayer, "Kyrie, eleison," "Lord, have mercy" derives from a Biblical phrase. Greek "have mercy on me, Lord" is the Septuagint translation of the phrase found often in Psalms ( 6:2, 9:13, 31:9, 86:3, 123:3) In the New Testament, the Greek phrase occurs three times in Matthew: * Matthew 15:22: the Canaanite woman cries out to Jesus, "Have mercy on me, O Lord, Son of David." () *Matthew 17:15: "Lord, have mercy on my son" () *Matthew 20:30f, two unnamed blind men call out to Jesus, "Lord, have mercy on us, Son of David." () In the Parable of the Publican and the Pharisee (Luke 18:9-14) the despised tax collector who cries out "Lord have mercy on me, a sinner" is contrasted with the smug Pharisee who believes he has no need for forgiveness. Luke 17:13 has ''epistates'' "master" instead of ... [...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] |
Bach
Johann Sebastian Bach (28 July 1750) was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the '' Brandenburg Concertos''; instrumental compositions such as the Cello Suites; keyboard works such as the ''Goldberg Variations'' and ''The Well-Tempered Clavier''; organ works such as the '' Schubler Chorales'' and the Toccata and Fugue in D minor; and vocal music such as the ''St Matthew Passion'' and the Mass in B minor. Since the 19th-century Bach revival he has been generally regarded as one of the greatest composers in the history of Western music. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at the age of 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical education in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michael Praetorius
Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns. Life Praetorius was born Michael Schultze, the youngest son of a Lutheran pastor, in Creuzburg, in present-day Thuringia. After attending school in Torgau and Zerbst, he studied divinity and philosophy at the University of Frankfurt (Oder). He was fluent in a number of languages. After receiving his musical education, from 1587 he served as organist at the Marienkirche in Frankfurt. From 1592/3 he served at the court in Wolfenbüttel, under the employ of Henry Julius, Duke of Brunswick-Lüneburg. He served in the duke's State Orchestra, first as organist and later (from 1604) as ''Kapellmeister'' (court music director). [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dufay Mon Chier Amy
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 i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Taruskin
Richard Filler Taruskin (April 2, 1945 – July 1, 2022) was an American musicologist and music critic who was among the leading and most prominent music historians of his generation. The breadth of his scrutiny into source material as well as musical analysis that combines sociological, cultural, and political perspectives, has incited much discussion, debate and controversy. He regularly wrote music criticism for newspapers including ''The New York Times''. He researched a wide variety of areas, but a central topic was the Russian music of the 18th century to present day. Other subjects he engaged with include the theory of performance, 15th-century music, 20th-century classical music, nationalism in music, the theory of modernism, and analysis. He is best known for his monumental survey of Western classical music, the six-volume ''Oxford History of Western Music''. He received several awards, including the first Noah Greenberg Award from the American Musicological Society in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Crab Canon
A crab canon (also known by the Latin form of the name, ''canon cancrizans''; as well as ''retrograde canon'', ''canon per recte et retro'' or ''canon per rectus et inversus'')Kennedy, Michael (ed.). 1994. "Canon". The Oxford Dictionary of Music, associate editor, Joyce Bourne. Oxford and New York: Oxford University Press. . is an arrangement of two musical lines that are complementary and backward. If the two lines were placed next to each other (as opposed to stacked), the lines would form something conceptually similar to a palindrome. The name 'crab' refers to the fact that crabs are known to walk backward (although they can also walk forward and sideways). It originally referred to a kind of canon in which one line is played backward (e.g. FABACEAE played simultaneously with EAECABAF). An example is found in J. S. Bach's ''The Musical Offering'', which also contains a table canon ("Quaerendo invenietis"), which combines retrogression with inversion by having one player turn ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Invertible Counterpoint
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly augment ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gradus Ad Parnassum
The Latin phrase ''gradus ad Parnassum'' means "steps to Parnassus". It is sometimes shortened to ''gradus''. The name ''Parnassus'' was used to denote the loftiest part of a mountain range in central Greece, a few kilometres north of Delphi, of which the two summits, in Classical times, were called ''Tithorea'' and '' Lycoreia''. In Greek mythology, one of the peaks was sacred to Apollo and the nine Muses, the inspiring deities of the arts, and the other to Dionysus. The phrase has often been used to refer to various books of instruction, or guides, in which ''gradual'' progress in literature, language instruction, music, or the arts in general, is sought. Classics The first application of the phrase is to a kind of Latin or Greek dictionary, in which the quantities of the vowels are marked in the words, to help beginners to understand the principles of Latin verse composition, in relation to the values of the metrical feet. The first 'step' or lesson is contained in the title phr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
