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Cancioneiro De Elvas
The ''Cancioneiro de Elvas'' (in English: ''Elvas Songbook'') is one of the four Renaissance songbooks of Portuguese music from the 16th century - along with the Lisbon Songbook, the Belém Songbook, and the Paris songbook. It is one important source of secular music from the Iberian Renaissance. The songs are composed in Portuguese and Spanish languages. General description The Elvas Songbook was found in 1928 in the library of Elvas, by the musicologist Manuel Joaquim. It was copied in the 16th century and is divided in two parts: *The first part is musical: contains 65 works of polyphonic (3 voices) secular music from Portugal and Spain. The poems used are villancico The ''villancico'' ( Spanish, ) or vilancete ( Portuguese, ) was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. Important composers of villancicos were Juan del Encina, P ...s and cantigas. *The second part is literary: contai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantiga
A ''cantiga'' (''cantica'', ''cantar'') is a medieval monophonic song, characteristic of the Galician-Portuguese lyric. Over 400 extant ''cantigas'' come from the ''Cantigas de Santa Maria'', narrative songs about miracles or hymns in praise of the Holy Virgin. There are near 1700 secular ''cantigas'' but music has only survived for a very few: six cantigas de amigo by Martín Codax and seven ''cantigas de amor'' by Denis of Portugal. Cantiga is also the name of a poetic and musical form of the Renaissance, often associated with the villancico and the canción. See also *Cantigas de Santa Maria * Galician-Portuguese lyric * Martin Codax *Pergaminho Sharrer *Pergaminho Vindel References * Rip Cohen. ''500 Cantigas d’Amigo,'' edição crítica/critical edition. Porto: Campo das Letras, 2003. * Giulia Lanciani and Giuseppe Tavani (edd.). ''Dicionário da Literatura Medieval Galega e Portuguesa''. Lisbon: Caminho, 1993. * Manuel Pedro Ferreira. ''O Som de Martin Codax. Sob ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Renaissance Music
Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ''ars nova'', the music of the Trecento, Trecento music was treated by musicology as a coda to medieval music and the new era dated from the rise of triad (music), triadic harmony and the spread of the ''contenance angloise'' style from the British Isles to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque music, Baroque period. The period may be roughly subdivided, with an early period corresponding to the career of Guillaume Du Fay (–1474) and the cultivation of cantilena style, a middle dominated by Franco-Flemish School and the four-part textures favored by Johannes Ockeghem (1410s or '20s–1497) and Josquin des Prez (late 1450s–1521), and culminating during the Counter-Reformat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Portuguese Music History
Portuguese may refer to: * anything of, from, or related to the country and nation of Portugal ** Portuguese cuisine, traditional foods ** Portuguese language, a Romance language *** Portuguese dialects, variants of the Portuguese language ** Portuguese man o' war, a dangerous marine animal ** Portuguese people, an ethnic group See also * * ''Sonnets from the Portuguese'' * "A Portuguesa", the national anthem of Portugal * Lusofonia * Lusitania Lusitania (; ) was an ancient Iberian Roman province encompassing most of modern-day Portugal (south of the Douro River) and a large portion of western Spain (the present Extremadura and Province of Salamanca). Romans named the region after th ... * {{disambiguation Language and nationality disambiguation pages ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
16th Century In Portugal
16 (sixteen) is the natural number following 15 and preceding 17. It is the fourth power of two. In English speech, the numbers 16 and 60 are sometimes confused, as they sound similar. Mathematics 16 is the ninth composite number, and a square number: 42 = 4 × 4 (the first non-unitary fourth-power prime of the form ''p''4). It is the smallest number with exactly five divisors, its proper divisors being , , and . Sixteen is the only integer that equals ''m''''n'' and ''n''''m'', for some unequal integers ''m'' and ''n'' (m=4, n=2, or vice versa). It has this property because 2^=2\times 2. It is also equal to 32 (see tetration). The aliquot sum of 16 is 15, within an aliquot sequence of four composite members (16, 15, 9, 4, 3, 1, 0) that belong to the prime 3-aliquot tree. *Sixteen is the largest known integer , for which 2^n+1 is prime. *It is the first Erdős–Woods number. *There are 16 partially ordered sets with four unlabeled elements. 16 is the only num ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
16th-century Books
The 16th century began with the Julian calendar, Julian year 1501 (represented by the Roman numerals MDI) and ended with either the Julian or the Gregorian calendar, Gregorian year 1600 (MDC), depending on the reckoning used (the Gregorian calendar introduced a lapse of 10 days in October 1582). The Renaissance in Italy and Europe saw the emergence of important artists, authors and scientists, and led to the foundation of important subjects which include accounting and political science. Copernicus proposed the Copernican heliocentrism, heliocentric universe, which was met with strong resistance, and Tycho Brahe refuted the theory of celestial spheres through observational measurement of the SN 1572, 1572 appearance of a Milky Way supernova. These events directly challenged the long-held notion of an immutable universe supported by Ptolemy and Aristotle, and led to major revolutions in astronomy and science. Galileo Galilei became a champion of the new sciences, invented the first ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
American Institute Of Musicology
The American Institute of Musicology (AIM) is a musicological organization that researches, promotes and produces publications on early music. Founded in 1944 by Armen Carapetyan, the AIM's chief objective is the publication of modern editions of medieval, Renaissance and early Baroque compositions and works of music theory. The breadth and quality of publications produced by the AIM constitutes a central contribution to the study, practice and performance of early music. Among the series it produces are the '' Corpus mensurabilis musicae'' (CMM), ''Corpus Scriptorum de Musica'' (CSM) and ''Corpus of Early Keyboard Music'' (CEKM). In CMM specifically, the AIM has published the entire surviving ''oeuvres'' of a considerable amount of composers, most notably the complete works of Guillaume de Machaut and Guillaume Du Fay, among many others. The CSM, which focuses on music theory, has published the treatises of important theorists such as Guido of Arezzo and Jean Philippe Rame ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedro De Pastrana
Pedro is a masculine given name. Pedro is the Spanish, Portuguese, and Galician name for ''Peter''. Its French equivalent is Pierre while its English and Germanic form is Peter. The counterpart patronymic surname of the name Pedro, meaning "son of Peter" (compared with the English surname Peterson) is Pérez in Spanish, Peres in Galician and Portuguese, Pires also in Portuguese, and Peiris in coastal area of Sri Lanka (where it originated from the Portuguese version), with all ultimately meaning "son of Pero". The name Pedro is derived via the Latin word "petra", from the Greek word "η πέτρα" meaning "stone, rock". The name Peter itself is a translation of the Aramaic ''Kephas'' or '' Cephas'' meaning "stone". An alternative archaic variant is Pero. Notable people with the name Pedro include: Monarchs, mononymously *Pedro I of Portugal *Pedro II of Portugal *Pedro III of Portugal *Pedro IV of Portugal, also Pedro I of Brazil *Pedro V of Portugal *Pedro II of Braz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedro De Escobar
Pedro de Escobar (c. 1465 – after 1535), a.k.a. ''Pedro do Porto'', was a Portuguese composer of the Renaissance, mostly active in Spain. He was one of the earliest and most skilled composers of polyphony in the Iberian Peninsula, whose music has survived. Life He was born at Porto, Kingdom of Portugal, but nothing is known of his life until he entered the service of Isabella I of Castile in 1489. His surname is of Castilian origin, and maybe he was born to Castilian immigrants, or descendants, established in Porto. But Castilians regarded him as Portuguese. He was a singer in the Catholic Queen's chapel for ten years, and clearly was working as a composer as well; in addition he was the only member of her chapel described in court records as Portuguese. In 1499 he returned to his native Portugal, but in 1507 received an offer of employment, which he accepted, as the ''maestro de capilla'' (chapel master in the Castilian language) at the cathedral in Seville. While ther ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan Del Encina
Juan del Encina (12 July 1468 – 1529/1530) was a Spanish composer, poet, priest, and playwright, often credited as the joint-father (even "founder" or "patriarch") of Spanish drama, alongside Gil Vicente. His birth name was Juan de Fermoselle. He spelled his name Enzina, but this is not a significant difference; it is two spellings of the same sound, in a time when "correct spelling" as we know it barely existed. Life He was born in 1468 near Salamanca, probably at Encina de San Silvestre, one of at least 7 known children of Juan de Fermoselle, a shoemaker, and his wife. He was of Jewish converso descent. After leaving Salamanca University sometime in 1492 he became a member of the household of Don Fadrique de Toledo, the second Duke of Alba, although some sources believe that he did not work for the Duke until 1495. A plausible argument is that his first post was as a ''corregidor'' in northern Spain. Fermoselle was a chaplain at Salamanca Cathedral in the early 1490s. I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Villancico
The ''villancico'' ( Spanish, ) or vilancete ( Portuguese, ) was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Manuel de Zumaya, Juana Inés de la Cruz, Gaspar Fernandes, and Juan Gutiérrez de Padilla.Pope, "Villancico." Derived from medieval dance forms, the 15th century Spanish villancico was a type of popular song sung in the vernacular and frequently associated with rustic themes. The poetic form of the Spanish villancico was that of an estribillo (or refrain) and coplas (stanzas), with or without an introduction. While the exact order and number of repetitions of the estribillo and coplas varied, the most typical form was a loose ABA framework, often in triple meter. The villancico developed as a secular polyphonic genre until religious villancicos gained popularity in the second half of the 16th ce ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
