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Requiem (Ockeghem)
Requiem, by Johannes Ockeghem (c. 1410 – 1497), is a polyphonic setting of the Roman Catholic Requiem Mass (the ''Missa pro defunctis'', or Mass for the dead). It is probably the earliest surviving polyphonic setting of any requiem mass. It is unusual in that the movements vary greatly in style, and each uses a paraphrase technique for the original Sarum chant. It has five movements for two to four voices and is one of Ockeghem's best known and most performed works. Ockeghem's ''Requiem'' is often considered incomplete as it lacks a Sanctus, Communion or Agnus Dei. The closing movement, the Offertory, is the most complex. Blank opening sections in the Codex imply that there may have been another movement. The circumstances of its composition are unclear; it may have been composed for the funeral of Charles VII in 1461; an alternative hypothesis is that it was written after the death of Louis XI in 1483. Requiem This requiem is the earliest surviving polyphonic setting of the Re ... [...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. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psalm 42
Psalm 42 is the 42nd psalm of the Book of Psalms, often known in English by its incipit, "As the hart panteth after the water brooks" (in the King James Version). The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the Hebrew Bible, Psalm 42 opens the second of the five books (divisions) of Psalms, also known as the "Elohistic Psalter" because the word YHWH is rarely used and God is generally referred to as "Elohim". In the slightly different numbering system used in the Greek Septuagint version of the bible, and generally in its Latin translations, this psalm is Psalm 41, although the Nova Vulgata translation follows the Hebrew numbering. The psalm is a hymn psalm. It is one of twelve psalms attributed to the sons of Korah. In Latin, its incipit in the Psalterium Gallicanum (the version in the Roman Breviary until the optional introduction of the '' Versio Piana'' in 1945) is ''Quemadmodum desiderat cervus''; b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gustave Reese
Gustave Reese ( ; 29 November 1899 – 7 September 1977) was an American musicologist and teacher. Reese is known mainly for his work on medieval and Renaissance music, particularly with his two publications ''Music in the Middle Ages'' (1940) and ''Music in the Renaissance'' (1954); these two books remain the standard reference works for these two eras, with complete and precise bibliographical material, allowing for almost every piece of music mentioned to be traced back to a primary source. Early life and education Reese was born in New York City on 29 November 1899. He was an avid scholar and had interests in many areas outside music, including art, architecture, and literature. He studied law at New York University, graduating in 1921. Though he was admitted to the New York State Bar, he opted to re-enroll and pursue a Bachelor of Music from NYU, which he received in 1930. Career In 1927, however, he was already teaching classes at the university in medieval and Renaiss ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fabrice Fitch
Fabrice is a French masculine given name from the Roman name ''Fabricius'', which is itself derived from the Latin ''faber'' meaning blacksmith or craftsman. Notable people with the name include: * Fabrice Balanche (born 1969), French geographer * Fabrice Bellard, French computer programmer who founded FFmpeg * Fabrice Benichou (born 1965), French boxer * Fabrice Bry (born 1972), French volleyball player * Fabrice Colin (born 1972), French writer * Fabrice Du Welz (born 1972), Belgian film director * Fabrice Mazliah (born 1972), Swiss Dancer and Choreographer * Fabrice Ehret (born 1979), Swiss-born French footballer * Fabrice Guy (born 1968), French Nordic combined skier * Fabrice Lhomme (born 1965), French investigative journalist * Fabrice Lokembo-Lokaso (born 1982), Congolese footballer * Fabrice Luchini (born 1951), French actor * Fabrice Martin (born 1986), French tennis player * Fabrice Morvan (born 1966), French singer * Fabrice Muamba (born 1988), Congolose-British foot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guillaume Crétin
Guillaume Dubois or Guillaume Crétin (c. 1460 – 30 November 1525) was a French poet who is considered to belong to the school of the Grands Rhétoriqueurs ("rhetoricians"). Life He was treasurer of the Sainte-Chapelle de Vincennes, then cantor of the Sainte-Chapelle de Paris and ordinary almoner to Francis I of France. Of his work, mainly his 'chants royaux' (1527), praised by his contemporaries, survive. He was recognised as a master, notably by Jean Lemaire de Belges and Clément Marot Clément Marot (23 November 1496 – 12 September 1544) was a French Renaissance poet. Biography Youth Marot was born at Cahors, the capital of the province of Quercy, some time during the winter of 1496–1497. His father, Jean Marot (c.& .... He is one of the great virtuosos of 'rime équivoquée' (for example, the ''Espistre à Honorat de la Jaille'' of circa 1510). References External links Two poems 1460 births 1525 deaths 16th-century French poets French poets French ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Wexler
Richard Wexler is a noted child welfare advocate and executive director of the National Coalition for Child Protection Reform,(NCCPR),"Richard Wexler," bio note, National Coalition for Child Protection Reform (NCCPR), Alexandria, Virginia, USABanks, Sandy "Helping Children by Fixing the System," October 10, 2000, ''Los Angeles Times'' [...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 bee ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four-voice Texture
The term "four-part harmony" refers to music written for four voices, or for some other musical medium—four musical instruments or a single keyboard instrument, for example—for which the various musical parts can give a different note for each chord of the music. The four main voices are typically labelled as soprano (or treble and countertenor), alto (contralto, countertenor or mezzo), tenor, and bass. Because the human voice has a limited range, different voice types are usually not able to sing pitches that lie outside of their specific range. The effort required to perform four-part harmony varies greatly. Pieces written in such a style can be usually executed by a single keyboard player, a group of 4 instruments (or singers), or even a large choir with multiple singers per part. In European classical music In the baroque era, a set of rules developed for voice leading in four-part harmony. In these rules, the bass voice would be assigned the root of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fauxbourdon
Fauxbourdon (also fauxbordon, and also commonly two words: faux bourdon or faulx bourdon, and in Italian falso bordone) – French for ''false drone'' – is a technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School. Guillaume Dufay was a prominent practitioner of the form (as was John Dunstaple), and may have been its inventor. The homophony and mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood clearly. Description In its simplest form, fauxbourdon consists of the cantus firmus and two other parts a sixth and a perfect fourth below. To prevent monotony, or create a cadence, the lowest voice sometimes jumps down to the octave, and any of the accompanying voices may have minor embellishments. Usually just a small part of a composition employs the fauxbourdon technique. Hymn singing In a ''hymn'', the term is sometimes used when the congregation sings in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Superius
In early music polyphony, ''superius'' or cantus is the Latin language-derived name given to the highest voice or part.Arnold D. (ed), ''New Oxford Companion to Music'', Oxford, (1983) See also * Voice type * Quintus (vocal music) The Latin word quintus, also ''quinta'' or ''quinta vox'', refers to the fifth voice in addition to the ''superius'', ''altus'', ''tenor'' and '' bassus'' in a piece of vocal polyphony. In Baroque vocal music, this fifth voice was added to the prin ... References External links * {{Music-theory-stub Vocal music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Treble (sound)
Treble describes tones of high frequency or high pitch, ranging from 6 kHz to 20kHz, comprising the higher end of the human hearing range. In music, this corresponds to ''high notes''. The treble clef is often used to notate such notes. Treble sound is the counterpart to bass sound. Examples of treble sounds include soprano voices, flute tones, and piccolos. The term ''treble'' derives from the Latin ''triplum'', used in 13th century motets to indicate the third and highest range. The treble control is used in sound reproduction to change the volume of treble notes relative to those of the middle and bass frequency ranges. See also *Boy sopranos * C (musical note) *Treble booster A treble booster is an effects unit used by guitarists to increase the high end of their tonal spectrum. Many units boost the overall volume as well. Treble boosters were commonly used by guitarists in the 1960s and 1970s. During the last coupl ... * Treble voice * Tweeter References P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
