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Descant
A descant, discant, or is any of several different things in music, depending on the period in question; etymologically, the word means a voice (''cantus'') above or removed from others. The ''Harvard Dictionary of Music'' states: A descant is a form of medieval music in which one singer sang a fixed melody, and others accompanied with improvisations. The word in this sense comes from the term ' (descant "above the book"), and is a form of Gregorian chant in which only the melody is notated but an improvised polyphony is understood. The ' had specific rules governing the improvisation of the additional voices. Later on, the term came to mean the treble or soprano singer in any group of voices, or the higher pitched line in a song. Eventually, by the Renaissance, descant referred generally to counterpoint. Nowadays the counterpoint meaning is the most common. Descant can also refer to the highest pitched of a group of instruments, particularly the descant viol or recorde ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recorder (musical Instrument)
The recorder is a family of woodwind musical instruments in the group known as ''internal duct flutes'': flutes with a whistle mouthpiece, also known as fipple flutes, although this is an archaic term. A recorder can be distinguished from other duct flutes by the presence of a thumb-hole for the upper hand and seven finger-holes: three for the upper hand and four for the lower. It is the most prominent duct flute in the western classical tradition. Recorders are made in various sizes with names and compasses roughly corresponding to various vocal ranges. The sizes most commonly in use today are the soprano (also known as descant, lowest note C5), alto (also known as treble, lowest note F4), tenor (lowest note C4), and bass (lowest note F3). Recorders were traditionally constructed from wood or ivory. Modern professional instruments are almost invariably of wood, often boxwood; student and scholastic recorders are commonly of moulded plastic. The recorders' internal and ext ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hymn Tune
A hymn tune is the melody of a musical composition to which a hymn text is sung. Musically speaking, a hymn is generally understood to have four-part (or more) harmony, a fast harmonic rhythm (chords change frequently), with or without refrain or chorus. From the late sixteenth century in England and Scotland, when most people were not musically literate and learned melodies by rote, it was a common practice to sing a new text to a hymn tune the singers already knew which had a suitable meter and character. There are many hymn tunes which might fit a particular hymn: a hymn in Long Metre might be sung to any hymn tune in Long Metre, but the tunes might be as different as those tunes that have been used for centuries with hymns such as '' Te lucis ante terminum'', on one hand, and an arrangement of the calypso tune used with '' Jamaica Farewell'', on the other. Hymnal editors Editors bring extensive knowledge of theology, poetry, and music to the process of compiling a new ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Treble Voice
A treble voice is a voice which takes the treble part. In the absence of a separate descant part, this is normally the highest- pitched part, and otherwise the second highest. The term is most often used today within the context of choral music in reference to youthful singers. The American Choral Directors Association defines a treble as "a singer, both male and female, ages eight to sixteen". While the term treble is gender neutral, the term is widely used in place of the term boy soprano within the United Kingdom. The term became widely used by English composers of polyphonic choral music during the English pre-Reformation and Reformation eras. At this time choral music written for the Church of England was often voiced in five parts with TrMATB (Treble, Meane, Alto, Tenor, Bass) being one of the most common voicings utilized by Thomas Tallis and his contemporaries. In the Baroque era the term treble was used differently than it is today. The term was used in operas, cantata ... [...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) – Music of France, French for ''false drone'' – is a technique of musical harmony, harmonisation used in the late Medieval music, Middle Ages and early Renaissance music, Renaissance, particularly by composers of the Burgundian School. Guillaume Du Fay 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 part (music), parts a Interval (music), sixth and a perfect fourth below. To prevent monotony, or create a Cadence (music), 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 faux ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano Clef - Trimmed
A soprano () is a type of classical singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to A5 in choral music, or to soprano C (C6) or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano" '''' as the soprano is the highest pitch human voice, often given ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conductus
The ''conductus'' (plural: ''conducti'') was a sacred Latin song in the Middle Ages, one whose poetry and music were newly composed. It is non-liturgical since its Latin lyric borrows little from previous chants. The conductus was northern French equivalent of the ''versus'', which flourished in Aquitaine. It was originally found in the twelfth-century Aquitanian repertories. But major collections of conducti were preserved in Paris. The conductus typically includes one, two, or three voices. A small number of the conducti are for four voices. Stylistically, the conductus is a type of discant (i.e. note-against-note polyphony). Its form can be strophic or through-composed form. The genre flourished from the early twelfth century to the middle of thirteenth century. It was one of the principal types of vocal composition of the ars antiqua period of medieval music history. History Origins of the name The conductus was most likely sung while the lectionary was carried from ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
English Hymnal
''The English Hymnal'' is a hymn book which was published in 1906 for the Church of England by Oxford University Press. It was edited by the clergyman and writer Percy Dearmer and the composer and music historian Ralph Vaughan Williams, and was a significant publication in the history of Anglican church music. Methodology The preface to the hymnal describes itself as "a collection of the best hymns in the English language." Much of the contents was used for the first time at St Mary's, Primrose Hill, in north London and the hymnbook could be considered a musical companion to ''The Parson's Handbook'', Dearmer's 1899 manifesto on English church ceremonial, vestments and furnishings. The high quality of the music is due largely to the work of Vaughan Williams as musical editor. The standard of the arrangements and original compositions made it a landmark in English hymnody and one of the most influential hymnals of the 20th century. The hymnal included the first printing of sev ... [...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] |
Ernest H
Ernest is a given name derived from the Germanic word ''ernst'', meaning "serious", often shortened to Ernie. Notable people and fictional characters with the name include: People *Archduke Ernest of Austria (1553–1595), son of Maximilian II, Holy Roman Emperor *Ernest, Margrave of Austria (1027–1075) * Ernest, Duke of Bavaria (1373–1438) * Ernest, Duke of Opava (c. 1415–1464) * Ernest, Margrave of Baden-Durlach (1482–1553) *Ernest, Landgrave of Hesse-Rheinfels (1623–1693) *Ernest Augustus, Elector of Brunswick-Lüneburg (1629–1698) * Ernest, Count of Stolberg-Ilsenburg (1650–1710) *Ernest Augustus, King of Hanover (1771–1851), son of King George III of Great Britain *Ernest II, Duke of Saxe-Coburg and Gotha (1818–1893), sovereign duke of the Duchy of Saxe-Coburg and Gotha *Ernest Augustus, Crown Prince of Hanover (1845–1923) *Ernest, Landgrave of Hesse-Philippsthal (1846–1925) *Ernest Augustus, Prince of Hanover (1914–1987) *Prince Ernst August of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sylvia Kenney
Sylvia Wisdom Kenney (November 27, 1922 – October 31, 1968) was an American musicologist. She originally performed as a violist and played for the United Service Organizations in World War II. After completing her graduate studies, she worked in music cataloguing and later as a professor at Bryn Mawr College, University of California, Los Angeles, University of California at Santa Barbara, and Smith College. A 1963 Guggenheim Fellow, her publications included '' Catalog of the Emilie and Karl Riemenschneider Memorial Bach Library'' (1960) and '' Walter Frye and the Contenance Angloise'' (1964). Biography Sylvia Wisdom Kenney was born on November 27, 1922, in Tampa, Florida. Her father Arthur W. Kenney worked as a chemist for DuPont. and her mother Marion Coes spent World War II as a WAVES officer. The family later lived in Wilmington, Delaware. She obtained her Bachelor of Arts degree from Wellesley College in 1944. Kenney originally performed as a violist. Her music teacher wa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thrasybulos Georgiades
Thrasybulos Georgios Georgiades (; Athens, 4 January 1907 – Munich, 15 March 1977) was a Greek musicologist, pianist, civil engineer and philosopher. He was for many years director of the Institute of Musicology at the Ludwig Maximilian University of Munich, and he is widely regarded as one of the greatest German musicologists. Life Georgiades grew up as a dedicated pianist, making advanced studies at Athens Conservatoire, and completing his education in Munich (1930–1935) under Carl Orff. He did structural engineering studies at Athens Polytechnic, specializing in the building of bridges. According to some colleagues, "In his work as a musicologist also, he succeeded in forming many unexpected links" – with the philosophy of Heidegger and Gadamer for instance – or in establishing musical connections between Classical Antiquity and the Modern Era, between Greek and German music, or between non-European and Central European music. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manfred Bukofzer
Manfred Fritz Bukofzer (27 March 1910 – 7 December 1955) was a German-born American musicologist. Life and career He studied at Heidelberg University and the Stern conservatory in Berlin, but left Germany in 1933 for Switzerland, where he obtained a doctorate from the University of Basel in 1936. In 1939 he moved to the United States where he remained, becoming a U.S. citizen. He taught at the University of California, Berkeley from 1941 until his premature death from multiple myeloma. Bukofzer is best known as a historian of early music, particularly of the Baroque era. His book ''Music in the Baroque Era'' is still one of the standard reference works on the topic, although some modern historians assert that it has a Germanic bias – for example, in minimizing the importance of opera (Italian by origin) during the development of musical style in the 17th century. In addition to Baroque music, he was a specialist in English music and music theory of the 14th through 16th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
