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Antoine Brumel
Antoine Brumel (c. 1460 – 1512 or 1513) was a French composer. He was one of the first renowned French members of the Franco-Flemish school of the Renaissance, and, after Josquin des Prez, was one of the most influential composers of his generation. Life Little is known about his early life, but he was probably born west of Chartres, perhaps in the town of Brunelles, near to Nogent-le-Rotrou, making him one of the first of the Netherlandish composers who was actually French. He sang at Notre-Dame de Chartres from 9 August 1483 until 1486, and subsequently held posts at St Peter's in Geneva (until 1492) and Laon (around 1497) before becoming choirmaster to the boys at Notre-Dame de Paris from 1498 to 1500, and choirmaster to Alfonso I d'Este at Ferrara from 1506, replacing the famous composer Jacob Obrecht who had died of the plague there the previous year. The chapel there was disbanded in 1510, after which he evidently stayed in Italy; several documents connect him w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franco-Flemish School
The designation Franco-Flemish School, also called Netherlandish School, Burgundian School, Low Countries School, Flemish School, Dutch School, or Northern School, refers, somewhat imprecisely, to the style of polyphonic vocal music composition originating from France and from the Burgundian Netherlands in the 15th and 16th centuries as well as to the composers who wrote it. The spread of their technique, especially after the revolutionary development of printing, produced the first true international style since the unification of Gregorian chant in the 9th century. Franco-Flemish composers mainly wrote sacred music, primarily masses, motets, and hymns. Term and controversy Several generations of Renaissance composers from the region loosely known as the Low Countries (Imperial and French fiefs ruled in personal union by the House of Valois-Burgundy in the period from 1384 to 1482)—i.e. present-day Northern France, Belgium and the Southern Netherlands—are grouped under "F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pope Leo X
Pope Leo X ( it, Leone X; born Giovanni di Lorenzo de' Medici, 11 December 14751 December 1521) was head of the Catholic Church and ruler of the Papal States from 9 March 1513 to his death in December 1521. Born into the prominent political and banking Medici family of Florence, Giovanni was the second son of Lorenzo de' Medici, ruler of the Florentine Republic, and was elevated to the cardinalate in 1489. Following the death of Pope Julius II, Giovanni was elected pope after securing the backing of the younger members of the Sacred College. Early on in his rule he oversaw the closing sessions of the Fifth Council of the Lateran, but struggled to implement the reforms agreed. In 1517 he led a costly war that succeeded in securing his nephew Lorenzo di Piero de' Medici as Duke of Urbino, but reduced papal finances. In Protestant circles, Leo is associated with granting indulgences for those who donated to reconstruct St. Peter's Basilica, a practice that was soon chall ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Requiem Setting
The Music for the Requiem Mass is any music that accompanies the Requiem, a Mass in the Catholic Church for the deceased. It has inspired a large number of compositions, including settings by Mozart, Berlioz, Donizetti, Verdi, Bruckner, Dvořák, Fauré and Duruflé. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works. Common texts The following are the texts that have been set to music. Note that the ''Libera Me'' and the ''In Paradisum'' are not part of the text of the Catholic Mass for the Dead itself, but a part of the burial rite that immediately follows. ''In Paradisum'' was traditionally said or sung as the body left the church, and the ''Libera Me'' is said/sung at the burial ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture (music), texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chord (music), chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Medieval music, Middle Ages and Renaissance music, Renaissance. Baroque music, Baroque forms such as fugue, which might be called polyphonic, are usually described instead as counterpoint, contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Missa De Beata Virgine (Josquin)
The ''Missa de Beata Virgine'' is a musical setting of the Ordinary of the Mass, by Renaissance composer Josquin des Prez. A late work, probably composed or assembled around 1510, it was the most popular of his masses in the 16th century.Noble, Grove The ''Missa de Beata Virgine'' is unusual among Josquin's masses in that the first two movements are for four voices, and the last three for five, with the fifth voice derived canonically. Like most musical settings of the mass Ordinary, it is in five sections, or movements: # Kyrie # Gloria # Credo # Sanctus # Agnus Dei It uses different plainsong chants for each movement, and is a paraphrase mass, one in which the original chants are elaborated, broken up, passed between voices, or sung in different voices simultaneously. The mass is one of only four that Josquin based on plainsong, and probably the second to last (the others are the ''Missa Gaudeamus'', a relatively early work, the ''Missa Ave maris stella'', and the '' Missa Pa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
L'homme Armé
"L'homme armé" (French for "the armed man") is a secular song from the Late Middle Ages, of the Burgundian School. According to Allan W. Atlas, "the tune circulated in both the Mixolydian mode and Dorian mode (transposed to G)." It was the most popular tune used for musical settings of the Ordinary of the Mass: over 40 separate compositions entitled '' Missa L'homme armé'' survive from the period. Music Origin The origins of the popularity of the song and the importance of the armed man are the subject of various theories. Some have suggested that the 'armed man' represents St Michael the Archangel. The composer Johannes Regis ( – ) seems to have intended that allusion in his ''Dum sacrum mysterium/Missa l'homme armé'' based upon the melody, which incorporates various additional trope texts and cantus firmus plainchants in honour of St Michael the Archangel. Others have suggested it merely represents the name of a popular tavern (Maison L'Homme Arme) near Du Fay's r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chanson
A (, , french: chanson française, link=no, ; ) is generally any lyric-driven French song, though it most often refers to the secular polyphonic French songs of late medieval and Renaissance music. The genre had origins in the monophonic songs of troubadours and trouvères, though the only polyphonic precedents were 16 works by Adam de la Halle and one by Jehan de Lescurel. Not until the '' ars nova'' composer Guillaume de Machaut did any composer write a significant number of polyphonic chansons. A broad term, the word "chanson" literally means "song" in French and can thus less commonly refers to a variety of (usually secular) French genres throughout history. This includes the songs of chansonnier, '' chanson de geste'' and Grand chant; court songs of the late Renaissance and early Baroque music periods, '' air de cour''; popular songs from the 17th to 19th century, '' bergerette'', '' brunette'', '' chanson pour boire'', ''pastourelle'', and vaudeville; art son ... [...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 nam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plainchant
Plainsong or plainchant (calque from the French ''plain-chant''; la, cantus planus) is a body of chants used in the liturgies of the Western Church. When referring to the term plainsong, it is those sacred pieces that are composed in Latin text. Plainsong was the exclusive form of Christian church music until the ninth century, and the introduction of polyphony. The monophonic chants of plainsong have a non-metric rhythm. Their rhythms are generally freer than the metered rhythm of later Western music, and they are sung without musical accompaniment. There are three types of chant melodies that plainsongs fall into, syllabic, neumatic, and melismatic. The free flowing melismatic melody form of plainsong is still heard in Middle Eastern music being performed today. Although the Catholic Church (both its Eastern and Western halves) and the Eastern Orthodox churches did not split until long after the origin of plainsong, Byzantine chants are generally not classified as plai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paraphrase Mass
A paraphrase mass is a musical setting of the Ordinary of the Mass that uses as its basis an elaborated version of a cantus firmus, typically chosen from plainsong or some other sacred source. It was a common means of mass composition from the late 15th century until the end of the 16th century, during the Renaissance period in music history, and was most frequently used by composers in the parts of western Europe which remained under the direct control of the Roman Catholic Church. It is distinguished from the other types of mass composition, including cyclic mass, parody, canon, soggetto cavato, free composition, and mixtures of these techniques. History Musical paraphrase, in general, had been used for a long time before it was first applied to the music of the Ordinary of the Mass. It was common in the early and middle 15th century for a work such as a motet to use an embellished plainchant melody as its source, with the melody usually in the topmost voice. John Dunstabl ... [...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 typical ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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