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Bartolomeo Tromboncino
Bartolomeo Tromboncino (c. 1470 – 1535 or later) was an Italian composer of the middle Renaissance. He is mainly famous as a composer of '' frottole''; he is principally infamous for murdering his wife. He was born in Verona and died in or near Venice. Life There is little information on his early life, as is common for most composers of the time. He mentions in a letter that he was originally from Verona, and it is most likely that he grew up in Mantua. Until around 1500 he lived and worked in Mantua, though he made occasional trips to adjacent cities such as Ferrara, Este, Vicenza, Milan, and Pavia, especially when he was in trouble. He fled Mantua in 1495 for unknown reasons, returning later that same year. In 1499 he murdered his wife when he discovered her ''in flagrante delicto'' but, unlike Gesualdo a hundred years later, he may have spared the man (the sources are contradictory on this detail). Curiously, he seems to have been pardoned again and again for his misde ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Summer Squash
Summer squash are squashes that are harvested when immature, while the rind is still tender and edible. Most summer squashes are varieties of ''Cucurbita pepo'', though some are '' C. moschata''. Most summer squash have a bushy growth habit, unlike the rambling vines of many winter squashes. The term "summer squash" refers to the early harvest period and short storage life of these squashes, unlike that of winter squashes. Summer squashes include the ''C. pepo'' varieties: * Crookneck squash * Gem squash * Kamokamo * Pattypan squash * Straightneck squash *Zucchini Zucchini (; : ''zucchini'' or ''zucchinis''), courgette () or ''Cucurbita pepo'' is a summer squash, a Vine, vining herbaceous plant whose fruit are harvested when their immature seeds and Fruit anatomy#Epicarp, epicarp (rind) are still soft a ... (courgette) and marrow, respectively immature and mature fruits of the same variety of ''C. pepo'' Other summer squashes include the ''C. moschata'' varieties: * Aeh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigal (music)
A madrigal is a form of secular vocal music most typical of the Renaissance music, Renaissance (15th–16th centuries) and early Baroque music, Baroque (1580–1650) periods, although revisited by some later European composers. The Polyphony, polyphonic madrigal is Accompaniment, unaccompanied, and the number of voices varies from two to eight, but the form usually features three to six voices, whilst the Metre (music), metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung. Madrigals written by Italianized Franco–Flemish composers in the 1520s in music, 1520s partly originated from the three-to-four voice frottola (1470–1530); partly from composers' renewed interest in poetry writt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Galeotto Marzio
Galeotto Marzio ( – 1497) was an Italian humanist, poet, philosopher and astrologer who was active in Bohemia and Hungary. Life Galeotto was born in Narni around 1424. He studied the classics from his early youth. After serving as a soldier for a short period, in 1447 he became a pupil of Guarino Veronese in Ferrara. Here he became an intimate friend of Janus Pannonius, who was a Hungarian student there. From Pannonius, Galeotto learned the Greek language. After a pilgrimage to Rome, Galeotto gave lectures in 1450 at the University of Padua about classical authors, and there he studied medicine as well. In Padua he married a Venetian (or, according to some sources, Lombard) girl. She was a daughter of Bartolomeo di Montagna. They had a son, Giovanni, and several daughters. After the death of his Italian wife he married a Hungarian noblewoman whose family name was Szepessy.Some of the preceding text taken from the '' A Pallas nagy lexikona'', a public domain source translated for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Petrarch
Francis Petrarch (; 20 July 1304 – 19 July 1374; ; modern ), born Francesco di Petracco, was a scholar from Arezzo and poet of the early Italian Renaissance, as well as one of the earliest Renaissance humanism, humanists. Petrarch's rediscovery of Cicero's letters is often credited with initiating the 14th-century Italian Renaissance and the founding of Renaissance humanism. In the 16th century, Pietro Bembo created the model for the modern Italian language based on Petrarch's works, as well as those of Giovanni Boccaccio, and, to a lesser extent, Dante Alighieri. Petrarch was later endorsed as a model for Italian style by the . Petrarch's sonnets were admired and imitated throughout Europe during the Renaissance and became a model for lyrical poetry. He is also known for being the first to develop the concept of the "Dark Ages (historiography), Dark Ages". [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Philippe Verdelot
Philippe Verdelot (1480 to 1485–1530 to 1540) was a French composer of the Renaissance, who spent most of his life in Italy. He is commonly considered to be the father of the Italian madrigal, and certainly was one of its earliest and most prolific composers; in addition he was prominent in the musical life of Florence during the period after the recapture of the city by the Medici from the followers of Girolamo Savonarola. Life Verdelot was born in Les Loges, Seine-et-Marne, France. Details of his early life are obscure. He probably came to Italy at an early age, spending the first decade or two of the 16th century at some cities in northern Italy, most likely including Venice. A painting of 1511, described by Vasari but never positively identified, is believed by many musicologists to show Verdelot in Venice with an Italian singer. Verdelot is known to have been ''maestro di cappella '' at the Baptisterium San Giovanni in Florence from 1523 to 1525; and he seems also to h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphonic
Polyphony ( ) is a type of musical 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 chords ( homophony). Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as 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 all parts modified if needed in the end. This point-against-point conception is oppose ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marchetto Cara
Marchetto Cara (c. 1465 – probably 1525) was an Italian composer, lutenist and singer of the Renaissance. He was mainly active in Mantua, was well-connected with the Gonzaga and Medici families, and along with Bartolomeo Tromboncino, was well known as a composer of frottolas. Life Very little is known of his early life. By 1494 he was already employed by the Gonzaga court at Mantua, and he evidently stayed there, without interruption except for travel to sing in nearby cities, until his death. Among his duties were directing the singers both in the Cathedral of San Pietro (Mantua) and in the private estate of the Gonzaga family. As lovers and patrons of music, they employed numerous musicians, and Cara was chief among them: he wrote music for weddings, for state occasions, for intermedi, and for private entertainments, and in so doing created some of the most refined light music of the time. Along with Tromboncino, he was the most famous composer of frottole, and his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plainsong
Plainsong or plainchant (calque from the French ; ) 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 the Western Christian church music until the ninth century, and the introduction of polyphony. The monophonic chants of plainsong have a non-metric rhythm, which is generally considered freer than the metered rhythms of later Western music. They are also traditionally sung without musical accompaniment, though recent scholarship has unearthed a widespread custom of accompanied chant that transcended religious and geographical borders. 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 and the Eastern Orthodox churches did not split u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Homophony
In music, homophony (;, Greek: ὁμόφωνος, ''homóphōnos'', from ὁμός, ''homós'', "same" and φωνή, ''phōnē'', "sound, tone") is a texture in which a primary part is supported by one or more additional strands that provide the harmony. One melody predominates while the other parts play either single notes or an elaborate accompaniment. This differentiation of roles contrasts with equal-voice polyphony (in which similar lines move with rhythmic and melodic independence to form an even texture) and monophony (in which all parts move in unison or octaves). Historically, homophony and its differentiated roles for parts emerged in tandem with tonality, which gave distinct harmonic functions to the soprano, bass and inner voices. A homophonic texture may be homorhythmic, which means that all parts have the same rhythm. Chorale texture is another variant of homophony. The most common type of homophony is melody-dominated homophony, in which one voice, often the h ... [...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 typically ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical 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 chords ( homophony). Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as 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 all parts modified if needed in the end. This point-against-point conception is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lamentations (music)
''The Lamentations of Jeremiah the Prophet'' have been set by various composers. Renaissance England Thomas Tallis set the first lesson, and second lesson, of Tenebrae on Maundy Thursday between 1560, and 1569: "when the practice of making musical settings of the Holy Week readings from the Book of Jeremiah enjoyed a brief and distinguished flowering in England (the practice had developed on the continent during the early 15th century)". The lessons are drawn from '' Lamentations'' (Lam. 1, vv.1-2, and Lam. 1, vv.3-5). These famous and notably expressive settings are both ''a'' 5 for ATTBB and employ a sophisticatedly imitative texture. Tallis like many other composers included the following text: * the announcements ''Incipit Lamentatio Ieremiae Prophetae'' ("Here begins the Lamentation of Jeremiah the Prophet"), and ''De Lamentatione Ieremiae Prophetae'' ("From the Lamentation of Jeremiah the Prophet"); * the Hebrew letters ALEPH, BETH, GIMEL, DALETH, and HE, that headed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
