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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] |
Dufay Mass Cantus Firmus
Guillaume Du Fay ( , ; also Dufay, Du Fayt; 5 August 1397 – 27 November 1474) was a composer and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. Considered the leading European composer of his time, his music was widely performed and reproduced. Du Fay was well-associated with composers of the Burgundian School, particularly his colleague Gilles Binchois, but was never a regular member of the Burgundian chapel himself. While he is among the best-documented composers of his time, Du Fay's birth and family is shrouded with uncertainty, though he was probably the illegitimate child of a priest. He was educated at Old Cambrai Cathedral, Cambrai Cathedral, where his teachers included Nicolas Grenon and Richard Loqueville, among others. For the next decade, Du Fay worked throughout Europe: as a subdeacon in Cambrai, under Carlo I Malatesta in Rimini, for the House of Malatesta in Pesaro, and under Louis Aleman in Bologna, where he ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
L'homme Armé
"L'homme armé" () 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 Lyrics 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 rooms in Cambra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Sebastian Bach
Johann Sebastian Bach (German: Help:IPA/Standard German, [ˈjoːhan zeˈbasti̯an baχ]) ( – 28 July 1750) was a German composer and musician of the late Baroque music, Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral ''Brandenburg Concertos''; solo instrumental works such as the Cello Suites (Bach), cello suites and Sonatas and Partitas for Solo Violin (Bach), sonatas and partitas for solo violin; keyboard works such as the ''Goldberg Variations'' and ''The Well-Tempered Clavier''; organ works such as the ' and the Toccata and Fugue in D minor, BWV 565, Toccata and Fugue in D minor; and choral works such as the ''St Matthew Passion'' and the Mass in B minor. Since the 19th-century Reception of Johann Sebastian Bach's music, Bach Revival, he has been widely regarded as one of the greatest composers in the history of Western music. The Bach family had already produced several composers when Joh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque Music
Baroque music ( or ) refers to the period or dominant style of Classical music, Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance music, Renaissance period, and was followed in turn by the Classical period (music), Classical period after a short transition (the Galant music, galant style). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "Western art music, classical music" Western canon, canon, and continues to be widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word ''barroco'', meaning "baroque pearl, misshapen pearl". Key List of Baroque composers, composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Georg Philipp Telemann, Domenico Scarlatti, Claudio Monte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Westron Wynde
''Westron Wynde'' is an early 16th-century song whose tune was used as the basis (cantus firmus) of Masses by English composers John Taverner, Christopher Tye and John Sheppard. The tune first appears with words in a partbook of around 1530, catalogued by the British Library as Royal Appendix MS 58. Historians believe that the lyrics are a few hundred years older ('Middle English') and the words are a fragment of medieval poetry. Lyrics The lyrics of the original, as transcribed by Charles Frey: : Westron wynde when wyll thow blow : the smalle rayne downe can Rayne : Cryst yf my love were in my Armys : And I yn my bed Agayne. Music Recovering the original tune of ''Westron Wynde'' that was used in these Masses is not entirely straightforward. There is a version that uses the secular words, but with rather different notes: The version used by the three Mass composers can only be inferred by what they put into their Masses. In programme notes (see below), Peter Phillips ... [...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 a significant European composer in the period between Guillaume Du Fay and Josquin des Prez, and he was—with his colleague Antoine Busnois—a prominent 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 prominent 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 fewer than 10 motets—though the exact numbers vary due to attribution uncertainties. His be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fors Seulement
Fors seulement is a French chanson, popular as a basis for variations and as a cantus firmus. An early version, attributed to Johannes Ockeghem, is sometimes called ''Fors seulement l'attente'' to distinguish it from his similarly titled ''Fors seulement contre''. Brumel wrote a polytextual version, combining a tenor setting of '' Du tout plongiet'' with the words and ''superius'' from Ockeghem's ''Fors seulement l'attente'' for baritone. Lyrics Versions and settings Many versions of the chanson were produced including those by Johannes Ockeghem, Josquin des Prez, Pierre de La Rue, Matthaeus Pipelare, Johannes Ghiselin, Jacob Obrecht, Antoine Brumel, Jheronimus Vinders and Alexander Agricola. Mass settings include those by Vinders, Ockeghem, Obrecht, Pipelare, and Carpentras Carpentras (, formerly ; Provençal dialect, Provençal Occitan language, Occitan: ''Carpentràs'' in classical norm or ''Carpentras'' in Mistralian norm; ) is a Communes of France, commune in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antoine Busnois
Antoine Busnois (also Busnoys; – before 6 November 1492) was a French composer, singer and poet of early Renaissance music. Busnois and colleague Johannes Ockeghem were the leading European composers of the second half the 15th century, and central figures of the early Franco-Flemish School. While also noted as a composer of motets and other sacred music, he was one of the most renowned 15th-century composers of secular polyphonic chansons. Between Guillaume Du Fay and Claudin de Sermisy, Busnois was the most prolific and important French composer of songs. Life and career The details of Busnois's early life are largely conjectural, and nothing is certain. He was probably from the vicinity of Béthune in the Pas-de-Calais, possibly the hamlet of Busnes, to which his name seems to refer. He may have been related to the aristocratic family of Busnes; in particular, a Philippe de Busnes, canon of Notre-Dame in Lens, could have been a relative. He clearly received an excellent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fortuna Desperata
Fortuna desperata is a secular Italian song, possibly originally by Busnois (but others credit Antoine Brumel). It was used by many other authors in the following 75 years, for both variations and cantus firmus masses, and over 30 such reworkings are known. Words in the original Italian and in English and German are available at Choral Wik The first verse is :'Fortuna desperata :Iniqua e maledecta :Che de tal dona electa :La fama hai denigrata.' translated as :'Desperate fate, :iniquitous and maledicted :who blackened the good name :of a woman beyond compare.' Amongst the more well-known versions of the song are the three-voice version by Busnois, its reworking for six voices by Alexander Agricola, a three-part instrumental version possibly by Josquin, three-voice version by Heinrich Isaac, and seven settings (including quodlibets) by Ludwig Senfl. Se(archive from 29 December 2014, accessed 26 February 2016) for several others. Parody masses Amongst the mass-settings are ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ottoman Empire
The Ottoman Empire (), also called the Turkish Empire, was an empire, imperial realm that controlled much of Southeast Europe, West Asia, and North Africa from the 14th to early 20th centuries; it also controlled parts of southeastern Central Europe, between the early 16th and early 18th centuries. The empire emerged from a Anatolian beyliks, ''beylik'', or principality, founded in northwestern Anatolia in by the Turkoman (ethnonym), Turkoman tribal leader Osman I. His successors Ottoman wars in Europe, conquered much of Anatolia and expanded into the Balkans by the mid-14th century, transforming their petty kingdom into a transcontinental empire. The Ottomans ended the Byzantine Empire with the Fall of Constantinople, conquest of Constantinople in 1453 by Mehmed II. With its capital at History of Istanbul#Ottoman Empire, Constantinople (modern-day Istanbul) and control over a significant portion of the Mediterranean Basin, the Ottoman Empire was at the centre of interacti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fall Of Constantinople
The Fall of Constantinople, also known as the Conquest of Constantinople, was the capture of Constantinople, the capital of the Byzantine Empire by the Ottoman Empire. The city was captured on 29 May 1453 as part of the culmination of a 55-day siege which had begun on 6 April. The attacking Army of the classical Ottoman Empire, Ottoman Army, which significantly outnumbered Constantinople's defenders, was commanded by the 21-year-old List of sultans of the Ottoman Empire, Sultan Mehmed the Conqueror, Mehmed II (later nicknamed "the Conqueror"), while the Byzantine army (Palaiologan era), Byzantine army was led by List of Byzantine emperors, Emperor Constantine XI Palaiologos. After conquering the city, Mehmed II made Constantinople the new Ottoman capital, replacing Edirne, Adrianople. The fall of Constantinople and of the Byzantine Empire was a watershed of the Late Middle Ages, marking the effective end of the Roman Empire, a state which began in roughly 27 BC and had la ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
