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Discant
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] |
Organum
''Organum'' () is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or '' bourdon'') may be sung on the same text, the melody may be followed in parallel motion (parallel ), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, ''organum'' involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. ''Organum'' was originally improvised; while one singer performed a notated melody (the ''vox principalis ... [...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] |
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] |
Medieval Music
Medieval music encompasses the sacred music, sacred and secular music of Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. It is the Dates of classical music eras, first and longest major era of Western classical music and is followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period. Following the traditional division of the Middle Ages, medieval music can be divided into #Early medieval music (500–1000), Early (500–1000), #High medieval music (1000–1300), High (1000–1300), and #Late medieval music (1300–1400), Late (1300–1400) medieval music. Medieval music includes liturgical music used for the church, other sacred music, and secular music, secular or non-religious music. Much medieval music is purely vocal music, such as Gregorian chant. Other music used only instruments or both voices and instruments (typically with the instruments accompanime ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically dependent on each other, yet independent in rhythm and melodic contour. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". John Rahn describes counterpoint as follows: Counterpoint 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. 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 c ... [...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] |
Rudolf Flotzinger
Rudolf Flotzinger (born 22 September 1939) is an Austrian musicologist. Career Born in Vorchdorf (Austria), Flotzinger graduated from the where he was a student from 1951 to 1958.OeML Flotzinger, Rudolf in ''Oesterreichisches Musiklexikon''. Online-edition, Vienna 2002, ; Print edition: volume 1, edition, Vienna 2002, He then pursued concurrent studies at the (1958–1964) and the |
Stanley Sadie
Stanley John Sadie (; 30 October 1930 – 21 March 2005) was a British musicologist, music critic, and editor. He was editor of the sixth edition of the '' Grove Dictionary of Music and Musicians'' (1980), which was published as the first edition of ''The New Grove Dictionary of Music and Musicians''. Along with Thurston Dart, Nigel Fortune and Oliver Neighbour he was one of Britain's leading musicologists of the post-World War II generation. Career Born in Wembley, Sadie was educated at St Paul's School, London, and studied music privately for three years with Bernard Stevens. At Gonville and Caius College, Cambridge he read music under Thurston Dart. Sadie earned Bachelor of Arts and Bachelor of Music degrees in 1953, a Master of Arts degree in 1957, and a PhD in 1958. His doctoral dissertation was on mid-eighteenth-century British chamber music. After Cambridge, he taught at Trinity College of Music, London (1957–1965). Sadie then turned to music journalism, beco ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Tyrrell (musicologist)
John Tyrrell (17 August 1942 – 4 October 2018) was a British musicologist. He published several books on Leoš Janáček, including an authoritative and largely definitive two-volume biography. Tyrrell was born in Salisbury, Zimbabwe and worked as a professor of music and executive editor of ''The New Grove Dictionary of Music and Musicians''. He died in 2018, aged 76. Early life and education Tyrrell was born in Salisbury, Southern Rhodesia (now Harare, Zimbabwe), he studied at the universities of Cape Town, Oxford and Brno. He graduated Bachelor of Music at the University of Cape Town following which he moved to the University of Oxford to pursue a doctoral degree under the supervision of Edmund Rubbra. Career Tyrrell started his career working in an editorial capacity at '' The Musical Times''. He was a Lecturer in Music at the University of Nottingham (1976), becoming Reader in Opera Studies (1987) and Professor (1996). From 1996 to 2000 he was Executive Editor o ... [...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] |
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] |
