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Donato Da Cascia
Donato da Cascia (also da Firenze or da Florentia) (fl. c. 1350 – 1370) was an Italian composer of the Trecento. All of his surviving music is secular, and the largest single source is the Squarcialupi Codex. He was probably also a priest, and the picture that survives of him in the Squarcialupi Codex shows him in the robes of the Benedictine order. Nothing at all is known about his life except what can be inferred from his picture, his name, and the geographic distribution of his surviving music. He was probably from Cascia, near Florence, and all of his music, with one exception (the virelai), is found in sources in Tuscany. Seventeen compositions by Donato survive, including: fourteen madrigals, one caccia, one virelai, and one ballata. Except for one piece, his music is all for two voices, typical of mid-century practice in that regard, but unusually virtuosic; according to Nino Pirrotta, it "represents the peak of virtuoso singing in the Italian madrigal, and there ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trecento
The Trecento (, also , ; short for , "1300") refers to the 14th century in Italian cultural history. Period Art Commonly, the Trecento is considered to be the beginning of the Renaissance in art history. Painters of the Trecento included Giotto di Bondone, as well as painters of the Sienese School, which became the most important in Italy during the century, including Duccio di Buoninsegna, Simone Martini, Lippo Memmi, Ambrogio Lorenzetti and his brother Pietro. Important sculptors included two pupils of Giovanni Pisano: Arnolfo di Cambio and Tino di Camaino, and Bonino da Campione. Vernacular writing The Trecento was also famous as a time of heightened literary activity, with writers working in the vernacular instead of Latin. Dante, Petrarch and Boccaccio were the leading writers of the age. Dante produced his famous ''La divina commedia'' (The ''Divine Comedy''), now seen as a summation of the medieval worldview, and Petrarch wrote verse in a lyrical style influenced by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nino Pirrotta
Nino Pirrotta (13 June 1908 in Palermo – 22 January 1998 in Palermo) was an Italian musicologist of international renown who specialized in Italian music from the late medieval, Renaissance and early Baroque eras. Life and career In 1931 Pirrotta earned a degree in art history from the University of Florence after having already earned a diploma in organ performance. He established himself as an important academic with his first book, ''Il Sacchetti e la Tecnica Musicale'' (1935, with Ettore Li Gotti) which focused on the music and poetry of the Trecento. He went on to publish several more works on that topic and became one of the most important scholars on the Italian Ars Nova, Florentine Camerata, and early opera. In 1970 his book ''Li Dui Orfei'' (later published in English in 1982 as ''Music and Theater from Poliziano to Monteverdi''), which traced the pre-history of opera, was awarded the Kinkeldey Award by the American Musicological Society. In 1954 he became a visitin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trecento Composers
The Trecento (, also , ; short for , "1300") refers to the 14th century in Italian cultural history. Period Art Commonly, the Trecento is considered to be the beginning of the Renaissance in art history. Painters of the Trecento included Giotto di Bondone, as well as painters of the Sienese School, which became the most important in Italy during the century, including Duccio di Buoninsegna, Simone Martini, Lippo Memmi, Ambrogio Lorenzetti and his brother Pietro. Important sculptors included two pupils of Giovanni Pisano: Arnolfo di Cambio and Tino di Camaino, and Bonino da Campione. Vernacular writing The Trecento was also famous as a time of heightened literary activity, with writers working in the vernacular instead of Latin. Dante, Petrarch and Boccaccio were the leading writers of the age. Dante produced his famous ''La divina commedia'' (The ''Divine Comedy''), now seen as a summation of the medieval worldview, and Petrarch wrote verse in a lyrical style influenced by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Italian Male Classical Composers
Italian(s) may refer to: * Anything of, from, or related to the people of Italy over the centuries ** Italians, an ethnic group or simply a citizen of the Italian Republic or Italian Kingdom ** Italian language, a Romance language *** Regional Italian, regional variants of the Italian language ** Languages of Italy, languages and dialects spoken in Italy ** Italian culture, cultural features of Italy ** Italian cuisine, traditional foods ** Folklore of Italy, the folklore and urban legends of Italy ** Mythology of Italy, traditional religion and beliefs Other uses * Italian dressing, a vinaigrette-type salad dressing or marinade * Italian or Italian-A, alternative names for the Ping-Pong virus, an extinct computer virus See also * * * Italia (other) * Italic (other) * Italo (other) * The Italian (other) The Italian may refer to: * ''The Italian'' (1915 film), a silent film by Reginald Barker * ''The Italian'' (2005 film), a Russian film ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kurt Von Fischer
Kurt von Fischer (25 April 1913 – 27 November 2003) was a Swiss musicologist and classical pianist. Life Fischer wurde was born on 25 April 1913 in Bern as the son of the mycologist Eduard Fischer. Fischer studied piano at the University of the Arts Bern, which he completed in 1935 with a diploma under Franz Josef Hirt. Later he was trained by Czesław Marek. In addition, he studied musicology at the University of Bern and received his doctorate in 1938. From 1939 to 1957 he worked as a teacher at the Bern Conservatory. From 1948 to 1957 he was appointed Privatdozent at the University of Bern. From 1957 to 1979 he taught musicology as ''Ordinarius'' at the University of Zurich, from 1974 to 1976 as Dean. He has also held visiting professorships in Europe, the US and Australia. In addition, he was an honorary member of numerous scientific societies and president of the International Musicological Society from 1967 to 1972. In 1974 he was awarded the Music Prize of the Canton ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of The Trecento
The Trecento was a period of vigorous activity in Italy in the arts, including painting, architecture, literature, and music. The music of the Trecento paralleled the achievements in the other arts in many ways, for example, in pioneering new forms of expression, especially in secular song in the vernacular language, Italian. In these regards, the music of the Trecento may seem more to be a Renaissance phenomenon; however, the predominant musical language was more closely related to that of the late Middle Ages, and musicologists generally classify the Trecento as the end of the medieval era. ''Trecento'' means "three hundred" in Italian but is usually used to refer to the 1300s. However, the greatest flowering of music in the Trecento happened late in the century, and the period is usually extended to include music up to around 1420. History Background and early history (to 1330) Very little Italian music remains from the 13th century, so the immediate antecedents of the mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Imitation (music)
In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. The melody may vary through transposition, inversion, or otherwise, but retain its original character. The intervals and rhythms of an imitation may be exact or modified; imitation occurs at varying distances relative to the first occurrence, and phrases may begin with voices in imitation before they freely go their own ways. Imitation helps provide unity to a composition and is used in forms such as the fugue and canon. Definitions When a phrase recurs exactly as before (except perhaps transposed), it is called strict imitation. A round is thus an example of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. Different authors define imitation somewhat differently: The point of imitation, "marks the beginning of a series of imitative entries in a contrap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ballata
The ''ballata'' (plural: ''ballate'') is an Italian poetic and musical form in use from the late 13th to the 15th century. It has the musicapenim AbbaA, with the first and last stanzas having the same texts. It is thus most similar to the French musical 'forme fixe' virelai (and not the ballade as the name might otherwise suggest). The first and last "A" is called a ''ripresa'', the "b" lines are ''piedi'' (feet), while the fourth line is called a "volta". Longer ballate may be found in the form AbbaAbbaA, etc. Unlike the virelai, the two "b" lines usually have exactly the same music and only in later ballate pick up the (formerly distinctly French) first and second (open and close) endings. The term comes from the verb ''ballare'', to dance, and the form certainly began as dance music. The ballata was one of the most prominent secular musical forms during the trecento, the period often known as the Italian '' ars nova''. Ballate are sung at the end of each day of Boccacc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Squarcialupi Codex
The Squarcialupi Codex (Florence, Biblioteca Medicea Laurenziana, Med. Pal. 87) is an illuminated manuscript compiled in Florence in the early 15th century. It is the single largest primary source of music of the 14th-century Italian ''Trecento'' (also known as the " Italian ars nova"). It consists of 216 parchment folios, organized by composer, with each composer's section beginning with a portrait of the composer richly illuminated in gold, red, blue and purple. The manuscript is in good condition, and musical pieces are complete. Included in the codex are 146 complete pieces by Francesco Landini, 37 by Bartolino da Padova, 36 by Niccolò da Perugia, 29 by Andrea da Firenze, 28 by Jacopo da Bologna, 17 by Lorenzo da Firenze, 16 by Gherardello da Firenze, 15 by Donato da Cascia, 12 pieces by Giovanni da Cascia, 6 by Vincenzo da Rimini, and smaller amounts of music by others. It contains 16 blank folios, intended for the music of Paolo da Firenze, since they are labeled as s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Virelai
A ''virelai'' is a form of medieval French verse used often in poetry and music. It is one of the three '' formes fixes'' (the others were the ballade and the rondeau) and was one of the most common verse forms set to music in Europe from the late thirteenth to the fifteenth centuries. One of the most famous composers of virelai is Guillaume de Machaut (c. 1300–1377), who also wrote his own verse; 33 separate compositions in the form survive by him. Other composers of virelai include Jehannot de l'Escurel, one of the earliest (d. 1304), and Guillaume Dufay (c. 1400–1474), one of the latest. By the mid-15th century, the form had become largely divorced from music, and numerous examples of this form (including the ballade and the rondeau) were written, which were either not intended to be set to music, or for which the music has not survived. A virelai with only a single stanza is also known as a bergerette. Musical virelai The virelai as a song form of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Caccia (music)
In music, a canon is a contrapuntal ( counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or ''dux''), while the imitative melody, which is played in a different voice, is called the follower (or ''comes''). The follower must imitate the leader, either as an exact replication of its rhythms and intervals or some transformation thereof. Repeating canons in which all voices are musically identical are called rounds—" Row, Row, Row Your Boat" and " Frère Jacques" are popular examples. An accompanied canon is a canon accompanied by one or more additional independent parts that do not imitate the melody. History Medieval and Renaissance During the Middle Ages, Renaissance, and Baroque—that is, through the early 18th century—any kind of imitative musical counterpoints were called fugues, with the strict ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
