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Johannes Nucius
Johannes Nucius (also Nux, Nucis) (c. 1556 – March 25, 1620) was a German composer and music theorist of the late Renaissance and early Baroque eras. Although isolated from most of the major centers of musical activity, he was a polished composer in the style of Lassus and penned an extremely influential treatise on the rhetorical application of compositional devices. Life Nucius was born in Görlitz, in Lower Silesia. He studied at the Gymnasium in Görlitz with Johannes Winckler, who was so influential in his development that he referred to him reverentially in his later writings. In 1586 he became a monk in the monastery in Rauden, in Upper Silesia; there he received a humanistic education to supplement the considerable musical training he had received under Winckler. He rose in the hierarchy at the monastery, becoming a deacon, and later an abbot at Himmelwitz; however in 1598 he turned over most of his duties to his assistants in order to compose and write his musica ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Theory
Music theory is the study of the practices and possibilities of music. ''The Oxford Companion to Music'' describes three interrelated uses of the term "music theory". The first is the "Elements of music, rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built." Music theory is frequently concerned with describing how musicians and composers make music, including tuning systems and composition methods among other topics. Because of the ever-expanding conception of Definition of music, what constitutes music, a more inclusive definition could be the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Liegnitz
Legnica (Polish: ; german: Liegnitz, szl, Lignica, cz, Lehnice, la, Lignitium) is a city in southwestern Poland, in the central part of Lower Silesia, on the Kaczawa River (left tributary of the Oder) and the Czarna Woda. Between 1 June 1975 and 31 December 1998 Legnica was the capital of the Legnica Voivodeship. It is currently the seat of the county and since 1992 the city has been the seat of a Diocese. As of 2021, Legnica had a population of 97,300 inhabitants. The city was first referenced in chronicles dating from the year 1004, although previous settlements could be traced back to the 7th century. The name "Legnica" was mentioned in 1149 under High Duke of Poland Bolesław IV the Curly. Legnica was most likely the seat of Bolesław and it became the residence of the high dukes that ruled the Duchy of Legnica from 1248 until 1675. Legnica is a city over which the Piast dynasty reigned the longest, for about 700 years, from the time of ruler Mieszko I of Poland af ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Interval (music)
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord. In Western music, intervals are most commonly differences between notes of a diatonic scale. Intervals between successive notes of a scale are also known as scale steps. The smallest of these intervals is a semitone. Intervals smaller than a semitone are called microtones. They can be formed using the notes of various kinds of non-diatonic scales. Some of the very smallest ones are called commas, and describe small discrepancies, observed in some tuning systems, between enharmonically equivalent notes such as C and D. Intervals can be arbitrarily small, and even imperceptible to the human ear. In physical terms, an interval is the ratio between two sonic fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joachim Burmeister
Joachim Burmeister (1564 in Lüneburg – 5 May 1629 in Rostock) was a north German composer and music theorist. He was the oldest of five children born to a beadworker and townsman of Lüneburg. His brother Anton (d. 1634) became the cantor of St. Michaelis, Lüneburg, following Christian Praetorius. Burmeister attended the University of Rostock, where he received the master's degree and became cantor at the Nicolaikirche and St. Mary's Church, Rostock. He then taught grammar, Latin, rhetoric and poetry at the Rostock Gymnasium (Scholae Rostochiensis Collega Classicus). In Rostock Burmeister was acquainted with some famous humanists such as , , , and Johannes Posselius. His aim while publishing his books was to prove that music was an art full of dignity, like eloquence.See Agathe Sueur, ''Le Frein et l'Aiguillon. Eloquence musicale et nombre oratoire (XVIe-XVIIIe siècle)'', Paris, Classiques, Garnier, 2014. In ''Musica autoschédiastikè'' and ''Musica Poetica'' Burmeister pro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Improvisation
Improvisation is the activity of making or doing something not planned beforehand, using whatever can be found. Improvisation in the performing arts is a very spontaneous performance without specific or scripted preparation. The skills of improvisation can apply to many different faculties, across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines; see Applied improvisation. Improvisation also exists outside the arts. Improvisation in engineering is to solve a problem with the tools and materials immediately at hand. Improvised weapons are often used by guerrillas, insurgents and criminals. Engineering Improvisation in engineering is to solve a problem with the tools and materials immediately at hand. Examples of such improvisation was the re-engineering of carbon dioxide scrubbers with the materials on hand during the Apollo 13 space mission, or the use of a knife in place of a screwdriver to turn a screw. Engineering improvisations may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadence (music)
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. Cadences are strong indicators of the tonic or central pitch of a pas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Mode
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consonance And Dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term ''sonance'' has been proposed to encompass or refer indistinctly to the terms ''consonance'' and ''dissonance''. D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmony
In music, harmony is the process by which individual sounds are joined together or composed into whole units or compositions. Often, the term harmony refers to simultaneously occurring frequencies, pitches ( tones, notes), or chords. However, harmony is generally understood to involve both vertical harmony (chords) and horizontal harmony (melody). Harmony is a perceptual property of music, and, along with melody, one of the building blocks of Western music. Its perception is based on consonance, a concept whose definition has changed various times throughout Western music. In a physiological approach, consonance is a continuous variable. Consonant pitch relationships are described as sounding more pleasant, euphonious, and beautiful than dissonant relationships which sound unpleasant, discordant, or rough. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Counterpoint, which refers t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It 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. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". 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 chords, chromaticism and dissonance. General principles The term "counterpoint" has ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Gottfried Walther
Johann Gottfried Walther (18 September 1684 – 23 March 1748) was a German music theorist, organist, composer, and lexicographer of the Baroque era. Walther was born at Erfurt. Not only was his life almost exactly contemporaneous to that of Johann Sebastian Bach, he was the famous composer's cousin. Walther was most well known as the compiler of the ''Musicalisches Lexicon'' (Leipzig, 1732), an enormous dictionary of music and musicians. Not only was it the first dictionary of musical terms written in the German language, it was the first to contain both terms and biographical information about composers and performers up to the early 18th century. In all, the ''Musicalisches Lexicon'' defines more than 3,000 musical terms; Walther evidently drew on more than 250 separate sources in compiling it, including theoretical treatises of the early Baroque and Renaissance. The single most important source for the work was the writings of Johann Mattheson, who is referenced mor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
