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Rhythmic Mode
In medieval music, the rhythmic modes were set patterns of long and short duration (music), durations (or rhythms). The value of each musical notation, note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a Ligature (music), ligature, and by the position of the ligature relative to other ligatures. Modal notation was developed by the composers of the Notre Dame school from 1170 to 1250, replacing the even and unmeasured rhythm of early polyphony and plainchant with patterns based on the metric feet of classical poetry, and was the first step towards the development of modern mensural notation. The rhythmic modes of Notre Dame Polyphony were the first coherent system of rhythmic notation developed in Western music since Ancient history, antiquity. History Though the use of the rhythmic modes is the most characteristic feature of the musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Petrus De Cruce
Petrus de Cruce (also Pierre de la Croix) was active as a cleric, composer and music theorist in the late part of the 13th century. His main contribution was to the notational system. Life 13th-century composer, theorist, and scholar, Petrus de Cruce was apparently born in or near Amiens, in north-central France; for dates we know only that he was active in the years around 1290. He held the title of ''magistar,'' indicating that he probably studied at the University of Paris. Given the overlap of their lives and supposed tenures at Paris, Petrus may have been Franco of Cologne's student. It is recorded that in 1298 he composed a monophonic office for the royal palace chapel at Paris, and that in 1301–2, he resided at the court of the Bishop of Amiens, undoubtedly as a member of his clerical staff, and most likely his chapel staff as well. Petrus died before 1347, since in that year is the first reference in the inventory of Amiens Cathedral to its possession of a polyphoni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. Composers typically write music for this voice in the range from the second B below middle C to the G above middle C (i.e. B2 to G4) in choral music, and from the second B flat below middle C to the C above middle C (B2 to C5) in operatic music, but the range can extend at either end. Subtypes of tenor include the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word '' tenere'', which means "to hold". As noted in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the enor was thestructurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were normally calculated in relation to the ten ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tribrach (poetry)
A tribrach is a metrical foot used in formal poetry and Greek and Latin verse. In quantitative meter (such as the meter of classical verse), it consists of three short syllables occupying a foot, replacing either an iamb (u –) or a trochee (– u). In accentual-syllabic verse (such as formal English verse), the tribrach consists of a run of three short syllables substituted for a trochee. A "tribrach word" is a word consisting of three short syllables, such as Latin "shining" or Greek "you have".W. M. Lindsay (1919), ''Early Latin Verse'', pp. 105–6. An English equivalent would be a word with three short syllables such as ''Canada'' or ''passenger''. The origin of the word tribrach is the Greek , derived from the prefix - "three" and the adjective "short". Terminology The name is first recorded in the Roman writer Quintilian (1st century AD). According to Quintilian, an alternative name for a tribrach was a "trochee": "Three short syllables make a , but those who gi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spondee
A spondee (Latin: ) is a metrical foot consisting of two long syllables, as determined by syllable weight in classical meters, or two stressed syllables in modern meters. The word comes from the Greek , , 'libation'. Spondees in Ancient Greek and Latin Libations Sometimes libations were accompanied by hymns in spondaic rhythm, as in the following hymn by the Greek poet Terpander (7th century BC), which consists of 20 long syllables: "Zeus, Beginning of all things, Leader of all things, Zeus, I make a libation to Thee this beginning of (my) hymns." In hexameter poetry However, in most Greek and Latin poetry, the spondee typically does not provide the basis for a metrical line in poetry. Instead, spondees are found as irregular feet in meter based on another type of foot. For example, the epics of Homer and Virgil are written in dactylic hexameter. This term suggests a line of six dactyls, but a spondee can be substituted in most positions. The first line of Virgil's ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anapaest
An anapaest (; also spelled anapæst or anapest, also called antidactylus) is a metrical foot used in formal poetry. In classical quantitative meters it consists of two short syllables followed by a long one; in accentual stress meters it consists of two unstressed syllables followed by one stressed syllable. It may be seen as a reversed dactyl. This word comes from the Greek , ''anápaistos'', literally "struck back" and in a poetic context "a dactyl reversed". Because of its length and the fact that it ends with a stressed syllable and so allows for strong rhymes, anapaest can produce a very rolling verse, and allows for long lines with a great deal of internal complexity. Apart from their independent role, anapaests are sometimes used as substitutions in iambic verse. In strict iambic pentameter, anapaests are rare, but they are found with some frequency in freer versions of the iambic line, such as the verse of Shakespeare's last plays, or the lyric poetry of the 19th ce ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dactyl (poetry)
A dactyl (; from Greek ) is a foot in poetic meter. In quantitative verse, often used in Greek or Latin, a dactyl is a long syllable followed by two short syllables, as determined by syllable weight. The best-known use of dactylic verse is in the epics attributed to the Greek poet Homer, the ''Iliad'' and the ''Odyssey''. In accentual verse, often used in English, a dactyl is a stressed syllable followed by two unstressed syllables—the opposite is the anapaest (two unstressed followed by a stressed syllable). An example of dactylic meter is the first line of Henry Wadsworth Longfellow's epic poem '' Evangeline'' (1847), which is in dactylic hexameter: :''This is the / forest prim- / eval. The / murmuring / pines and the / hemlocks, The first five feet of the line are dactyls; the sixth a trochee. Stephen Fry quotes Robert Browning's poem " The Lost Leader" as an example of the use of dactylic metre to great effect, creating verse with "great rhythmic dash and drive": ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iamb (foot)
An iamb ( ) or iambus is a metrical foot used in various types of poetry. Originally the term referred to one of the feet of the quantitative meter of classical Greek prosody: a short syllable followed by a long syllable (as in () "beautiful (f.)"). This terminology was adopted in the description of accentual-syllabic verse in English, where it refers to a foot comprising an unstressed syllable followed by a stressed syllable (as in ''abóve''). Thus a Latin word like , because of its short-long rhythm, is considered by Latin scholars to be an iamb, but because it has a stress on the first syllable, in modern linguistics it is considered to be a trochee. Etymology R. S. P. Beekes has suggested that the ''iambos'' has a Pre-Greek origin. An old hypothesis is that the word is borrowed from Phrygian or Pelasgian, and literally means "Einschritt", i. e., "one-step", compare ''dithyramb'' and '' thriambus'', but H. S. Versnel rejects this etymology and suggests instead a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trochee
In poetic metre, a trochee ( ) is a metrical foot consisting of a stressed syllable followed by an unstressed syllable, unstressed one, in qualitative meter, as found in English, and in modern linguistics; or in quantitative meter, as found in Latin and Ancient Greek, a heavy syllable followed by a light one (also described as a long syllable followed by a short one). In this respect, a trochee is the reverse of an iamb (poetry), iamb. Thus the Latin word , because of its short-long rhythm, in Latin metrical studies is considered to be an iamb, but since it is stressed on the first syllable, in modern linguistics it is considered to be a trochee. The adjective form is ''trochaic''. The English word ''trochee'' is itself trochaic since it is composed of the stressed syllable followed by the unstressed syllable . Another name formerly used for a trochee was a choree ( ) or choreus. Etymology ''Trochee'' comes from French language, French , adapted from Latin , originally from ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metrical Foot
The foot is the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry, including English accentual-syllabic verse and the quantitative meter of classical ancient Greek and Latin poetry. The unit is composed of syllables, and is usually two, three, or four syllables in length. The most common feet in English are the iamb, trochee, dactyl, and anapaest. The foot might be compared to a bar, or a beat divided into pulse groups, in musical notation. A metrical foot is, in classical poetry, a combination of two or more short or long syllables in a specific order; although this "does not provide an entirely reliable standard of measurement" in heavily accented Germanic languages such as English. In these languages it is defined as a combination of one stressed and one or two unstressed syllables in a specific order. In general, lines of verse can be classified according to the number of feet they contain, using the ter ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Double Whole Note
In music, a double whole note (American), breve (British) or double note lasts two times as long as a whole note (or ''semibreve''). It is the second-longest note value still in use in modern music notation. The next longest notated note is the ''longa'', which is double the length of the breve. The longest notated note (though now obsolete) is the '' maxima''. History In medieval mensural notation, the ''brevis'' was one of the shortest note lengths in use, hence its name, which is the Latin etymon of " brief". In "perfect" rhythmic mode, the brevis was a third of a longa, or in "imperfect" mode, half a longa. Form In modern notation, a breve is commonly represented in either of two ways: by a hollow oval note head, like a whole note, with one or two vertical lines on either side, as on the left and right of the image, or as the rectangular shape also found in older notation, shown in the middle of the image. Because it lasts longer than a bar in most modern time signat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Longa (music)
A longa (pl. ''longae'', or sometimes ''longe''), long, quadruple note (Am.), or quadruple whole note is a musical note that could be either twice or three times as long as a breve (Am.: double whole note, or double note), four or six times as long as a semibreve (Am.: whole note), that appears in early music. The number of breves in a long was determined by the "modus" or "mode" of a passage. Sections in perfect mode used three breves to the long while sections in imperfect mode used two breves to the long. Imperfect longs, worth two breves, existed in perfect mode from the earliest sources (late 12th century), while the fourteenth century saw the introduction of perfect longs, worth three breves, in imperfect mode through the use of dots of addition (''puncti additiones''). Prior to the innovations of Franco of Cologne in the mid-thirteenth century, the value of the longa was in common usage in both theoretical and practical sources but appeared primarily in pre-mensural ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
