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Voluntary (music)
In music a voluntary is a piece of music, usually for an organ, that is played as part of a church service. In English-speaking countries, the music played before and after the service is often called a 'voluntary', whether or not it is so titled. The title 'voluntary' was often used by English composers during the late Renaissance, Baroque, and Classical periods. Originally, the term was used for a piece of organ music that was free in style, and was intended to sound improvised (the word voluntary in general means "proceeding from the will or from one's own choice or consent"). This probably grew out of the practice of church organists improvising after a service. The style is in almost complete contrast to the liturgical chorale preludes of J S Bach and others, where the composition is almost invariably based round the theme of a seasonal chorale (Lutheran hymn). Later, the English voluntary began to develop into a more definite form, though it has never been strictly define ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Renaissance Music
Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ''ars nova'', the music of the Trecento, Trecento music was treated by musicology as a coda to medieval music and the new era dated from the rise of triad (music), triadic harmony and the spread of the ''contenance angloise'' style from the British Isles to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque music, Baroque period. The period may be roughly subdivided, with an early period corresponding to the career of Guillaume Du Fay (–1474) and the cultivation of cantilena style, a middle dominated by Franco-Flemish School and the four-part textures favored by Johannes Ockeghem (1410s or '20s–1497) and Josquin des Prez (late 1450s–1521), and culminating during the Counter-Reformat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ripieno
The ripieno (, Italian for "stuffing" or "padding") is the bulk of instrumental parts of a musical ensemble who do not play as soloists, especially in Baroque music. These are the players who would play in sections marked ''tutti'', as opposed to soloist sections. An individual member of the ripieno is called a ripienista. In the concerto grosso, it refers to the larger of the two ensembles as opposed to the group of soloists called the ''concertino''.''The New Grove Dictionary of Music and Musicians'', 2nd Ed. (2001) In a ripieno concerto, there are no solo parts. The term can also refer to the main body of an orchestra in early orchestral music, although this use is today often disregarded. In band music, the term (or its variant spellings ''repiano'' and ''ripiano'') is used similarly to designate the players not at the leading desk, especially the clarinet and cornet players in military bands. The expression ''senza ripieni'' is an instruction to play without the ripienistas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fantasia (music)
A fantasia (; also English: ''fantasy'', ''fancy'', ''fantazy'', ''phantasy'', , ''Phantasie'', ) is a musical composition with roots in improvisation. The fantasia, like the impromptu, seldom follows the textbook rules of any strict musical form. History The term was first applied to music during the 16th century, at first to refer to the imaginative musical "''idea''" rather than to a particular compositional genre. Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, the fantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milán. Its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms. One of the most important composers in the development of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trumpet Voluntary
A trumpet voluntary is a voluntary – a musical composition for the organ – played using the trumpet stop. Trumpet voluntaries are associated with the English Baroque era and usually consist of a slow introduction followed by a faster section with the right hand playing fanfare-like figures over a simple accompaniment in the left hand. In some instances, the trumpet stop is replaced by the cornet or a flute stop. Echo effects are also sometimes used. The best-known trumpet voluntary is the ''Prince of Denmark's March'', a composition by Jeremiah Clarke written circa. 1700. It is properly a rondo for keyboard and was not originally called a trumpet voluntary. It is very popular as wedding music and was played at the 1981 wedding of Charles, Prince of Wales, and Lady Diana Spencer.Bride Magazine, Inc. (2003). ''Bride's Book of Etiquette'', p. 231. New York: The Berkley Publishing Group. . This piece, particularly in a well-known arrangement for trumpet, string orchestra and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maurice Greene (composer)
Maurice Greene (12 August 1696 – 1 December 1755) was an English composer and organ (music), organist. He was an admirer and friend of George Frideric Handel. Biography and works He was born in London, the son of a cleric, Thomas Green(e) (1648–1720) who was a chaplain of the Chapel Royal, and his wife Mary Shelton (d. 1722). He became a choirboy at St Paul's Cathedral under Jeremiah Clarke and Charles King (composer), Charles King. He studied the organ under Richard Brind, and after Brind died, Greene became organist at St Paul's. With the death of William Croft in 1727, Greene became organist at the Chapel Royal, and in 1730 he became Professor of Music at the University of Cambridge. In 1735 he was appointed Master of the King's Musick. At his death, Greene was working on the compilation ''Cathedral Music'', which his student and successor as Master of the King's Musick, William Boyce (composer), William Boyce, was to complete. Many items from that collection are still u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequence (music)
In music, a sequence is the restatement (music), restatement of a motif (music), motif or longer melody, melodic (or harmony (music), harmonic) passage at a higher or lower pitch (music), pitch in the same voice.Benward and Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.111-12. Seventh Edition. . It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music (Classical period (music), Classical period and Romantic music). Characteristics of sequences: *Two segments, usually no more than three or four *Usually in only one direction: continually higher or lower *Segments continue by same interval distance It is possible for melody or harmony to form a sequence without the other participating. There are many types of sequences, each with a unique pattern. Listed below are some examples. Melodic sequences In a melody, a real sequence is a sequence where the subsequent segments are exact transposition (music) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Galant Style
The galant style was an 18th-century movement in music, visual arts and literature. In Germany a closely related style was called the '' empfindsamer Stil'' (sensitive style). Another close relative is rococo style. The galant style was drawn in opposition to the strictures of the Baroque style, emphasizing light elegance in place of the Baroque's dignified seriousness and high grandeur. Music In music, the galant emphasis was on simplicity, immediacy of appeal, and elegance. Fashion In fashion, galant featured perfumed handkerchiefs and powdered wigs for both sexes. The fantastic exotic asymmetry of bizarre silk Bizarre silks are a style of figured silk fabrics popular in Europe in the late 17th and early 18th centuries. Bizarre silks are characterized by large-scale, asymmetrical patterns featuring geometrical shapes and stylized leaves and flowers, in ... patterns were symptomatic of galant tastes. References External links {{wiktionary-inline, Galant 18th century i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Marsh (composer)
John Marsh (31 May 1752 – 31 October 1828) was an English gentleman, composer, diarist and writer born in Netherseal, Derbyshire, England. A lawyer by training, he is known to have written more than 350 compositions, including at least 39 symphonies. While today known primarily for his music, he also had strong interest in other fields, including astronomy and philosophy, and wrote books about astronomy, music, religion, and geometry Geometry (; ) is a branch of mathematics concerned with properties of space such as the distance, shape, size, and relative position of figures. Geometry is, along with arithmetic, one of the oldest branches of mathematics. A mathematician w .... Life and career Marsh lived in Dorking, Gosport, Romsey, Salisbury and Canterbury before settling in Chichester in 1787 until his death in 1828. As a concert organizer, he was responsible for the music making in the towns and cities where he worked, especially in Chichester, where he led the subscr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Christoph Pepusch
Johann Christoph Pepusch (; 1667 1752), also known as John Christopher Pepusch () and Dr Pepusch, was a German-born composer who spent most of his working life in England. He was born in Berlin, son of a vicar, and was married to Margherita de l'Epine who also performed in some of his theatrical productions. Early life Pepusch studied music theory under Martin Klingenberg, cantor of the Marienkirche in Berlin. At the age of 14, he was appointed to the Prussian court where he gave music lessons to the future Frederick William I of Prussia. He resigned this position in 1698 after witnessing the execution of an officer without trial. He then first went to Amsterdam. In 1704, he settled in England, but he continued to publish in Amsterdam until 1718. Career At first, Pepusch earned a living playing the viola, then as a theatre director, music theoretician, teacher and organist. In 1726, Pepusch founded The Academy of Vocal Music with others; in around 1730–1, it was ren ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugues
In classical music, a fugue (, from Latin ''fuga'', meaning "flight" or "escape""Fugue, ''n''." ''The Concise Oxford English Dictionary'', eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). ) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a ''fuguing tune'', which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Bennett (composer)
John Bennett (or Bennet; c. 10 March 1735, Liverpool – September 1784, in London) was an English organist and composer. Biography Details of Bennett's life are limited, but it is known that he married one Sarah Everett in 1756 in Holborn and died in September 1784. He was buried on 24th of that month, after serving as organist at St. Dionis Backchuch, Fenchurch Street in London, for over thirty years. He had outlived his wife who was buried on 15 April 1778. Both were buried at the church. Charles Burney notes that he had been a pupil of Johann Christoph Pepusch and that he 'knew the rules of counterpoint very well'. Pearce, writing admittedly later in 1907, claims that Bennett was "an organist of sufficient talent to attract G. F. Handel to his performances". As was fairly typical in the eighteenth century, he was a diverse musician; he played the organ and the viola, taught the harpsichord, and performed at The Drury Lane Theatre as a singer in the chorus and as a dance ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cornett
The cornett (, ) is a lip-reed wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. Although smaller and larger sizes were made in both straight and curved forms, surviving cornetts are mostly curved, built in the treble size from in length, usually described as in G. The note sounded with all finger-holes covered is A, which can be lowered a further whole tone to G by slackening the embouchure. The name ''cornett'' comes from the Italian ''cornetto'', meaning "small horn". It was used in performances by professional musicians for both state and liturgical music, especially accompanying choral music. It also featured in popular music in '' alta capella'' or loud wind ensembles. British organologist Anthony Baines wrote that the cornett "was praised in the very terms that were to be bestowed upon the oboe .. it could be sounded as loud as a trumpet and as soft as a recorder, and its tone approached that of the human voice ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
