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The Buggery Act 1533, formally An Acte for the punishment of the vice of Buggerie (25 Hen. 8. c. c. 6), was an Act of the Parliament of England that was passed during the reign of Henry VIII .
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Bartholomäus Gesius – Psalmodia choralis (Frankfurt an der Oder: Friedrich Hartmann), a collection of antiphons, responsories, hymns, introits and other mass music; Jakob Hassler – Madrigals for six voices (Nuremberg: Paul Kaffmann) Orlande de Lassus – Prophetiae Sibyllarum for four voices (Munich: Nicolaus Heinrich), published posthumously
If the victim confessed they would most likely be killed. This method was widely used during the Spanish Inquisition and in England and France. The victim was usually intermittently submerged for many hours until he or she revealed information or death had occurred. Ordeal by water began with the witch-hunts of the 16th and 17th centuries.
In the late 16th century, as the Renaissance era closed, an extremely manneristic style developed. In secular music, especially in the madrigal, there was a trend towards complexity and even extreme chromaticism (as exemplified in madrigals of Luzzaschi, Marenzio, and Gesualdo). The term mannerism derives from art history.
Whereas the historicism of the Ancient Airs and Dances for Lute (1917–31) by Ottorino Respighi is readily apparent to the ear, since the composer drew directly on the works of 16th- and 17th-century composers, the historicism informing the Music of Changes (1951) by John Cage, based on the ancient Chinese I Ching, is deeply embedded in the ...
In music history, the Venetian School was the body and work of composers working in Venice from about 1550 to around 1610, many working in the Venetian polychoral style.The Venetian polychoral compositions of the late sixteenth century were among the most famous musical works in Europe, and their influence on musical practice in other countries was enormous.
In the late 16th century and early 17th century, composers began pushing the limits of the Renaissance style. Madrigalism reached new heights of emotional expression and chromaticism in what Claudio Monteverdi called his seconda pratica (second practice), which he saw originating with Cipriano de Rore and developing in the music of composers ...