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"Innsbruck, ich muss dich lassen" ("Innsbruck, I must leave thee") is a German Renaissance song. It was first published as a choral movement by the Franco-Flemish composer Heinrich Isaac (ca. 1450–1517); the melody was probably written by him.
Renaissance Dance article and video clips (US Library of Congress) Reconstruction of Tassel Kicks Archived 2017-03-19 at the Wayback Machine; Galliard. Historical Dance Society. 2017-05-10. Archived from the original on 2021-12-11 – via YouTube. Galliard performed by students of Trinity Laban Conservatoire of Music and Dance.
One of the most pronounced features of early Renaissance European art music was the increasing reliance on the interval of the third and its inversion, the sixth (in the Middle Ages, thirds and sixths had been considered dissonances, and only perfect intervals were treated as consonances: the perfect fourth the perfect fifth, the octave, and the unison).
The Journal of Musicology 12, No. 3, Aspects of Musical Language and Culture in the Renaissance: A Birthday Tribute to James Haar (Summer): 287–305. McComb, Todd M. n.d. "O rosa bella: English and Continental Music from the Late Gothic Period. Clemencic Consort – René Clemencic. Arte Nova 59210". www.medieval.org (accessed 16 April 2019).
The Canary dance (known as Canario in Italian sources, Canarie in French ones) was a Renaissance dance inspired in an indigenous dance and song of the Canary Islands, Spain (probably the one known as Tajaraste) that became popular all over Europe in the late 16th and early 17th century.
Third on the list of factors that make the 16th century so important was the Renaissance desire to tell a story, to put people up on a small stage and have them sing songs about Greek mythology—the tale of Orpheus, for example. That is difficult to do if everyone is singing a melody at the same time; thus, polyphony gave way to homophony, and ...
In music, a villanella (Italian pronunciation: [villaˈnɛlla]; plural villanelle) is a form of light Italian secular vocal music which originated in Italy just before the middle of the 16th century. It first appeared in Naples , and influenced the later canzonetta , and from there also influenced the madrigal .
Pipita and Zampogna in Calabria (Italy) In English the name first appears in the 14th century. There were originally three main variant forms, (1) schallemele (shamulle or shamble), (2) s(c)halmys (shalemeyes or chalemyes, all plural forms in Middle English), and (3) sc(h)almuse (or schalmesse), each derived from a corresponding variant in Old French: chalemel, chalemie, and chalemeaux (the ...