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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.
The Cancionero de Palacio (Madrid, Biblioteca Real, MS II–1335), or Cancionero Musical de Palacio (CMP), also known as Cancionero de Barbieri, is a Spanish manuscript of Renaissance music. The works in it were compiled during a time span of around 40 years, from the mid-1470s until the beginning of the 16th century, approximately coinciding ...
Renaissance Chansons is mainly for those European songs which were extensively developed by many composers or were used (e.g. as cantus firmus) for mass settings, in the period 1400-1600. Pages in category "Renaissance chansons"
The orchestration calls for an average-sized orchestra of 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets in A/B♭, 2 bassoons, 3 horns in D (doubling 2 horns in E/F), 2 trumpets in A/D (doubling trumpet in C), 3 trombones, 3 timpani, celesta, harpsichord 4-hands, harp and strings.
Keith Polk (ed.), Tielman Susato and the Music of His Time. Print Culture, Compositional Technique and Instrumental Music in the Renaissance. Hillsdale/N.Y., Pendragon Press 2005, ISBN 1-57647-106-3 (partly online) Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. (ISBN 0-393-09530-4)
The first use of the term air de cour was in Adrian Le Roy's Airs de cour miz sur le luth (Book on Court Tunes for the Luth), [1] a collection of music published in 1571. The earliest examples of the form are for solo voice accompanied by lute; [2] towards the end of the 16th century, four or five voices are common, sometimes accompanied (or instrumental accompaniment may have been optional ...
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).