Search results
Results From The WOW.Com Content Network
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 song features pounding italo-piano chords and is laden with synths alongside an insistent bassline and classic house beat. Lyrically, it is in total contrast to the angry "breaking free" sung in "Moving on Up" to looking forward to coming home to one glorious night when singer Heather Small promises to "make you scream aloud with joy" – but "there'll be no day there'll be no night".
"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.
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).
There is an extant video (released on the DVD "Kings & Queens" in 2010) of that line-up performing five songs on a German TV program (Muzik-Kanal). The plan at the time was that Relf and McCarty would remain involved as non-performing members – Relf as a producer and McCarty as a songwriter.
Musically, the full version of "Mother Russia" begins with a sparse, string-driven introduction marked by occasional piano crescendos. Around two minutes into the song, Haslam's voice enters, and the next three minutes of the song contain six verses in three pairs describing Solzhenitsyn's plight, in between which are short interludes of ...
This includes the songs of chansonnier, chanson de geste and Grand chant; court songs of the late Renaissance and early Baroque music periods, air de cour; popular songs from the 17th to 19th century, bergerette, brunette, chanson pour boire, pastourelle, and vaudeville; art song of the romantic era, mélodie; and folk music, chanson populaire ...