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The 15th and 16th century masses had two kinds of sources that were used: monophonic (a single melody line) and polyphonic (multiple, independent melodic lines), with two main forms of elaboration, based on cantus firmus practice or, beginning some time around 1500, the new style of "pervasive imitation", in which composers would write music in ...
Heavy arquebuses mounted on war wagons were called arquebus à croc. [6] These carried a lead ball of about 100 grams (3.5 oz). [7] A standardized arquebus, the caliver, was introduced in the latter half of the 16th century. The name "caliver" is an English derivation from the French calibre – a reference to the gun's standardized bore. [8]
It has 57 compositions, and includes some non-Burgundian music as well (for example, works by contemporary English and Italian composers) Dijon Chansonnier (containing music from approximately 1470 to 1475). Some of the music is by composers not normally associated with the Burgundian school, such as Ockeghem, Loyset Compère, and Johannes ...
Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, [1] from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and is followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period.
However, by the end of the 15th century, a French national character was becoming distinct in music of the French royal and aristocratic courts, as well as the major centers of church music. For the most part French composers of the time shunned the sombre colors of the Franco-Flemish style and strove for clarity of line and structure, and, in ...
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15th century culveriners. A culverin was initially an ancestor of the hand-held arquebus, but the term was later used to describe a type of medieval and Renaissance cannon. The word is derived from the antiquated "culuering" and the French couleuvrine (from couleuvre "grass snake", following Latin: colubrinus, lit. 'of the nature of a snake'). [1]
Obrecht's style is an example of the contrapuntal extravagance of the late 15th century. [29] He often used a cantus firmus technique for his masses: [ 30 ] sometimes he divided his source material up into short phrases; [ 31 ] at other times he used retrograde versions of complete melodies or melodic fragments. [ 32 ]