Lindsey Steinbrunner
... also modified. The harmonies are tertian, quartal, or secundal and there are sudden tonal shifts. Time organization completely changes. Meters can by symmetric or asymmetric, may change frequently, and can be juxtaposed to create polymeters. The metric stress shifts to beats other than the strong be ...
... also modified. The harmonies are tertian, quartal, or secundal and there are sudden tonal shifts. Time organization completely changes. Meters can by symmetric or asymmetric, may change frequently, and can be juxtaposed to create polymeters. The metric stress shifts to beats other than the strong be ...
2. Middle Ages
... [Marguerite de Turenne] who was beautiful and gay, and young and noble, and she was pleased with Bernard and his songs, and she fell in love with him, and he with her, so that he made his poems and songs about her, the love that he had for her and her noblesse. Their love lasted for a long time. And ...
... [Marguerite de Turenne] who was beautiful and gay, and young and noble, and she was pleased with Bernard and his songs, and she fell in love with him, and he with her, so that he made his poems and songs about her, the love that he had for her and her noblesse. Their love lasted for a long time. And ...
Confirma hoc
... throughout the Christian lands. The earliest chant books contain scripture and are arranged by the time of year they were to be sung. These early examples of catalogued chant emanate from Jerusalem dating from the seventh century. They survive today translated from the original Greek and are called ...
... throughout the Christian lands. The earliest chant books contain scripture and are arranged by the time of year they were to be sung. These early examples of catalogued chant emanate from Jerusalem dating from the seventh century. They survive today translated from the original Greek and are called ...
Liturgical Function and Gregorian Chant in the Music of Paulus
... who produced catalogues of Latin chants which could be used in the Augsburg Confession17. They are dominated by hymns, which became firmly established in the German tradition as early as the fifteenth century, and were not displaced as a result of the Reformation. It seems, however, that certain ide ...
... who produced catalogues of Latin chants which could be used in the Augsburg Confession17. They are dominated by hymns, which became firmly established in the German tradition as early as the fifteenth century, and were not displaced as a result of the Reformation. It seems, however, that certain ide ...
The Influence of Gregorian Chant on Morten Lauridsen`s O Magnum
... avoid tritones, which would otherwise be common in the lydian mode (modes 5 and 6) between the first and fourth scale degree. This technique led to the eventual use of the ionian mode, more commonly known as the major scale, and both lydian and ionian colors are used in Lauridsen's setting. Many pla ...
... avoid tritones, which would otherwise be common in the lydian mode (modes 5 and 6) between the first and fourth scale degree. This technique led to the eventual use of the ionian mode, more commonly known as the major scale, and both lydian and ionian colors are used in Lauridsen's setting. Many pla ...
gregorian chant as a compositional element
... world in which they reside. It is only natural then that these new perceptions and beliefs be reflected in that which is so special to us as a species, our art. Music changed more between the years 1880 through 1920 then it had in any other time. This change was most apparent in the tonal organizati ...
... world in which they reside. It is only natural then that these new perceptions and beliefs be reflected in that which is so special to us as a species, our art. Music changed more between the years 1880 through 1920 then it had in any other time. This change was most apparent in the tonal organizati ...
5 Erik Satie
... do with chant? Well according to Hungarian musicologist András Wilheim perhaps more then may at first seem apparent. Surprising as the parallel may seem, there has been wide discussion in print of a supposed relationship between Satie’s music and Gregorian chant or plainsong. In one study a Gregoria ...
... do with chant? Well according to Hungarian musicologist András Wilheim perhaps more then may at first seem apparent. Surprising as the parallel may seem, there has been wide discussion in print of a supposed relationship between Satie’s music and Gregorian chant or plainsong. In one study a Gregoria ...
Late Medieval Music
... (documents date from 1280; the system was probably in use already by that time) ...
... (documents date from 1280; the system was probably in use already by that time) ...
Late Medieval (Gothic) Music Gothic Era
... (documents date from 1280; the system was probably in use already by that time) ...
... (documents date from 1280; the system was probably in use already by that time) ...
Medieval Music - Gregorian Chant
... was sung very slowly on long held notes called the tenor (from the Latin tenere, meaning to hold), and the added melodies were woven around and embellished the tenor. Music History 102 ...
... was sung very slowly on long held notes called the tenor (from the Latin tenere, meaning to hold), and the added melodies were woven around and embellished the tenor. Music History 102 ...
History of Music Notation
... • Fortepiano designates the early version of the piano, from its invention by the Italian instrument maker Bartolomeo Cristofori around 1700 up to the early 19th century. It was the instrument for which Haydn, Mozart, and the early Beethoven wrote their piano music. Starting in Beethoven's time, the ...
... • Fortepiano designates the early version of the piano, from its invention by the Italian instrument maker Bartolomeo Cristofori around 1700 up to the early 19th century. It was the instrument for which Haydn, Mozart, and the early Beethoven wrote their piano music. Starting in Beethoven's time, the ...
LEONIN AND PEROTIN GO TO SCHOOL
... Leonin's [email protected] was Perotin. Perotin wrote polyphonic music in three and four parts. Toward the end of Perotin's lire composers began writing new words to be used by the additionalvoices. Whilethe originalGregorian chant melody was sung with the original Gregorian chant text orwords, new words wou ...
... Leonin's [email protected] was Perotin. Perotin wrote polyphonic music in three and four parts. Toward the end of Perotin's lire composers began writing new words to be used by the additionalvoices. Whilethe originalGregorian chant melody was sung with the original Gregorian chant text orwords, new words wou ...
Music Report - St Faith`s Crosby
... Chant moves principally by stepwise motion, small intervals are sometimes heard, and intervals of more than a 5th are rare, the range for the singers is narrow. This meant that for those who did not read the music that they would be able to intuitively join the music. Singing in intervals would be d ...
... Chant moves principally by stepwise motion, small intervals are sometimes heard, and intervals of more than a 5th are rare, the range for the singers is narrow. This meant that for those who did not read the music that they would be able to intuitively join the music. Singing in intervals would be d ...
Neobyzantine Octoechos
Oktōēchos (here transcribed ""Octoechos""; Greek: ὁ Ὀκτώηχος [okˈtóixos]; from ὀκτώ ""eight"" and ἦχος ""sound, mode"" called echos; Slavonic: Осмогласие, Osmoglasie from о́смь ""eight"" and гласъ ""voice, sound"") is the name of the eight mode system used for the composition of religious chant in Byzantine, Syriac, Armenian, Georgian, Latin and Slavic churches since the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today.From a Phanariot point of view, the re-formulation of the Octoechos and its melodic models according to the New Method was neither a simplification of the Byzantine tradition nor an adaption to Western tonality and its method of an heptaphonic solfeggio, just based on one tone system (σύστημα κατὰ ἑπταφωνίαν). Quite the opposite, as a universal approach to music traditions of the Mediterranean it was rather based on the integrative power of the psaltic art and the Papadike, which can be traced back to the Hagiopolitan Octoechos and its exchange with Oriental music traditions since more than thousand years.Hence, the current article is divided into three parts. The first is a discussion of the current solfeggio method based on seven syllables in combination with the invention of a universal notation system which transcribed the melos in the very detail (Chrysanthos' Theoretikon mega). The second and third part are based on a theoretical separation between the exoteric and the esoteric use of modern or Neobyzantine notation. ""External"" (ἐξωτερική) music meant the transcription of patriotic songs, opera arias, traditional music of the Mediterrean including Ottoman makam and Persian music, while ""internal"" (ἐσωτερική) pointed at the papadic tradition of using Round notation with the modal signatures of the eight modes, now interpreted as a simple pitch key without implying any cadential patterns of a certain echos. In practice there had never been such a rigid separation between exoteric and esoteric among Romaic musicians, certain exchanges—with makam traditions in particular—were rather essential for the redefinition of Byzantine Chant, at least according to the traditional chant books published as ""internal music"" by the teachers of the New Music School of the Patriarchate.