Monteverdi's writing in the "Vespers" is organized around a dazzling array of what, for him, were old and new forms: hymn, Gregorian chant, polyphony, operatic monody, arioso and embellished virtuoso singing.
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Monody is a 3-member synthpop / EBM / Futurepop band. Monody is currently performing in the pacific northwest, United States.
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His main literary work is the "Monody on the Capture of Constantinople".
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Formed in 2006 in Portland, Oregon. In 2008, Monody released 4 debut singles entitled: 'Bound', 'Absent', 'Ceti Lullaby', and 'In Between'. On January 24, 2008, Monody was featured in an Oregon Public Broadcasting segmentConstruction Projects Beat A Rhythm For Downtown Life on the construction in Portland, Oregon. Daniel Edgar (member) was recognized for his use various construction sounds in a number of Monody songs.
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The Gracious Warning, a monody on his death, by George Wright, was published in 1774.
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Caccini, Le nuove musiche, 1601, title page In poetry, the term monody has become specialized to refer to a poem in which one person laments another's death. (In the context of ancient Greek literature, monody, , could simply refer to lyric poetry sung by a single performer, rather than by a chorus.) In music, monody refers to a solo vocal style distinguished by having a single melodic line and instrumental accompaniment. Although such music is found in various cultures throughout history, the term is specifically applied to Italian song of the early 17th century, particularly the period from about 1600 to 1640. The term is used both for the style and for individual songs (so one can speak both of monody as a whole as well as a particular monody).
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When Coleridge collected his works in the 1817 Sibylline Leaves, he did not include "Monody". It was not until the 1828 edition of the work that "Monody" was added to the "Juvenile Poems" section, but it was the 1796 version although Coleridge did alter the work between 1803 and 1828. However, the 1829 edition of Sibylline Leaves did contain a revised version of "Monody". The final version of the poem appears in Coleridge's last collection of poems, which was printed in 1834 and edited by Coleridge's nephew.
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Lucia Quinciani (c. 1566, fl. 1611) was an Italian composer. She is the earliest known published female composer of monody.
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Ukraine, Lithuania, Belarus, Russia, Poland and Bulgaria white voice takes part polyphonic singing. In Czechia, Slovakia and also Poland the approach uses one voice (monody).
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The song 'Beneath Andromeda' was featured in the segment. Monody opened for Obscenity Trial (band) and Spetsnaz (band) at the Portland stop of their 2008 US tour on November 25, 2008.Electro- Invasion Eventful page On March 8, 2009, an interview with Monody was posted on the Portland music guide, Evy Metal.Interview with Evy Metal The interview covers topics such as their musical background, writing process, and live performances.
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His doctoral thesis on the development of monody in Italy was overseen by Thurston Dart. With Dart he later edited John Dowland's Ayres for Four Voices (1953–63).
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Accompanying instruments could be lute, chitarrone, theorbo, harpsichord, organ, and even on occasion guitar. While some monodies were arrangements for smaller forces of the music for large ensembles which was common at the end of the 16th century, especially in the Venetian School, most monodies were composed independently. The development of monody was one of the defining characteristics of early Baroque practice, as opposed to late Renaissance style, in which groups of voices sang independently and with a greater balance between parts. Other musical streams which came together in the monody were the madrigal and the motet, both of which developed into solo forms after 1600 and borrowed ideas from the monody.
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Claudio Saracini (1 July 1586 - 20 September 1630) was an Italian composer, lutenist, and singer of the early Baroque era. He was one of the most famous and distinguished composers of monody.
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The first motet begins (I am black, but beautiful), from the Song of Songs. It is written for tenor solo in the new style of monody (a melodic solo line with accompaniment).
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The innovations introduced by the Venetian school, along with the contemporary development of monody and opera in Florence, together define the end of the musical Renaissance and the beginning of the musical Baroque.
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The musical style which developed from these early experiments was called monody. In the 1590s, the monody developed into a vehicle capable of extended dramatic expression through the work of composers such as Jacopo Peri, working in conjunction with poet Ottavio Rinuccini. In 1598, Peri and Rinuccini produced Dafne, an entire drama sung in monodic style: this was the first creation of a new form called "opera". Though Peri's Dafne was the first performed opera, its music has been lost to the centuries.
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Charles Lamb did not like the changes incorporated in the 1796 edition of "Monody" and told Coleridge "I rather wish you had left the monody on Chatterton concluding as it did abruptly. It had more of unity" and, later, "I am not quite satisfied with the Chatterton, and with your leave shall try my hand at it again. A master joiner, you know, may leave a cabinet to be finished, when his own hands are full" but Coleridge refused any of his suggestions.Gordon 1942 qtd. p.
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Homophony as a term first appeared in English with Charles Burney in 1776, emphasizing the concord of harmonized melody.Todd Michel McComb, ed. "What is monophony, polyphony, homophony, monody etc.?" Early Music FAQ (accessed May 19, 2009).
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Ibycus' role in the development of Greek lyric poetry was as a mediator between eastern and western styles: Although scholars like Bowra have concluded that his style must have changed with his setting, such a neat distinction is actually hard to prove from the existing verses, which are an intricate blend of the public, "choral" style of Stesichorus, and the private, "soloist" style of the Lesbian poets.G. O. Hutchinson, Greek Lyric Poetry: a commentary on selected larger pieces, Oxford University Press (2001), page 234D.A.Campbell, Greek Lyric III, Loeb Classical Library (1991), page 7 It is not certain that he ever in fact composed monody (lyrics for solo performance), but the emotional and erotic quality of his verse, and the fact that his colleague in Samos was Anacreon, who did compose monody, suggest that Ibycus did too.D.A.Campbell, "Monody", in P.Easterling and B.Knox (ed.
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The term itself is a recent invention of scholars. No composer of the 17th century ever called a piece a monody. Compositions in monodic form might be called madrigals, motets, or even concertos (in the earlier sense of "concertato", meaning "with instruments"). In monody, which developed out of an attempt by the Florentine Camerata in the 1580s to restore ancient Greek ideas of melody and declamation (probably with little historical accuracy), one solo voice sings a melodic part, usually with considerable ornamentation, over a rhythmically independent bass line.
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Contrasting passages in monodies could be more melodic or more declamatory: these two styles of presentation eventually developed into the aria and the recitative, and the overall form merged with the cantata by about 1635. The parallel development of solo song with accompaniment in France was called the air de cour: the term monody is not normally applied to these more conservative songs, however, which retained many musical characteristics of the Renaissance chanson. An important early treatise on monody is contained in Giulio Caccini's song collection, Le nuove musiche (Florence, 1601).
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"Monody on the Death of Chatterton" was composed by Samuel Taylor Coleridge in 1790 and was rewritten throughout his lifetime. The poem deals with the idea of Thomas Chatterton, a poet who committed suicide, as representing the poetic struggle.
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Bartolomeo Barbarino (known as "Il Pesarino") (c. 1568c. 1617 or later) was an Italian composer and singer of the early Baroque era. He was a virtuoso falsettist, and one of the most enthusiastic composers of the new style of monody.
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Jacopo Peri as Arion in La pellegrina Dafne by Jacopo Peri was the earliest composition considered opera, as understood today.This is not agreed by all authorities, see for references to other views Peri's works, however, did not arise out of a creative vacuum in the area of sung drama. An underlying prerequisite for the creation of opera proper was the practice of monody. Monody is the solo singing/setting of a dramatically conceived melody, designed to express the emotional content of the text it carries, which is accompanied by a relatively simple sequence of chords rather than other polyphonic parts.
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His pupil Theodore Prodromos described smallpox. Between 1147 and 1166 he served as the Archbishop of Philippopolis. He wrote a monody on the death of Andronikos, son of Alexios I. He delivered basilikoi logoi (encomia) to the emperors John II and Manuel I.
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During the 12th century, the abbey became known for the strict adoption of the Cluniac observance. John Cotton, whose "De musica" (c. 1100-1121) is one of the earliest musical theses, covers the ecclesiastical use of monody in the organum and the roots of polyphony.
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Nuova inventione includes versions of some of the most popular dance-songs and harmonic patterns of the time, including the Ruggiero, bergamasca, folia, and Ballo del gran duca, and was the first Italian publication to include the ciaccone and passacaglias. In terms of original music, Montesardo mainly composed polyphonic sacred music and madrigals. Montesardo also experimented with monody and published a collection of monody, which included his own experiments and works by Jacopo Peri and Giulio Caccini. He may be the same person as Gervasio Melcarne (Geruasio), two of whose madrigals appear in Pomponio Nenna's eighth book of madrigals for five voices (1618) alongside madrigals by Nenna and Carlo Gesualdo.
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Stylistically, Quagliati's music is clear, elegant, and he generally uses simple diatonic harmonies. Some of his books of madrigals are in two versions: one for singing by equal voice parts, in the old Renaissance style, and another in what he calls the "empty" style, for single voice with instrumental accompaniment. These were examples of the new Baroque style of monody, and he states as much in the preface to his 1608 publication: "I have decided to cater to both tastes." Quagliati was probably the first to publish solo madrigals in Rome, though monody in the form of solo madrigals had already existed for more than twenty years in northern Italy.
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The main composers in the 17th century are D. Pedro de Cristo, D. Pedro da Esperança and D. Gabriel de S. João. The manuscripts kept at the General Library of the University of Coimbra reveal innovative polyphonic practices, such as polychorality, accompanied monody and instrument obligato.
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This event appeared in Coleridge's later poems including "Monody on the Death of Chatterton" (1829).Ashton 1997 p. 15 John Coleridge died in 1781 when Samuel was 8 years-old. Since his father was a source of happiness for the young Coleridge, the death affected him deeply.
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According to R. Miller,Richard Miller, The Composers of San Marco and Santo Stefano and the Development of Venetian Monody (to 1630), diss., U. of Michigan, 1993), quoted in: Colin Timms and Roark Miller in Grove Music Dictionary: Colin Timms and Roark Miller. Obizzi, Domenico. Grove Music Online.
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Carter and Chew (n.d.), §4 "Theoretical and aesthetic basis of works" Solo singing with instrumental accompaniment, or monody, acquired greater significance towards the end of the 16th century, replacing polyphony as the principal means of dramatic music expression.Cruice (1997), p. 37 This was the changing world in which Monteverdi was active.
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He died in Florence. He published several books of music, including motets and madrigals. He wrote music in the new monodic style. His treatise Prima parte de' discorsi e regole sovra la musica (1649–1650) is an important source of information on contemporary composers and the rise of monody and opera.
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Peri's works, however, did not arise out of a creative vacuum in the area of sung drama. An underlying prerequisite for the creation of opera proper was the practice of monody. Monody is the solo singing/setting of a dramatically conceived melody, designed to express the emotional content of the text it carries, which is accompanied by a relatively simple sequence of chords rather than other polyphonic parts. Italian composers began composing in this style late in the 16th century, and it grew in part from the long-standing practise of performing polyphonic madrigals with one singer accompanied by an instrumental rendition of the other parts, as well as the rising popularity of more popular, more homophonic vocal genres such as the frottola and the villanella.
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John, called Anagnostes (i.e. lector, reader; ), was a Greek historian of the fifteenth century. He was an eyewitness to the Ottoman sack of Thessalonica on March 29, 1430; an event he described in detail in his Account of the Last Capture of Thessalonica (), which he wrote with an accompanying monody lamenting the city's fall.
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These were a very popular style of Italian monody. Some of her arias are now published as piano arias, such as this book 4 Arias. Her most famous piece that was published was a 3-line aria called Gia sperai non spero hor piu. It was published in a 17th-century collection of historic music.
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Daniel spent much of his early days growing up in a small Oregon town tinkering with drums, various noisemaking electronics, synthesizers and samplers. From an early age, he was inspired by European synthpop, 80s post-punk, and industrial music. Before Monody, Daniel spent time in several bands playing keyboards, bass, drums and most recently guitar.
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Anacreon depicted in the act of singing and playing his lyre. Anacreon wrote all of his poetry in the ancient Ionic dialect. Like all early lyric poetry, it was composed to be sung or recited to the accompaniment of music, usually the lyre. Anacreon's verses were primarily in the form of monody rather than for a chorus.
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Dr. Solon J. Hadjisolomos Solon J. Hadjisolomos (born 8 October 1938) is a Cypriot musicologist. Hadjisolomos was born in Empa, Paphos, Cyprus. He studied Theology and Greek literature at the University of Athens. He also studied Byzantine Music at Athens Conservatoire and at the Greek National Conservatoire, as well as Classical Song (Opera-Monody) at the National Conservatoire.
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Monody is the fourth album by Canadian artist Mantler (Chris A. Cummings), released in 2010. Described as "teeming with slow jams, a love for the '70s and an honesty that saves it from becoming retro-obsessed kitsch", Mantler features many guest stars, including Sandro Perri, Owen Pallett, Ben Gunning, Jeremy Greenspan and the string section of Ohbijou.
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Compared to the creative abundance of earlier compositions, the music of Liszt's old age is unusually economic. Given barely enough notes to ensure their existence, his late pieces frequently lapse into monody, then silence. Sometimes a piece is open-ended, simply vanishing. This practice of "abandoning" a work in mid-air had been done previously by Frédéric Chopin and Robert Schumann.
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In classical music, arioso (also aria parlanteGeorge Grove, A Dictionary of Music and Musicians, "Aria Parlante" ) is a category of solo vocal piece, usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style. Literally, arioso means airy. The term arose in the 16th century along with the aforementioned styles and monody. It is commonly confused with recitativo accompagnato.
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The music is concertante and virtuoso for both the trumpet and the soloist. The first aria and the concluding Alleluja are in the style of an Italian concerto. Dürr observes that the five movements are in five different musical forms: concerto, monody, variation, chorale fantasia and fugue. The scoring is richest in the outer movements (with the trumpet), and reduced to just continuo in the central aria.
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In 1789, Reinagle composed a "Chorus", which was performed for Washington at Trenton, New Jersey, during Washington's journey to his inauguration. Later, in Philadelphia, Nellie Custis, Washington's step-granddaughter, was one of Reinagle's music students. Washington was a frequent concertgoer, and could often be seen in the audience at Reinagle's concerts. On Washington's death in 1799, Reinagle composed a Monody on the Death of George Washington.
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Caccini performed as Dido in one of Monteverdi's intermedi and as Aurora in "Mercurio e Marte." Monteverdi stated Caccini sang the arias with "superhuman grace and angelic voice". Eight of Caccini's compositions survived, all of which are accompanied Italian monody. These pieces of music have expressive melodies and are usually performed by single singers with basso continuo accompaniment, perfect for her to sing for herself.
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A paean () is a song or lyric poem expressing triumph or thanksgiving. In classical antiquity, it is usually performed by a chorus, but some examples seem intended for an individual voice (monody). It comes from the Greek παιάν (also παιήων or παιών), "song of triumph, any solemn song or chant." "Paeon" was also the name of a divine physician and an epithet ("byname") of Apollo.
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By Mercurius Spur, esq. (1766), in which living poets contend for pre-eminence in fame by running, with a portrait of Samuel Johnson (republished in The Repository, 1790, ii. 227; and quoted in James Boswell's Life of Johnson). He published a Monody to the Memory of a Young Lady who died in Childbed, with a poetical dedication to Lord Lyttelton, (1768) after his wife's death.
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94 For centuries Azerbaijani music has evolved under the badge of monody, producing rhythmically diverse melodies.Энциклопедический музыкальный словарь, 2-е изд., Москва, 1966 (Encyclopedical Music Dictionary (1966), 2nd ed., Moscow) Azerbaijani music has a branchy mode system, where chromatization of major and minor scales is of great importance. Among national musical instruments there are 14 string instruments, eight percussion instruments and six wind instruments.
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Daniel Charles has described him as the person who decimated monody by the demultiplication of the acoustic spectrum. His vocal abilities were explored and documented. Stratos died in New York City Memorial Hospital on June 13, 1979 at the age of thirty–four. His self-proclaimed mission was to free vocal expression from what he considered to be the slavery of language and classical lyrical melody.
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Gilbert died at Cotton in Staffordshire on 18 December 1798. His friend John Holliday printed anonymously a monody on his death, praising his generosity in building and endowing in 1795 the chapel of ease of St. John the Baptist at Lower Cotton. Gilbert and his first wife had two sons, one joined the navy and the other became a clerk to the privy council.
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John in turn had three anonymous children mentioned in a monody by Constantine Manasses. Andronikos' brother Alexios had a number of children, but only a son Andronikos, who married Irene, the firstborn daughter of Alexios III Angelos (r. 1195–1203), is known. Isaac's other son, Stephen, had three sons, John, who was doux of Thessalonica in 1162, Alexios, a military commander active in the wars of Manuel I Komnenos (r.
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Lyric meters (literally, meters sung to a lyre) are usually less regular than non-lyric meters. The lines are made up of feet of different kinds, and can be of varying lengths. Some lyric meters were used for monody (solo songs), such as some of the poems of Sappho and Alcaeus; others were used for choral dances, such as the choruses of tragedies and the victory odes of Pindar.
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Abbot is noted for making, in 1798, the first capture in England of Papilio paniscus, the chequered skipper. His writings include the manuscript "Catalogus plantarum" (May 1795); a list of 956 plants of Bedfordshire;, and a later book on the same subject, Flora Bedfordiensis (November 1798). Other works include the 1807 volume of sermons entitled Parochial Divinity. He also wrote a Monody on the Death of Horatio, Lord Nelson, in 1805.
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Florence, was once such city which experienced a fantastic period in the early seventeenth Century of musico-theatrical innovation, including the beginning and flourishing of opera..Hanning, Barbara Russano, J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca. Concise History of Western Music. New York: W.W. Norton, 2010.pg. 182. Opera was invented in Florence in the late 16th century when Jacobo Peri's Dafne an opera in the style of monody, was premiered.
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According to another monody by Theodore Prodromos, he also participated in John II's victorious expedition against Stephen II of Hungary in 1129. He died following a long illness in Asia Minor in 1130 or 1131. His mother and Nikephoros Bryennios escorted his body to Constantinople. During the crossing of the Bosporus, the ship carrying the body and its entourage was nearly sunk by a sudden storm, but arrived safely in the capital.
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In the late sixteenth-century, composers attempted to recreate Greek drama using a style called monody. In the seventeenth century, Italian opera styles such as opera seria, opera buffa were very important. This Italian opera was taken up in France, where Lully developed a French national opera style. In the seventeenth century, instrumental music developed a great deal, and vocal music was usually accompanied by a written bassline called the basso continuo.
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Walker wrote This source also erroneously credits Walker with having written Monody on the Death of John Thurlow, Esq. (1782) and Ode Addressed to the Society of Universal Good-Will (1785), which are by John Walker (1754-1807). The Defence of Order – A Poem (1802), which defended the policy of William Pitt the Younger and was dedicated to the Duke of Atholl. It sold well, and was attacked by Henry Brougham in the Edinburgh Review.
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A favorite story involves the 14-year-old Mozart, who made the first illegal copy by transcribing it from memory after hearing it only twice. Many of the later composers of the Roman School continued to write in the polyphonic style of the 16th century, known then as the stile antico, or the prima pratica, in distinction to the newer styles of monody and concertato writing which defined the beginning of the Baroque era.
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Another poem written that year was "Dura Navis", a poem that is possibly about his brother Frank and describes a state of loneliness and solitude along with battles at sea and eventual cannibalism of the crew. He continued to write poetry, including "Monody" (1790) which compares himself with Thomas Chatterton, an individual that committed suicide. He composed "The Destruction of the Bastile" that responded to the fall of the Bastille during the previous year.
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Also emerging from the Elizabethan court were ayres, solo songs, occasionally with more (usually three) parts, accompanied on a lute. Their popularity began with the publication of John Dowland's (1563–1626) First Booke of Songs or Ayres (1597). Dowland had travelled extensively in Europe and probably based his ayres on the Italian monody and French air de cour. His most famous ayres include "Come again", "Flow, my tears", "I saw my Lady weepe" and "In darkness let me dwell".
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It is a fascinating work and beautifully composed. Harold Hagopian (RCA/Victor BMG producer, 2002) Stepan Rostomyan’s music reflects a synthesis of European and Oriental traditions, In Rostomyan’s music one can hear influences of the ancient Armenian monody; it is very coloristic and religious. His Symphony and some miniatures – for example “The Angeles’” Canticles are popular in the West. Mark Rais ( “A Special Issue of Leonardo”, USA Volume 24:2, 1991) Third Symphony of Rostomyan is a genius piece.
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The 1796 version of "Monody" is similar to the 1794 and reproduces most of the content with the addition of 36 lines appended to the end of the poem. The lines deal with Coleridge's involvement in 1794 with Southey and their idea for a Pantisocracy. As such, there is a stronger connection between Coleridge's life and Chatterton's. After saying goodbye the Chatterton, he states that he must shift the theme to avoid thoughts of suicide:Gordon 1942 pp.
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It was at Kinnaird's request that Byron wrote the Hebrew Melodies and the Monody on the Death of the Right Hon. R. B. Sheridan, spoken at Drury Lane Theatre. Jerdan related that Samuel Taylor Coleridge, when his tragedy Remorse was under consideration by the Drury Lane authorities, was invited to read it to Kinnaird; after two acts, Kinnaird remarked that he had "listened to enough of your nonsense", and invited attention to a two-act piece of his own.
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This led to the removal of the upper floors, and in 1955 the remainder of the street-level building was also demolished and the glass roof was replaced with awnings. This urged John Betjeman to write his poem Monody on the Death of Aldersgate Station. The Thameslink lines on the south side of the station are no longer in use. The signal box seen here (R) was demolished in January 2015 as part of the Crossrail redevelopment.
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Giulio Caccini's book Le Nuove Musiche was significant in performance practice technique instruction at the time. The book specified a new term, in use by the 1630s, called monody which indicated the combination of voice and basso continuo and connoted a practice of stating text in a free, lyrical, yet speech-like manner. This would occur while an instrument, usually a keyboard type such as harpsichord, played and held chords while the singer sang/spoke the monodic line.Bonds, Mark E., Etd.
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Following an elaborate public funeral, he was probably buried in the Monastery of Christ Philanthropos, alongside his father. Michael Italikos and Theodore Prodromos each wrote a monody in his honour, and Prodromos also wrote another long poem to console his mother Irene Doukaina. His close relationship with his sister and mother has ensured a very favourable treatment of Andronikos in both the Alexiad and in the works of the two court poets, who belonged to the Empress-mother's court circle.
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Loss of the Halsewell by James Gillray King George III came to view the scene of the wreck with several members of his family. The Dorset poet William Holloway wrote a poem about the royal visit to the spot. An anonymous poem was published called the "Monody on the Death of Captain Pierce". On 30 January 1786 the Eidophusikon show reopened at Exeter Change in an auditorium that held 200 people, a show that combined pictures with lighting effects and sounds.
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Geoff comes from a musical background somewhat unlike the Monody sound. He started with piano lessons as a child and on to the electric guitar as a teenager. He was a member of a couple rock bands over the years, but his true passion comes from building on his home studio and becoming a skilled engineer and producer of his own and other musicians projects. His ongoing side project, Entium, occasionally releases tracks that are on the electronica side of things.
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Like their madrigal cousins, Renaissance motets developed in episodic format, with separate phrases of the source text being given independent melodic treatment and contrapuntal development; contrapuntal passages often alternate with monody. Secular (non- religious) motets continued to be written, however. These motets typically set a Latin text in praise of a monarch, commemorating some public triumph, or even praising music itself. Nevertheless, the themes of courtly love often found in the medieval secular motet were banished from the Renaissance motet.
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They > set him upon the business and then they leave him. he has such a high idea > of what poetry ought to be, that he cannot conceive that such things as > natural emotions may be allowed to find a place in it; his learning, > therefore, his fancy, or rather conceit, and all his powers of buckram are > put on the stretch.Gordon 1942 qtd. p. 62 The "Monody" wasn't printed again until 1803 for the third edition of Poems on Various Subjects.
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The 1790 "Monody" is a loose Pindaric ode contain 8 stanzas with a semi-regular iambic meter. It begins with the Muse prompting the narrator to sing of Chatterton, and narrator poet responds by describing Chatterton's death:Gordon 1942 pp. 50–51 After describing Chatterton's fate and lamenting over his fate, the narrator begins to identify himself with Chatterton. Soon after, the poem returns to Chatterton's death, and the narrator implores Chatterton to help him attain a divine status:Gordon 1942 pp.
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Hammerschmidt wrote motets, concertos and arias, and almost all of his output is sacred vocal music in the concertato style. According to Manfred Bukofzer (1947), he "watered down the achievements of Schütz for the multitude." Many of his compositions are in the form of the chorale monody, an adaptation of the early Baroque Italian form to a sacred, and specifically Protestant, purpose. Indeed, Hammerschmidt represents the second generation of composers who distilled a native German Baroque tradition out of forms and styles imported from Italy.
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The fruits of their labors was a declamatory melodic singing style known as monody, and a corresponding staged dramatic form: a form known today as opera. The first operas, written around 1600, also define the end of the Renaissance and the beginning of the Baroque eras. Music prior to 1600 was modal rather than tonal. Several theoretical developments late in the 16th century, such as the writings on scales on modes by Gioseffo Zarlino and Franchinus Gaffurius, led directly to the development of common practice tonality.
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Although he was also a composer, relatively few of his works survive: only a handful of madrigals. Curiously, he seems not to have tried his hand at the new monody himself. He also either organized or wrote parts for various intermedi in Florence, the popular court entertainments which took place between the acts of spoken dramas (and which included acting, singing, dancing, and mime — thus being another important precursor to opera). He also wrote plays, including some of the plays for which he also provided the intermedi.
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These changes reflect Coleridge's involvement over the summer of 1794 with Southey, his experience with his later wife Sara Fricker, and pursuing a democratic ideal society dubbed Pantisocracy. After his marriage with Fricker, his involvement with William Wordsworth and his sister, and his progressing further into a Romantic mindset, Coleridge altered the poem again for the 1797 second edition of Poems on Various Subjects.Gordon 1942 pp. 58–61 With Wordsworth as his close poetic companion, Coleridge began to look down on the "Monody" as an inferior poem.
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The 1834 version, the final version of "Monody", is similar to the 1829 version of the poem with the addition of 11 lines. These 11 lines were the final 11 lines of the 1790 version:Gordon 1942 pp. 65–66 This addition was probably not done by Coleridge and does not match the rhythm of the rest of the poem. Instead, it is possible that Coleridge's nephew took lines from the original poem and added it to the 1829 edition when editing the 1834 collection of poems.
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Of the former, his panegyric on the emperor Anastasius alone is extant; the description of the Hagia Sophia and the monody on its partial destruction by an earthquake are spurious. His letters (162 in number), addressed to persons of rank, friends, and literary opponents, throw valuable light upon the condition of the sophistical rhetoric of the period and the character of the writer. The fragment of a polemical treatise against the Neoplatonist Proclus is now assigned to Nicolaus, archbishop of Methone in Peloponnesus (ft. 12th century).
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The demolition was mentioned nostalgically several times in literature and caused Virginia Woolf's Clarissa Dalloway to think, as she passed down Piccadilly, of "Devonshire House without its gilt leopards", a reference to the house's gilded gates.Virginia Woolf, "Mrs Dalloway in Bond Street", 1923. It also inspired Siegfried Sassoon's "Monody on the Demolition of Devonshire House".Richard Davenport-Hines, "Cavendish, Victor Christian William, ninth Duke of Devonshire (1868–1938)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, May 2009 accessed 4 Oct 2010.
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"Spring", lines 934-46 The association was deepened by Lyttelton's monody "To the memory of a lady lately deceased", which is set in the grounds at the start, and whose fifth stanza, beginning "O Shades of Hagley, where is now your Boast?" was particularly admired.Text online In its wake came references to Lyttelton's sorrow as the burden of Hagley's streams in Mason's "Ode to a Water Nymph" and to his monody in Maurice's descriptive poem. The English private parks that developed in the 18th century coincided with a consciousness of national identity and self- confidence.Jill Franklin, "The Liberty of the Park", chapter 9 in Patriotism: The Making and Unmaking of British National Identity, Routledge 1989 That Lord Lyttelton, the creator of Hagley, was a patriot dedicated to the national good was a theme developed by several of the poets who invoked the place: by Thomson, as being one of the themes taking Lyttelton's mind from appreciation of the beauty surrounding him; by Mason, whose ode closes with a compliment to Lyttelton's parliamentary performance; and by James Woodhouse, who conceives of Hagley as a place where the patriotic lord can withdraw from the tawdry temptations of the capital.
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Anerio was a conservative composer, who largely used the style of Palestrina as a starting point, at least after his youthful period of writing secular works, such as madrigals and canzonettas, was done. Nevertheless, he achieved an expressive intensity which was his own. Some influence of the Northern Italian progressive movements is evident, though muted, in his work. For instance, the use of double choirs (polychoral works were the norm in Venice): quick homophonic declamatory textures, quick melodic passages in the bass line (which were an influence from monody).
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Emilio de' Cavalieri, or Emilio dei Cavalieri—the spellings "del" and "Cavaliere" are contemporary typographical errors—(c. 155011 March 1602) was an Italian composer, producer, organist, diplomat, choreographer and dancer at the end of the Renaissance era. His work, along with that of other composers active in Rome, Florence and Venice, was critical in defining the beginning of the musical Baroque era. A member of the Roman School of composers, he was an influential early composer of monody, and wrote what is usually considered to be the first oratorio.
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This contains some of his richest experiments in chromaticism, as well as compositions in such contemporary avant-garde forms as monody. Some of these were products of the years he spent in Ferrara, and some were specifically written for the virtuoso singers there, the three women of the concerto di donne. Characteristic of the Gesualdo style is a sectional format in which relatively slow-tempo passages of wild, occasionally shocking chromaticism alternate with quick-tempo diatonic passages. The text is closely wedded to the music, with individual words being given maximum attention.
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Lute airs were first produced in the royal court of England toward the end of the 16th century and enjoyed considerable popularity until the 1620s. Probably based on Italian monody and French air de cour, they were solo songs, occasionally with more (usually three) parts, accompanied on a lute.G. J. Buelow, History of Baroque Music: Music in the 17th and First Half of the 18th Centuries, Indiana University Press, 2004 (p. 306). Their popularity began with the publication of John Dowland's (1563–1626) First Booke of Songs or Ayres (1597).
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In the province of Trento "folk choirs" are the most common form of music making. Italian folk musicians performing in Edinburgh Noticeable musical differences in the southern type include increased use of interval part singing and a greater variety of folk instruments. The Celtic and Slavic influences on the group and open-voice choral works of the north yield to a stronger Arabic, Greek, and North African-influenced strident monody of the south. In parts of Apulia (Grecìa Salentina, for example) the Griko dialect is commonly used in song.
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Bust of Alessandro Peretti di Montalto, sculpture by Gianlorenzo Bernini in Kunsthalle Hamburg As a cardinal, Peretti lived an extravagant lifestyle in which he indulged his taste for music and lavish theatrical productions staged in his residence, the Cancelleria palace. He retained several musicians in his service and encouraged the art of monody or solo song. His portrait bust by Gian Lorenzo Bernini is at the Hamburg Kunsthalle. Surviving books from Cardinal Alessandro's library reflect pride in his relationship to the Pope through elaborate armorials and his perfect taste.
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Vincenzo Galilei thought highly of Bardi, and dedicated his famous Dialogo della musica antica et della moderna to him. In the Dialogo, Galilei condemns polyphony, praises monody, and expresses the wish that the musical practice of the ancient Greeks would be restored; corrupt and incomprehensible contemporary music would be replaced with an idealized version of the supposed music of the ancient time. The Counter-Reformation Council of Trent had just finished condemning polyphonic practice, for the same supposed fault (it was too hard to understand the sung text), but for spiritual rather than secular reasons.
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The style is similar to the style of monody being developed in Florence at approximately the same time; indeed there was considerable competition between composers in those two musical centers. The success of Rappresentatione was such that the monodic style became common in much Roman music in the first several decades of the 17th century. Later composers of the Roman School included Gregorio Allegri, composer of the famous Miserere (c.1630). This piece was guarded closely by the papal chapel; it was considered so beautiful that copies were not allowed to circulate.
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Many sources recount his virtuosity as a theorbo player. None of his operatic music survives. Extant works include libretti, an oratorio, and three books of monodies under the title Musiche varie a voce sola (Venice 1633, 1637, 1641). Though the last were composed within a relatively short time span, they reflect the changing style of accompanied monody, from the emergence of recitar cantando (midway between song and speech) to the vocal style that is typical of mid-17th century opera, with a more distinctive melody and a clearer rhythm.
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Variously annotated and augmented, the collection appeared in succeeding editions into the start of the 19th century. The monody “To the Memory of a Lady lately Deceased”,Text online written on the death of his first wife, had an even longer lasting reputation. Though Thomas Gray found “parts of it too stiff and poetical”, he especially praised the fourth stanza as “truly tender and elegiac”. The poem was alluded to or parodied by others well into the 19th century, particularly the invocation of the “shades of Hagley” in the fifth stanza.
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This large poem compares Warton to a college cat and it is titled, "Monody on the Death of Dick, an Academical Cat." The poem is littered with clever puns and allusions.Monody on the Death of Dick, an Academical Cat, Rev G. Huddesford, 1791, accessed February 2010 The painting of him with John Bampfylde shows the two of them admiring a portrait of Thomas Warton who was master of Winchester College. Huddesford and Bampfylde were close friends, but their relationship was destroyed when Bampfylde was arrested for breaking windows in order to further his affection for the niece of Reynolds.
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While Monteverdi had looked backwards in the sixth book, he moved forward in the seventh book from the traditional concept of the madrigal, and from monody, in favour of chamber duets. There are exceptions, such the two solo lettere amorose (love letters) "Se i languidi miei sguardi" and "Se pur destina e vole", written to be performed genere rapresentativo – acted as well as sung. Of the duets which are the main features of the volume, Chew highlights "Ohimé, dov'è il mio ben, dov'è il mio core", a romanesca in which two high voices express dissonances above a repetitive bass pattern.Carter and Chew (n.
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Like "On Receiving an Account", many of Coleridge's early poems deal with death and its many variations: Monody on the Death of Chatterton deals in part with Chatterton's suicide, "Destruction of the Bastile" deals with the French revolution and "Dura Navis" deals with fighting at sea and cannibalism.Ashton 1997 p. 28 Although Coleridge mourns over his siblings and the suffering that comes when people die, he is equally concerned about his own suffering and his fear that he would go without being loved. This theme of suffering and lack of love appears in his other poems, including Dejection: An Ode.
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Coleridge began his 1797 edition of poems with a preface that made clear what kind of alterations would be made to all of his poems, including "Monody": > I return my acknowledgements to the different Reviewers for their > assistance, which they have afforded me, in detecting my poetic > deficiencies. I have endeavoured to avail myself of their remarks... My > poems have been rightly charged with a profusion of double-epithets, and a > general turgidness. I have pruned the double-epithets with no sparing hand; > and used my best efforts to tame the swell and glitter both of thought and > diction.Gordon 1942 qtd. p.
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The composer usually did not specify the instrumentation; in The Fifth Book of Madrigals and in the Sixth Book of Madrigals, Claudio Monteverdi indicated that the basso seguente, the instrumental bass part, was optional in the ensemble madrigal. The usual instruments for playing the bass line and filling inner voice parts, were the lute, the theorbo (chitarrone), and the harpsichord. Title page of Le nuove musiche (1601), by the madrigalist Giulio Caccini. The madrigalist Giulio Caccini (1551–1618) produced madrigals in the solo continuo style, compositions technically related to monody and descended from the experimental music of the Florentine Camerata (1573–1587).
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The music shows the influence of classical models from Spanish polyphony, 17th century monody, and of 16th century or earlier choral writing. It is not a true opera, more a stage cantata, where the chorus takes a principal role, interrupted by Coryphaeus as the narrator. Sometimes this narration of the action is depicted on the stage by the appropriate characters (some singers, some – Hercules and Columbus – actors). When finally completed, large extracts were performed in a concert version at the Liceu, Barcelona in November 1961, conducted by Eduard Toldrà, with Victoria de los Ángeles as Isabella, and in Cadiz.
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Lord Exeter's filly Marinella was made favourite ahead of Monody who was owned, like Arab, by the Duke of Grafton. The race produced a close finish between the two Grafton runners, with Arab prevailing by a head over her better fancied stable companion. Arab's win was the eighth in the race for the Duke of Grafton, a ninth for Robert Robson and a sixth for her jockey Frank Buckle. Arab did not run in the Oaks Stakes, and made her next appearance at Ascot Racecourse on 12 June where she competed in a Sweepstakes for three- year-old fillies over the New Mile course.
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During the reign of his elder brother Michael VII, Andronikos continued as co-emperor, and was even possibly raised above Konstantios in precedence. Curiously, despite his apparent lack of ability and purely decorative function as co-emperor, Andronikos is included in some later lists of Byzantine emperors, coming between Romanos and Michael VII.. It is unknown when he died. D. Polemis surmised that it was after 1081,. but Thomas Conley argues that he died in early 1077, since he is not mentioned during Nikephoros Botaneiates's attack on Constantinople in the same year.. According to Psellos's monody, Andronikos was married to an unnamed woman, who died soon after his own death.
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The Neapolitan moresca à 3 appeared only "after the canzone villanesca alla napolitana à 3 had gained a secure foothold"Donna Cardamone cited in introduction to Complete madrigals. 2. Madrigals a 4, greghesche a 4, 5, and 7, Volume 2 Andrea Gabrieli and can be considered a development of the villanesca from bucolic to more raucous subject matter; in text, language and musical idiom. Chronologically, moresche belong the last years of Renaissance polyphonic song before monody and Baroque polyphony, and also on the cusp of change from the dominance in Italy of Flemish masters such as Adrian Willaert to native Italians such as Andrea Gabrieli.
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He was born in Hull and educated at Hull Grammar School and St John's College, Cambridge. He was ordained in 1754 and held a number of posts in the church. In 1747, his poem "Musaeus, a Monody on the Death of Mr. Pope" was published to acclaim and quickly went through several editions. Summarizing this poem, a threnody, William Lyon Phelps writes: Among his other works are the historical tragedies Elfrida (1752) and Caractacus (1759) (both used in translation as libretti for 18th century operas: Elfrida - Paisiello and LeMoyne, Caractacus - Sacchini (as Arvire et Évélina) and a long poem on gardening, The English Garden (three volumes, 1772–82).
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Smalley was appointed in 1967 as the first Composer in Residence at King's College, Cambridge. In 1969 Smalley and his successor at King's, Tim Souster, formed the live-electronic group Intermodulation. Over the next six years Intermodulation toured widely in the UK, West Germany, Poland, France and Iran, with a repertoire which included not only works by Souster and Smalley, but also music by Cornelius Cardew, Terry Riley, Frederic Rzewski, Karlheinz Stockhausen, Christian Wolff and others. Intermodulation also appeared on the occasions at the BBC Promenade Concerts, where among other works it performed Smalley's Beat Music for electronic ensemble and orchestra, and his Monody for piano and electronics (1974) .
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Although it is often considered the first published collection of monodies, it was actually preceded by the first collection by Domenico Melli published in Venice in March 1602 (stile veneto, in which the new year began on 1 March). In fact, the collection was Caccini's attempt, evidently successful, to situate himself as the inventor and codifier of monody and basso continuo. Although the collection was not published until July 1602, Caccini's dedication of the collection to Signor Lorenzo Salviati is dated February 1601, in the stile fiorentino, when the new year began on 25 March. This likely explains why the collection is often dated to 1601.
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Caccini wrote music for three operas--Euridice (1600), Il rapimento di Cefalo (1600, excerpts published in the first Nuove musiche), and Euridice (1602), though the first two were collaborations with others (mainly Peri for the first Euridice). In addition he wrote the music for one intermedio (Io che dal ciel cader farei la luna) (1589). No music for multiple voices survives, even though the records from Florence indicate he was involved with polychoral music around 1610. He was predominantly a composer of monody and solo song accompanied by a chordal instrument (he himself played harp), and it is in this capacity that he acquired his immense fame.
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The decidedly anti- Aristotelian and anti-clerical music theorist Vincenzo Galilei (c. 1520 – 1591), father of Galileo and the inventor of monody, made use of the method in successfully solving musical problems, firstly, of tuning such as the relationship of pitch to string tension and mass in stringed instruments, and to volume of air in wind instruments; and secondly to composition, by his various suggestions to composers in his Dialogo della musica antica e moderna (Florence, 1581). The Italian word he used for "experiment" was esperienza. It is known that he was the essential pedagogical influence upon the young Galileo, his eldest son (cf.
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They believed contemporary art was inferior to classical Greek and Roman works, and decided to attempt to recreate Greek tragedy, as they understood it. Their work added to that of the Florentine Camerata of the previous decade, which produced the first experiments in monody, the solo song style over continuo bass which eventually developed into recitative and aria. Peri and Corsi brought in the poet Ottavio Rinuccini to write a text, and the result, Dafne, though nowadays thought to be a long way from anything the Greeks would have recognised, is seen as the first work in a new form, opera. Rinuccini and Peri next collaborated on Euridice.
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The first two lines of the hymn text, or the first , are the subject of the first 81 bars of Reincken's chorale fantasia. The melody of the first line of the hymn is recognisable as a cantus firmus in the tenor voice in the first six bars of the composition: upright=3.75 The first section develops as a monody (played by the right hand) over a fugal setting, which is a technique typical of Scheidemann's chorale preludes. Thus, according to , this first episode can be seen as Reincken's tribute to Scheidemann. The two lines are each treated with a dense counterpoint, which is similar for both lines.
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Julije Skjavetić from Šibenik published his madrigals (Li madrigali a quattro, et a cinque voci 1562), while his Motetti a cinque et a sei voci, (1564) are characterised by a lavish polyphonic structure under the influence of the Dutch school. Music and dance were a component part of theatrical expression (Mavro Vetranović, Nikola Nalješković, Marin Držić, Marin Benetović), while the function of music and sound effects was under the influence of Italian pastorals. The most prominent Croatian composers of this period include Ivan Lukačić, Vinko Jelić and Atanazije Jurjević. New tendencies of early Baroque monody soon found their way into the domestic musical tradition, both sacral and secular.
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When Alexios lay dying in August 1118, due to his close relationship with his sister, Andronikos sided with Anna and his mother, who schemed to place Anna's husband, Nikephoros Bryennios the Younger, on the throne, rather than his older brother, John II Komnenos. Nevertheless, John pardoned him and allowed him to remain at court. In 1122, he again led troops in his brother's campaign against the Pechenegs. According to a monody by Michael Italikos, he was crucial in turning the tide of the battle and securing a victory for the Byzantines, by rallying the retreating troops, and even threatening the army's standard-bearer with immediate execution if he did not stand his ground.
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First Edition 1589 The Pilgrim Woman (La pellegrina) is a 1579 play written by Girolamo Bargagli of Siena that had been performed for the first time on 2 May 1589 in Florence, after the author's death in 1586, on the occasion of the marriage of Ferdinand I de' Medici, Grand-Duke of Tuscany, with Christine de Lorraine, granddaughter of the former queen-mother of France, Catherine de' Medici. This was enhanced with six musical interludes, the , with designs by Bernardo Buontalenti, known as the master of Florentine spectacle.Banham (1998, 545). Six then-famous composers from Florence contributed music, including some of the most virtuosic vocal writing of the period, early examples of monody.
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Scipione Stella (1558 or 1559 – May 20, 1622) was a Neapolitan composer. He is to be distinguished from another member of the circle of Carlo Gesualdo, Scipione Dentice.John Walter Hill Roman monody, cantata, and opera from the circles around Cardinal Montalto, Volume 1 1997 p40,44 Stella studied at the Chiesa dell'Annunziata, Naples, was organist 1583-1590, then in the service of Gesualdo, and finally to his death, having assumed the name Padre Pietro Paolo, a member of the Teatini fathers at San Paolo Maggiore in Naples. Little of his keyboard music survives, and works attributed to him (instrumental works, motets and madrigali spirituali) are often done so in confusion with Scipione Dentice.
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Sometime before 1166, he was appointed as the metropolitan bishop of Neopatras. He was related to the Tornikios family, and became closely connected to the intellectual circles of the Patriarchal School of Constantinople, as well as to such prominent scholar-bishops of the late Komnenian period as the Archbishop Eustathius of Thessalonica and Michael Choniates. His main works were rhetorical speeches, chiefly in honour of Emperor Manuel I Komnenos and his general, Alexios Kontostephanos, as well as monodies for his friends, including Eustathius. He may also be the original author of a further three speeches published by Euthymios Tornikes, who was Malakes' closest friend and who wrote a monody in his honour.
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The protasekretis was originally the head of the imperial chancery, but according to the historian Paul Magdalino, Gregory Kamateros may have been the first protasekretis to head the tribunal with which the office was chiefly associated later in the 12th century. Later, he was promoted to the rank of sebastos, and the position of logothetes ton sekreton. The latter post was a creation of Alexios I, originally tasked simply with coordinating the various government departments (sekreta), but which by the turn of the 12th century had established itself as a de facto prime minister. Indeed, the monody written on the occasion of Gregory's funeral by the court poet Theodore Prodromos portrays him as the virtual ruler of the empire.
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Another crucial distinction between Renaissance and Baroque writing is its texture: the shift from contrapuntal polyphony, in which all voices are theoretically equal, to monody and treble-bass polarity, along with the development of basso continuo. In this new style of writing, solo melody and bass line accompaniment were now the important lines, with the inner voices filling in harmonies. Caccini, Le Nuove musiche, 1601, title page The application of this principle to instrumental writing was partly an extension of the forces of change in vocal writing stemming from the Florentine Camerata and their head Count Giovanni de' Bardi, who deliberately sought to change the way music was written, and adopted an overarching goal of a music renaissance. In a c.
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The rise of instrumental monody did not have its roots exclusively in vocal music. In part, it was based on the extant sixteenth-century practice of performing polyphonic madrigals with one voice singing the treble line, while the others were played by instruments or by a single keyboard instrument. Thus, while all voices were still theoretically equal in these polyphonic compositions, in practice the listener would have heard one voice as being a melody and the others as accompaniment. Furthermore, the new musical genres that appeared in the late sixteenth and early seventeenth centuries, especially the instrumental sonata, revealed a transition in ways of thinking about composition and performance, from a collaboration of equals to a soloist backed up by a relatively unimportant accompaniment.
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Towards the end of the 16th century innovative Florentine musicians were developing the intermedio—a long- established form of musical interlude inserted between the acts of spoken dramas—into increasingly elaborate forms. Led by Jacopo Corsi, these successors to the renowned Camerata were responsible for the first work generally recognised as belonging to the genre of opera: Dafne, composed by Corsi and Jacopo Peri and performed in Florence in 1598. This work combined elements of madrigal singing and monody with dancing and instrumental passages to form a dramatic whole. Only fragments of its music still exist, but several other Florentine works of the same period—Rappresentatione di Anima, et di Corpo by Emilio de' Cavalieri, Peri's Euridice and Giulio Caccini's identically titled Euridice—survive complete.
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He wrote an opera, Cibele, ed Ati, which seems not to have been performed and whose music does not survive, and another libretto, Elvidia rapita. He published poetry, including in the anthology La cetra di sette corde, and a good deal of monody which survives in the anthologies Vaghezze di musica (1608) and Madrigali (1610). Almost all of these are written for tenor voice, suggesting that they were written to display Rasi's own skill as a singer, and they follow in the style of Caccini's compositions.Parisi Rasi was a well-respected singer, whose skill in ornamentation and diminution, beautiful voice, and ability to sing with grace and feeling, led to him being involved in the first performances of many of the first operas.
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It was an important predecessor not only to the madrigal, but to much later practices in the Baroque era such as monody, since it anticipates chordal accompaniment, has the melody in the highest voice, and shows an early feeling for what later developed into functional harmony. Very little is known about performance practice. Contemporary editions are sometimes for multiple voices, with or without lute tablature; occasionally keyboard scores survive. Frottole may have been performed as solo voice with lute accompaniment—certainly Marchetto Cara may have performed them this way at the Gonzaga court, as is implied by his renown as lutenist, singer, and composer of frottole—and they also may have been performed by other combinations of singers and instruments as well.
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The cycles include two canzoni by Petrarch and a capitolo by Ariosto; they are set in a declamatory manner, thereby including a treatment of vocal lines which foreshadowed monody, and Wert's own later works.Fenlon, Grove onlineEinstein, p. 518. Einstein (1949) alone claims that these cyclic compositions are in his third madrigal book of 1563; both Carol MacClintock and Iain Fenlon find them in the sixth madrigal book of 1577. Once Wert made the acquaintance of the virtuoso singing ladies of Ferrara, the concerto delle dame, he began to write madrigals for them in an appropriate style – with elaborate parts for three high voices, often containing separate blocks for high and low voices, and the most virtuosic singing required in the topmost part.
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The stile recitativo, as the newly created style of monody was called, proved to be popular not only in Florence, but elsewhere in Italy. Florence and Venice were the two most progressive musical centers in Europe at the end of the 16th century, and the combination of musical innovations from each place resulted in the development of what came to be known as the Baroque style. Caccini's achievement was to create a type of direct musical expression, as easily understood as speech, which later developed into the operatic recitative, and which influenced numerous other stylistic and textural elements in Baroque music. Caccini's most influential work was a collection of monodies and songs for solo voice and basso continuo, published in 1602, called Le nuove musiche.
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Born in Frankfurt, Germany, Troyer settled in San Francisco sometime before 1871, where he became known alternatively as a musician, pianist and teacher of music; he began using the name Carlos around 1885. In 1893 he published Two Zuñi Songs, an arrangement of Zuni music. Eventually, his works became further romanticized and ad lib in their style, culminating in his final published piece, Midnight Visit to the Sacred Shrines, a Zuñian Ritual: a Monody for Two Flute-trumpets of High and Low Pitch (Clarinet and Oboe); a Traditional Chant of Melodic Beauty, and Parting Song on Leaving the Shrines, with English and Indian Texts … the Accompaniment may be played on the Piano. He died in Berkeley, California at the age of 83.
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In 1796 he released his first volume of poems entitled Poems on various subjects, which also included four poems by Charles Lamb as well as a collaboration with Robert Southey and a work suggested by his and Lamb's schoolfriend Robert Favell. Among the poems were Religious Musings, Monody on the Death of Chatterton and an early version of The Eolian Harp entitled Effusion 35. A second edition was printed in 1797, this time including an appendix of works by Lamb and Charles Lloyd, a young poet to whom Coleridge had become a private tutor. In 1796 he also privately printed Sonnets from Various Authors, including sonnets by Lamb, Lloyd, Southey and himself as well as older poets such as William Lisle Bowles.
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Collections exist which deviate considerably from these trends, however; several printers specialized in polyphonic airs de cour throughout the early 17th century, and there are eight volumes published by Le Roy & Ballard which are monophonic – for a single voice with no accompaniment. Airs de cour show surprisingly little influence from the Italian early Baroque trends of monody and the madrigal, either in its polyphonic or its concertato form. This is all the more surprising as Italian musicians often worked in France, and the polyphonic and concertato forms of madrigal were being deeply influential in Germany at the same time. Emotional expression in the airs de cour, compared to that of the contemporary Italian madrigalists, is cool, classical and reserved, in keeping with contemporary French taste.
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After the accession of John II Komnenos (), it appears that Gregory was sidelined for a while, as the government was headed by John's favourites, the parakoimomenos John Komnenos and the protovestiarios Gregory Taronites. As the latter proved ineffective, Gregory Kamateros was recalled, but, as Magdalino remarks, probably not "in his full former capacity"; not only did he have to share the responsibility of government with the parakoimomenos, but the megas domestikos John Axouch now dominated the court. Towards the end of his life, both he and his wife Irene entered a monastery. The exact date of Gregory's death is unknown, but it is placed between 1126 and 1132 on account of a reference to the appearance of a comet in Prodromos' funeral monody.
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In May 1589, the festivities for the marriage of Grand Duke Ferdinando to Christina of Lorraine included a performance of Girolamo Bargagli's La pellegrina, with six especially elaborate intermedi. The 1st number of the final intermedio (6) was initially a piece by Bardi but was replaced in the actual intermedio by Cavalieri's virtuosic number based on the Aria del Gran Duca which became popular all over Europe and occurs in many arrangements and variations such as that made by Peter Philips in Antwerp. Cavalieri may have gotten some of his ideas for monody directly from Bardi, since Cavalieri was not a member of the Camerata during its period of activity a few years earlier. He may have developed his rivalry with Giulio Caccini, another extremely important and influential early monodist during this period.
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D.A.Campbell, 'Monody', P.Easterling and B.Knox (ed.s), The Cambridge History of Classical Literature: Greek Literature, Cambridge University Press (1985), page 216 He composed like Stesichorus in a literary language, largely Epic with some Doric flavouring, and with a few Aeolisms that he borrowed from the love poetry of Sappho and Alcaeus.David A. Campbell, Greek Lyric Poetry, Bristol Classical Press (1982), pages 307 It is possible however that the Doric dialect was added by editors in Hellenistic and Roman times, when the poet's home town, Rhegium, had become more Doric than it had been in the poet's own time.Giuseppe Ucciardello, 'Sulla tradizione del testo di Ibico' in 'Lirica e Teatro in Grecia: Il Testo e la sua ricezione—Atti del 11 incontro di Studi, Perugia, 23–24 gennaio 2003', Edizioni Scientifiche Italiane (2005), pages 21–88.
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Claudio Monteverdi in 1640 The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in the arts, especially music and drama. In reference to music, they based their ideals on a perception of Classical (especially ancient Greek) musical drama that valued discourse and oration. Accordingly, they rejected their contemporaries' use of polyphony (multiple, independent melodic lines) and instrumental music, and discussed such ancient Greek music devices as monody, which consisted of a solo singing accompanied by a kithara (an ancient strummed string instrument). The early realizations of these ideas, including Jacopo Peri's Dafne and L'Euridice, marked the beginning of opera, which was a catalyst for Baroque music.
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Bartholomäus Aich was a South-German organist and composer in the 17th century. Little is known about his life: originally from the village of Uttenweiler near Biberach an der Riß in Upper Swabia, he was the organist of the convent of canonesses in Lindau/Lake Constance. His only surviving work is the musical-dramatic festival play Armamentarium comicum amoris et honoris (The Comic Armory of Love and Honor), written on the occasion of the wedding of Count Maximilian Willibald of Waldburg-Wolfegg and Clara Isabella Princess of Aarschot and Arenberg, that took place in Lindau on December 6, 1648. Armamentarium combined the Jesuit theatre tradition with the Italian monody of the early Baroque period and was performed by pupils of the Lindau Jesuit college on December 8, 1648.
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Schein was one of the first to absorb the innovations of the Italian Baroque—monody, the concertato style, figured bass—and use them effectively in a German Lutheran context. While Schütz made more than one trip to Italy, Schein apparently spent his entire life in Germany, making his grasp of the Italianate style all the more remarkable. His early concertato music seems to have been modeled on Lodovico Grossi da Viadana's Cento concerti ecclesiastici, which was available in an edition prepared in Germany. Unlike Schütz, who concentrated mainly on sacred music (although it must be borne in mind that at least two operas composed by him, among other secular works, have been lost), Schein wrote sacred and secular music in approximately equal quantities, and almost all of it was vocal.
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A remarkable premiere for the group was Jacques-Louis Monod's 1962 presentation of Roberto Gerhard's Concerto for Eight. This was followed by the 1962 premiere, and subsequent 1963 recording, of Benjamin Britten's War Requiem, for which the instrumental sections accompanying the English texts had been written specifically for the Melos, and were directed by the composer in the performance. The recording received a Grammy Hall of Fame Award in 1998. In 1964 and 1965 the Melos Ensemble played several concerts at the new Wardour Castle Summer School, founded by Harrison Birtwistle, Peter Maxwell Davies and Alexander Goehr.Birtwistle timeline by Boosey & Hawkes,Wardour 1964 1965 Dr. Michael Hooper, 2009 On 16 August 1964 they played among others Monody for Corpus Christi by Birtwistle, Five Little Pieces (first performance) by Davies, and Suite Op.11 by Goehr.
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In 1764 Seward described Sneyd as "fresh and beautiful as the young day-star, when he bathes his fair beams in the dews of spring". At seventeen Honora Sneyd was briefly engaged to a Swiss born Derbyshire merchant, John André, a relationship that Seward had fostered, and wrote about in her Monody on Major André (1781) when André became a British officer in 1771 and was hanged as a spy by the Americans. The respective parents did not support this attachment for reasons of his financial status. Around Christmas 1770, Thomas Day and Richard Edgeworth, who like Thomas Seward were members of the Lunar Society that met in Lichfield amongst other places, were spending increasing amounts of time at the Seward household and both had fallen for Sneyd, although Edgeworth was already married.
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Peri indicated that Gagliano's way of setting text to music came closer to actual speech than any other, therefore accomplishing the aim of the Florentine Camerata of decades before, who sought to recapture that (supposed) aspect of ancient Greek music. Other music by Gagliano includes secular monodies and numerous madrigals. While the monody was a Baroque stylistic innovation, most of the madrigals are a cappella, and written in a style reminiscent of the late Renaissance (in the first decades of the 17th century, the continuo madrigal was becoming predominant; for example, in the works of Monteverdi). This mix of progressive and conservative trends can be seen throughout his music: some of his sacred music is a cappella, again in the prima prattica style of the previous century, while other pieces show influence of the Venetian School.
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Some of the songs were simply collected and published by Chardavoine, while others are his own adaptation to monody of previous polyphonic works by composers such as Jacques Arcadelt, Pierre Certon, and Pierre Cléreau. In most cases, he has transformed the original music to such an extent that it can be considered a new work.HOASM: Jehan Chardavoine Some of the poems to which Chardavoine adapted new music were anonymous, while others were by poets of his time, such as Clément Marot, Mellin de Saint- Gelais, Jean-Antoine de Baïf, Pierre de Ronsard and Joachim du Bellay. Among the poems set to music and published in his anthology are the famous Mignonne allons voir si la rose and Ma petite colombelle, by Ronsard; Si vous regardez madame, by Du Bellay; and Longtemps y a que je vis en espoir, by Marot.
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Among several members of the extended Florentine patrician family the CavalcantiVoluminous genealogical material in the Raccolte Pucci and Sebregondi in the Archivio di Stato in Florence is supplemented by kinship alliances testified to in family archives of the Manelli, Riccardi, Compagni, Strozzi, Guicciardini, Capponi, Antinori, and Galilei. The most prosperous time for the Cavalcanti bank was during the late fourteenth and early fifteenth centuries, when the Cavalcanti had offices in Rome. As Medici supporters (and residents of the district of Santa Croce), the family’s status in Florence was prone to sudden changes, and some of the Cavalcanti were exiled in the fifteenth century along with Cosimo the Elder. (Victor Anand Coelho, "The Players of Florentine Monody in Context and in History, and a Newly Recognized Source for Le nuove musiche" Journal of Seventeenth-Century Music 9.1 (2003)).
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Many familiar instruments were invented and perfected in late Renaissance Italy, such as the violin, the earliest forms of which came into use in the 1550s. By the late 16th century Italy was the musical centre of Europe. Almost all of the innovations which were to define the transition to the Baroque period originated in northern Italy in the last few decades of the century. In Venice, the polychoral productions of the Venetian School, and associated instrumental music, moved north into Germany; in Florence, the Florentine Camerata developed monody, the important precursor to opera, which itself first appeared around 1600; and the avant-garde, manneristic style of the Ferrara school, which migrated to Naples and elsewhere through the music of Carlo Gesualdo, was to be the final statement of the polyphonic vocal music of the Renaissance.
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Another of the 1589 intermedi: number 1: Harmony descends to earth Of the various intermedi that were performed, only the music to some parts of Il commodo (1539) and, through a 1591 printed edition by Cristofano Malvezzi, an almost complete version of La Pellegrina (1589) are known to have survived.liner noters to Sempé, "La Pellegrina", 30 In 1539 most of the pieces are in four and five parts so much of this music is suitable for domestic playing. The 1589 music is very different being largely big set pieces for 6, 12, 18 or even 30 parts; 41 instrumentalists were required in all, some hidden around the stage as there was not room for them all in one place.Grout and Williams, 27 Smaller scale pieces are often difficult florid monody of the Caccini new music variety.
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Verdonck was a late representative of the Italian madrigal style in northern Europe, and was unusual in that he wrote madrigals in Italian without ever going to Italy. Stylistically he was relatively conservative, shunning the innovations of the early Baroque around 1600, including monody and the basso continuo, preferring instead to work in the polyphonic vocal style of the late 16th century. In the preface to a 1599 collection of madrigals, he wrote scathingly of the decline of musical standards in his native land, which had once been the musical center of Europe: "whether these sweet harmonies have been interrupted by the tempests of Mars, who has too long been master of these provinces, or whether music has ceased to be esteemed by those who, filled with confusion ..., cannot value what is full of agreement and harmony."Quoted in Reese, p. 398.
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This went hand-in-hand with the transition from polyphony to monody discussed above, for a solo instrument or pair of instruments would ideally be not only be the sole melodic vehicle but also be capable of "impressing [the listeners] with the greatest possible effectiveness." The shawm family was one of several consorts to gradually fall out of use after 1600. This necessarily led to a change in the types of instruments that were preferred by composers, for many instruments of the Renaissance were greatly limited in pitch range, being designed only to play a discreet role in a consort of instruments, as well as in dynamic scope. Entire families of instruments, such as racketts and shawms, were unsuited to carrying a solo melodic line with brilliance and expressiveness because they were incapable of dynamic variation, and fell into disuse or at best provided color in string-dominated ensembles.
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Johannes K(h)uen (160614 November 1675), priest, poet, and composer, was one of the leading literary figures of the early Baroque in Bavaria. Khuen, who was born in Moosach and studied with the Munich Jesuits in the early 1620s, spent his entire career in the Bavarian capital as a chaplain to the Wartenberg family and beneficiary at the church of St. Peter. Between 1635 and his death he published at least fifteen books of vernacular sacred songs, some in multiple editions, with simple melodies and thoroughbass accompaniment that mark a distinctive stage in the adoption of sacred monody north of the Alps. All were published in Munich, and the relatively narrow distribution of extant exemplars suggests that they were primarily intended for a local or regional audience. Some of the larger compendia include the Epithalamium Marianum (1644), the Tabernacula pastorum (1650), the Munera pastorum (1651), and the Gaudia pastorum (1655).
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But when he was not away on military campaigns, he was busy in Florence and elsewhere as a patron of music and the arts. Bardi is mainly famous for being host, patron, and inspiration to the group of composers, music theorists and scholars who made up the Florentine Camerata, the group which attempted to restore the aesthetic effect of ancient Greek music to contemporary practice. The group included Vincenzo Galilei (father of the astronomer Galileo), Giulio Caccini, and Pietro Strozzi (composer), and derived its inspiration from a correspondence with Girolamo Mei, the foremost scholar of ancient Greek drama and music at the time. The result of the association was the invention of monody, and shortly thereafter, opera; in addition, the innovations brought to music by the Camerata under the guidance of Bardi were one of the defining characteristics of what we now know as Baroque music.
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In particular, he had an active life working for four secular groups: a group of musicians in Padua, and three humanistic academies in Vicenza, Padua, and Verona. Such academies were becoming common in the late 16th century, as a part of the Renaissance rebirth of humanistic thought; in music they were the location of the first experiments with monody and multi- voice dramatic vocal forms, the strands of which would eventually coalesce into opera. The first of Portinaro's associations was an unnamed group he founded himself, which existed to further the musical careers of its members, which he created on 21 June 1555. Upon the dissolution of this fraternity he moved to Vicenza, where he joined the Accademia dei Costanti in that city, a society of humanists to which he dedicated his 1557 book of madrigals. In March 1557 he was back in Padua, for the newly formed Accademia degli Elevati.
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Moreover, he explicitly positions himself as the inventor of the style when describing it in the introduction. He writes: The introduction to this volume is probably the most clearly written description of the performance of monody, what Caccini called affetto cantando (passionate singing), from the time (a detailed discussion of the affetto cantando performance style can be found in Toft, With Passionate Voice, pp. 227–40). Caccini's preface includes musical examples of ornaments--for example how a specific passage can be ornamented in several different ways, according to the precise emotion that the singer wishes to convey; it also includes effusive praise for the style and amusing disdain for the work of more conservative composers of the period. The introduction is also important in the history of music theory, as it contains the first attempt to describe the figured bass of the basso continuo style of the Seconda pratica.
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When Vincenzo Galilei first attacked Zarlino in the Dialogo of 1581, it provoked Artusi to defend his teacher and the style he represented. In 1600 and 1603 Artusi attacked the "crudities" and "license" shown in the works of a composer he initially refused to name (it was Claudio Monteverdi). Monteverdi replied in the introduction to his fifth book of madrigals (1605) with his discussion of the division of musical practice into two streams: what he called prima pratica, and seconda pratica: prima pratica being the previous polyphonic ideal of the sixteenth century, with flowing counterpoint, prepared dissonance, and equality of voices; and seconda pratica being the new style of monody and accompanied recitative, which emphasized soprano and bass voices, and in addition showed the beginnings of conscious functional tonality. Artusi's major contribution to the literature of music theory was his book on dissonance in counterpoint.
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Georges Lentz's works express his fascination with astronomy as well as his love of the Australian Outback and Aboriginal art, and reflect his spiritual and existential beliefs, questions and doubts. The Vale of Glamorgan Festival (UK), where Lentz was a featured composer in 2006, introduced his music as "...an awestruck and almost fearful response to the beauties and mysteries of the universe; a massive, personal creative undertaking from which this intense, almost obsessive composer is painstakingly extracting concert works...a unique voice whose music is genuinely moving despite its brittle austerity and unearthliness, and captures some of the most evocative silences imaginable." Georges Lentz's music is highly original, while showing the influence of the French Spectralists and, to some degree, the New Complexity movement (unusual instrumental combinations, extended playing techniques etc.). It is often soft, fluctuates between polyphonic intricacy and fragile monody and sometimes contains extended silences.
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In these latter two genres, the increasing tendency was toward a more homophonic texture, with the top part featuring an elaborate, active melody, and the lower ones (usually these were three-part compositions, as opposed to the four-or-more-part madrigal) a less active supporting structure. From this, it was only a small step to fully-fledged monody. All such works tended to set humanist poetry of a type that attempted to imitate Petrarch and his Trecento followers, another element of the period's tendency toward a desire for restoration of principles it associated with a mixed-up notion of antiquity. Jacopo Peri as Arion in La pellegrina The solo madrigal, frottola, villanella and their kin featured prominently in the intermedio or intermezzo, theatrical spectacles with music that were funded in the last seventy years of the 16th century by the opulent and increasingly secular courts of Italy's city-states.
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The Lagrime di San Pietro is probably the most famous set of madrigali spirituali ever written. Although sacred madrigals were a small subset of the total output of madrigals, this set by Lassus is often considered by scholars to be one of the highest achievements of Renaissance polyphony, and appeared at the end of an age: within 10 years of its composition, the traditional stile antico had been displaced in many centers by new early Baroque forms such as monody and the sacred concerto for few voices and basso continuo. Of the work, musicologist Alfred Einstein wrote in his 1949 opus The Italian Madrigal: "it is ... a spiritual counterpart to the cycles from the great epics of Ariosto and Tasso, an old man's work, comparable in its artistry, its dimensions, its asceticism only to the Musical Offering and the Art of Fugue."Einstein, Vol.
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Italian composers began composing in this style late in the 16th century, and it grew in part from the long-standing practice of performing polyphonic madrigals with one singer accompanied by an instrumental rendition of the other parts, as well as the rising popularity of more popular, more homophonic vocal genres such as the frottola and the villanella. In these latter two genres, the increasing tendency was toward a more homophonic texture, with the top part featuring an elaborate, active melody, and the lower ones (usually these were three-part compositions, as opposed to the four-or-more-part madrigal) a less active supporting structure. From this, it was only a small step to fully-fledged monody. All such works tended to set humanist poetry of a type that attempted to imitate Petrarch and his Trecento followers, another element of the period's tendency toward a desire for restoration of principles it associated with a mixed-up notion of antiquity.
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The collection published in 1611 includes a setting of Guarini's famous Il pastor fido, and the 1619 collection is subtitled Lamento d'Arianna; it is clearly influenced by the famous composition by Monteverdi. In the Lamento d'Arianna collection, Pari derived most of the motivic material directly from Monteverdi, but worked it into a dense, archaic contrapuntal texture more akin to Gombert, who had died sixty years earlier, than to the currently popular style of monody. The connection with Gombert may not have been coincidental. Gombert also spent time in the galleys, only being pardoned, according to one story, after the publication of a set of Magnificats dedicated to Emperor Charles V. It is possible that Pari not only knew Gombert's music but looked to his experience as inspiration to survive his own hard years of slavery; and the music akin to the dense contrapuntal style of Gombert was all composed after the end of Pari's sentence.
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Votive relief that probably celebrates the triumph of the Bacchae The peculiarities that distinguish the Euripidean tragedies from those of the other two playwrights are the search for technical experimentation, and increased attention for feelings, as a mechanism to elaborate the unfolding of tragic events. The experimentation carried out by Euripides in his tragedies can be observed mainly in three aspects that characterize his theater: he turned the prologue into a monologue informing the spectators of the story's background, introduced the deus ex machina and gradually diminished the choir's prominence from the dramatic point of view in favor of a monody sung by the characters. Another novelty of Euripidean drama is represented by the realism with which the playwright portrays his characters' psychological dynamics. The hero described in his tragedies is no longer the resolute character as he appears in the works of Aeschylus and Sophocles, but often an insecure person, troubled by internal conflict.
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In 1563 he met Gioseffo Zarlino, the most important music theorist of the sixteenth century, in Venice, and began studying with him. Somewhat later he became interested in the attempts to revive ancient Greek music and drama, by way of his association with the Florentine Camerata, a group of poets, musicians and intellectuals led by Count Giovanni de' Bardi, as well as his contacts with Girolamo Mei,image of letter written by G.Mei Retrieved 2011-12-01 the foremost scholar of the time of ancient Greek music. Galilei composed two books of madrigals, as well as music for lute, and a considerable quantity of music for voice and lute; this latter category is considered to be his most important contribution as it anticipated in many ways the style of the early Baroque. The use of recitative in opera is widely attributed to Galilei, since he was one of the inventors of monody, the musical style closest to recitative.
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This tendency toward solo-with-accompaniment texture in secular vocal music (non-religious music) culminated in the genre of monody, just as in sacred vocal music it resulted in the sacred concerto for various forces including few voices and even solo voices. The use of numerals to indicate accompanying sonorities in accompaniment parts began with the earliest operas, composed by Cavalieri and Giulio Caccini. These new genres, just as the polychoral one probably was, were indeed made possible by the existence of a semi- or fully independent bass line. In turn, the separate bass line, with figures added above to indicate other chordal notes, shortly became "functional", as the sonorities became "harmonies", (see harmony and tonality), and music came to be seen in terms of a melody supported by chord progressions (homophony), rather than interlocking, equally important lines that are used in polyphony. The figured bass, therefore, was integral to the development of the Baroque, by extension the ”classical” style, which built on the innovations of the Baroque era, and by further extension most subsequent musical styles.
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In 1592 he was in Venice, presumably to supervise the printing of his first two books of madrigals (Il primo libro de madrigali, and Il primo libro de madrigali pastorali, both for five voices), and in 1593 or 1594 he moved to Florence. After 1594 his known musical connections are all Florentine, and no unambiguous mentions of his name after 1600 have yet been found.Strainchamps, Grove online He had a reputation as a skilful composer of vocal music, both secular and sacred, in the conservative polyphonic style in a time and place in which a new musical style was quickly developing: monody, and the stile rappresentativo, developments which in retrospect demarcated the beginning of the Baroque era in music. In 1600 he collaborated with one of the chief practitioners of this new style, Caccini, in the music for the opera Il rapimento di Cefalo, by composing two choruses; since they are lost along with most of the music for the opera, it is not known to what degree they may have borrowed from the new musical language.
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Scheidemann was renowned as an organist and composer, as evidenced by the wide distribution of his works; more organ music by Scheidemann survives than by any other composer of the time. Unlike the other early Baroque German composers, such as Praetorius, Schütz, Scheidt, and Schein, each of whom wrote in most of the current genres and styles, Scheidemann wrote almost entirely organ music. A few songs survive, as well as some harpsichord pieces, but they are dwarfed by the dozens of organ pieces, many in multiple movements. Scheidemann's lasting contribution to the organ literature, and to Baroque music in general, was in his settings of Lutheran chorales, which were of three general types: cantus firmus chorale arrangements, which were an early type of chorale prelude; "monodic" chorale arrangements, which imitated the current style of monody--a vocal solo over basso continuo--but for solo organ; and elaborate chorale fantasias, which were a new invention, founded on the keyboard style of Sweelinck but using the full resources of the developing German Baroque organ.
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He was a tenor, and he was able to accompany himself on the viol or the archlute; he sang at various entertainments, including weddings and affairs of state, and took part in the sumptuous intermedi of the time, the elaborate musical, dramatic, visual spectacles which were one of the precursors of opera. Also during this time he took part in the movement of humanists, writers, musicians and scholars of the ancient world who formed the Florentine Camerata, the group which gathered at the home of Count Giovanni de' Bardi, and which was dedicated to recovering the supposed lost glory of ancient Greek dramatic music. With Caccini's abilities as a singer, instrumentalist, and composer added to the mix of intellects and talents, the Camerata developed the concept of monody--an emotionally affective solo vocal line, accompanied by relatively simple chordal harmony on one or more instruments--which was a revolutionary departure from the polyphonic practice of the late Renaissance. In the last two decades of the 16th century, Caccini continued his activities as a singer, teacher and composer.
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D'India was probably born in Palermo, Sicily in 1582, though details of his life are lacking until around 1600. During the first decade of the 17th century he probably traveled widely in Italy, meeting composers, acquiring patrons at various aristocratic courts, and absorbing the musical styles at each locale. This was a time of transition in music history, as the polyphonic style of the late Renaissance was giving way to the widely diverse practices of the early Baroque, and d'India seems to have acquired an unusually broad grasp of the total stylistic practice in Italy: the expressive madrigal style of Marenzio, the grand polychoral work of the Venetian School, the conservative polyphonic tradition of the Roman School, the attempts to recover the music of the ancient world in monody and its larger vehicle, the newly developing opera, as well as the mannered, emotionally intense chromatic style of Carlo Gesualdo in Naples. D'India is known to have been in Florence, the birthplace of opera, as well as Mantua, where Monteverdi was working.
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During its first years, Outriders also planned a series of publications and chapbooks. Aside from a few ephemeral broadsides, only one of these appeared, Max Wickert’s All the Weight of the Still Midnight (1972; 2nd, expanded edition 2013). The weekly readings ceased in 1980 and Outriders suspended its activities for a number of years. In 2009, Wickert revived it as a small press which has since issued Ann Goldsmith’s The Spaces Between Us and Martin Pops’s Minoxidyl and Other Stories(2010); Judith Slater's The Wind Turning Pages (2011), Max Wickert's No Cartoons (2011), Gail Fischer's Red Ball Jets (2011), Jeremiah Rush Bowen's Consolations (2012) and Jerry McGuire's Venus Transit as well as An Outriders Anthology: Poetry in Buffalo 1969-1979 and After (2013),Jacob Schepers' A Bundle of Careful Compromises and Linda Stern Zisquit's Return from Elsewhere(2014); Edric Mesmer's of monody and homophonies (2015); the anthology Four Buffalo Poets: Ansie Baird, Ann Goldsmith, David Landrey, Sam Magavern (2016); Carole Southwood's Listen and See: Twenty-Two Poems and a Story'; and most recently, Carole Southwood's non- fiction novel Abdoo: The Biography of a Piece of White Trash.
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Originally intermedi had used the sets already on the stage from the main play, typically fairly simple ones for a comedy, with a few extra pieces, but later they had their own sets, which a mythological subject required to be more elaborate. Vasari's production for yet another Medici wedding in 1565 "embodied stupendous advances in engineering technique" with all the elaborate movements of scenery done without a curtain in full view of the audience.Strong:134-6 According to Roy Strong: "the designs for the 1589 intermezzi are crucial, for they are the earliest mass-disseminated illustrations of what became a norm throughout Europe for theatrical visual experience for the next three hundred years, the proscenium arch behind which receded ranks of side wings, the vista closed by a back-shutter."Strong:140 Eventually the form acquired a tradition and cohesiveness that allowed it to stand on its own, and it was thus a logical development to combine the existing features with sung, acted parts, and be absorbed into the new artform of opera, which also drew from the traditions of monody and madrigal comedy.
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In the early 17th century, Claudio Monteverdi (1567–1643) was the most influential madrigalist. (Bernardo Strozzi, 1640) In the transition from Renaissance music (1400–1600) to Baroque music (1580–1750), Claudio Monteverdi usually is credited as the principal madrigalist whose nine books of madrigals showed the stylistic, technical transitions from the polyphony of the late 16th century to the styles of monody and of the concertato accompanied by basso continuo, of the early Baroque period. As an expressive composer, Monteverdi avoided the stylistic extremes of Gesualdo’s chromaticism, and concentrated upon the drama inherent to the madrigal musical form. His fifth and sixth books include polyphonic madrigals for equal voices (in late-16th-century style) and madrigals with solo-voice parts accompanied by basso continuo, which feature unprepared dissonances and recitative passages — foreshadowing the compositional integration of the solo madrigal to the aria. In the fifth book of madrigals, using the term seconda pratica (second practice) Monteverdi said that the lyrics must be “the mistress of the harmony” of a madrigal, which was his progressive response to Giovanni Artusi (1540–1613) who negatively defended the limitations of dissonance and equal voice parts of the old-style polyphonic madrigal against the concertato madrigal.
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