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| the foremost composer of fourteenth century france was: Machaut's Music Elizabeth Eva Leach, 2003 Guillaume de Machaut was the foremost poet-composer of his time. Studies look at all aspects of his prodigious output. |
| the foremost composer of fourteenth century france was: Guillaume de Machaut Elizabeth Eva Leach, 2014-06-12 At once a royal secretary, a poet, and a composer, Guillaume de Machaut was one of the most protean and creative figures of the late Middle Ages. Rather than focus on a single strand of his remarkable career, Elizabeth Eva Leach gives us a book that encompasses all aspects of his work, illuminating it in a distinctively interdisciplinary light. The author provides a comprehensive picture of Machaut's artistry, reviews the documentary evidence about his life, charts the different agendas pursued by modern scholarly disciplines in their rediscovery and use of specific parts of his output, and delineates Machaut's own poetic and material presentation of his authorial persona. Leach treats Machaut's central poetic themes of hope, fortune, and death, integrating the aspect of Machaut's multimedia art that differentiates him from his contemporaries' treatment of similar thematic issues: music. In restoring the centrality of music in Machaut's poetics, arguing that his words cannot be truly understood or appreciated without the additional layers of meaning created in their musicalization, Leach makes a compelling argument that musico-literary performance occupied a special place in the courts of fourteenth-century France. |
| the foremost composer of fourteenth century france was: Kamien Roger Kamien, 2005-06 The Student Study Guide to accompany Music: An Appreciation will include Self-Tests, Research Projects, Listening Exercises, Concert Report Guidelines, and Suggestions for Using the Multimedia Companion CD-ROM. |
| the foremost composer of fourteenth century france was: The Harvard Concise Dictionary of Music and Musicians Don Michael Randel, 2002-10-30 This compact guide to the history and performance of music offers definitions of musical terms; characterizations of forms of musical composition; entries that identify operas, oratorios, symphonic poems, and other works; illustrated descriptions of instruments; and capsule summaries of the lives and careers of composers, performers, and theorists. |
| the foremost composer of fourteenth century france was: The Late Medieval Age of Crisis and Renewal, 1300-1500 Clayton J. Drees, 2000-11-30 As part of a unique series covering the grand sweep of Western civilization from ancient to present times, this biographical dictionary provides introductory information on 315 leading cultural figures of late medieval and early modern Europe. Taking a cultural approach not typically found in general biographical dictionaries, the work includes literary, philosophical, artistic, military, religious, humanistic, musical, economic, and exploratory figures. Political figures are included only if they patronized the arts, and coverage focuses on their cultural impact. Figures from western European countries, such as Italy, France, England, Iberia, the Low Countries, and the Holy Roman Empire predominate, but outlying areas such as Scotland, Scandinavia, and Eastern Europe are also represented. Late medieval Europe was an age of crisis. With the Papacy removed to Avignon, the schism in the Catholic Church shook the very core of medieval belief. The Hundred Years' War devastated France. The Black Death decimated the population. Yet out of this crisis grew an age of renewal, leading to the Renaissance. The great Italian city-states developed. Humanism reawakened interest in the cultures of ancient Greece and Rome. Dante and Boccaccio began writing in their Tuscan vernacular. Italian artists became humanists and flourished. As the genius of Italy began spreading to northern and western Europe at the end of the 15th century, the age of renewal was completed. This book provides thorough basic information on the major cultural figures of this tumultuous era of crisis and renewal. |
| the foremost composer of fourteenth century france was: The Poetry of Fifteenth-century France: Authors and themes John Fox, 1994 |
| the foremost composer of fourteenth century france was: A Short History of Opera Donald Jay Grout, Hermine Weigel Williams, 2003 The fourth edition incorporates new scholarship that traces the most important developments in the evolution of musical drama. After surveying anticipations of the operatic form in the lyric theater of the Greeks, medieval dramatic music, and other forerunners, the book reveals the genre's beginnings in the seventeenth century and follows its progress to the present day.--Jacket. |
| the foremost composer of fourteenth century france was: The Norton/Grove Dictionary of Women Composers Julie Anne Sadie, Rhian Samuel, 1994 Throughout history women have been composing music, but their achievements have usually gone unrecognized. |
| the foremost composer of fourteenth century france was: Paris, a Concise Musical History Guy Hartopp, 2019-02-15 Paris, the City of Light, is one of the most romantic cities in the world. The millions of visitors which flock to the French capital every year follow in the footsteps of countless artists, writers and composers who for centuries have been drawn to this magnificent city. Some composers, Chopin and Rossini among them, found success and contentment, and remained in Paris for the rest of their lives. But for others, Paris brought nothing but disappointment and disillusionment. Mozart, who came to Paris as a 22-year-old seeking a permanent position, was so bitter about the cavalier manner in which he was treated that he professed an aversion to all things French until the end of his days. Wagner was so upset by his treatment here that he once described Paris as a pit into which the spirit of the nation has subsided. And yet he was drawn back to the city time and again. This book charts the musical history of Paris. It discusses the composer and musicians, both French and foreign, who were drawn here and the impact they made on the world of music, on this great city, and vice versa. It includes a wealth of biographical details, including where the artists lived and, where relevant, where they died and are buried. It also draws from and points to suitable scholarly literature, making it an accessible introduction to students of the musical history of Paris. The book also describes another feature which, if it did not enrich, most certainly enlivened Parisian musical life: The full-scale musical riot. The most notorious of these took place at the Theatre des Champs Elysées in 1913 at the premiere of Stravinsky’s ballet Le sacre du printemps. Less physical, but no less vociferous, was the reception accorded to Wagner’s Tannhäuser at the Opéra in 1860. Other composers who incurred the displeasure of Parisian audiences included Satie, Varese and Xenakis. These riots were not half-hearted affairs; police involvement was required and hospital casualty departments were kept busy. There are also chapters which discuss the musical history of the many theatres of Paris and the churches which played such an important part in the city’s musical past. The text is clear and accessible in order to appeal to both students and the general reader. |
| the foremost composer of fourteenth century france was: The Cambridge History of Fifteenth-Century Music Anna Maria Busse Berger, Jesse Rodin, 2015-07-16 Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement. |
| the foremost composer of fourteenth century france was: The Rise of European Music, 1380-1500 Reinhard Strohm, 2005-02-17 This is a detailed and comprehensive survey of music in the late middle ages and early Renaissance. By limiting its scope to the 120 years which witnessed perhaps the most dramatic expansion of our musical heritage, the book responds, in the 1990s, to the tremendous increase in specialised research and public awareness of that period. Three of the four main Parts (I, II, IV) describe the development of polyphony and its cultural contexts in many European countries, from the successors of Machaut (d. 1377) to the achievements of Josquin des Prez and his contemporaries working in Renaissance Italy around 1500. Part III, by contrast, illustrates the musical life of the institutions, and musical practices outside the realm of composed polyphony that were traditional and common all over Europe. The book proposes fresh views in each chapter, discussing dozens of musical examples adducing well-known and hitherto unknown documents, and referring to and evaluating the most recent scholarship in the field. |
| the foremost composer of fourteenth century france was: The Cambridge Companion to Bach John Butt, 1997-06-26 The Cambridge Companion to Bach, first published in 1997, goes beyond a basic life-and-works study to provide a late twentieth-century perspective on J. S. Bach the man and composer. The book is divided into three parts. Part One is concerned with the historical context, the society, beliefs and the world-view of Bach's age. The second part discusses the music and Bach's compositional style, while Part Three considers Bach's influence and the performance and reception of his music through the succeeding generations. This Companion benefits from the insights and research of some of the most distinguished Bach scholars, and from it the reader will gain a notion of the diversity of current thought on this great composer. |
| the foremost composer of fourteenth century france was: The International Cyclopedia of Music and Musicians Oscar Thompson, 1975 |
| the foremost composer of fourteenth century france was: Classical Music John Stanley, 1994 Chronicles more than 800 years of classical music, composers, performers, and instruments. |
| the foremost composer of fourteenth century france was: “The” Athenaeum , 1846 |
| the foremost composer of fourteenth century france was: New International Encyclopedia , 1916 |
| the foremost composer of fourteenth century france was: British Drama Paul Robert Lieder, Robert Morss Lovett, Robert Kilburn Root, 1929 |
| the foremost composer of fourteenth century france was: Essays on the History of English Music in Honour of John Caldwell Emma Hornby, David Nicholas Maw, 2010 Articles on English music, from the medieval period to the present day, centred on four of the major areas of scholarly enquiry. The major themes of the essays in this collection reflect the work of the distinguished scholar John Caldwell, professor of music at Oxford University and a composer in his own right. There is a strong focus on early music, with contributions considering the medieval carol, sources for seventeenth- and eighteenth-century harpsichord music, and the transmission of fifteenth-century English music to the Continent; but they range right up to the twentieth century, with an examination of music in Oxford. All are concerned in one way or another with themes which recur in Professor Caldwell's scholarship: sources; style; performance; and historiography. Contributors: SALLY HARPER, DAVID HILEY, EMMA HORNBY, HARRY JOHNSTONE, MARGARET BENT, DAVID MAW, MATTHIAS RANGE, REINHARD STROHM, PETER WRIGHT, MAGNUS WILLIAMSON, JOHN HARPER, SIMON MCVEIGH, CHRISTOPHER PAGE, OWEN REES, SUSAN WOLLENBERG, JOHN ARTHUR SMITH, BENNETT ZON, DAVID MAW. To subscribe to the Tabula Gratulatoria for this volume, CLICK HERE |
| the foremost composer of fourteenth century france was: Music Roger Kamien, 1998 |
| the foremost composer of fourteenth century france was: Herringshaw's Encyclopedia of American Biography of the Nineteenth Century Thomas William Herringshaw, 1898 |
| the foremost composer of fourteenth century france was: The Athenaeum James Silk Buckingham, John Sterling, Frederick Denison Maurice, Henry Stebbing, Charles Wentworth Dilke, Thomas Kibble Hervey, William Hepworth Dixon, Norman Maccoll, Vernon Horace Rendall, John Middleton Murry, 1896 |
| the foremost composer of fourteenth century france was: The Hurdy-Gurdy in Eighteenth-Century France Robert A. Green, 2016-10-31 The hurdy-gurdy, or vielle, has been part of European musical life since the eleventh century. In eighteenth-century France, improvements in its sound and appearance led to its use in chamber ensembles. This new and expanded edition of The Hurdy-Gurdy in Eighteenth-Century France offers the definitive introduction to the classic stringed instrument. Robert A. Green discusses the techniques of playing the hurdy-gurdy and the interpretation of its music, based on existing methods and on his own experience as a performer. The list of extant music includes new pieces discovered within the last decade and provides new historical context for the instrument and its role in eighteenth-century French culture. |
| the foremost composer of fourteenth century france was: Medieval Women Writers Katharina M. Wilson, 1984 This is one of the first anthologies devoted to the writings of women in the Middle Ages. The fifteen women whose works are represented span seven centuries, eight languages, and ten regions or nationalities. Many are recognized, taught, and anthologized in their own countries but have been inaccessible to students in English. Others are little read today because their literary fortunes have paralleled fluctuations in literary taste and literary patronage. Katharina M. Wilson's introduction to the volume places these writers in historical context and explores the question of the female imagination and who these women were who were writing at a time when very few women were literate and most literature, sacred and secular, was penned by men. Each of the fifteen chapters has been written by a different scholar and includes a biographical and critical introduction to the writer, a representative selection of her works in translation, and a bibliography. |
| the foremost composer of fourteenth century france was: The New International Encyclopædia Frank Moore Colby, Talcott Williams, 1917 |
| the foremost composer of fourteenth century france was: The New International Encyclopaedia , 1929 |
| the foremost composer of fourteenth century france was: Modern Music and Musicians: Encyclopedic v. 1. The pianist's guide.;-v. 2-3. The great composers; critical and biographical sketches , 1918 |
| the foremost composer of fourteenth century france was: The American Monthly Review of Reviews , 1904 |
| the foremost composer of fourteenth century france was: American Monthly Review of Reviews , 1904 |
| the foremost composer of fourteenth century france was: American Monthly Review of Reviews Albert Shaw, 1904 |
| the foremost composer of fourteenth century france was: Paul Robeson Speaks Paul Robeson, 1978 The ideas of the world-renowned Black American are represented on the arts, civil rights, socialism, and other topics. |
| the foremost composer of fourteenth century france was: Organ and Harpsichord Music by Women Composers Adel Heinrich, 1991-06-30 This reference work catalogs music for organ and harpsichord written by more than 700 women composers from 40 countries. Compiler Adel Heinrich has expanded the organ and harpsichord repertoire to include choir and instruments accompanying organ and harpsichord. She provides more detailed information about each work than can be found in any other reference book on women composers. In addition to biographies for each woman, Heinrich supplies listings of individual compositions, and includes descriptions and sources whenever possible. Each composition is listed in both the Instrumentation Index and the Title Index. Publishers, library sources, and recording companies with their addresses are also provided. There is also a chronological listing of composers by country. Two appendices list a large number of women who have either written music for organ and harpsichord with no specific titles known, or have performed on one or both instruments. This reference book is a valuable resource for organists, harpsichordists, teachers, choral and instrumental conductors, and planners of festivals and recitals. |
| the foremost composer of fourteenth century france was: Modern Music and Musicians: The pianist's guide Louis Charles Elson, 1918 |
| the foremost composer of fourteenth century france was: Music DK, 2022-07-26 Produced in association with the Smithsonian and including images from The National Music Museum in South Dakota, Music: The Definitive Visual History guides readers through the progression of music since its prehistoric beginnings, discussing not just Western classical music, but music from all around the world. Telling the story of musical developments, era by era, linking musical theory, technology, and human genius into the narrative, Music: The Definitive Visual History profiles the lives of groundbreaking musicians from Mozart to Elvis, takes an in-depth look at the history and function of various instruments, and includes listening suggestions for each music style. Anyone with an interest in music will enjoy learning about the epic journey the art has taken over the years and will learn to appreciate music with a new ear. |
| the foremost composer of fourteenth century france was: Congressional Record United States. Congress, 1960 |
| the foremost composer of fourteenth century france was: Modern music and musicians Ignace Jan Paderewski, 1918 |
| the foremost composer of fourteenth century france was: Modern music and musicians for vocalists: Modern art songs , 1908 |
| the foremost composer of fourteenth century france was: Music, Authorship, and the Book in the First Century of Print Kate van Orden, 2013-10-19 What does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western music’s adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers. |
| the foremost composer of fourteenth century france was: Dictionary of Music and Musicians George Grove, 1954 |
| the foremost composer of fourteenth century france was: Nelson's Perpetual Loose-leaf Encyclopaedia John Huston Finley, 1920 |
| the foremost composer of fourteenth century france was: Composer Portraits: Francis Poulenc Jon Paxman, 2014-03-17 The Composer Portraits series offers unique and original monographs on individual composers. Text and music introductions written by experts are combined with carefully chosen selections of newly-engraved music for the Piano to give a concise but informed overview of the life and work of each composer. This edition focuses on the life and works of the French composer and pianist Francis Poulenc, with notes by Jon Paxman. Pieces: - L'histoire de Babar le petit éléphant (excerpts) - Française d’après Claude Gervaise - Five Impromptus - II. Allegro vivace - Mouvements Perpétuels - II. Trés modéré - Nocturnes No.7 (from 8 Nocturnes) - Trois Novelettes - No.3 in E Minor - Andantino tranquillo - Pièce brève sur le nom d'Albert Roussel - Trois Pièces - I. Pastorale - Promenades - VIII. En Chemin De Fer - Suite pour Piano - III. Vif |
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