Loyset Compère Motets (Orlando Consort)
Loyset Compere, an accomplished yet not very well-known composer of the 15th century, has been neglected as a figure in musical history. Historians through the ages have somehow left him out of most of their writings. Therefore, as modern researchers and discoverers, we have very little resources from which to gather information about Compere. In fact, even his date and place of birth are argued upon by historians. Thus, our study is limited to what we see on the pages of his music and what we glean from the music we hear (MCD 1490, Carapetyan).
It is believed that Compere wrote some motets for the French Royal court during his years there. Among these motets was the canon Asperges me Domine, a beautiful four-part canon in 4ths. It was written sometime between 1500-1505, although the exact date is not known for sure. This was towards the end of Compere's life when his experience as a composer was at its peak (Carapetyan and Finscher 255). The canon was a popular musical form of this period; however, a canon in 4ths was not. There are many aspects of this piece that make listening to it fascinating. The following pages will explore the intrigues of Aperges me Domine including its structure and its ties between music and text.
Asperges me Domine is broken up into three sections, each section starting with a solo chant from the superius voice. After the chant, each section then continues with a canon starting in one of the four voice parts.
The first section, which we will call section I, starts with the opening chant and ends with a strong cadence on measure 18. It uses six overlapping phrases to express the first sentence of text. The first canon starts with the bassus voice, but the starting voice changes throughout the piece. However, each canon, throughout, is sung at the fourth. There are four strong cadences, m. 2, m. 5, m.10, and m. 18, each marking the end of a thought in the text. There are also many other places that exhibit a kind of pseudo-cadence where the modern ear expects to hear a resolution, and the resolution is reached; however, movement among the middle parts nullifies the effect of the cadence. For example, in m. 12, the superius and the bassus parts seem to reach a cadence point, but the tenor and alto parts continue to move catching the listeners attention away from the cadence point.
John Dowland (1563-1626) was a composer of Renaissance England and considered one of the most prolific and well-known composers of English lute song. A composer and accomplished lutenist, he is probably the most well traveled English composer of his time. Through his travels he was exposed to the musical elements of his Italian, French and German contemporaries. He developed his own musical language, in which he created a unique style for the lute song. As a composer, he focused on the development of melodic material and was able to elegantly blend words and music with a wide range of emotion and technique. For the purpose of this document we will focus on the influence of his Italian travels. John Dowland’s use of chromaticism in his lute songs as can be directly associated with such as “All ye whom love or fortune.” In these pieces, we can see the influence on this genre through his travels to Italy and encounters with such composers as Marenzio.
Janice B. Stockigt, Jan Dismas Zelenka, 1679 – 1745: A Bohemian Musician at the Court of Dresden (Oxford, 2000)
The two pieces chosen for this paper are particularly famous and are recognizable audibly, if not by name, by the majority of western populations. Pachelbel’s Canon in D was virtually forgotten from the 1700’s until it was rediscovered in 1919 by Gustav Beckmann. It gradually gained publicity, and burst into the popular culture after being used as the score for a movie, it is now by far the most famous canon and of the most well known pieces of baroque music.
Every family members welcome those family members who are not blood related into a blended family. In her essay “Stone Soup,” Barbara Kingsolver describes the scene that a blended family is watching the boy playing soccer. Today, blended families are sprawling. My husband lived in the blended family when he was a child. Kingsolver indicates that “Any family is a big empty pot, save for what gets thrown in” (144). The term of “family” is not limited to those who have blood relations; family is the community where welcomes everyone to join.
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
Through using Musica enchiriadis as an example of the 10th century, and the works of Leoninus and Perotinusis as examples in the 11th and 12th century, it is evident that the organum experienced a copious amount of changes between the 10th and 12th century both melodically and rhythmically including the adding of voices, the changing of motion, and the development of rhythm. These adaptations to the organum, though might seem insignificant, tremendously helped further the evolution of polyphony in western music, which consequently contributes to the music of today.
At one point in the study of the Romantic period of music, we come upon
The harpsichord works by Rameau are not as extensive as the ones of Couperin. A total of some sixty pages over a period of some forty years.
Bie, Oscar. A History of the Pianoforte and Pianoforte Players. trans. by E. E. Kellett
I can be inconclusive (leaves the audience with the sense of more) or final (gives the audience the sense of end). The cadence is where the singer or instrumentalist pauses to take a breath. The first three cadences are inconclusive while the last cadence is always final giving the sense of closure for the piece. Between cadences you could find the climax which makes a striking effect. It is the high point in a melody line.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
change when you go to one stanza from another. The climax of the poem is in the fourth stanza
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