Tomás Luis de Victoria was born in Avila Spain in 1548‚ he was the seventh of 11 children. At a young age‚ he became a choirboy and studied under many Spanish composers. In 1562 Victoria went to Rome to study music at Jesuit Collegio Germanico. While in Rome many believed‚ Victoria studied under the maestro di cappella Palestrina. In September 1571 Victoria began teaching music at Jesuit Collegio Germanico‚ and shortly after became the maestro di cappella. In 1583 Victoria expressed his wishes of
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I have selected Branford Marsalis‚ a saxophonist‚ as my modern contemporary jazz artist. Initially‚ I chose him because his name sounded familiar and I wanted to choose an artist from the list of saxophonists. Moreover‚ the content of his discography was fascinating by its inclusion of several jazz albums with the Branford Marsalis Quartet as well as other collaborative projects and a solo project. Among the list was the album‚ Music Redeems‚ with performances by The Marsalis Family‚ is a collaboration
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ends in a plagal cadence – the chord 6 is followed by chord 1. The music sounds finished but the sound is duller than the perfect cadence. This includes imitation‚ where different parts copy each other at different times and alters with homophonic‚ polyphonic and monophonic but the piece is entirely diatonic.
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He explains that when he was involved in teacher education‚ he was also a government inspector of schools‚ HMI. He cites that he followed the steps of Matthew Arnold‚ a writer who was also an inspector. Honey claims that in those times he knew about teachers who did not want to “require their pupils to use Standard English”. Those teachers saw Standard English
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Spring” by Stravinsky and “Bulgarian Chant” by an unknown composer are two basic pieces that can be described with some basic terminology. “The Rite of Spring” is an instrumental piece composed by Stravinsky. This particular work of Stravinsky is polyphonic. The chords of the song are very dissonant and make for an unsettling and somewhat eerie tune. It is a complex piece‚ with a tempo varying from moderato to allegro. The piece contains many crescendos and decrescendos. Beginning very loud‚ it quickly
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choral or composition based on a sacred Latin text. There are some exceptions‚ such as motets that have secular text or instrumental accompaniment. In general‚ motets normally used religious texts that were not used in the mass. Motets were often polyphonic‚ meaning that there were multiple vocal parts sung simultaneously. Motets started to be written during the medieval period and then developed throughout time and was most known throughout the Renaissance period. During this time‚ there were a list
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different to Elgar and Byrd. Impressionism was encouraged so the layering of parts was very different. The range of dynamics used in the Poulenc is not subtle‚ like the Byrd and the Elgar. The Byrd had a mostly homophonic texture‚ with the occasional polyphonic writing and one section in canon. This is the ‘style’ of the Renaissance time‚ nothing that took away from the solemn worship people of the time were accustomed to. Whereas Poulenc wrote polyphonically‚ creating a jovial sense and a more lively
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Listening Exam - Music History 1 Epitaph of Seikilos Song (epigram) First Century C.E. * sung in Greek Brief song inscribed on a tombstone dating from the 1st century C.E. The singer is accompanied by a lyre or other plucked string instrument The music follows the rhythms of the text (melody) The poem sung is an ‘epigram’ (a short verse that makes a pointed remark) Uses vocal notes of the diatonic Iastian tonos There are major 3rds that begin or end the last 3 phrases (bright sounding)
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begins to get softer and softer when “surprise” loud chord pops up and then the theme and rhythm continue. I hear some violins in the piece with a flute sounding like a homophonic texture. Then as the music plays on‚ it appears to switch to a polyphonic texture with a second melody added playing with the main melody. The pitch seems to fluctuate between high and low as it hits different parts of the piece. The overall theme seems the same with just different variations of it. The form sounds
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like and joyfull which complements the allegro (quickly) time marking however the ending has a general pause and changes to adagio(slow and stately) to create a greater effect. In Glory of the Lord‚ the texture alternates between homophonic‚ polyphonic and monophonic. Motifs are often combined to create a complex texture. Another technique used is different combinations of voices eg. Bars 108-110 were the sopranos are on their own so that their highest note stands out. Finally in Glory of the
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