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Musical style of the Renaissance — renesanssin musiikkityyli Bicinium is a musical style of the Renaissance and Baroque eras. It is a composition of two parts, specifically for teachers teaching counterpoint and singing. Countless pieces of bicinia were published in the next decades in the Netherlands, Germany and surprisingly Italy too. Furthermore, Martin Luther was strongly in favor of children learning both music and the scripture.

Students of music were expected to excell in singing a single part in a duet more fluently than a part in a larger group such as a choir. In general a bicinium was expected to be performed or played by students of similar age and skills, rather than a student and his teacher. Bicinium viittaa renesanssin tai barokin aikaiseen musiikkityyliin. Alunperin termin kehitti puolalainen Jan Lubina luvulla.

Varsinkin Lutherin vaikutus oli suuri biciniumin laajemmassa suosiossa. Musiikinoppilaiden odotettiin oppivan paremmin kun he laulavat duettona kuin kuoroissa. Gradually studying, writing, and singing two parts moved towards three parts. That style was adopted by Heinrich Glarean in his Dodecachordon, which is one of the most praticed musical theory and pedagogy practices of the Renaissance era. Likewise, contemporary students of music usually master counterpoint first by two parts, then later moving on to three, and after that progressing to four or even more after mastering the easier steps.

Bicinium means two things: any composition from the Renaissance or early Baroque era that consists of two part or two-part composition used as a teaching tool, mainly in German-speaking Europe.

Talvisin auringonjanoinen suuntaa Kanarialle tai Thaimaahan.


Orlando di Lasso, Bicinia cum textu

Prosa al melisma iniziale del un versetto del Tamquam Sponsus, e a quello su identica musica, del seguente Golria Patri per il terzo Responsorio dellUfficio di Natale. La musica per Missus ab arce e per Gloria pie Trinitati quindi la medesima. Inoltre, nella redazione dei codici XLI e LVI, la frase melodica della voce superiorie corrispondente al secondo verso una ripetizione di quella corrispondente al primo. Prima veniva cantato da tutto il coro il terzo responsorio descendit de celo Missus ab arce, seguito dal repetendum indutus stoola purpurea et exivit per auream portam lux er decus universae fabrice mundi dopo di che i choraii, cio i quattro mansionari cantori, si portavano dietro laltare maggiore e l cantavano la prosa polifonica Missus ab arce; poi i due choraii cantavano il versetto monodico tamquam sponsuscui faceva seguito tutto il coro che eseguiva il nuovo repetendum intutus stora purporea; poi i quattro choraii sempre da dietro laltar maggiore cantavano Gloria pie trinitati polifonico, seguito dalla dossologia Gloria Patriicantata anchessa, come gi il versetto e sulla stessa musica , monodicamente da due di loro. Poi i quattro choraii tornavano in chiesa e cantavano la prosa Facture plasmator et conditor monodica, costruita sul melisma conclusiva del repetendum, sul melisma sulle parole Fabrice mundi. Attraverso i manoscritti cividalesi possibile ricostruire con eccezionale precisione le varie fasi di sviluppo di questa composizione; e nella sua forma polifonica essa ci pervenuta soltanto in questi manoscritti.


Bicinia, sive cantiones suavissimae duarum vocum (Phalèse Jr., Pierre)


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