Definition, Betydelse & Anagram | Engelska ordet MOTET

Definition av MOTET

1. motett

Exempel på hur du använder MOTET i en mening

• According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.
• His best-known works include the short instrumental or orchestral work "The Holy Boy", a setting of the poem "Sea-Fever" by John Masefield, a formerly much-played Piano Concerto, the hymn tune Love Unknown and the choral motet "Greater Love Hath No Man".
• Indeed, the early Willaert admired Josquin so much that he wrote a mass, Missa Mente Tota, in double canon throughout with two free voices, based upon a movement of a famous Josquin motet (Vultum tuum deprecabuntur).
• Madrigals written by Italianized Franco–Flemish composers in the 1520s partly originated from the three-to-four voice frottola (1470–1530); partly from composers' renewed interest in poetry written in vernacular Italian; partly from the stylistic influence of the French chanson; and from the polyphony of the motet (13th–16th centuries).
• More frequently the 16th century motet practice is used: the hymn melody either migrates from one voice to another, with or without imitative inserts between verses, or is treated imitatively throughout the piece.
• A polyphonic motet, Flos/Celsa/Quam magnus pontifex, was written in honor of Louis's canonization in 1317.
• This religious solo motet was composed when Mozart was staying in Milan While in modern times the motet is usually sung by a female soprano, it was also recorded by a number of countertenors, including Michael Maniaci, Franco Fagioli and.
• Verdelot, along with Costanzo Festa, is considered to be the father of the madrigal, an a cappella vocal form which emerged in the late 1520s from a convergence of several previous musical streams (including the frottola, the canzone, the laude, and also including some influence from the more serious style of the motet).
• In early 1514, Festa wrote a motet, Quis dabit oculis, on the occasion of the death of the Queen of France (Anne of Brittany) (9 January 1514).
• Note: The motet Phi millies / O creator / Iacet granum / Quam sufflabit and the ballade De terre en grec Gaulle appellee are securely attributed to Vitry, but no music for the latter survives, whilst the former survives only fragmentarily (see Zayaruznaya, 2018).
• Developments in notation allowed notes to be written with greater rhythmic independence, shunning the limitations of the rhythmic modes which prevailed in the thirteenth century; secular music acquired much of the polyphonic sophistication previously found only in sacred music; and new techniques and forms, such as isorhythm and the isorhythmic motet, became prevalent.
• While some of his sacred music uses the most sophisticated techniques of the Italian madrigal for a devotional purpose, such as the motet Wie lieblich sind deine Wohnungen setting verses from Psalm 84, several of his secular collections include such things as drinking songs of a surprising simplicity and humor.
• Another motet from this same book is a mensuration canon, that most difficult of all contrapuntal forms to carry off.
• An example of a Notre-Dame motet is Salve, salus hominum/O radians stella/nostrum by Perotin, composed between 1180 and 1238.
• However, some of his music quite ignores the reformist dicta of the Council; most notorious is a four-voice motet Noe noe, which is a double canon by inversion, in which it would require an exceedingly keen ear to hear the text: and intelligibility of the text was the one demand made by the Council of Trent of any composer of sacred polyphony.
• Most of Grandi's early compositions are motets in the concertato style: some are duets and trios, an innovation in motet writing, which usually involved larger groups.
• Missa Maria Magdalene, with the motet Maria Magdalene by Guerrero, The Tallis Scholars, directed by Peter Phillips (Gimell, CDGIM 031).
• Three masses, a four-voice credo from a mass (the rest of which has been lost), two settings of the Lamentations of Jeremiah, one five-voice Marian antiphon (Alma Redemptoris mater), and the music of a six-voice motet (with the text absent) are all that survives of his work.
• Plainchant, associated with the Catholic Church, was largely replaced with choral music sung in the vernacular language—usually German—and the corresponding musical forms from Catholic countries, such as the motet, were replaced with forms that used as their basis the chorales instead of the plainsong from which much of the motet repertory was derived.
• Includes Mouton's motet, Nesciens mater, the Obrecht Missa Sub tuum presidium, as well as motets by Willaert, Clemens non Papa, Ockeghem, Des Prez, and Gombert.

Förberedelsen av sidan tog: 105,62 ms.