query: master of counterpoint and of the baroque musical style

pos: Baroque music Claudio Monteverdi furthered the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition—the heritage of Renaissance polyphony (prima pratica) and the new basso continuo technique of the Baroque (seconda pratica). With basso continuo, a small group of musicians would play the bassline and the chords which formed the accompaniment for a melody. The basso continuo group would typically use one or more keyboard players and a lute player who would play the bassline and improvise the chords and several bass instruments (e.g., bass viol, cello, double bass) which would

pos: Stile antico Fux's "Gradus Ad Parnassum" (1725), the classic textbook on strict counterpoint. Much of the music associated with this style looks to the music of Palestrina as a model. In the early Baroque Claudio Monteverdi and his brother coined the term "prima pratica" to refer to the older style of Palestrina, and seconda pratica to refer to Monteverdi's music. The great composers of the late Baroque all wrote compositions in this style, especially Bach. His Mass in B minor has sections written in "stile antico" which contrast with up-to-date Baroque idioms. Later composers such as Haydn and Mozart also used "stile

pos: Classical guitar repertoire for a discussion of the problems inherent in defining the beginning and end points). This era is said to begin in music after the Renaissance and to be followed by the Classical music era. The original meaning of "baroque" is "irregularly shaped pearl", a strikingly fitting characterization of the architecture and design of this period; later, the name came to be applied also to its music. It is associated with composers such as J.S. Bach, George Friedrich Händel, Antonio Vivaldi, and Claudio Monteverdi. During the period, music theory, diatonic tonality, and imitative counterpoint developed. More elaborate musical ornamentation, as well

pos: Seconda pratica Monteverdi claims to have invented a new “agitated” style ("Genere concitato", later called Stile concitato) to make the music "complete/perfect" ("perfetto"). Seconda pratica Seconda pratica, Italian for "second practice", is the counterpart to prima pratica and is more commonly referred to as Stile moderno. The term "Seconda prattica" was coined by Claudio Monteverdi to distance some of his music from that of e.g. Giovanni Pierluigi da Palestrina and Gioseffo Zarlino and describes early music of the Baroque period which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the prima pratica. "Stile moderno" was coined as

neg: Classical period (music) practice in Baroque music, where a piece or movement would typically have only one musical subject, which would then be worked out in a number of voices according to the principles of counterpoint, while maintaining a consistent rhythm or metre throughout. As a result, Classical music tends to have a lighter, clearer texture than the Baroque. The classical style draws on the "style galant", a musical style which emphasised light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Structurally, Classical music generally has a clear musical form, with a well-defined contrast between tonic and dominant, introduced by

neg: String Quartets, Op. 20 (Haydn) style, the courtly, simplified, somewhat slender musical style prevalent at the time. Analysts trace specific musical choices in the opus 20 quartets to these new ideas. For example, the minuet movement of the D major quartet (number 4) is replaced by a frenetic gypsy air titled "alla zingarese", full of offbeat rhythms. "Rousseau's 'back to nature' movement resulted in a general reawakening of interest in national folk music. Haydn showed himself in complete sympathy with this tendency," writes Geiringer. Three of the six quartets have fugues as finales. Counterpoint, the densely complex style of the Baroque, had fallen out of

neg: Giuseppe Baini 19th century attitude of hero worship towards the Renaissance master of counterpoint, and also named him as the "savior of church music" versus the alleged "ban on counterpoint" by the Council of Trent. Contemporary scholarship, while not claiming that this view was entirely false, tends to hold that it was highly exaggerated; Palestrina was one of many skilled composers working at the time, and the influence of the Council of Trent on musical composition was more limited than at first presumed (the composers of the Venetian School, for example, ignored it almost entirely, and Palestrina-style composers such as Lassus, working

neg: Johann Joseph Fux """" (two equal parts), resulting in equal temperament. He continues: The second part, on "Musica Pratica," is the section of this treatise where the author presents his instruction on counterpoint, fugue, double counterpoint, a brief essay on musical taste, and his ideas on composing sacred music, writing in the "a cappella" and in the "recitativo" style. This part is in the form of a dialog, between a master (Aloysius, Latin for Luigi, who is meant to represent Palestrina's ideas) and a student, Josephus, who represents Fux himself, a self-admitted admirer of Palestrina. At the outset, Fux states his purpose: "to

neg: Mozart in Italy who immediately arranged a concert for the local nobility in his palace. Among the guests was Giovanni Battista Martini, the leading musical theorist of his day and Europe's most renowned expert in Baroque counterpoint. Martini received the young composer and tested him with exercises in fugue. Always with an eye upon Wolfgang's future prospects in the courts of Europe, Leopold was anxious for engagement with the great master; but time was short, so he arranged a return to Bologna in the summer for extended tuition. The pair left on 29 March, carrying letters from Pallavicini that might clear the way

neg: Counterpoint different times, and (especially when entering) each voice repeats some version of the same melodic element. The fantasia, the ricercar, and later, the canon and fugue (the contrapuntal form "par excellence") all feature imitative counterpoint, which also frequently appears in choral works such as motets and madrigals. Imitative counterpoint spawned a number of devices, including: Broadly speaking, due to the development of harmony, from the Baroque period on, most contrapuntal compositions were written in the style of free counterpoint. This means that the general focus of the composer had shifted away from how the intervals of added melodies related to

neg: Claudio Monteverdi evidence of the composer's familiarity with the works of Carlo Gesualdo, and with composers of the school of Ferrara such as Luzzaschi; the book was dedicated to a Ferrarese musical society, the "Accademici Intrepidi". The fifth book looks more to the future; for example, Monteverdi employs the "concertato" style with basso continuo (a device that was to become a typical feature in the emergent Baroque era), and includes a "sinfonia" (instrumental interlude) in the final piece. He presents his music through complex counterpoint and daring harmonies, although at times combining the expressive possibilities of the new music with traditional polyphony.

neg: Johannes Nucius Walther's "Musicalisches Lexicon" of 1732. "Musices poeticae" is a guide to composition. It focuses primarily on counterpoint, and includes nine chapters, which cover topics as diverse as the definition of music, the definition of sound, intervals which are concords and discords, the proper succession of Consonance and dissonance, musical modes, cadences, composed versus improvised counterpoint, and proper techniques of composition for differing numbers of voices. The most famous chapter is the 7th, with its unique list of specific musical devices which can be used to express different feelings. It is the first in a German Baroque tradition of comparison of

neg: Composer the Baroque era of music (1600 to 1750), composers expanded the range and complexity of the music they were writing. The Baroque music era began when composers looked back to Ancient Greek music for the inspiration to create operas (dramatic vocal music accompanied by orchestra). Another key style of music composers used during this era was contrapuntal music. This style of writing required composers to have an advanced knowledge of music theory, as contrapuntal music involves multiple, independent melody lines played by instruments or sung by voices. There were strict counterpoint rules that composers had to learn. German Baroque composers

neg: Kaikhosru Shapurji Sorabji inspired by Busoni's Elegy No. 2, "All'Italia", and the Spanish music of Isaac Albéniz, Debussy, Enrique Granados and Liszt. They are considered among his outwardly more virtuosic and musically less ambitious works. Sorabji's counterpoint stems from Busoni's and Reger's. The influence of these composers led Sorabji to employ various baroque contrapuntal forms (chorale prelude, passacaglia, fugue and others), but he rejected the symmetry and forms that characterise the music of composers such as Mozart and Brahms. Sorabji was dismissive of the Classical style, mainly because he saw it as restricting the musical material to conform to a "ready-made mould", and

neg: Guido Santórsola Uruguaya and the Instituto Cultural Brasil-Uruguay, was violist in the Kleiber Quartet, and was professor at the Instituto de Estudios Superiores of the Escuela Normal de Música of Montevideo. Santórsola composed a large body of work that distinctly exhibits melodic and rhythmic energy of Latin America. His musical style was initially influenced by his interest in Baroque counterpoint, Brazilian and Uruguayan folk music, and later twelve-tone serialism. He wrote orchestral and vocal works, concertos, chamber and instrumental music, notably his numerous compositions for classical guitar. Santórsola's pupils included the composer Amelia Repetto. Publishers: Columbia Music, Southern Music Publishing, Bèrben Edizioni

neg: Counterpoint (Schenker) free composition (e.g. the writing of inventions and fugues). Rather, on Schenker's view, counterpoint (the "pure theory of voice-leading") is entirely distinct from the "theory of composition", just as it is also distinct from the theory of scale-steps, or harmony. It is of interest to note that, although many of Schenker's ideas have had a widespread influence on present-day music theorists, his views on pedagogy and the nature of contrapuntal studes have not prevailed: the word "counterpoint", as used in most universities and conservatories, continues to refer to courses that teach the student to imitate Renaissance or Baroque musical surfaces,

neg: Music of Germany in classical music. Germany is also very well known for its many subsidised opera houses, such as Semperoper, Munich State Theatre and the Bayreuth Festspielhaus. Baroque music, which was the first music to use tonality in the modern sense, is also known for its ornamentation and artistic use of counterpoint. It originated in Northern Italy at the end of the 16th century, and the style migrated quickly to Germany, which was one of the most active centers of early Baroque music. Early German Baroque composers included Heinrich Schütz, Michael Praetorius, Johann Schein, and Samuel Scheidt. The culmination of the Baroque

neg: Minimal music simplicity after the development of an earlier style had run its course to an extreme and unsurpassable complexity. Parallels include the advent of the simple Baroque continuo style following elaborate Renaissance polyphony and the simple early classical symphony following Bach's monumental advances in Baroque counterpoint. In addition, critics have often overstated the simplicity of even early minimalism. Michael Nyman has pointed out that much of the charm of Steve Reich's early music had to do with perceptual phenomena that were not actually played, but resulted from subtleties in the phase-shifting process. In other words, the music often does not sound

neg: Rinaldo del Mel polarization of soprano and bass parts that was a feature of the Baroque style several decades later. In addition, in his secular music he often employs harmonic progressions with root motions in fifths, another feature of the Baroque style to follow. Another stylistic aspect of his madrigals is the prominent use of textural contrast, with chordal, syllabic passages alternating with passages in running thirds or sixths, or brief imitative sections. Long sections of purely contrapuntal writing are absent from his secular music, although, as in Palestrina, smooth counterpoint is the primary textural language of his sacred music. Rinaldo del Mel

neg: Musical improvisation called organum. Throughout the Middle Ages and Renaissance, improvised counterpoint over a cantus firmus (a practice found both in church music and in popular dance music) constituted a part of every musician's education, and is regarded as the most important kind of unwritten music before the Baroque period. Following the invention of music printing at the beginning of the sixteenth century, there is more detailed documentation of improvisational practice, in the form of published instruction manuals, mainly in Italy. In addition to improvising counterpoint over a cantus firmus, singers and instrumentalists improvised melodies over ostinato chord patterns, made elaborate embellishments

neg: Baroque music oratorios, respectively, and the Venetian Francesco Cavalli, who was principally an opera composer. Later important practitioners of this style include Antonio Cesti, Giovanni Legrenzi, and Alessandro Stradella. The middle Baroque had absolutely no bearing on the theoretical work of Johann Fux, who systematized the strict counterpoint characteristic of earlier ages in his "Gradus ad Parnassum" (1725). One pre-eminent example of a court style composer is Jean-Baptiste Lully. He purchased patents from the monarchy to be the sole composer of operas for the French king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished

neg: Music contrapuntal music, in which multiple, simultaneous independent melody lines were used, remained important (counterpoint was important in the vocal music of the Medieval era). German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well as for choirs and keyboard instruments such as pipe organ, harpsichord, and clavichord. During this period several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the fugue, the invention, the sonata, and the concerto. The late Baroque style was polyphonically complex and richly ornamented. Important composers from the Baroque era include Johann

neg: Invention (musical composition) Invention (musical composition) In music, an invention is a short composition (usually for a keyboard instrument) with two-part counterpoint. (Compositions in the same style as an invention but using three-part counterpoint are known as "sinfonias." Some modern publishers call them "three-part inventions" to avoid confusion with symphonies.) Well-known are the fifteen inventions that make up the first half of Johann Sebastian Bach's Inventions and Sinfonias. Inventions are usually not performed in public, but serve as exercises for keyboard students, and as pedagogical exercises for composition students. Inventions are similar in style to a fugue, though they are much simpler. They

neg: Johann Joseph Fux and librettist Pietro Pariati. Fux's compositions were catalogued by Ludwig Ritter von Köchel. Johann Joseph Fux Johann Joseph Fux (; c. 1660 – 13 February 1741) was an Austrian composer, music theorist and pedagogue of the late Baroque era. He is most famous as the author of "Gradus ad Parnassum", a treatise on counterpoint, which has become the single most influential book on the Palestrinian style of Renaissance polyphony. Almost all modern courses on Renaissance counterpoint, a mainstay of college music curricula, are indebted in some degree to this work by Fux. Fux was born to a peasant family in

neg: Johann Joseph Fux Johann Joseph Fux Johann Joseph Fux (; c. 1660 – 13 February 1741) was an Austrian composer, music theorist and pedagogue of the late Baroque era. He is most famous as the author of "Gradus ad Parnassum", a treatise on counterpoint, which has become the single most influential book on the Palestrinian style of Renaissance polyphony. Almost all modern courses on Renaissance counterpoint, a mainstay of college music curricula, are indebted in some degree to this work by Fux. Fux was born to a peasant family in Hirtenfeld, Styria, Austria. Relatively little is known about his early life, but likely

neg: Ignacio de Jerusalem and the musical community of Mexico City. Along with other mid-century transplants from Spain, Jerusalem helped develop a new musical tradition that fused the liturgical forms of the Catholic church and the native folk songs and instruments of Mexico. This Mexican musical tradition is referred to in the USA as the 'California mission style'. Ignacio de Jerusalem Ignacio de Jerusalem was a composer of Mexican Baroque music. Jerusalem was born Ignazio Gerusalemme on June 3, 1707 in Lecce, Italy. His father was Matteo Gerusalemme, a Neapolitan who had moved to Lecce in 1689 to become chapel master. One of eleven

neg: Concerto for Piano, Violin and Strings (Mendelssohn) Bach's style and recalls the Baroque era, with contrapuntal texture and a clear harmonic structure. It also seems to reflect the various counterpoint exercises given to Mendelssohn by his composition mentor, Carl Friedrich Zelter. Following the first theme, the second theme is introduced in F major and is very lyrical, with hints of Romanticism. As the second theme ends, Mendelssohn returns to the strict counterpoint of the first theme. As the orchestra approaches a soft cadence, the piano solo abruptly begins with an arpeggio marked "più Lento." The violin solo enters and mimics the piano, and both instruments play together

neg: Classical music same Contemporary/Postmodern musical era which both began mostly in the 20th-century. The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "era" comprising baroque, classical, and romantic "periods". For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era (or period), was continued by Haydn, who is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used

neg: Transition from Renaissance to Baroque in instrumental music in the mid sixteenth century, most works for voice and lute were conceived specifically as such. In the realm of English ayres, for instance, this meant that composers such as John Dowland and Adrian Le Roy were already thinking of a dichotomous melody and bass, filled in not with counterpoint but with chords "planned for harmonic effect." A third major difference between Renaissance and Baroque music lies in which instruments were favored and used in performance. This is directly related to a larger shift in musical aesthetics, again stemming chiefly from the Florentine Camerata. In his "Dialogo della musica antica

neg: Constanze Mozart courtship, Mozart began making visits to Baron Gottfried van Swieten, who let him examine his extensive collection of manuscripts of work by Bach and Handel. Mozart was excited by this material, and he prepared a number of compositions in Baroque style. An important impetus was Constanze, who apparently fell in love at this time with Baroque counterpoint. This is known from a letter Mozart wrote to his sister Nannerl on 20 April 1782. The letter was accompanied by a manuscript copy of the composer's Fantasy and Fugue, K. 394. I composed the fugue first and wrote it down while I

neg: Classical period (music) Classical period (music) The Classical period was an era of "classical music" between roughly 1730 and 1820. The Classical period falls between the Baroque and the Romantic periods. Classical music has a lighter, clearer texture than Baroque music and is less complex. It is mainly homophonic, using a clear melody line over a subordinate chordal accompaniment, but counterpoint was by no means forgotten, especially later in the period. It also makes use of "style galant" which emphasized light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Variety and contrast within a piece became more pronounced than before

neg: Alessandro Marcello counterpoint within a broadly Vivaldian style," according to Grove, "placing them as a last outpost of the classic Venetian Baroque concerto." The Concerto for Oboe and Strings in D minor op. 1 is perhaps his best-known work. Its worth was affirmed by Johann Sebastian Bach who transcribed it for harpsichord (BWV 974). A number of editions have been published, including an edition in C minor because the baroque oboe played a whole tone lower than the modern oboe. Alessandro Marcello Alessandro Ignazio Marcello (; 1 February 1673 – 19 June 1747 in Venice) was an Italian nobleman and composer. Born

neg: Classical music voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a Bachelor of Music or Master of Music degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required. Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms

neg: Tehillim (Reich) of the Hebrew text. Secondly, the musical setting of lengthy 3-4 line texts results in the composition of extended melodies at that point atypical for Reich. "Though an entire melody may be repeated either as the subject of a canon or variation, this is actually closer to what one finds throughout the history of Western music". As such, this second aspect of extended melody contributes to the appearance of structures not without precedent in Western musical history. "The use of extended melodies, imitative counterpoint, functional harmony and full orchestration may well suggest renewed interest in Classical, or more accurately Baroque,

neg: Organ repertoire Taille, for example) utilized almost no counterpoint, while others (the Duo, the Trio, and the Fugue) were contrapuntal in nature (though the counterpoint was not generally as complex as in Germany). Handel contributed significantly to the organ repertoire through his numerous organ concertos. In Germany and Austria, baroque organ music utilized increasing amounts of counterpoint. Organ music in the baroque can be divided into works based on Lutheran chorales (e.g. chorale preludes and chorale fantasias) and those not (e.g. toccatas, fantasias and free preludes). There are marked stylistic differences between the composers of North, South and Central Germany such that

neg: Baroque architecture and well before his death in 1724, the style had lost currency in Britain. In the Holy Roman Empire, the Baroque period began somewhat later. Although the Augsburg architect Elias Holl (1573–1646) and some theoretists, including Joseph Furttenbach the Elder already practiced the Baroque style, they remained without successors due to the ravages of the Thirty Years' War. From about 1650 on, construction work resumed, and secular and ecclesiastical architecture were of equal importance. During an initial phase, master-masons from southern Switzerland and northern Italy, the so-called "magistri Grigioni" and the Lombard master-masons, particularly the Carlone family from Val d'Intelvi,

neg: Perfect fourth in 1725 his powerful treatise on the composition of Counterpoint in the style of Palestrina under the title "Gradus ad Parnassum" (Latin: The Steps to Parnassus). He outlined various types of counterpoint (e.g., "note against note"), and suggested a careful application of the fourth so as to avoid dissonance. The blossoming of tonality and the establishment of well temperament in Bach's time both had a continuing influence up to the late Romantic period, and the tendencies towards quartal harmony were somewhat suppressed. An increasingly refined cadence, and triadic harmony defined the musical work of this era. Counterpoint was simplified to

neg: Knud Jeppesen and early sixteenth century. From 1927 until his death he was active in the International Musicological Society, serving as president from 1949 to 1952. He was also a member (from 1963) of the Italian Accademia dei Lincei. Jeppesen's name is invariably associated with the study of musical counterpoint, particularly in the style of Palestrina, of whom he was the leading scholar of his day. His 1930 work "Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century" has been a standard textbook since its appearance in German (1935) and English (1939), and remains in print today (the third and final edition

neg: Davide Perez distinct from his earliest. The orchestral writing continued to be as detailed as before, but instruments like recorders and lutes are no longer to be found. There is less use of separated sections for solo voices. Most pieces are now concertate, that is, with one or more soloists emerging from the choir for short passages, thus creating numerous distinct vocal textures. A striking difference is the counterpoint technique, that, still being strict, became eloquent and sentimental. Now the pieces rarely show distinct sections in modern style and in archaistic counterpoint. In his later style, the musical presentation of the words

neg: Historical dance The large number of dances with Spanish origin reflect the cultural influence of the dominating power of the age. Dance types: It was during the baroque era that Londoner John Playford published "The Dancing Master", which, along with similar publications, provides us with a large repertoire of baroque English country dances. Apart from country dances, the most well-documented baroque dance style was that which was developed at the French court during the 17th century. The term "baroque dance" is often used to refer specifically to this style, reflecting the dominating power of the era. Dance types include: The French style

neg: Invention (musical composition) Bach adapted and modified the form to what is considered to be a formal invention. Bach wrote 15 inventions (BWV 772–786) as exercises for his son, Wilhelm Friedemann Bach. Bach later wrote a set of 15 three-part inventions, called sinfonias (BWV 787–801). Invention (musical composition) In music, an invention is a short composition (usually for a keyboard instrument) with two-part counterpoint. (Compositions in the same style as an invention but using three-part counterpoint are known as "sinfonias." Some modern publishers call them "three-part inventions" to avoid confusion with symphonies.) Well-known are the fifteen inventions that make up the first half

neg: Aachen Town Hall was remodeled in the baroque style. Today, the sitting room and the “White Hall” both still convey this change in style. Characteristic of the time period, the wood paneling of the White Hall is in the style of Aachen-Liège baroque master Jacques de Reux, while the wall painting comes from master painter Johann Chrysant Bollenrath. This hall was originally for a panel of jurists who controlled the quality of cloth produced in Aachen, but the space would later serve as the main office for the mayor of Aachen. At the treaty signing ceremony that ended the War of Austrian Succession

neg: Classical guitar making a historical parallel between musical styles (baroque, classical, romantic, Spanish nationalist, flamenco, jazz) and the style of "sound aesthetic" of the musical instruments used: Robert de Visée played on a baroque guitar with a very different sound aesthetic than the guitars used by Mauro Giuliani or Luigi Legnani - they used 19th-century guitars. Whilst the difference between baroque guitars and 19th-century guitars is large and immediately obvious, one can also identify differences in style within the 19th-century guitars themselves: They are part of the same family, but one can distinguish early Italian instruments (Fabricatore), then French instruments and Viennese instruments,

neg: Colossal Baroque Heinrich Schütz composed a musical setting of Psalm 136, "Danket dem Herren, denn er ist freundlich" which included three vocal choirs, 12 cornetti and 18 trumpets. This score is also now lost. Composers of the 17th century who composed works in the colossal style include: Colossal Baroque The Colossal Baroque style is a name which has been coined to describe a number of compositions from the 17th and 18th centuries composed in an opulent, magnificent and large-scaled style. Such works frequently make use of polychoral techniques and often feature instrumental forces considerably larger than the norm for the Baroque period.

neg: Counterpoint Counterpoint In music, counterpoint is the relationship between voices that are harmonically interdependent (polyphony) yet independent in rhythm and contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque. The term originates from the Latin "punctus contra punctum" meaning "point against point". Counterpoint has been used to designate a voice or even an entire composition. Counterpoint focuses on melodic interaction—only secondarily on the harmonies produced by that interaction. In the words of John Rahn: Counterpoint theory has been given a mathematical

neg: Spanish Golden Age that demonstrate his style and skill. El Greco, another respected artist from the period, infused Spanish art with the styles of the Italian renaissance and helped create a uniquely Spanish style of painting. Some of Spain's greatest music is regarded as having been written in the period. Such composers as Tomás Luis de Victoria, Cristóbal de Morales, Francisco Guerrero, Luis de Milán and Alonso Lobo helped to shape Renaissance music and the styles of counterpoint and polychoral music, and their influence lasted far into the Baroque period which resulted in a revolution of music. Spanish literature blossomed as well, most

neg: Feliks Nowowiejski at St. James’ Church in Allenstein. After being awarded a second prize, he completed a three-month course in counterpoint, Palestrina, and Gregorian chant at the College of Catholic Church Music and Musical Education in Regensburg, Bavaria. He subsequently studied at the Stern Conservatory in Berlin, learning theory and counterpoint under Ludwig Bussler, composition under Wilhelm Taubert, and Gradus ad Parnassum under Heinrich Bellerman, simultaneously perfecting his organ playing under Otto Dienel and playing in the orchestra under the baton of Gustav Hollaender. After submitting a cantata to the Royal Academy of Arts, Berlin, he was accepted into a master class

neg: Bernard Jumentier choir) that he learned singing, (including plainsong) and more generally the main musical disciplines, harmony, counterpoint and musical composition. He was also trained to play the pipe organ and the harpsichord. He was only eighteen years old, in 1767, when he became a music master at Senlis before returning to Notre-Dame de Chartres, as early as 1768, as cantor. He later served in Saint-Malo and subsequently in the Coutances Cathedral. At the end of 1776 he was appointed chapel-master of the collégiale et royale de Saint-Quentin. He remained in control until his death in 1829, despite an interruption of about

neg: Jan Zach influences of the Italian composers, whose music had made it to Prague, trips to Italy, access to the famous textbook of Johann Joseph Fux, "Gradus ad Parnassum", Czech folk music, and a strong organ technique, Zach was equally adept at strict counterpoint and the "style galant". In addition, Zach was fond of adventurous chromatic modulations. The scholar Johann Branberger, writing in the early 20th century, noted Zach's preference for "chromatic, and often exotic, themes." The Harpsichord Concerto in C minor (K C17) exemplifies the transition from the Baroque to Galant style that took place throughout the 18th century. While this

neg: Ted Greene playing style included techniques such as harp-like arpeggios combined with gentle, tasteful neck vibrato, creating a "shimmer" to his sound. Other notable techniques included playing songs with a walking bass line with simultaneous melodies. Greene used counterpoint to improvise in a variety of styles, playing, for instance, a jazz standard such as "Autumn Leaves" in Baroque style. He used a large variety of chord voicings, often creating the effect of two simultaneous players. Greene recorded one album, "Solo Guitar", which was produced by William Perry and Leon White, and released in 1977 on PMP Records. The album contains no overdubbing

neg: Edson Zampronha included musical composition, history of music, theory, harmony, counterpoint and musical analysis, besides piano playing. His family moved from Rio de Janeiro to São Paulo in 1969. In 1978 he was introduced into electroacoustic music composition, and his first experiments were done in a four-channel Revox tape recorder. In 1983 he starts the course on "Music Composition and Conducting" at the São Paulo State University. In 1991 he concludes a "Master Degree" in Musical Composition at the Federal University of Rio de Janeiro, and in 1992 he starts a large and fruitful period as a professor of musical composition at

neg: Floyd Graham August 1931. While attending Chicago Musical College, Graham studied violin with Max Ignatz Fischel (1878–1937) (Head of the Normal Department), ear training with Harold Burnham Maryott (born 1878), music history with Herbert Witherspoon (1873–1935); harmony and counterpoint with Hans Franklin Madsen (1887–1971), and composition, counterpoint, and solfeggio with Wesley LaViolette (1894–1978). Graham also earned a Master of Music degree from the American Conservatory of Music. At the American Conservatory of Music, Graham had been a pupil of: In Texas, Graham had been a pupil of: He also had been a pupil of: Floyd Graham was the son of Schyler Colfax

neg: Counterpoint manner prescribed by Charles Seeger, include Ruth Crawford-Seeger, Carl Ruggles, Henry Cowell, Henry Brant, Dane Rudhyar, Lou Harrison, Fartein Valen, and Arnold Schoenberg. Counterpoint In music, counterpoint is the relationship between voices that are harmonically interdependent (polyphony) yet independent in rhythm and contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque. The term originates from the Latin "punctus contra punctum" meaning "point against point". Counterpoint has been used to designate a voice or even an entire composition. Counterpoint focuses on

neg: Nadezda Tokareva Slovenia. Since 2011 Tokareva lives in Slovenia, where she continues to perform and teach. She has the ability to adapt her style to accommodate the demands of a wide musical repertoire from baroque to contemporary composers. Her repertoire consists of around 40 violin concertos and many chamber music works. Tokareva is the author of a number of violin transcriptions and arrangements and violin premiers and the first performer of Slovenian authors' works. She frequently records for the State Radio of Slovenia and gives master classes. Nadezda Tokareva Nadezda Tokareva (; born 27 November 1977 in Penza, Russia) is a Russian-Slovenian

neg: Jean-Baptiste Lully Jean-Baptiste Lully Jean-Baptiste Lully (, ; ; born Giovanni Battista Lulli, ; 28 November 1632 – 22 March 1687) was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France. He is considered a master of the French Baroque style. Lully disavowed any Italian influence in French music of the period. He became a French subject in 1661. Lully was born on November 28, 1632, in Florence, Grand Duchy of Tuscany, to a family of millers. His general education and his musical training during his youth in Florence

neg: Johann Joseph Fux presented the Renaissance polyphonic style as a series of types: one note against one note, two notes against one note, suspensions, and so forth. Fux's work repeated some of Diruta's, possibly coincidentally, since he is not known to have had a copy. In any event, Fux presented the idea with a clarity and focus which made it famous as a teaching method. In species counterpoint, as given in Fux, the student is to master writing counterpoint in each species before moving on to the next. The species are, in order, note against note; two notes against one; four notes against

neg: Baroque violin the later 18th century. The screw mechanism for changing hair tension is first mentioned in a French shop inventory of 1747. It was not universally accepted for over a decade as players were perfectly happy with "clip-in" models: a removable frog held in place by hair tension in a mortise carved into the stick, its tension adjusted by shims between hair and frog surface. However, baroque-style bows produced today almost universally adopt the screw mechanism. Typically, a Baroque violin is played in a "historical manner", using a technique and musical style intended to resemble actual baroque performance as far as

neg: Felix Mendelssohn Berliner Singakademie; she and the Mendelssohn family were among its leading patrons. Sarah had formed an important collection of Bach family manuscripts which she bequeathed to the Singakademie; Zelter, whose tastes in music were conservative, was also an admirer of the Bach tradition. This undoubtedly played a significant part in forming Felix Mendelssohn's musical tastes. His works show his study of Baroque and early classical music. His fugues and chorales especially reflect a tonal clarity and use of counterpoint reminiscent of Johann Sebastian Bach, by whose music he was deeply influenced. Mendelssohn probably made his first public concert appearance at

neg: Hector Berlioz enthusiasms. The former included musical pedants, coloratura writing and singing, viola players who were merely incompetent violinists, inane libretti, and baroque counterpoint. He extravagantly praised Beethoven's symphonies, and Gluck's and Weber's operas, and scrupulously refrained from promoting his own compositions. His journalism consisted mainly of music criticism, some of which he collected and published, such as "Evenings in the Orchestra" (1854), but also more technical articles, such as those that formed the basis of his "Treatise on Instrumentation" (1844). Despite his complaints, Berlioz continued writing music criticism for most of his life, long after he had any financial need to

neg: Classical music high level of complexity within them: fugues, for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be difficult to achieve in the heat of live improvisation. The use of written notation also preserves a record of the works and enables Classical musicians to perform music from many centuries ago. Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music (the melodies, lyrics, forms, and rhythms) being reproduced. That said,

neg: Andreas Werckmeister . Yet in spite of his focus on counterpoint, Werckmeister's work emphasized underlying harmonic principles. Andreas Werckmeister Andreas Werckmeister (November 30, 1645 – October 26, 1706) was a German organist, music theorist, and composer of the Baroque era. Born in Benneckenstein, Werckmeister attended schools in Nordhausen and Quedlinburg. He received his musical training from his uncles Heinrich Christian Werckmeister and Heinrich Victor Werckmeister. In 1664 he became an organist in Hasselfelde; ten years later in Elbingerode; and in 1696 of the Martinskirche in Halberstadt. Of his compositions only a booklet remains: pieces for violin with basso continuo, with the title

neg: Sequenza II decorative figurations, glissandi, octave effects, and other characteristic devices of the harp, working with rather than against the instrument's inherent limitations. Its structure involves the interaction of two musical characters, the linear (i.e. melody, counterpoint) and the vertical (i.e. chords, percussion), with the second gradually superseding the first. It begins with a single, repeated note. This expands into a single melodic line, then turns to two-part counterpoint and accelerates into a series of rapid melodic ostinati contrasted with glissandi and seven-note tone clusters. The chords gradually become more differentiated and the last remnants of the original melodic style disappear .

neg: Arca Musarithmica thought of as a kind of music composition algorithm in physical form. The arca is a box containing a set of wooden rods or slats (or "tariffa" as Kircher called them). Each slat contains a set of numbers, which correspond to notes in a scale or mode, as well as an assortment of rhythmic treatments for those notes. There are different sets of slats which contain musical phrases expressed in a variety of poetic meters (“Euripedaean”, “Anancreonic”, “Archilochan”, “Sapphic” and so on). Some of the rods are used for counterpoint in the "simple style" (or first-species counterpoint) in which all

neg: Schenkerian analysis graphic analyses that may not have been enough stressed is the desire to abolish time, to represent the musical work as something that could be apprehended at a glance or, at least, in a way that would replace a "linear" reading by a "tabular" one. The first step of the analytic rewriting often takes the form of a "rhythmic" reduction, that is one that preserves the score, but "normalizes" its rhythm and its voice-leading content. This type of reduction has a long tradition, not only in counterpoint treatises or theory books, but also in the simplified notation of some Baroque

neg: Raymond Luedeke thesis on the guitar music of Raymond Luedeke, the composer is asked if he has had style periods, given the variety of forms found in his music: He replies that his style is to be found in his musical line and in his personal concept of counterpoint, rather than in his musical vocabulary, which may vary. He compares his music to poetry, in which metaphors may be interpreted in various ways. He does not accept the concept of absolute music, of music that only refers to itself. Without being programmatic, his music has a narrative that can suggest a variety

neg: Nikolai Rimsky-Korsakov encouraged him to accept the post to convince others to join the nationalist musical cause. Rimsky-Korsakov's reputation at this time was as a master of orchestration, based on "Sadko" and "Antar". He had written these works mainly by intuition. His knowledge of musical theory was elemental; he had never written any counterpoint, could not harmonize a simple chorale, nor knew the names or intervals of musical chords. He had never conducted an orchestra, and had been discouraged from doing so by the navy, which did not approve of his appearing on the podium in uniform. Aware of his technical shortcomings,

neg: Classical guitar There is a historical parallel between musical styles (baroque, classical, romantic, flamenco, jazz) and the style of "sound aesthetic" of the musical instruments used, for example: Robert de Visée played a baroque guitar with a very different sound aesthetic from the guitars used by Mauro Giuliani and Luigi Legnani – they used 19th century guitars. These guitars in turn sound different from the Torres models used by Segovia that are suited for interpretations of romantic-modern works such as Moreno Torroba. When considering the guitar from a historical perspective, the musical instrument used is as important as the musical language and

neg: Baroque music counterpoint, and figured bass is a visual representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as harpsichord players or pipe organists (or lutenists). The numbers, accidentals or symbols indicated to the keyboard player what intervals she should play above each bass note. The keyboard player would improvise a chord voicing for each bass note. Composers began concerning themselves with harmonic progressions, and also employed the tritone, perceived as an unstable interval, to create dissonance (it was used in the

neg: Spanish Baroque architecture of Murcia, west facade, 1733). The greatest practitioner of the Spanish Rococo style was a native master, Ventura Rodríguez, responsible for the dazzling interior of the Basilica of Our Lady of the Pillar in Zaragoza (1750). The combination of the Native American and Moorish decorative influences with an extremely expressive interpretation of the Churrigueresque idiom may account for the full-bodied and varied character of the Baroque in the American colonies of Spain. Even more than its Spanish counterpart, American Baroque developed as a style of stucco decoration. Twin-towered facades of many American cathedrals of the seventeenth century had medieval roots

neg: Friedrich Erhard Niedt begins by describing counterpoint, and later branches off into other traditionally serious areas of music, such as canon. Niedt is consistently hostile towards what he perceives to be musically pretentious. For example, he has this to say about the sometimes arcane concept of musical mode: Regarding counterpoint, Niedt calls it the musical equivalent of "spelling," and suggests that counterpoint arises from the realization of figured bass. Niedt insists that "mere counterpoint contains no beauty" and that one can "discern no complete meaning or context" from it. As opposed to pedagogues who developed rules for composing counterpoint on its own terms

neg: Baroque in Brazil Baroque in Brazil The baroque in Brazil was introduced at the beginning of the seventeenth century by Catholic missionaries, especially Jesuits, who brought the new style as an instrument of Christian indoctrination. The epic poem "Prosopopeia" (1601), by Bento Teixeira, is one of its initial milestones. The baroque reached its apogee in literature with the poet Gregório de Matos and the holy orator Father António Vieira. The greatest artists of the era were Aleijadinho in sculpture and Master Ataíde in painting. Baroque architecture flourished remarkably in the Northeast; important examples also exist in the center of the country, in Minas

neg: Gregory Spears story of the same title, described the score: "Mr. Spears's elegantly spare music, with its gamelan-redolent modes and clockwork repetitions, Baroque vocal fillips, intricately woven ensembles and dramatically placed dissonances, further infuses the tale with a sense of ritual and inevitability." David Patrick Stearns, in his "Philadelphia Inquirer" review of Spears' "Requiem", described his musical influences: "Spears intersperses the swan myth with the requiem text, much of it reflecting lyrical Baltic influences of Arvo Pärt, but with a young composer's restlessness. The swan's song is speculatively re-created with otherworldly vocal ornaments. The piece also contains counterpoint that echoes 16th-century madrigals

neg: DeMUG Baroque Ensemble is Full Professor of Violin, Chamber Music, Baroque Music, Musical Analysis and Musical Philology at the Music Department of the University of Guanajuato, Gto., México. He is a member of the ‘Academia Mexicana de Ciencias’ (AMC), and of the ‘Sistema Nacional de Investigadores’ (SNI) of México. He has degrees in Violin (Conservatorio ‘F. Morlacchi’ in Perugia, Italy), Viola (Conservatorio ‘G. Rossini’ in Pesaro, Italy) and Electronic Music (Conservatorio ‘F. Morlacchi’ in Perugia, Italy), and received a master in Violin from the Conservatorio ‘A. Casella’ in L'Aquila, Italy, and a Ph.D. in Musicology from the University of Bologna, Italy. His doctoral

neg: Hector Berlioz as critic and author musicale" published many personal attacks against Berlioz written by critic François-Joseph Fétis. Robert Schumann published a detailed rebuttal of one of Fétis' attacks on Berlioz's Symphonie fantastique in his own Neue Zeitschrift für Musik journal. In writing reviews, Berlioz was able to indulge himself in attacking his "bêtes noires" and extolling his enthusiasms. The former included musical pedants, coloratura writing and singing, viola players who were merely incompetent violinists, inane libretti, and baroque counterpoint. He extravagantly praised Beethoven's symphonies, and Gluck's and Weber's operas, and scrupulously refrained from promoting his own compositions. Despite his complaints, Berlioz continued writing music criticism

neg: Modern Jazz Quartet Heath. During the early-to-mid-1950s they became the Modern Jazz Quartet, Lewis became the group's musical director, and they made several recordings with Prestige Records, including the original versions of their two best-known compositions, Lewis's "Django" and Jackson's Bags' Groove". Clarke left the group in 1955 and was replaced as drummer by Connie Kay, and in 1956 they moved to Atlantic Records and made their first tour to Europe. Under Lewis's direction, they carved their own niche by specializing in elegant, restrained music that used sophisticated counterpoint inspired by baroque music, yet nonetheless retained a strong blues feel. Noted for their

neg: Sastamala Gregoriana master class it has been possible to study early music instruments such as viola da gamba, harpsichord and lute. Festival's current musical director, lutenist Michael Fields, has shaped the festival to its current state and high musical standards since 2005. He also teaches at the festival's annual early music master class in collaboration with other international and Finnish teachers such as soprano Evelyn Tubb whose vocal master class has been on going since the festival's foundation, David Hatcher who teaches viola da gamba, baroque cello and renaissance wind instruments, Corina Marti and Michal Gondko from the mediaeval Ensemble La Morra

neg: Musician of counterpoint and basso continuo characteristics. Vocal and instrumental "color" became more important compared with the Renaissance style of music, and emphasized much of the volume, texture and pace of each piece. Classical music was created by musicians who lived during a time of a rising middle class. Many middle-class inhabitants of France at the time lived under long-time absolute monarchies. Because of this, much of the music was performed in environments that were more constrained compared with the flourishing times of the Renaissance and Baroque eras. The foundation of Romantic period music coincides with what is often called the

neg: Gioseffo Zarlino in counterpoint, and to study the effect and harmonic implications of the false relation. Zarlino's writings, primarily published by Francesco Franceschi, spread throughout Europe at the end of the 16th century. Translations and annotated versions were common in France, Germany, as well as in the Netherlands among students of Sweelinck, thus influencing the next generation of musicians who represented the early Baroque style. Zarlino's compositions are more conservative in idiom than those of many of his contemporaries. His madrigals avoid the homophonic textures commonly used by other composers, remaining polyphonic throughout, in the manner of his motets. His works were

neg: Classical music counterpoint and fugue, but the romantic and sometimes yearning qualities of their music define their era. The prefix "neo-" is used to describe a 19th-, 20th-, or 21st-century composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's "Pulcinella", for example, is a neoclassical composition because it is stylistically similar to works of the Baroque era. Burgh (2006), suggests that the roots of Western classical music ultimately lie in ancient Egyptian art music via cheironomy and the ancient Egyptian orchestra, which dates to 2695 BC. The development of individual tones and scales was made by

neg: Manuel Rodrigues Coelho figuration, hallmarks of the Baroque style, are in the foreground. The harmonic language is simple and clear in sharp contrast to the contemporary Italian composers (i.e., Ascanio Mayone, Giovanni Maria Trabaci and Girolamo Frescobaldi); the contrapuntal techniques are reminiscent of Sweelinck. Coelho's liturgical pieces are less ornate, and generally employ more strict counterpoint. They include a group of 23 versets "para se cantarem ao órgâo", "for singing to the organ", which all consist of a vocal line with organ accompaniment. THE END. Manuel Rodrigues Coelho Manuel Rodrigues Coelho (ca. 15551635) was a Portuguese organist and composer. He is the first

neg: Lloyd Rodgers as his own works, including "Message for Garcia" (2002), "Catastrophe of Meaning" (2001), "On the Sensations of Tone" (2004) and "Guns into Mexico" (2004). Rodgers's music defies classification. Early on he abandoned academic serialism in favor of music inspired by Medieval mensural notation, Renaissance polyphony and Baroque counterpoint. He began each day with coffee, cigarettes, while composing a strict canon and fugue. His music was generally tonal or modal in character, often utilizing alternative tunings, modular forms, interlocking ostinatos and scores with open or flexible instrumentation. He was one of the earliest composers working in a post-minimal style. Aside from

neg: Rubber Soul to them" and described the LP as "a fine piece of recording artistry and adventure in group sound". While outlining to American readers the differences in the UK-format release, "KRLA Beat" said "Rubber Soul" was an "unbelievably sensational" work on which the Beatles were "once again ... setting trends in this world of pop". "Newsweek" lauded the Beatles as "the Bards of Pop", saying that the album's combination of "gospel, country, baroque counterpoint and even French popular ballads" lent the band a unique style in which their songs were "as brilliantly original as any written today". Like "Newsweek", "The New

neg: Georg Matthias Monn proof that the Johann Georg Mann is the same person as the "Georg Matthias Monn" who died in 1750. His role as pioneer of the symphony is a scholarly image, coined in the early 20th century, and could need some basic musicological reevaluation. Together with Georg Christoph Wagenseil and other contemporaries such as Leopold Mozart and Josef Starzer, Monn could be said to represent a school of Austrian composers who had thoroughly studied the principles of counterpoint as practised by Johann Sebastian Bach and Johann Joseph Fux, but also effected a change from the formalistic, imposing and ornate Baroque style

neg: Michel Richard Delalande holiday. Later he had full responsibility for the church music for the complete year. At his death, since he left no mass of his own, the 1656 requiem of the Dukes of Lorraine by Charles d'Helfer was sung. Delalande left many versions of his works. His earlier versions show adherence to French Baroque style, but the later revisions incorporate more Italian melismatic lines and greater attention to polyphonic counterpoint. Also, at least four collections of his works exist, each displaying different looks at composer's work as viewed by the people who assembled each collection. Scholarship of Delalande's work was for

neg: Der Tod Jesu post-Baroque, an italianate "galant style", and contains little counterpoint (notably in the duet, no. 17) or fugal movements (chorus no. 14 is a double fugue). Instead, it gives prominence to melody and voice. All arias are da capo arias with stylistic borrowings from opera arias. Grauner's recitative settings are highly expressive, culminating in the moving simplicity of the bass's recitative no. 23 on the death of Jesus, "" (He is no more!). The last chorus starts quite powerfully, but then ebbs away into a mystical silence. Graun's settings consists of 25 movements: A performance takes about hours. Der Tod Jesu

neg: Sights and landmarks of Seville was built in the 16th century in high Plateresque style by master architect Diego de Riaño. The façade to Plaza Nueva was built in the 19th century in Neoclassical style. The Palace of San Telmo, formerly the University of Sailors, and later the Seminary, is now the seat for the Andalusian Autonomous Government. It is one of the most emblematic buildings of baroque architecture, mainly to its world-renowned churrigueresque principal façade and the impressive chapel. The Royal Tobacco Factory is housed on the original site of the first tobacco factory in Europe, a vast 18th-century building in Baroque style and

neg: Sensitive style Sensitive style The sensitive style (), "empfindsam" style, or tender style is a style of musical composition and poetry developed in 18th-century Germany, intended to express "true and natural" feelings, and featuring sudden contrasts of mood. It was developed as a contrast to the Baroque "Affektenlehre" (lit. "The Doctrine of Affections"), in which a composition (or movement) would have the same affect (e.g., emotion or musical mood) throughout. The German noun "Empfindsamkeit" is usually translated as "sensibility" (in the sense used by Jane Austen in her novel "Sense and Sensibility"), while the adjective "empfindsam" is sometimes rendered as "sentimental" or

neg: Museum of the University of Wrocław designed by in Baroque style. Its architectural structure with splendid sculptural decor and paintings is regarded as one of the most valuable Baroque monuments in Poland and Central and Eastern Europe. The Museum consists of the following historical halls: • , the biggest and most representative hall in the main building, is the only secular Baroque interior in Poland with full decor - illusionist wall paintings by Johann Christoph Handke of Olomouc, decor and sculptural elements by Franz Mangoldt of Moravia and Italian master - which has been so well preserved. • , with Baroque interior and furnishings as rich

neg: Counterpoint (Schenker) patterns of free composition, and not necessarily as models to be literally imitated on the actual musical surface. Throughout "Counterpoint", Schenker cites examples from the musical literature to demonstrate the highly varied ways in which the principles of strict counterpoint can be applied in free composition. As in his other works, Schenker is highly critical in "Counterpoint" of many of his theoretical predecessors, and of pedagogical methods then (and still) prevalent. In particular, he opposes the idea (promulgated by Riemann and others) that the purpose of contrapuntal studies is to acquire the skill of creating polyphonic textures in works of

neg: Monica Huggett which concentrates on romantic music. She has won Gramophone Awards for her recordings of Bach's Sonatas and Partitas for solo violin (1997) and Biber's violin sonatas (2002). Huggett's expertise in the musical and social history of the baroque era, coupled with her unique interpretation of baroque music, has made her a much sought-after resource for students of the baroque violin. She has given master classes in Banff, Dartington, Vicenza, Dublin, The Hague and Medellin. In 2008 she was appointed director of the new graduate program in historical performance at The Juilliard School in New York City. "This is a disc

neg: Gaussig House 1696, and around 1700 he and his wife, Ursula, had Gaussig House built in the Baroque style. From 1747 to 1750, the new owner, Count Heinrich von Brühl, had a Baroque garden landscaped according to plans by master builder Johann Christoph Knöffel. The round pavilion (since 2009 under reconstruction) and the canal are the two surviving features of this garden. After Count von Brühl, Count Hermann Carl von Keyserlingk, the Russian ambassador to the court of Saxony, took over Gaussig. In 1800 Countess Henriette von Schall-Riaucour, probably with assistance from master builder Christian Friedrich Schuricht and Lord Findlater, had the

neg: The Fairy-Queen symbolism. Written as he approached the end of his brief career, "The Fairy-Queen" contains some of Purcell's finest theatre music, as musicologists have agreed for generations. In particular, Constant Lambert was a great admirer; from it he arranged a suite and in collaboration with Edward Dent arranged the work to form the then new Covent Garden opera company's first postwar production. It shows to excellent effect Purcell's complete mastery of the pungent English style of Baroque counterpoint, as well as displaying his absorption of Italian influences. Several arias such as "The Plaint", "Thrice happy lovers" and "Hark! the echoing air"

neg: Counterpoint (Schenker) and "harmony" courses continue to be concerned with exercises in voice-leading. "Counterpoint" Schirmer Books, 1987 "Counterpoint" Musicalia Press, 2001 Counterpoint (Schenker) Counterpoint ("Kontrapunkt" in the original German) is the second volume of Heinrich Schenker's "New Musical Theories and Fantasies" (the first is "Harmony" and the third is "Free Composition"). It is divided into two "Books", the first published in 1910, and the second in 1922. The subject matter of the work is species counterpoint. Book I is concerned with the construction of the cantus firmus and the rules of counterpoint in two voices, also referred to as "strict counterpoint"; Book

neg: Baroque trumpet greater ease in the upper register but also a lighter, less forceful sound. The latter blends better, is less tiring to the player, and is far more appropriate when performing with other baroque-style instruments. Baroque trumpet The baroque trumpet is a musical instrument in the brass family. Invented in the mid-20th century, it is based on the natural trumpet of the 16th to 18th centuries, but designed to allow modern performers to imitate the earlier instrument when playing music of that time. Often synonymous with 'natural trumpet', the term 'baroque trumpet' is often used to differentiate an instrument which has

neg: Michael Tippett an absolute departure from Tippett's earlier style, Milner viewed "King Priam" as a complete break with Tippett's previous work, pointing out the lack of counterpoint, the considerably increased dissonances, and the move towards atonality: "very little of the music is in a definite key". Many of the minor works that Tippett wrote in the wake of "King Priam" reflect the musical style of the opera, in some cases quoting directly from it. In the first purely instrumental post-"Priam" work, the Piano Sonata No. 2 (1962), Milner thought the new style worked better in the theatre than in the concert or

neg: The Greatest Man That Ever Lived (Variations on a Shaker Hymn) 2006 World Cup after the death of his father. He mentioned the influence for each section, including the Baroque counterpoint vocal style which inspired the final 'Bach' & 'Beethoven' sections. In a January 21, 2009, interview on the NPR program "Fresh Air", Cuomo stated that "The Greatest Man That Ever Lived (Variations on a Shaker Hymn)" is his favorite Weezer song. The song includes piano, police sirens, and Rivers Cuomo singing in falsetto, and it contains 11 segued verses in total. In an interview with "Rolling Stone" Cuomo, when questioned about how practising Vipassanā affects his music, says that the

neg: The Music Man and, as the townspeople cheer, Harold is released into Marian's arms ("Finale"). "Notes:"<br> As this musical concerns a marching band, Willson's orchestration for several of the numbers includes band instruments. "Lida Rose" and "Will I Ever Tell You", sung first separately and then simultaneously, are examples of Broadway counterpoint (songs with separate lyrics and separate melodies that harmonize and are designed to be sung together). Similarly, "Pickalittle" and "Good Night Ladies" are also sung first separately, and then in counterpoint. Willson's counterpoint, along with two counterpoint song pairs from Irving Berlin musicals, are lampooned in the 1959 musical "Little Mary

neg: Perfect fourth incorporated into the contrapuntal style at the time, in which parallel fourths were sometimes considered problematic, and written around with ornaments or other modifications to the Fauxbourdon style. An example of this is the start of the Marian-Antiphon "Ave Maris Stella" (Listen) by Guillaume Dufay, a master of Fauxbourdon. The development of tonality continued through the Renaissance until it was fully realized at last by composers of the Baroque era. As time progressed through the late Renaissance and early Baroque, the fourth became more understood as an interval that needed resolution. Increasingly the harmonies of fifths and fourths yielded to

neg: Jesuit Church, Vienna with the church itself dedicated to Saints Ignatius Loyola and Francis Xavier. In 1703, Brother Andrea Pozzo, S.J., an architect, painter, and sculptor, and a master in the quadratura, was requested by Emperor Leopold I to redecorate the church. He added twin towers and reworked the façade in an early Baroque style with narrow horizontal and vertical sections. The design of the windows, narrow niches (with statues), and the small central part of the façade deviate from the Baroque style of the towers. Pozzo died unexpectedly in 1709, just before he was to move to Venice, and was buried in

neg: Guanajuato first indigenous master baker in Guanajuato was Abraham de Silva Cuín, who, in 1526, began to make breads in unique forms and flavors. Most of the state's architecturally significant buildings are in Mexican Baroque style, especially in the capital city. This was because the mines of the state were at maximum production during the 18th century, when this style was fashionable. It can be found in mansions and civil buildings of that time but the most ornate examples are churches, with intricate facades and altarpieces both which often use the "estipite" column (inverted, truncated pyramid). A number of Baroque altarpieces

neg: Counterpoint (Schenker) Counterpoint (Schenker) Counterpoint ("Kontrapunkt" in the original German) is the second volume of Heinrich Schenker's "New Musical Theories and Fantasies" (the first is "Harmony" and the third is "Free Composition"). It is divided into two "Books", the first published in 1910, and the second in 1922. The subject matter of the work is species counterpoint. Book I is concerned with the construction of the cantus firmus and the rules of counterpoint in two voices, also referred to as "strict counterpoint"; Book II treats the cases of three- and four-voice counterpoint. Schenker thus follows the model of Fux in presenting all