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Navbox templates relating to Composers of the Renaissance era (1400–1600). For a breakdown of works by type (e.g. symphony, concerto, etc), see Works by composer templates . The pages listed in this category are meant to be navigation templates.
Navbox templates relating to Music of the Renaissance era. For a breakdown of works by type (e.g. symphony, concerto, etc), see Works by composer templates . The pages listed in this category are meant to be navigation templates.
One of the most pronounced features of early Renaissance European art music was the increasing reliance on the interval of the third and its inversion, the sixth (in the Middle Ages, thirds and sixths had been considered dissonances, and only perfect intervals were treated as consonances: the perfect fourth the perfect fifth, the octave, and the unison).
Printable version; In other projects ... Renaissance composers are those individuals who wrote music in the Renaissance era, between 1400 and 1600 ... Renaissance ...
1600/1601 – 1694 German Richard Nicholson: died 1639 English Composed English and Latin church music, and consort songs, in humorous rather than melancholy vein, and contributed to The Triumphs of Oriana: Simon Ives: 1600 – 1662 English Manuel Correia: 1600 – 1653 Portuguese Christopher Simpson: 1602/1606 – 1669 English William Lawes ...
Medieval (500 – 1400) Renaissance (1400–1600) Common practice: Baroque (1600–1750) Classical (1750–1830) Romantic (1830–1920) Modern and contemporary: 20th century classical (1900–2000) Contemporary classical (1975–present) Music theory. Rhythm; Harmony; Melody; Musical form; Texture; Notable composers: Guillaume de Machaut ...
c. 1600-c. 1725 Italian Baroque Music. 1605 — Claudio Monteverdi 's fifth book of madrigals opens with a defense of the seconda pratica of Cipriano de Rore , Luca Marenzio , Giaches de Wert , and his own music, in which the music evokes stronger emotion through increasing use of dissonance and a stronger harmonic progression based on a more ...
An extensive listing of sources and critical commentary on Masses based on the "L'homme armé" tune, created as part of a Spring 2002 seminar by Mary Kay Duggan at the University of California, Berkeley, is available at Reform and music: 1450–1600 (accessed 3/18/08).