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Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, [1] from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and is followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period.
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
Medieval music is the music of the Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. [1] The first and longest era of Western classical music, Medieval music saw the presence of various music theorists, such as Boethius, Hucbald, Guido of Arezzo, Johannes Cotto, Franco of Cologne and Philippe de Vitry.
Meaning respectively "measured song" or "figured song". Originally used by medieval music theorists, it refers to polyphonic song with exactly measured notes and is used in contrast to cantus planus. [3] [4] capo 1. capo (short for capotasto: "nut") : A key-changing device for stringed instruments (e.g. guitars and banjos)
In the early Medieval music era, notation indicated the pitches of songs without indicating the rhythm that these notes should be sung in. The most famous music theorist of the first half of the 13th century, Johannes de Garlandia , was the author of the De Mensurabili Musica (c. 1240), the treatise which defined, and most completely elucidated ...
Concurrent with medieval Europe, scholars of the emerging Islamic Golden Age often more readily and thoroughly engaged with ancient Greek music treatises. [6] Many Arab and Persian music theorists of this time have surviving works, such as Abu al-Faraj al-Isfahani , Safi al-Din al-Urmawi , Qutb al-Din al-Shirazi and Abd al-Qadir Maraghi .
This music theory treatise, along with its companion text, Scolica enchiriadis, was widely circulated in medieval manuscripts, often in association with Boethius' De institutione musica. [4] It consists of nineteen chapters; the first nine are devoted to notation, modes, and monophonic plainchant. [4] Chapters 10-18 deal with polyphonic music.
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