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A false relation (also known as cross-relation, non-harmonic relation) is the name of a type of dissonance that sometimes occurs in polyphonic music, most commonly in vocal music of the Renaissance and particularly in English music into the eighteenth century.
Species counterpoint generally offers less freedom to the composer than other types of counterpoint and therefore is called a "strict" counterpoint. The student gradually attains the ability to write free counterpoint (that is, less rigorously constrained counterpoint, usually without a cantus firmus) according to the given rules at the time. [17]
The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to the English musicologist 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. [1]
Benedetto Varchi, by Titian. Paragone (Italian: paragone, meaning comparison), was a debate during the Italian Renaissance in which painting and sculpture (and to a degree, architecture) were each championed as forms of art superior and distinct to each other. [1]
Symbol at the very end of a staff of music which indicates the pitch for the first note of the next line as a warning of what is to come. The custos was commonly used in handwritten Renaissance and typeset Baroque music. cut time Same as the meter 2 2: two half-note (minim) beats per measure. Notated and executed like common time (4
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.
He is the author of Poetry and Politics in the English Renaissance, [4] Writing the English Republic: Poetry, Rhetoric and Politics, 1627-1660, [5] and The Penguin Book of Renaissance Verse. [6] Norbrook is the general editor of a four-volume edition of the works of Lucy Hutchinson, a Republican chronicler of the English Civil War. [7]
Musica ficta (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of musica recta or musica vera ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo.