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15th-century women musicians (3 C, 2 P) Pages in category "15th-century musicians" The following 4 pages are in this category, out of 4 total.
fl. late 15th – early 16th century: English Presumably identical with the Sturton who composed the six-part Ave Maria ancilla Trinitatis in the Lambeth Choirbook, he contributed a Gaude virgo mater Christi to the Eton Choirbook, the six voices of which cover a fifteen-note range Robert de Févin: fl. late 15th–early 16th century: French
15th-century Irish musicians (3 P) 15th-century Italian musicians (1 C, 2 P) W. 15th-century Welsh musicians (3 P) This page was last edited on 1 November 2021, at 13
It is indicated by literally coloring the note-heads in the written music differently than their normal appearance. In the 14th and early 15th century, colored notes were typically marked in red while normal notes were black; in the 16th century, the same effect was achieved by filling the note-heads in black while normal notes were hollow.
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15th-century English composers (22 P) Pages in category "15th-century English musicians" The following 7 pages are in this category, out of 7 total.
Pages in category "15th century in music" The following 10 pages are in this category, out of 10 total. This list may not reflect recent changes. 0–9. 1410s in music;
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).