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Music likewise promotes habits of harmony and virtue in the individual and should therefore be learned beginning in childhood. Giuliano de' Medici agrees that for the courtier music is not just an ornament but a necessity, as it is indeed for men and women in all walks of life. The ideal courtier, however, should not give the impression that ...
The prologue of La musica (a figure representing music) is introduced with a ritornello by the strings, repeated often to represent the "power of music" – one of the earliest examples of an operatic leitmotif. [81] Act 1 presents a pastoral idyll, the buoyant mood of which continues into Act 2.
The Book of the Courtier was one of the most widely distributed books of the 16th century, with editions printed in six languages and in twenty European centers. [4] The 1561 English translation by Thomas Hoby had a great influence on the English upper class's conception of English gentlemen. [5]
Guillaume de Machaut (French: [ɡijom də maʃo], Old French: [ɡiˈʎawmə də maˈtʃaw(θ)]; also Machau and Machault; c. 1300 – April 1377) was a French composer and poet who was the central figure of the ars nova style in late medieval music.
While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed. By the early 17th century the traditional intermedio —a musical sequence between the acts of a straight play—was evolving into the form of a ...
Guillaume Du Fay (/ dj uː ˈ f aɪ / dyoo-FEYE, French: [ɡijom dy fa(j)i]; also Dufay, Du Fayt; 5 August 1397 – 27 November 1474) was a composer and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. Considered the leading European composer of his time, his music was widely performed and ...
"But that music is a language by whose means messages are elaborated, that such messages can be understood by the many but sent out only by the few, and that it alone among all language unites the contradictory character of being at once intelligible and untranslatable—these facts make the creator of music a being like the gods and make music itself the supreme mystery of human knowledge."
However, from the 1570s onwards he is found associating with known Catholics, including Lord Thomas Paget, to whom he wrote a petitionary letter on behalf of an unnamed friend in about 1573. [21] Byrd's wife Julian was first cited for recusancy (refusing to attend Anglican services) at Harlington in Middlesex, where the family then lived, in ...