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Mensural notation is the musical notation system used for polyphonic European vocal music from the late 13th century until the early 17th century. The term "mensural" refers to the ability of this system to describe precisely measured rhythmic durations in terms of numerical proportions amongst note values.
Evidence on both sides of the argument is compelling; for example 17th-century English writings recommending unequal playing (Roger North's autobiographical Notes of Me, written around 1695, describes the practice explicitly, in reference to English lute music), as well as François Couperin, who wrote in L'art de toucher le clavecin (1716 ...
Many of the surviving examples were part of a large scale lavish court entertainment, the Stuart Masque. The genre is not as widely heard as the lute song, partly due to modern sources for the songs, such as large Musica Britannica volumes being impractical for playing and singing from If playing from the original notation the lute or keyboard ...
17th-century hymns (1 C, 17 P) Pages in category "17th-century songs" ... Pages in category "17th-century songs" The following 60 pages are in this category, out of ...
Broadside Ballads:Songs from the Streets, Taverns, Theatres and Countryside of 17th Century England (incl songs, orig melodies, and chord suggestions) by Lucie Skeaping (2005), Faber Music Ltd. ISBN 0-571-52223-8 (Information and samples of more than 80 broadside ballads and their music)
Pierre Blondeau (fl. 1st half of the 16th century, treasurer, possibly composer) Mlle Bocquet (fl. 1st half of the 17th century) François de Chancy (1600–1656) François Dufaut (before 1604 – before 1672) Jacques Gallot (died c. 1690) The Gaultier family: Denis Gaultier (1597/1603–1672) Ennemond Gaultier (1575–1651), his cousin
A white-mensural maxima with stem facing down. The maxima rest appears as two adjacent longa rests. A maxima, duplex longa, larga (in British usage: large), or octuple whole note was a musical note used commonly in thirteenth and fourteenth century music and occasionally until the end of the sixteenth century.
The first use of the term air de cour was in Adrian Le Roy's Airs de cour miz sur le luth (Book on Court Tunes for the Luth), [1] a collection of music published in 1571. The earliest examples of the form are for solo voice accompanied by lute; [2] towards the end of the 16th century, four or five voices are common, sometimes accompanied (or instrumental accompaniment may have been optional ...