615:
194:. The manuscripts written by these two became very popular and included early uses of troper-prosers and sequentiaries. The duo also pioneered a new form of notation for their work that collected new forms of liturgical poetry. While polyphony was not invented at the Saint Martial school, the group developed it extensively and brought it into common use. All of these contributions made the Saint Martial school an important precursor to the later
477:
The motet was known from the
Medieval era, but after about 1463, it evolved into an utterly distinct form. The cascading, passing chords created by the interplay between multiple voices and the absence of a strong or obvious beat are the features that distinguish the medieval vocal styles from those
478:
of the
Renaissance. Instead, the Renaissance motet was a short polyphonic musical setting in imitative counterpoint, for chorus, of a religious text not specifically connected to the liturgy of a given day, and therefore suitable for use in any service. The
254:, which typically was a Gregorian chant fragment with different words from the descant. The motet took a definite rhythm from the words of the verse, and as such appeared as a brief rhythmic interlude in the middle of the longer, more chantlike organum.
384:. Ars subtilior immediately followed ars nova, and as the Latin definition suggests, this style was subtler than the earlier works. Ars subtilior was also even more complex, making it difficult to sing and most popular among music specialists.
181:
around which it was centered, was an important group in the development of early French music. The school created various forms of music based on poetry. These forms of music were often organa consisting of elaborate
630:, music was relatively simple, at least in the parts of France subject to Calvinist influence. In strictly Calvinist areas, the only musical expression allowed was singing of French translations of the
295:, and troubadours became most prominent in Europe in the late 11th and early 12th centuries. Provence was the region with the most troubadours, but the practice soon spread north and aristocrats like
486:
were frequently used as motet texts. This is the sort of composition that is most familiarly called by the name of "motet," and the
Renaissance period marked the flowering of the form.
269:
764:
accompaniment, they grew to incorporate four to five voices by the end of the 16th century. Halfway through the 17th century, they switched back again to a single voice.
248:
sections, usually strophic interludes, in a longer sequence of organum. Usually the discant representing a strophic sequence in Latin which was sung as a descant over a
500:
The chanson encompasses a wide array of forms and styles of secular song, through a period of almost three hundred years. The first important composer of chansons was
752:
In the late
Renaissance and early Baroque period, approximately from 1570 to 1650 and peaking from 1610 and 1635, a type of popular secular vocal music called
923:
927:
638:
in 1572). Starting with the 17th century, Italian and German opera was the most influential form of music, though French opera composers like
400:
in France. The political instability under weak kings and continued dismemberment and acquisition of territory by the
English during the
63:, the music of France evolved in sophistication. The popularity of French music in the rest of Europe declined slightly, yet the popular
244:
The motet, a lyrical piece of music in several parts, evolved from the Notre-Dame school when upper-register voices were added to
369:, also a representative of ars nova, invented an improved system of musical notation and may have been the first composer of the
943:
The world of
Eleanor of Aquitaine : literature and society in southern France between the eleventh and thirteenth centuries
1015:
886:
856:
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was extended during the
Renaissance period, making the motet suitable for use in a larger variety of services. The texts of
279:
In the 12th century, traveling noblemen and musicians called troubadours began traveling southern France. Inspired by the
17:
678:
542:(as Josquin had also done) and were in a simpler, more homophonic style (many of these Parisian works were published by
1042:
951:
635:
686:
376:
The other important development was the extremely complex and sophisticated art of secular song which flourished in
708:
The
Baroque period saw also a flourishing of "Grand Motet and Petit Motet" music. Influential composers included,
178:
212:
The Notre-Dame school was a group of composers who used a style of polyphonic organum that flourished at Paris'
1072:
697:, a prominent opera composer, wrote an influential treatise on musical theory, especially in the subject of
975:
733:
303:. Contemporaneous with the troubadours, the trouvères, another itinerant class of musicians, used the
27:
France has a rich music history that was already prominent in Europe as far back as the 10th century.
67:
and the old motet were further developed during this time. The epicenter of French music moved from
725:
717:
643:
639:
93:
then became the primary style of French music, as it was secular and preferred by the royal court.
411:
and
Italian musicians became more important. Later French composers of the Renaissance include
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713:
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846:
333:
Two of the major developments in music in the 14th century occurred in France. The first was
191:
1005:
424:
401:
190:. Important composers from this school include Roger de Chabannes and his nephew and student
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Henneman, John Jr Bell; Earp, Lawrence; Kibler, William W.; Zinn, Grover A. (24 July 1995).
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651:
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346:
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128:
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568:
Composers who worked at the courts of the Dukes of
Burgundy are known collectively as the
8:
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448:
444:
312:
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452:
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904:
821:
The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-century Aquitaine
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47:
soon began touring France, composing and performing many original songs. The styles of
588:. They wrote vernacular secular music in a clear, simple, melodic style, principally
304:
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1038:
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207:
195:
156:
132:
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32:
337:, a new, predominantly secular style of music. It began with the publication of the
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585:
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28:
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682:
412:
308:
102:
80:
946:. Bull, Marcus Graham., Léglu, Catherine. Rochester, NY: Boydell Press. 2005.
216:
between about 1170 to 1250. The only composers whose names have survived are
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432:
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songs, in contrast to the older tradition dating back to the 10th century of
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52:
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is especially important, as are the 12th century Parisian composers at the
39:, a specific musical composition. Notable in the high Middle Ages were the
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French musical domination of Europe ended during the Renaissance, and
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originated as a unified style in medieval times, focusing around the
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became popular during this time, and was exported to Italy as the
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151:, who were poets and musicians known for creating forms like the
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64:
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Tyrrell, John, 1942- Sadie, Stanley, editor. (25 January 2001).
634:, for instance those written by Goudimel (who was killed in the
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116:
572:; some of the principal names associated with this school are
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472:
239:
183:
136:
124:
68:
36:
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St. Martial-Studien, ein Beitrag zur frühromanischen Metrik
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663:
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The move of the center of musical activity from Paris to
55:
sprung up in the 14th century, both of which focused on
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139:. Secular music in medieval France was dominated by
662:, spoken dialogue and a lack of Italian recitative
658:made a distinctive national style characterized by
1030:
1064:
878:The new Grove dictionary of music and musicians
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524:, which were somewhat simpler in style, while
224:. These two are believed to have written the
1037:. Bloomington, IN: Indiana University Press.
318:
83:, music was simplified and restricted due to
504:, with later figures in the genre including
291:. The tradition seems to have originated in
848:Companion to Medieval and Renaissance Music
926:) CS1 maint: numeric names: authors list (
404:all contributed to moving musicians east.
177:The Saint Martial school, named after the
922:CS1 maint: multiple names: authors list (
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267:
845:Knighton, Tess; Fallows, David (1997).
677:music. Influential composers included
618:"Les Cinq Sens: L'Ouïe", an etching by
592:, but also Latin sacred music, such as
311:. This period ended abruptly with the
166:
159:. The most famous of the trouvère was
35:of composers. This group developed the
14:
1065:
107:Some of the earliest manuscripts with
988:
817:
396:defines the beginning of the musical
380:at the very end of the 14th century,
283:, troubadours composed and performed
1010:. Taylor & Francis. p. 72.
870:
868:
760:originally used only one voice with
557:
387:
201:
315:, which decimated southern France.
230:, a comprehensive book of organum.
24:
851:. University of California Press.
792:
756:spread throughout France. Though
25:
1084:
865:
818:Grier, James (14 December 2006).
679:Jacques Champion de Chambonnières
550:, were influenced by the Italian
96:
1007:Medieval France: An Encyclopedia
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59:songs. As Europe moved into the
357:, motets, and single surviving
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824:. Cambridge University Press.
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687:Élisabeth Jacquet de La Guerre
636:St. Bartholomew's Day Massacre
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135:from whence came the earliest
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1:
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307:, while the troubadours used
673:period saw a flourishing of
546:). Later composers, such as
532:were composers of so-called
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767:
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1034:A history of baroque music
1031:Buelow, George J. (2004).
993:. London: Greenwood Press.
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734:Jean-Joseph de Mondonville
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470:
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319:Ars nova and ars subtilior
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79:of composers. During the
991:Music in the Middle Ages
726:Michel Richard Delalande
718:Marc-Antoine Charpentier
644:Marc-Antoine Charpentier
640:Balthasar de Beaujoyeaux
275:, a well-known troubador
233:
989:Lorde, Suzanne (2008).
974:: CS1 maint: others (
774:French classical music
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341:and culminated in the
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179:Abbey of Saint Martial
705:into his orchestras.
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425:Pierre de Manchicourt
271:
75:, as it followed the
1073:French music history
695:Jean Philippe Rameau
652:Jean Philippe Rameau
626:With the arrival of
536:which abandoned the
502:Guillaume de Machaut
365:, who died in 1377.
363:Guillaume de Machaut
273:Bernard de Ventadour
214:Notre-Dame Cathedral
173:Saint Martial school
167:Saint Martial school
153:ballade (forme fixe)
129:Saint Martial school
18:French Baroque music
656:Jean Baptiste Lully
646:, Henri Desmarest,
582:Hayne van Ghizeghem
522:Burgundian chansons
449:Eustache du Caurroy
445:Guillaume Bouzignac
313:Albigensian Crusade
192:Adémar de Chabannes
915:has generic name (
624:
544:Pierre Attaingnant
526:Claudin de Sermisy
441:Claudin de Sermisy
402:Hundred Years' War
277:
115:from 10th century
1017:978-0-203-34487-3
888:978-0-19-517067-2
858:978-0-520-21081-3
831:978-1-139-46016-3
691:François Couperin
570:Burgundian School
564:Burgundian School
558:Burgundian School
548:Orlando de Lassus
534:Parisian chansons
506:Johannes Ockeghem
388:Renaissance music
371:isorhythmic motet
367:Philippe de Vitry
299:became the first
208:Notre-Dame school
202:Notre-Dame school
196:Notre-Dame school
133:Notre-Dame school
77:Burgundian School
33:Notre-Dame school
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453:Clément Janequin
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281:Code of Chivalry
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433:Pierre Certon
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539:formes fixes
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305:langue d'oïl
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227:Magnus Liber
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119:cities like
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29:French music
26:
913:|last=
793:Spanke, H.
754:air de cour
748:Air de cour
741:Air de cour
714:Jean Gilles
675:harpsichord
437:Jean Mouton
398:Renaissance
309:langue d'oc
258:Troubadours
141:troubadours
90:air de cour
41:troubadours
780:References
285:vernacular
264:Troubadour
970:cite book
905:cite book
628:Calvinism
622:, c. 1638
484:antiphons
301:trouvères
293:Aquitaine
149:trouvères
145:jongleurs
109:polyphony
85:Calvinist
45:trouvères
1067:Category
1053:53469410
962:54960515
897:57201422
805:82037233
768:See also
703:clarinet
600:masses.
590:rondeaux
552:madrigal
394:Burgundy
355:virelais
347:ballades
343:rondeaux
335:ars nova
325:Ars nova
289:goliards
121:Chartres
73:Burgundy
49:ars nova
699:harmony
671:Baroque
496:Chanson
490:Chanson
461:canzona
457:chanson
409:Flemish
378:Avignon
246:discant
222:Pérotin
65:chanson
57:secular
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732:, and
632:Psalms
594:motets
218:Léonin
188:tropes
184:proses
137:motets
127:. The
117:French
113:organa
664:arias
473:Motet
467:Motet
240:Motet
234:Motet
125:Tours
69:Paris
37:motet
1049:OCLC
1039:ISBN
1012:ISBN
976:link
958:OCLC
948:ISBN
928:link
924:link
917:help
893:OCLC
883:ISBN
853:ISBN
826:ISBN
801:OCLC
762:lute
669:The
654:and
596:and
584:and
528:and
516:and
508:and
451:and
359:mass
351:lais
327:and
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