Renaissance music - Knowledge

2202: 783: – the use of multiple, independent melodic lines, performed simultaneously – became increasingly elaborate throughout the 14th century, with highly independent voices (both in vocal music and in instrumental music). The beginning of the 15th century showed simplification, with the composers often striving for smoothness in the melodic parts. This was possible because of a greatly increased vocal range in music – in the Middle Ages, the narrow range made necessary frequent crossing of parts, thus requiring a greater contrast between them to distinguish the different parts. The 1674: 2233:: A typical oriental shawm is keyless and is about a foot long with seven finger holes and a thumb hole. The pipes were also most commonly made of wood and many of them had carvings and decorations on them. It was the most popular double reed instrument of the Renaissance period; it was commonly used in the streets with drums and trumpets because of its brilliant, piercing, and often deafening sound. To play the shawm a person puts the entire reed in their mouth, puffs out their cheeks, and blows into the pipe whilst breathing through their nose. 1716:, and one of the first to employ the more mellifluous harmonies, phrasing and melodies characteristic of the early Renaissance. His compositions within the larger genres (masses, motets and chansons) are mostly similar to each other; his renown is largely due to what was perceived as his perfect control of the forms in which he worked, as well as his gift for memorable and singable melody. During the 15th century, he was universally regarded as the greatest composer of his time, an opinion that has largely survived to the present day. 803:" for details). An example of a chord progression in which the chord roots move by the interval of a fourth would be the chord progression, in the key of C Major: "D minor/G Major/C Major" (these are all triads; three-note chords). The movement from the D minor chord to the G Major chord is an interval of a perfect fourth. The movement from the G Major chord to the C Major chord is also an interval of a perfect fourth. This later developed into one of the defining characteristics of tonality during the Baroque era. 1799: 2261:/Bladderpipe: Believed by the faithful to have been invented by herdsmen who thought using a bag made out of sheep or goat skin would provide air pressure so that when its player takes a breath, the player only needs to squeeze the bag tucked underneath their arm to continue the tone. The mouth pipe has a simple round piece of leather hinged on to the bag end of the pipe and acts like a non-return valve. The reed is located inside the long mouthpiece, which would have been known as a 1234:(a double-whole note), which may be looked on as equivalent to the modern "measure," though it was itself a note value and a measure is not. The situation can be considered this way: it is the same as the rule by which in modern music a quarter-note may equal either two eighth-notes or three, which would be written as a "triplet." By the same reckoning, there could be two or three of the next smallest note, the "minim," (equivalent to the modern "half note") to each semibreve. 2238: 1741: 1186: 8349: 4440: 3952: 4450: 3962: 31: 4430: 1266:.) A singer would interpret his or her part by figuring cadential formulas with other parts in mind, and when singing together, musicians would avoid parallel octaves and parallel fifths or alter their cadential parts in light of decisions by other musicians. It is through contemporary tablatures for various plucked instruments that we have gained much information about which accidentals were performed by the original practitioners. 1500:; borrowing some of the sonorities, he created elegant harmonies in his own music using thirds and sixths (an example of a third interval is the notes C and E; an example of a sixth interval is the notes C and A). Taken together, these are seen as defining characteristics of early Renaissance music. Many of these traits may have originated in England, taking root in the Burgundian School around the middle of the century. 1664: 4460: 6290: 8382: 8336: 1830:

School of composers, a concurrent movement which was much more progressive. By far the most famous composer of the Roman School is Giovanni Pierluigi da Palestrina. While best known as a prolific composer of masses and motets, he was also an important madrigalist. His ability to bring together the functional needs of the Catholic Church with the prevailing musical styles during the

8394: 8322: 2057: 1709:, almost certainly while he was in Italy. As is the case with his motets, many of the songs were written for specific occasions, and many are datable, thus supplying useful biographical information. Most of his songs are for three voices, using a texture dominated by the highest voice; the other two voices, unsupplied with text, were probably played by instruments. 2107:: (Also known as the wheel fiddle), in which the strings are sounded by a wheel which the strings pass over. Its functionality can be compared to that of a mechanical violin, in that its bow (wheel) is turned by a crank. Its distinctive sound is mainly because of its "drone strings" which provide a constant pitch similar in their sound to that of bagpipes. 1250:), as the weaker paper was less able to withstand the scratching required to fill in solid noteheads; notation of previous times, written on vellum, had been black. Other colors, and later, filled-in notes, were used routinely as well, mainly to enforce the aforementioned imperfections or alterations and to call for other temporary rhythmical changes. 2090:: Its construction is similar to a small harp, although instead of being plucked, it is strummed with a plectrum. Its strings varied in quantity from four, seven, and ten, depending on the era. It was played with the right hand, while the left hand silenced the notes that were not desired. Newer lyres were modified to be played with a bow. 2186:: The tambourine is a frame drum. The skin that surrounds the frame is called the vellum and produces the beat by striking the surface with the knuckles, fingertips, or hand. It could also be played by shaking the instrument, allowing the tambourine's jingles or pellet bells (if it has either) to "clank" and "jingle". 925:, Rome, and other cities becoming centers of musical activity. This reversed the situation from a hundred years earlier. Opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as a deliberate attempt to resurrect the music of ancient Greece. 2028:: Similar to the trombone of today except that instead of a section of the body sliding, only a small part of the body near the mouthpiece and the mouthpiece itself is stationary. Also, the body was an S-shape so it was rather unwieldy, but was suitable for the slow dance music which it was most commonly used for. 2226:

subcategories of woodwind instruments. A player may blow across a mouth hole, as in a flute; into a mouthpiece with a single reed, as in a modern-day clarinet or saxophone; or a double reed, as in an oboe or bassoon. All three of these methods of tone production can be found in Renaissance instruments.

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At the beginning of the 16th century, instruments were considered to be less important than voices. They were used for dances and to accompany vocal music. Instrumental music remained subordinated to vocal music, and much of its repertory was in varying ways derived from or dependent on vocal models.

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During the period, secular (non-religious) music had an increasing distribution, with a wide variety of forms, but one must be cautious about assuming an explosion in variety: since printing made music more widely available, much more has survived from this era than from the preceding Medieval era,

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in 1439 made it cheaper and easier to distribute music and music theory texts on a wider geographic scale and to more people. Prior to the invention of printing, written music and music theory texts had to be hand-copied, a time-consuming and expensive process. Demand for music as entertainment and

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Many instruments originated during the Renaissance; others were variations of, or improvements upon, instruments that had existed previously. Some have survived to the present day; others have disappeared, only to be recreated in order to perform music of the period on authentic instruments. As in

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was a group of composers of predominantly church music in Rome, spanning the late Renaissance and early Baroque eras. Many of the composers had a direct connection to the Vatican and the papal chapel, though they worked at several churches; stylistically they are often contrasted with the Venetian

1671:, in fauxbourdon. The top line is a paraphrase of the chant; the middle line, designated "fauxbourdon", (not written) follows the top line but exactly a perfect fourth below. The bottom line is often, but not always, a sixth below the top line; it is embellished, and reaches cadences on the octave. 1562:

and John Dunstaple by contemporary scholars, his works were still cited, borrowed and used as source material after his death. Binchois is considered to be a fine melodist, writing carefully shaped lines which are easy to sing and memorable. His tunes appeared in copies decades after his death and

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in the area's many churches and cathedrals allowed the training of large numbers of singers, instrumentalists, and composers. These musicians were highly sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers, and teachers. Since

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From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works and mixed vocal/instrumental works. A wide range of musical styles and genres flourished during the Renaissance, including masses, motets, madrigals, chansons, accompanied songs,

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in Italy); its main separating trait is its larger size. This changed the posture of the musician in order to rest it against the floor or between the legs in a manner similar to the cello. Its similarities to the vihuela were sharp waist-cuts, similar frets, a flat back, thin ribs, and identical

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Because numerous copies of Dunstaple's works have been found in Italian and German manuscripts, his fame across Europe must have been widespread. Of the works attributed to him only about fifty survive, among which are two complete masses, three connected mass sections, fourteen individual mass

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The cultivation of European music in the Americas began in the 16th century soon after the arrival of the Spanish, and the conquest of Mexico. Although fashioned in European style, uniquely Mexican hybrid works based on native Mexican language and European musical practice appeared very early.

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and a few other chanson types within the realm of secular music. None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal. Instruments may have been used to

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These different permutations were called "perfect/imperfect tempus" at the level of the breve–semibreve relationship, "perfect/imperfect prolation" at the level of the semibreve–minim, and existed in all possible combinations with each other. Three-to-one was called "perfect," and two-to-one

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and keyboard instruments) developed into new forms during the Renaissance. These instruments were modified to respond to the evolution of musical ideas, and they presented new possibilities for composers and musicians to explore. Early forms of modern woodwind and brass instruments like the

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Woodwind instruments (aerophones) produce sound by means of a vibrating column of air within the pipe. Holes along the pipe allow the player to control the length of the column of air, and hence the pitch. There are several ways of making the air column vibrate, and these ways define the

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practice or, beginning some time around 1500, the new style of "pervasive imitation", in which composers would write music in which the different voices or parts would imitate the melodic and/or rhythmic motifs performed by other voices or parts. Several main types of masses were used:

1426:, in which the antiphon is stated literally in the tenor voice in each movement, without melodic ornaments. This is the only cyclic setting of the mass ordinary which can be attributed to him. He wrote mass cycles, fragments, and single movements and a variety of other sacred works. 2271:: Employs a number of wooden tubes with a stopper at one end and open on the other. Each tube is a different size (thereby producing a different tone), giving it a range of an octave and a half. The player can then place their lips against the desired tube and blow across it. 831:

The development of polyphony produced the notable changes in musical instruments that mark the Renaissance from the Middle Ages musically. Its use encouraged the use of larger ensembles and demanded sets of instruments that would blend together across the whole vocal range.

1697:. Du Fay may have been the first composer to use the term "fauxbourdon" for this simpler compositional style, prominent in 15th-century liturgical music in general and that of the Burgundian school in particular. Most of Du Fay's secular (non-religious) songs follow the 1261:

and thus possessed this and other information necessary to read a score correctly, even if the accidentals were not written in. As such, "what modern notation requires would then have been perfectly apparent without notation to a singer versed in counterpoint." (See

1810:, from about 1530 until around 1600, an impressive polychoral style developed, which gave Europe some of the grandest, most sonorous music composed up until that time, with multiple choirs of singers, brass and strings in different spatial locations in the Basilica 1686:

Many of Du Fay's compositions were simple settings of chant, obviously designed for liturgical use, probably as substitutes for the unadorned chant, and can be seen as chant harmonizations. Often the harmonization used a technique of parallel writing known as

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is under-prescriptive by our standards; when translated into modern form it acquires a prescriptive weight that overspecifies and distorts its original openness". Renaissance compositions were notated only in individual parts; scores were extremely rare, and

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reinforce the voices in actual performance for almost any of his works. Seven complete masses, 28 individual mass movements, 15 settings of chant used in mass propers, three Magnificats, two Benedicamus Domino settings, 15 antiphon settings (six of them

2249:: Made from a single short length of cane with a mouthpiece, four or five finger holes, and reed fashioned from it. The reed is made by cutting out a small tongue, but leaving the base attached. It is the predecessor of the saxophone and the clarinet. 2192:: An instrument that produces sound using shapes of the mouth and attempting to pronounce different vowels with one's mouth. The loop at the bent end of the tongue of the instrument is plucked in different scales of vibration creating different tones. 1440:

era and early Renaissance periods. He was one of the most famous composers active in the early 15th century, a near-contemporary of Power, and was widely influential, not only in England but on the continent, especially in the developing style of the

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Medieval instruments in Europe had most commonly been used singly, often self-accompanied with a drone, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into

1929:, a form of declaimed music over a simple accompaniment; a more extreme contrast with the preceding polyphonic style would be hard to find; this was also, at least at the outset, a secular trend. These musicians were known as the 1849:

is either a style or a performance practice in a cappella vocal music of the latter half of the 16th century, mainly in Italy and southern Germany, involving refinement, exclusivity, and intense emotional expression of sung text.

1445:. Dunstaple's influence on the continent's musical vocabulary was enormous, particularly considering the relative paucity of his (attributable) works. He was recognized for possessing something never heard before in music of the 2096:: Also called the Clàrsach in Scottish Gaelic, or the Cláirseach in Irish, during the Middle Ages it was the most popular instrument of Ireland and Scotland. Due to its significance in Irish history, it is seen even on the 2277:: The transverse flute is similar to the modern flute with a mouth hole near the stoppered end and finger holes along the body. The player blows across the mouth hole and holds the flute to either the right or left side. 2283:: The recorder was a common instrument during the Renaissance period. Rather than a reed, it uses a whistle mouthpiece as its main source of sound production. It is usually made with seven finger holes and a thumb hole. 1238:"imperfect." Rules existed also whereby single notes could be halved or doubled in value ("imperfected" or "altered," respectively) when preceded or followed by other certain notes. Notes with black noteheads (such as 742:

ensembles were formed. Ensembles specializing in music of the Renaissance era give concert tours and make recordings, using modern reproductions of historical instruments and using singing and performing styles which

1818:). These multiple revolutions spread over Europe in the next several decades, beginning in Germany and then moving to Spain, France, and England somewhat later, demarcating the beginning of what we now know as the 1567:

composition by later composers. Most of his music, even his sacred music, is simple and clear in outline, sometimes even ascetic (monk-like). A greater contrast between Binchois and the extreme complexity of the

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label and is Ireland's national symbol even to this day. To be played it is usually plucked. Its size can vary greatly from a harp that can be played in one's lap to a full-size harp that is placed on the

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spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists. Music also became more self-sufficient with its availability in printed form, existing for its own sake.

1558:–1460) was a Dutch composer, one of the earliest members of the Burgundian school and one of the three most famous composers of the early 15th century. While often ranked behind his contemporaries 1782: – 27 August 1521) gradually acquired the reputation as the greatest composer of the age, his mastery of technique and expression universally imitated and admired. Writers as diverse as 892:

throughout Europe coincided with the unification of polyphonic practice into the fluid style which culminated in the second half of the sixteenth century in the work of composers such as

1875:(an innovative practice involving monodic style and freedom in treatment of dissonance, both justified by the expressive setting of texts) during the late 16th and early 17th centuries. 1841:. The English madrigals were a cappella, predominantly light in style, and generally began as either copies or direct translations of Italian models. Most were for three to six voices. 1541:(c. 1376–1445) is one of the most important composers of the early German Renaissance. He is best known for his well-written melodies, and for his use of three themes: travel, God and 1725: 4303: 1854:

Musical practices in New Spain continually coincided with European tendencies throughout the subsequent Baroque and Classical music periods. Among these New World composers were

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mass uses the same monophonic melody, usually drawn from chant and usually in the tenor and most often in longer note values than the other voices. Other sacred genres were the

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Accidentals (e.g. added sharps, flats and naturals that change the notes) were not always specified, somewhat as in certain fingering notations for guitar-family instruments (

4061: 3530: 1916: 383: 78: 2071:: This instrument, developed in the 15th century, commonly has six strings. It was usually played with a bow. It has structural qualities similar to the Spanish plucked 1350: 1611:, he was regarded by his contemporaries as the leading composer in Europe in the mid-15th century. Du Fay composed in most of the common forms of the day, including 1007:

and probably a rich store of popular music of the late Middle Ages is lost. Secular music was music that was independent of churches. The main types were the German

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Music was increasingly freed from medieval constraints, and more variety was permitted in range, rhythm, harmony, form, and notation. On the other hand, rules of

1388: 4579: 693:. In the Renaissance, music became a vehicle for personal expression. Composers found ways to make vocal music more expressive of the texts they were setting. 569: 1582:, and his melodies are generally independent of the rhyme scheme of the verses they are set to. Binchois wrote music for the court, secular songs of love and 2034:: Made of wood and played like the recorder (by blowing in one end and moving the fingers up and down the outside) but using a cup mouthpiece like a trumpet. 5766: 1837:

The brief but intense flowering of the musical madrigal in England, mostly from 1588 to 1627, along with the composers who produced them, is known as the

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the printing press made it easier to disseminate printed music, by the end of the 16th century, Italy had absorbed the northern musical influences with

1342: 2969: 1535:. He is believed to have written secular (non-religious) music, but no songs in the vernacular can be attributed to him with any degree of certainty. 5510: 1414:, one of the only undamaged sources of English music from the early 15th century. He was one of the first composers to set separate movements of the 1328: 2080:

tuning. When played in this fashion, it was sometimes referred to as "viola da gamba", in order to distinguish it from viols played "on the arm":

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in the more angular, austere 14th-century style which gave way to more melodic, sensuous treble-dominated part-writing with phrases ending in the

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also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. During the 15th century, the sound of full

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Brass instruments in the Renaissance were traditionally played by professionals. Some of the more common brass instruments that were played:

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who employed him, and evidently loved his music accordingly. About half of his extant secular music is found in the Oxford Bodleian Library.

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Richer texture, with four or more independent melodic parts being performed simultaneously. These interweaving melodic lines, a style called

4496: 1150:. Music of many genres could be arranged for a solo instrument such as the lute, vihuela, harp, or keyboard. Such arrangements were called 7436: 5029: 4690: 4105: 3210: 734:(the system in which songs and pieces are based on musical "keys"), which would dominate Western art music for the next three centuries. 450: 3780: 1475:

reaffirmed the powerful influence Dunstaple had, stressing the "new art" that Dunstaple had inspired. Tinctoris hailed Dunstaple as the

1329: 1327: 8175: 4393: 4182: 2047:(sometimes sackbutt or sagbutt): A different name for the trombone, which replaced the slide trumpet by the middle of the 15th century. 562: 3068:

Leonel Power (c. 1375–1445) was one of the two leading composers of English music between 1410 and 1445. The other was John Dunstaple.

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Bent, Margaret. "Power, Leonel". Grove Music Online, edited by Deane Root. S.l.: Oxford Music Online, n.d. (accessed June 23, 2015).

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era, c. 1600–1750) characteristics of Renaissance music began to break down towards the end of the period with the increased use of

5759: 4416: 1705:, ballade, and virelai), which dominated secular European music of the 14th and 15th centuries. He also wrote a handful of Italian 1366: 1347: 1396:

The key composers from the early Renaissance era also wrote in a late Medieval style, and as such, they are transitional figures.

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which were thematically unified and intended for contiguous performance. The Old Hall Manuscript contains his mass based on the

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San Marco in the evening. The spacious, resonant interior was one of the inspirations for the music of the Venetian School.

1382: 1383: 1374: 1367: 1360: 1356: 1349: 5885: 5752: 5216: 4917: 2487: 17: 8195: 7861: 6607: 5890: 2721: 1977:(quieter, more intimate instruments). Only two groups of instruments could play freely in both types of ensembles: the 1384: 1376: 1361: 1357: 1340: 1338: 291: 1494:. Assuming that he had been on the continent with the Duke of Bedford, Dunstaple would have been introduced to French 1333: 8293: 8076: 7084: 7018: 6277: 4619: 4526: 4421: 2878: 2862: 2779: 2688: 2117:: these instruments were used throughout Europe. Forerunners of modern instruments including the mandolin and guitar. 2064:

As a family, strings were used in many circumstances, both sacred and secular. A few members of this family include:

3795: 1344: 7551: 7003: 6966: 5880: 5733: 5496: 4865: 4614: 4489: 3755: 3485: 3096: 893: 668: 192: 2889:. "Palestrina, Giovanni Pierluigi da." Grove Music Online. Oxford Music Online, n.d. Retrieved September 30, 2011. 8200: 7386: 7256: 7096: 7089: 5022: 4976: 4584: 3203: 2712:, , edited by Cristle Collins Judd. Criticism and Analysis of Early Music 1. New York and London: Garland, 2000. 1385: 1373: 1339: 933:

Principal liturgical (church-based) musical forms, which remained in use throughout the Renaissance period, were

763:, thirds and sixths had been considered dissonances, and only perfect intervals were treated as consonances: the 1380: 880:

as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. Dissemination of

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As in the other arts, the music of the period was significantly influenced by the developments which define the

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One of the most pronounced features of early Renaissance European art music was the increasing reliance on the

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J. Peter Burkholder. "Borrowing." Grove Music Online. Oxford Music Online, n.d. Retrieved September 30, 2011.

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Du Fay was one of the last composers to make use of late-medieval polyphonic structural techniques such as

539: 534: 517: 8261: 8190: 8081: 7361: 7040: 6956: 4930: 4482: 3810: 2526: 1925:, there was an attempt to revive the dramatic and musical forms of Ancient Greece, through the means of 1752: 8414: 8372: 8165: 8086: 7466: 7411: 6602: 6317: 6267: 5925: 5775: 5691: 5082: 5015: 4788: 4548: 4433: 4204: 3955: 3858: 3673: 3196: 127: 49: 8266: 7826: 7108: 6474: 6429: 5895: 5723: 5660: 4214: 3640: 3030: 2933: 1891:, there was a trend towards complexity and even extreme chromaticism (as exemplified in madrigals of 1290: 690: 6156: 3510: 2205:

Musicians from 'Procession in honour of Our Lady of Sablon in Brussels.' Early 17th-century Flemish

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is traditionally understood to cover European music of the 15th and 16th centuries, later than the

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Bowles, Edmund A. 1954. "Haut and Bas: The Grouping of Musical Instruments in the Middle Ages".

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era as it is understood in other disciplines. Rather than starting from the early 14th-century

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and other instruments, and dances for various ensembles. Common instrumental genres were the

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the modern day, instruments may be classified as brass, strings, percussion, and woodwind.

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of the prior (fourteenth) century would be hard to imagine. Most of his secular songs are

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The period may be roughly subdivided, with an early period corresponding to the career of

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Precursor versions of many familiar modern instruments (including the violin, guitar,

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Trumpet: Early trumpets had no valves, and were limited to the tones present in the

961:(multiple, independent melodic lines), with two main forms of elaboration, based on 8278: 8160: 8116: 8101: 8091: 8071: 8046: 7951: 7911: 7866: 7781: 7746: 7741: 7731: 7711: 7636: 7631: 7626: 7571: 7526: 7521: 7486: 7471: 7446: 7421: 7416: 7396: 7371: 7346: 7336: 7286: 7251: 7231: 7226: 7211: 7196: 7186: 7166: 7161: 7156: 6951: 6822: 6748: 6707: 6649: 6544: 6514: 6341: 6246: 5718: 5637: 5568: 5561: 5555: 5442: 5421: 5396: 5380: 5370: 5340: 5309: 5263: 5248: 5164: 5148: 5072: 4956: 4531: 4381: 4315: 4117: 3833: 3663: 3585: 3540: 3495: 3470: 3465: 3420: 3387: 3382: 3347: 3289: 3264: 2984: 2886: 2575: 2499: 2293: 2274: 2093: 1953: 1936:

We have already noted some of the musical developments that helped to usher in the

1888: 1863: 1845: 1772: 1693: 1593: 1302: 1298: 1294: 1286: 1278: 1020: 950: 800: 756: 738:

instrumental dances, and many others. Beginning in the late 20th century, numerous

656: 633: 476: 197: 187: 177: 152: 107: 8298: 8236: 8170: 8131: 8066: 8061: 8051: 8011: 7991: 7916: 7876: 7871: 7846: 7821: 7796: 7716: 7706: 7666: 7621: 7606: 7601: 7581: 7556: 7506: 7496: 7481: 7451: 7356: 7301: 7271: 7266: 7246: 7236: 7171: 6998: 6946: 6879: 6864: 6792: 6778: 6670: 6504: 6439: 6369: 6241: 5859: 5824: 5819: 5814: 5611: 5548: 5534: 5477: 5467: 5447: 5426: 5411: 5258: 5253: 5143: 5107: 5067: 5062: 4626: 4007: 3863: 3848: 3790: 3630: 3580: 3515: 3505: 3460: 3450: 3445: 3440: 3402: 3332: 3254: 3249: 2120: 2038: 2006: 1871: 1855: 1732:

of Josquin des Prez, copied from a now-lost oil painting done during his lifetime

1657: 1649: 1636: 1575: 1559: 1548: 1509: 1468: 1464: 1456: 1419: 1310: 1306: 1170: 1139: 1091: 978: 942: 917: 698: 323: 167: 157: 6499: 1578:, which became the most common song form during the century. He rarely wrote in 8352: 8305: 8273: 8251: 8205: 8126: 8036: 8001: 7981: 7971: 7896: 7856: 7811: 7776: 7756: 7751: 7686: 7641: 7591: 7576: 7561: 7531: 7511: 7476: 7456: 7401: 7326: 7321: 7241: 6936: 6902: 6869: 6807: 6675: 6231: 5864: 5839: 5804: 5789: 5631: 5599: 5593: 5587: 5375: 5350: 5335: 5314: 5289: 5169: 5092: 4112: 4051: 3868: 3843: 3575: 3545: 3490: 3480: 3352: 3337: 3279: 3269: 3172:

from Ye Compaynye of Cheualrye Re-enactment Society. Photos and Audio Download.

2857:(Music Literature Outlines Series I). Bloomington, IN: Frangipani Press, 1986. 2176: 1900: 1437: 1429: 1405: 1401: 1227: 1198: 1028: 876: 849: 764: 622: 604: 460: 341: 270: 3130: 1165:

Towards the end of the period, the early dramatic precursors of opera such as

823:

Harmony that placed a greater concern on the smooth flow of the music and its

8408: 8283: 8031: 7836: 7801: 7681: 7616: 7546: 7541: 7441: 7351: 7316: 7030: 6971: 6914: 6884: 6859: 6844: 6817: 6702: 6697: 6549: 6539: 6489: 6469: 6419: 6381: 6364: 6354: 6030: 5965: 5844: 5829: 5809: 5744: 5462: 5360: 4361: 4081: 3823: 3709: 3615: 3605: 3500: 3392: 3377: 3022: 2898:, edited by Alison Latham. Oxford Music Online. Retrieved September 30, 2011. 2587: 2511: 2206: 2189: 2081: 2025: 1956:, and opera, as well as the works given under "Sources and further reading." 1937: 1896: 1819: 1787: 1579: 1570: 1526: 1487: 1314: 1194: 1068: 991: 963: 946: 913: 901: 792: 768: 723: 694: 626: 608: 408: 277: 182: 4994: 3154: 2543: 1524:. Dunstaple was one of the first to compose masses using a single melody as 1189:

Ockeghem, Kyrie "Au travail suis," excerpt, showing white mensural notation.

8398: 8326: 7067: 6941: 6827: 6738: 6722: 6687: 6597: 6524: 6409: 6186: 5799: 5707: 5541: 5472: 5127: 5052: 4388: 4086: 3899: 3838: 3729: 3688: 3555: 3425: 3299: 2903: 2848:. GCSE Music Notes, at rpfuller.com (14 January, accessed 14 October 2014). 2503: 2407: 2237: 1826: 1798: 1698: 1612: 1564: 1520: 1397: 1263: 1239: 1211: 1151: 1143: 1102:. Dances played by instrumental ensembles (or sometimes sung) included the 934: 905: 889: 853: 841: 796: 784: 744: 686: 679: 664: 424: 249: 202: 117: 3976: 2001:

Various kinds of organs were commonly used in the Renaissance, from large

1257:) today. However, Renaissance musicians would have been highly trained in 1185: 6929: 6743: 6692: 6665: 6592: 6359: 5355: 5097: 4599: 4521: 4505: 4356: 4341: 4043: 3894: 3889: 3620: 3590: 3372: 3284: 3274: 2791:

Classen, Albrecht. "The Irrepressibility of Sex Yesterday and Today". In

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Blending, rather than contrasting, melodic lines in the musical texture.

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Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap

2563: 2183: 2150: 1986: 1945: 1620: 1219: 1207: 1174: 1115: 1056: 1052: 1040: 1024: 791:, also known as "musical key", an approach developed in the subsequent 600: 490: 1883:

In the late 16th century, as the Renaissance era closed, an extremely

8231: 6559: 6391: 5946: 4536: 4320: 4021: 3734: 2829:. Man & Music. Vol. 2. Englewood Cliffs, NJ: Prentice Hall. 2246: 2140: 1884: 1713: 1653: 1433: 1254: 1215: 1127: 1064: 958: 954: 865: 857: 814: 780: 726:

became common, and towards the end of the 16th century the system of

644: 30: 6080: 5007: 3188: 3113: 2795:, edited by Albrecht Classen, 44–47. S.l.: Walter de Gruyter, 2008. 2579: 1660:

in Du Fay's youth) and 87 chansons definitely by him have survived.

989:

Masses were normally titled by the source from which they borrowed.

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that met the expectations and satisfied the taste of the Dukes of

689:

became more constrained, particularly with regard to treatment of

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were generally larger than are in use today; the primary unit of

1147: 1135: 1099: 1087: 1036: 1016: 881: 715: 238: 6251: 2884: 2549: 1691:, as in the following example, a setting of the Marian antiphon 701:, and vice versa. Popular secular forms such as the chanson and 6758: 6494: 6449: 6414: 6399: 6221: 6191: 6140: 6125: 6085: 6045: 5676: 3739: 2745:, first edition. Cambridge, MA: Harvard University Press, 1941. 2614: 1949: 1926: 1869:

In addition, writers since 1932 have observed what they call a

1807: 1247: 1166: 1119: 922: 848:

thought; the recovery of the literary and artistic heritage of

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The Renaissance: from the 1470s to the End of the 16th Century

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composer of the early Renaissance. The central figure in the

1505: 1400:(c. 1370s or 1380s–1445) was an English composer of the late 1000: 938: 885: 254: 3182: 3162: 1917:

Transition from Renaissance to Baroque in instrumental music

6763: 6554: 6075: 6040: 6035: 6009: 5988: 3176: 3101: 2135: 2087: 2068: 1624: 1246:

may be a result of the increased use of paper (rather than

1083: 1008: 710: 3083: 2671: 2665:". Merriam-Webster.com, 2017 (accessed 13 September 2017). 2638: 27:

Western musical period between the 15th and 17th centuries

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Emmerson, Richard Kenneth, and Sandra Clayton-Emmerson.

2750:

Besseler, Heinrich. 1950. "Die Entstehung der Posaune".

2674:". Sackbut.com website, n.d. (accessed 14 October 2014). 2370: 2368: 1230:), there could be either two or three of these for each 621:. A convenient watershed for its end is the adoption of 5957: 3136: 3104:(online radio featuring medieval and renaissance music) 817:, is one of the defining features of Renaissance music. 2706:

The Grammar of Early Music: Preconditions for Analysis

1940:, but for further explanation of this transition, see 8370: 3137:

Répertoire International des Sources Musicales (RISM)

3118: 2925: 2443: 2365: 1887:

style developed. In secular music, especially in the

1455:("the English countenance"), a term used by the poet 912:. Relative political stability and prosperity in the 2395: 2385: 2383: 2328: 2326: 2324: 2171:

Some Renaissance percussion instruments include the

6618:

Evolution of timpani in the 18th and 19th centuries

3082: 2793:

Sexuality in the Middle Ages and Early Modern Times

2488:"A Light of the Fifteenth Century: Guillaume Dufay" 2217:, treble cornett, soprano shawm, alto shawm, tenor 806:The main characteristics of Renaissance music are: 3049: 2968: 2926: 2852: 2455: 2431: 2338: 759:of the third and its inversion, the sixth (in the 2626: 2602: 2467: 2380: 2355: 2353: 2321: 1490:(three note chords), along with a liking for the 8406: 3133:– Medieval, Renaissance, Modern Classical music 2959:. Westport, Connecticut: Greenwood Press, 2003. 2810:Key Figures in Medieval Europe: An Encyclopedia 2564:"A Contribution to Sources of Musica reservata" 2419: 2255:: Same as reed pipe but with a bell at the end. 5774: 3324: 2917:Instruments of the Middle Ages and Renaissance 2350: 2179:, the rumble-pot, and various kinds of drums. 659:(late 1450s–1521), and culminating during the 6318: 5973: 5760: 5692: 5504: 5217: 5023: 4999: 4490: 3992: 3236: 3204: 3108:Guide to Medieval and Renaissance Instruments 2774:. Englewood Cliffs, NJ: Prentice Hall, 1976. 2175:, the Jew's harp, the tambourine, the bells, 1404:and early Renaissance music eras. Along with 563: 299: 3412: 2970:"Du Fay [Dufay; Du Fayt], Guillaume" 2894:Montagu, Jeremy. "Renaissance instruments". 1910: 1719: 730:began to break down entirely, giving way to 4006: 3052:The Development of Western Music: A History 2740: 1479:of the style, its "wellspring and origin." 1391: 1269:For information on specific theorists, see 1242:) occurred less often. This development of 949:(non-religious) musical forms (such as the 6325: 6311: 5980: 5966: 5767: 5753: 5699: 5685: 5511: 5497: 5224: 5210: 5030: 5016: 4497: 4483: 3999: 3985: 3211: 3197: 2785: 2374: 1793: 1432:(c. 1390–1453) was an English composer of 1027:. Other secular vocal genres included the 570: 556: 306: 292: 6962:Music technology (electronic and digital) 5231: 3179: – Renaissance Civic Bands of Europe 3169:Stella Fortuna: Medieval Minstrels (1370) 3158:The Mayor of Lincoln's Own Band of Musick 3110: – descriptions, photos, and sounds. 2963: 2449: 2196: 2041:. They were also made in different sizes. 1463:Le Franc added that the style influenced 2919:. London: Oxford University Press, 1976. 2855:Music in the Middle Ages and Renaissance 2749: 2644: 2527:"Guillaume Dufay: Biography & Music" 2236: 2200: 2055: 1973:(loud, shrill, outdoor instruments) and 1797: 1723: 1662: 1531:A good example of this technique is his 1184: 29: 3185: – Six voices and a viola da gamba 2989:10.1093/gmo/9781561592630.article.08268 2910:. Early Music Consort of London. (1974) 2893: 2790: 2437: 2344: 2084:, which evolved into the violin family. 1320: 607:and the new era dated from the rise of 14: 8407: 3165: – A Renaissance Musicke Ensemble 3073: 3047: 2954: 2914: 2902: 2873:. New York: Garland Publishing, 1998. 2843: 2824: 2758: 2694: 2620: 2485: 2461: 2401: 2332: 1504:sections, twelve complete isorhythmic 1180: 651:and the four-part textures favored by 7141: 6500:Vietnam imperial court music—Nhã nhạc 6306: 5961: 5748: 5680: 5492: 5205: 5037: 5011: 4998: 4478: 3980: 3218: 3192: 3021: 3012: 2769: 2754:, 22, fasc. 1–2 (January–June): 8–35. 2699:. New York: Walker and Company, 1975. 2678: 2669: 2660: 2632: 2608: 2561: 2473: 1790:wrote about his reputation and fame. 1635:within the area of sacred music, and 1071:and the secular motet also appeared. 916:, along with a flourishing system of 6289: 3121:Collection of music from 5 countries 2947:participating institution membership 2868: 2853:Gleason, Harold and Becker, Warren. 2743:Ancient European Musical Instruments 2735: 2703: 2697:Musical Instruments Through the Ages 2425: 2389: 1735: 1652:), 27 hymns, 22 motets (13 of these 34:A group of Renaissance musicians in 5518: 4459: 3084:Orpheon Foundation, Vienna, Austria 3029:(revised ed.). New York City: 2923: 2885:Lockwood, Lewis, Noel O’Regan, and 2359: 1834:period gave him his enduring fame. 1074:Purely instrumental music included 24: 8176:Classical and art music traditions 6608:History of lute-family instruments 6425:Cambodian ceremonial music—Pinpeat 2414:Emmerson and Clayton-Emmerson 2006 747:believe were used during the era. 25: 8426: 5916:Priscilla Bunbury's Virginal Book 4527:Greek scholars in the Renaissance 3143:WQXR: Renaissance Notation Knives 3131:"Before and After Internet Radio" 3097:Pandora Radio: Renaissance Period 3090: 3015:The New Oxford Companion to Music 2908:Dufay: Misss "Se la face ay pale" 1521:Salve Regina, Mater misericordiae 1222:. As had been the case since the 8392: 8380: 8348: 8347: 8334: 8320: 7892:Saint Vincent and the Grenadines 7367:Democratic Republic of the Congo 6967:Sound recording and reproduction 6420:Burmese classical music—Mahāgīta 6288: 5886:Clement Matchett's Virginal Book 5734:Giovanni Pierluigi da Palestrina 5706: 4458: 4448: 4439: 4438: 4428: 3960: 3951: 3950: 3486:Giovanni Pierluigi da Palestrina 3076:Source Readings in Music History 2550:Lockwood, O'Regan, and Owens n.d 2524: 2486:BORREN, CHARLES VAN DEN (1935). 1739: 894:Giovanni Pierluigi da Palestrina 8196:Jazz and popular music glossary 5891:Elizabeth Rogers' Virginal Book 4504: 4429: 2871:Tonal Structures of Early Music 2710:Tonal Structures of Early Music 2683:. New York: W.W. Norton, 1998. 2555: 2518: 2479: 2304:Music of the French Renaissance 1667:Portion of Du Fay's setting of 1563:were often used as sources for 799:of fifths or fourths (see the " 7437:Federated States of Micronesia 3525: 3078:. New York: W.W. Norton, 1950. 1959: 643:–1474) and the cultivation of 611:harmony and the spread of the 13: 1: 6480:Philippine art songs—Kundiman 6400:Afghan classical music—Klasik 5881:Anne Cromwell's Virginal Book 3229:List of Renaissance composers 2906:. Notes for the recording of 2896:The Oxford Companion to Music 2846:Renaissance Music (1450–1600) 2314: 2299:List of Renaissance composers 2166: 1776: 1597: 1552: 835: 672: 647:style, a middle dominated by 637: 523: 507: 465: 439: 413: 372: 346: 8341:Record production portal 8186:Cultural and regional genres 6445:Indonesian art music—Gamelan 5921:Susanne van Soldt Manuscript 4728:Platonism in the Renaissance 4632:Early Netherlandish painting 3006:UK public library membership 2965:Planchart, Alejandro Enrique 2309:Music in the Elizabethan era 1878: 7: 6957:Music technology (electric) 6495:Thai classical music—Piphat 6450:Japanese court music—Gagaku 3013:Pryer A. 1983. "Dufay". In 2869:Judd, Cristle Collins, ed. 2287: 2209:. From left to right: bass 1627:, simple chant settings in 957:(a single melody line) and 750: 10: 8431: 6603:History of the harpsichord 6490:Kandyan dance of Sri Lanka 5926:Dublin Virginal Manuscript 5776:English Virginalist School 4637:Dutch and Flemish painting 4580:Central and Eastern Europe 4549:Outline of the Renaissance 3859:Petrus Phalesius the Elder 3674:English Virginalist School 3127:– Renaissance Music Videos 3114:"Here of A Sunday Morning" 3031:W. W. Norton & Company 2825:Fenlon, Iain, ed. (1989). 2654: 2051: 1914: 1907:derives from art history. 1067:. Mixed forms such as the 617:style from Britain to the 8314: 8219: 8148: 7148: 7134: 6985: 6895: 6777: 6718: 6640: 6583: 6513: 6430:Chinese traditional music 6390: 6340: 6332: 6286: 6260: 6214: 6149: 6023: 6002: 5995: 5939: 5896:Fitzwilliam Virginal Book 5873: 5782: 5724:Giovanni Francesco Anerio 5714: 5661:Venetian polychoral style 5653: 5526: 5435: 5389: 5328: 5272: 5239: 5178: 5157: 5136: 5045: 5005: 5000:Links to related articles 4949: 4916: 4884: 4829: 4774: 4765: 4562: 4512: 4402: 4329: 4291: 4245: 4165: 4128: 4072: 4042: 4035: 4014: 3930: 3882: 3809: 3748: 3702: 3649: 3641:Jan Pieterszoon Sweelinck 3524: 3411: 3323: 3235: 3226: 3125:"The Renaissance Channel" 2934:Oxford English Dictionary 2060:Modern French hurdy-gurdy 1996: 1911:Transition to the Baroque 1771:During the 16th century, 1720:Middle period (1470–1530) 1321:Composers – timeline 928: 697:absorbed techniques from 655:(1410s or '20s–1497) and 358:Transition to Renaissance 7312:Central African Republic 6855:Computational musicology 6405:Andalusi classical music 5987: 5644:Giulio Cesare Martinengo 4304:Unruly audience response 3119:Renaissance Period Music 3027:Music in the Renaissance 2957:Music of the Renaissance 2772:Music in the Renaissance 2724:Reissued as ebook 2014. 2016: 1392:Early period (1400–1470) 625:at the beginning of the 8201:Music genres and styles 6505:Western classical music 6475:Persian classical music 4008:Western classical music 3669:English Madrigal School 3056:. Dubuque: W.C. Brown. 2981:Oxford University Press 2939:Oxford University Press 2844:Fuller, Richard. 2010. 2741:Bessaraboff, Nicholas. 2562:Clark, Willene (1957). 2009:and reed organs called 1839:English Madrigal School 1794:Late period (1530–1600) 1244:white mensural notation 477:Transition to Modernism 425:Transition to Classical 324:Western classical music 8181:Classical music genres 7257:Bosnia and Herzegovina 6798:Doctor of Musical Arts 6623:History of the trumpet 6435:Indian classical music 5901:My Ladye Nevells Booke 5402:Jacob Clemens non Papa 4106:Transition to Romantic 4036:Major periods and eras 3511:Tomás Luis de Victoria 3315:Oswald von Wolkenstein 3155:City of Lincoln Waites 3048:Stolba, Marie (1990). 2242: 2222: 2197:Woodwinds (aerophones) 2061: 1803: 1784:Baldassare Castiglione 1733: 1683: 1539:Oswald von Wolkenstein 1515:Alma redemptoris Mater 1508:and seven settings of 1461:Le Champion des Dames. 1452:la contenance angloise 1424:Alma Redemptoris Mater 1190: 910:Tomás Luis de Victoria 862:Protestant Reformation 451:Transition to Romantic 398:Common practice period 42: 8007:São Tomé and Príncipe 7882:Saint Kitts and Nevis 7862:Republic of the Congo 6628:History of the violin 5850:Ferdinando Richardson 5417:Pierre de Manchicourt 5233:Franco-Flemish School 5191:Franco-Flemish School 4962:Medieval renaissances 4740:Scientific Revolution 4062:Transition to Baroque 3531:Transition to Baroque 3476:Pierre de Manchicourt 2813:. : Routledge, 2006. 2695:Baines, Anthony, ed. 2672:What's with the Name? 2492:The Musical Quarterly 2241:Renaissance recorders 2240: 2204: 2059: 1801: 1727: 1666: 1658:"under-third" cadence 1492:interval of the third 1188: 875:The invention of the 870:Franco-Flemish school 825:progression of chords 810:Music based on modes. 649:Franco-Flemish School 384:Transition to Baroque 91:Movements and schools 79:Transition to Baroque 33: 8077:United Arab Emirates 7142: 6850:Cognitive musicology 5729:Emilio de' Cavalieri 4831:Northern Renaissance 4394:Worldwide traditions 4347:Classical music blog 3561:Girolamo Frescobaldi 3368:Cristóbal de Morales 2504:10.1093/mq/xxi.3.279 1985:, and the tabor and 1812:San Marco di Venezia 1416:ordinary of the mass 1291:Tomás de Santa María 1275:Franchinus Gaffurius 997:madrigale spirituale 844:period: the rise of 40:Gerard van Honthorst 8227:Aesthetics of music 8042:Trinidad and Tobago 7177:Antigua and Barbuda 6661:Band (rock and pop) 6585:Musical instruments 6460:Lao classical music 6215:Related instruments 5906:Parthenia Inviolata 5618:Girolamo Dalla Casa 5614:(c.1554–after 1610) 5088:Hayne van Ghizeghem 4784:Bergamo and Brescia 4776:Italian Renaissance 4554:Renaissance studies 4246:Students by teacher 3679:Florentine Camerata 3651:Composition schools 3310:Gaspar van Weerbeke 3017:, edited by Arnold. 2979:. Oxford, England: 2937:(Online ed.). 1931:Florentine Camerata 1832:Counter-Reformation 1533:Missa Rex seculorum 1484:contenance angloise 1411:Old Hall Manuscript 1259:dyadic counterpoint 1181:Theory and notation 732:functional tonality 661:Counter-Reformation 614:contenance angloise 538: • 533: • 128:English Virginalist 113:Florentine Camerata 18:Renaissance (music) 8289:Musical instrument 8257:Music and politics 7387:Dominican Republic 7135:By sovereign state 6455:Korean court music 6415:Azerbaijani Mugham 5666:St Mark's Basilica 5606:Vincenzo Bellavere 5453:Giovanni de Macque 5407:Thomas Crecquillon 5366:Matthaeus Pipelare 5320:Johannes Tinctoris 5305:Marbrianus de Orto 5280:Alexander Agricola 5123:Johannes Tapissier 5118:Guillaume le Rouge 4902:Spanish Golden Age 4542:Northern Mannerism 3874:Thomas Vautrollier 3854:Ottaviano Petrucci 3829:Pierre Attaingnant 3819:Hieronymus Andreae 3626:Michael Praetorius 3611:Claudio Monteverdi 3601:Giovanni de Macque 3596:Luzzasco Luzzaschi 3566:Alfonso Fontanelli 3456:Francisco Guerrero 3431:Antonio de Cabezón 3343:Thomas Crecquillon 3325:Middle (1470–1530) 3305:Johannes Tinctoris 3245:Alexander Agricola 3149:Modern performance 2976:Grove Music Online 2243: 2223: 2062: 1860:Antonio de Salazar 1804: 1751:. 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" 2681:Renaissance Music 1769: 1768: 1609:Burgundian School 1447:Burgundian School 1443:Burgundian School 898:Orlande de Lassus 653:Johannes Ockeghem 619:Burgundian School 583:Renaissance music 580: 579: 547: 546: 485: 484: 392: 391: 316: 315: 58:Renaissance music 16:(Redirected from 8422: 8397: 8396: 8395: 8385: 8384: 8383: 8376: 8351: 8350: 8339: 8338: 8337: 8327:Music portal 8325: 8324: 8323: 8279:Music technology 8267:Environmentalism 8220:Related articles 7827:Papua New Guinea 7692:Marshall Islands 7139: 7138: 7085:Central American 6823:Music psychology 6708:Backing vocalist 6545:Electronic music 6388: 6387: 6342:History of music 6327: 6320: 6313: 6304: 6303: 6292: 6291: 6247:Guitarra morisca 6000: 5999: 5982: 5975: 5968: 5959: 5958: 5769: 5762: 5755: 5746: 5745: 5719:Gregorio Allegri 5701: 5694: 5687: 5678: 5677: 5638:Giovanni Bassano 5569:Gioseffo Zarlino 5562:Cipriano de Rore 5556:Nicola Vicentino 5513: 5506: 5499: 5490: 5489: 5443:Orlando di Lasso 5422:Cipriano de Rore 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Oliver. 3070: 3055: 3044: 3018: 3009: 3002: 2972: 2960: 2955:Ongaro, Giulio. 2951: 2950: 2942: 2930: 2920: 2911: 2899: 2890: 2887:Jessie Ann Owens 2881: 2865: 2849: 2840: 2821: 2803: 2787: 2782: 2766: 2755: 2746: 2737: 2732: 2700: 2691: 2679:Atlas, Allan W. 2675: 2666: 2663:Seconda prattica 2648: 2642: 2636: 2630: 2624: 2623:, 119 et passim. 2618: 2612: 2606: 2600: 2599: 2559: 2553: 2547: 2541: 2540: 2538: 2537: 2522: 2516: 2515: 2483: 2477: 2471: 2465: 2459: 2453: 2447: 2441: 2435: 2429: 2423: 2417: 2411: 2405: 2399: 2393: 2387: 2378: 2372: 2363: 2357: 2348: 2342: 2336: 2330: 2294:History of music 2275:Transverse flute 2082:viole da braccio 1872:seconda prattica 1864:Manuel de Zumaya 1846:Musica reservata 1781: 1780: 1450/1455 1778: 1773:Josquin des Prez 1764: 1761: 1743: 1736: 1694:Ave maris stella 1682: 1681: 1680: 1678: 1669:Ave maris stella 1650:Marian antiphons 1602: 1599: 1594:Guillaume Du Fay 1557: 1554: 1510:Marian antiphons 1303:Vincenzo Galilei 1299:Vicente Lusitano 1295:Gioseffo Zarlino 1287:Nicola Vicentino 1279:Heinrich Glarean 801:circle of fifths 677: 674: 657:Josquin des Prez 642: 639: 634:Guillaume Du Fay 572: 565: 558: 528: 525: 512: 509: 498: 497: 479: 470: 469: 1800–1910 467: 453: 444: 443: 1730–1820 441: 427: 418: 417: 1600–1750 415: 405: 404: 386: 377: 376: 1400–1600 374: 360: 351: 348: 338: 337: 318: 317: 308: 301: 294: 271:← Medieval music 133:English Madrigal 66: 45: 44: 21: 8430: 8429: 8425: 8424: 8423: 8421: 8420: 8419: 8405: 8404: 8403: 8393: 8391: 8387:Classical music 8381: 8379: 8371: 8369: 8364: 8363: 8358: 8335: 8333: 8321: 8319: 8310: 8237:Fictional music 8215: 8140: 7947:Solomon Islands 7792:North Macedonia 7144: 7130: 6992: 6990:regional genres 6989: 6981: 6947:Record producer 6891: 6880:Sociomusicology 6865:Ethnomusicology 6793:Master of Music 6773: 6732: 6714: 6671:All-female band 6654: 6632: 6579: 6516: 6509: 6465:Mandé art music 6440:Byzantine music 6386: 6336: 6331: 6301: 6296: 6282: 6256: 6242:Guitarra latina 6206: 6145: 6019: 5996:Types by region 5991: 5986: 5956: 5951: 5935: 5869: 5860:William Tisdale 5825:William Inglott 5820:Orlando Gibbons 5815:Richard Farnaby 5778: 5773: 5743: 5738: 5710: 5705: 5675: 5670: 5649: 5612:Girolamo Diruta 5549:Andrea Gabrieli 5535:Adrian Willaert 5522: 5520:Venetian School 5517: 5487: 5482: 5478:Giaches de Wert 5468:Philippe Rogier 5448:Carolus Luython 5431: 5427:Adrian Willaert 5412:Nicolas Gombert 5385: 5324: 5268: 5259:Antoine Busnois 5254:Gilles Binchois 5235: 5230: 5200: 5195: 5174: 5153: 5144:Hugo de Lantins 5132: 5108:Clement Liebert 5083:Pierre Fontaine 5068:Antoine Busnois 5063:Gilles Binchois 5041: 5036: 5001: 4993: 4988: 4945: 4908: 4880: 4825: 4761: 4674:Northern Europe 4558: 4508: 4503: 4473: 4468: 4398: 4325: 4287: 4241: 4157: 4124: 4074:Common practice 4068: 4031: 4010: 4005: 3975: 3970: 3947: 3939: 3926: 3878: 3864:Girolamo Scotto 3849:Antonio Gardano 3805: 3744: 3698: 3645: 3636:Heinrich Schütz 3631:Philippe Rogier 3581:Orlando Gibbons 3533: 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1311:Johannes Nucius 1307:Giovanni Artusi 1206:were not used. 1197:: "Renaissance 1183: 1171:madrigal comedy 1049:musique mesurée 979:Paraphrase mass 945:began to adopt 931: 918:music education 860:class; and the 838: 787:(as opposed to 753: 678:–1594) and the 675: 640: 599:was treated by 576: 537: 526: 510: 475: 468: 449: 442: 423: 416: 382: 375: 356: 350: 500–1400 349: 322: 312: 281: 278:Baroque music → 274: 261: 260: 259: 227: 219: 218: 217: 147: 139: 138: 137: 92: 82: 81: 64: 28: 23: 22: 15: 12: 11: 5: 8428: 8418: 8417: 8402: 8401: 8389: 8366: 8365: 8360: 8359: 8357: 8356: 8344: 8330: 8315: 8312: 8311: 8309: 8308: 8306:Women in music 8303: 8302: 8301: 8296: 8294:Classification 8286: 8281: 8276: 8274:Music festival 8271: 8270: 8269: 8264: 8254: 8252:Music industry 8249: 8244: 8239: 8234: 8229: 8223: 8221: 8217: 8216: 8214: 8213: 8208: 8203: 8198: 8193: 8188: 8183: 8178: 8173: 8168: 8163: 8158: 8152: 8150: 8146: 8145: 8142: 8141: 8139: 8134: 8129: 8124: 8122:Western Sahara 8119: 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6690: 6685: 6680: 6679: 6678: 6676:Rhythm section 6673: 6668: 6657: 6655: 6653: 6652: 6647: 6641: 6638: 6637: 6634: 6633: 6631: 6630: 6625: 6620: 6615: 6610: 6605: 6600: 6595: 6589: 6587: 6581: 6580: 6578: 6577: 6572: 6567: 6562: 6557: 6552: 6547: 6542: 6537: 6532: 6527: 6521: 6519: 6511: 6510: 6508: 6507: 6502: 6497: 6492: 6487: 6482: 6477: 6472: 6467: 6462: 6457: 6452: 6447: 6442: 6437: 6432: 6427: 6422: 6417: 6412: 6407: 6402: 6396: 6394: 6385: 6384: 6379: 6378: 6377: 6367: 6362: 6357: 6352: 6346: 6344: 6338: 6337: 6330: 6329: 6322: 6315: 6307: 6298: 6297: 6287: 6284: 6283: 6281: 6280: 6275: 6270: 6264: 6262: 6258: 6257: 6255: 6254: 6249: 6244: 6239: 6234: 6232:English guitar 6229: 6224: 6218: 6216: 6212: 6211: 6208: 6207: 6205: 6204: 6199: 6194: 6189: 6184: 6179: 6174: 6169: 6164: 6159: 6153: 6151: 6147: 6146: 6144: 6143: 6138: 6133: 6128: 6123: 6118: 6113: 6108: 6103: 6098: 6093: 6088: 6083: 6078: 6073: 6068: 6063: 6058: 6053: 6048: 6043: 6038: 6033: 6027: 6025: 6021: 6020: 6018: 6017: 6012: 6006: 6004: 5997: 5993: 5992: 5985: 5984: 5977: 5970: 5962: 5953: 5952: 5950: 5949: 5943: 5941: 5937: 5936: 5934: 5933: 5928: 5923: 5918: 5913: 5908: 5903: 5898: 5893: 5888: 5883: 5877: 5875: 5871: 5870: 5868: 5867: 5865:Thomas Tomkins 5862: 5857: 5852: 5847: 5842: 5840:Martin Peerson 5837: 5832: 5827: 5822: 5817: 5812: 5807: 5805:Benjamin Cosyn 5802: 5797: 5792: 5790:John Blitheman 5786: 5784: 5780: 5779: 5772: 5771: 5764: 5757: 5749: 5740: 5739: 5737: 5736: 5731: 5726: 5721: 5715: 5712: 5711: 5704: 5703: 5696: 5689: 5681: 5672: 5671: 5669: 5668: 5663: 5657: 5655: 5651: 5650: 5648: 5647: 5641: 5635: 5632:Giovanni Croce 5629: 5621: 5615: 5609: 5603: 5600:Gioseffo Guami 5597: 5594:Claudio Merulo 5591: 5588:Costanzo Porta 5585: 5579: 5573: 5565: 5559: 5553: 5545: 5539: 5530: 5528: 5524: 5523: 5516: 5515: 5508: 5501: 5493: 5484: 5483: 5481: 5480: 5475: 5470: 5465: 5460: 5455: 5450: 5445: 5439: 5437: 5436:5th generation 5433: 5432: 5430: 5429: 5424: 5419: 5414: 5409: 5404: 5399: 5393: 5391: 5390:4th generation 5387: 5386: 5384: 5383: 5378: 5376:Jean Richafort 5373: 5368: 5363: 5358: 5353: 5351:Heinrich Isaac 5348: 5343: 5338: 5336:Antoine Brumel 5332: 5330: 5329:3rd generation 5326: 5325: 5323: 5322: 5317: 5315:Johannes Regis 5312: 5307: 5302: 5297: 5292: 5290:Firminus Caron 5287: 5285:Loyset Compère 5282: 5276: 5274: 5273:2nd generation 5270: 5269: 5267: 5266: 5261: 5256: 5251: 5245: 5243: 5241:1st generation 5237: 5236: 5229: 5228: 5221: 5214: 5206: 5197: 5196: 5194: 5193: 5188: 5182: 5180: 5176: 5175: 5173: 5172: 5170:John Dunstaple 5167: 5161: 5159: 5155: 5154: 5152: 5151: 5146: 5140: 5138: 5134: 5133: 5131: 5130: 5125: 5120: 5115: 5110: 5105: 5100: 5095: 5093:Nicolas Grenon 5090: 5085: 5080: 5075: 5070: 5065: 5060: 5055: 5049: 5047: 5043: 5042: 5035: 5034: 5027: 5020: 5012: 5006: 5003: 5002: 4990: 4989: 4987: 4986: 4981: 4980: 4979: 4974: 4969: 4959: 4953: 4951: 4947: 4946: 4944: 4943: 4938: 4933: 4928: 4922: 4920: 4914: 4913: 4910: 4909: 4907: 4906: 4905: 4904: 4894: 4888: 4886: 4882: 4881: 4879: 4878: 4873: 4868: 4863: 4862: 4861: 4856: 4846: 4841: 4835: 4833: 4827: 4826: 4824: 4823: 4818: 4813: 4808: 4807: 4806: 4796: 4791: 4786: 4780: 4778: 4769: 4763: 4762: 4760: 4759: 4754: 4749: 4744: 4743: 4742: 4732: 4731: 4730: 4720: 4715: 4710: 4705: 4704: 4703: 4698: 4693: 4683: 4678: 4677: 4676: 4671: 4661: 4656: 4655: 4654: 4649: 4644: 4639: 4634: 4624: 4623: 4622: 4617: 4612: 4607: 4602: 4597: 4592: 4587: 4582: 4577: 4566: 4564: 4560: 4559: 4557: 4556: 4551: 4546: 4545: 4544: 4534: 4529: 4524: 4518: 4516: 4510: 4509: 4502: 4501: 4494: 4487: 4479: 4470: 4469: 4467: 4466: 4456: 4446: 4436: 4425: 4424: 4419: 4414: 4409: 4403: 4400: 4399: 4397: 4396: 4391: 4386: 4385: 4384: 4379: 4369: 4364: 4359: 4354: 4349: 4344: 4339: 4333: 4331: 4327: 4326: 4324: 4323: 4318: 4313: 4308: 4307: 4306: 4295: 4293: 4289: 4288: 4286: 4285: 4280: 4275: 4270: 4265: 4260: 4255: 4249: 4247: 4243: 4242: 4240: 4239: 4234: 4233: 4232: 4225:United Kingdom 4222: 4217: 4212: 4207: 4202: 4197: 4192: 4187: 4186: 4185: 4175: 4169: 4167: 4163: 4162: 4159: 4158: 4156: 4155: 4150: 4145: 4140: 4134: 4132: 4126: 4125: 4123: 4122: 4121: 4120: 4110: 4109: 4108: 4098: 4097: 4096: 4093:Empfindsamkeit 4089: 4078: 4076: 4070: 4069: 4067: 4066: 4065: 4064: 4054: 4048: 4046: 4037: 4033: 4032: 4030: 4029: 4024: 4018: 4016: 4012: 4011: 4004: 4003: 3996: 3989: 3981: 3972: 3971: 3969: 3968: 3958: 3940: 3936:Medieval music 3932: 3931: 3928: 3927: 3925: 3924: 3923: 3922: 3917: 3912: 3907: 3902: 3892: 3886: 3884: 3880: 3879: 3877: 3876: 3871: 3869:Tielman Susato 3866: 3861: 3856: 3851: 3846: 3844:Valerio Dorico 3841: 3836: 3831: 3826: 3821: 3815: 3813: 3807: 3806: 3804: 3803: 3798: 3793: 3788: 3783: 3778: 3773: 3768: 3763: 3758: 3752: 3750: 3746: 3745: 3743: 3742: 3737: 3732: 3727: 3722: 3717: 3712: 3706: 3704: 3700: 3699: 3697: 3696: 3691: 3686: 3684:Franco-Flemish 3681: 3676: 3671: 3666: 3661: 3655: 3653: 3647: 3646: 3644: 3643: 3638: 3633: 3628: 3623: 3618: 3613: 3608: 3603: 3598: 3593: 3588: 3583: 3578: 3576:Carlo Gesualdo 3573: 3568: 3563: 3558: 3553: 3548: 3546:Thomas Campion 3543: 3537: 3535: 3522: 3521: 3519: 3518: 3513: 3508: 3503: 3498: 3493: 3491:Costanzo Porta 3488: 3483: 3481:Hans Neusidler 3478: 3473: 3468: 3463: 3458: 3453: 3448: 3443: 3438: 3433: 3428: 3423: 3417: 3415: 3409: 3408: 3406: 3405: 3400: 3395: 3390: 3385: 3380: 3375: 3370: 3365: 3360: 3355: 3353:Costanzo Festa 3350: 3345: 3340: 3338:Antoine Brumel 3335: 3329: 3327: 3321: 3320: 3318: 3317: 3312: 3307: 3302: 3297: 3292: 3287: 3282: 3280:Heinrich Isaac 3277: 3272: 3270:John Dunstaple 3267: 3262: 3260:Loyset Compère 3257: 3252: 3247: 3241: 3239: 3233: 3232: 3227: 3224: 3223: 3216: 3215: 3208: 3201: 3193: 3187: 3186: 3180: 3174: 3166: 3160: 3151: 3150: 3146: 3145: 3140: 3134: 3128: 3122: 3116: 3111: 3105: 3099: 3092: 3091:External links 3089: 3088: 3087: 3080: 3071: 3062: 3045: 3039: 3023:Reese, Gustave 3019: 3010: 2997: 2961: 2952: 2921: 2912: 2900: 2891: 2882: 2866: 2850: 2841: 2835: 2822: 2804: 2788: 2783: 2767: 2756: 2747: 2738: 2733: 2722:978-0815323884 2701: 2692: 2676: 2667: 2656: 2653: 2650: 2649: 2637: 2625: 2613: 2601: 2574:(1/2): 27–33. 2554: 2542: 2525:Duke, Charis. 2517: 2498:(3): 279–297. 2478: 2466: 2454: 2450:Planchart 2001 2442: 2430: 2418: 2406: 2404:, p. 140. 2394: 2379: 2375:Burkholder n.d 2364: 2349: 2337: 2319: 2318: 2316: 2313: 2312: 2311: 2306: 2301: 2296: 2289: 2286: 2285: 2284: 2278: 2272: 2266: 2256: 2250: 2235: 2234: 2198: 2195: 2194: 2193: 2187: 2168: 2165: 2164: 2163: 2158: 2153: 2148: 2143: 2138: 2133: 2128: 2123: 2118: 2108: 2102: 2091: 2085: 2053: 2050: 2049: 2048: 2042: 2035: 2029: 2018: 2015: 1998: 1995: 1961: 1958: 1912: 1909: 1880: 1877: 1795: 1792: 1767: 1766: 1746: 1744: 1721: 1718: 1605:Franco-Flemish 1430:John Dunstaple 1406:John Dunstaple 1393: 1390: 1324: 1322: 1319: 1228:Medieval music 1182: 1179: 1019:, the Italian 987: 986: 984:Imitation mass 981: 976: 930: 927: 877:printing press 850:Ancient Greece 837: 834: 829: 828: 821: 818: 811: 765:perfect fourth 752: 749: 663:in the florid 623:basso continuo 605:Medieval music 597:Trecento music 578: 577: 575: 574: 567: 560: 552: 549: 548: 545: 544: 542: 530: 529: 520: 514: 513: 504: 494: 493: 487: 486: 483: 482: 480: 472: 471: 463: 457: 456: 454: 446: 445: 437: 431: 430: 428: 420: 419: 411: 401: 400: 394: 393: 390: 389: 387: 379: 378: 370: 364: 363: 361: 353: 352: 344: 334: 333: 327: 326: 314: 313: 311: 310: 303: 296: 288: 285: 284: 283: 282: 275: 268: 263: 262: 258: 257: 252: 247: 242: 235: 229: 228: 225: 224: 221: 220: 216: 215: 210: 205: 200: 195: 190: 185: 180: 175: 170: 165: 160: 155: 149: 148: 145: 144: 141: 140: 136: 135: 130: 125: 120: 115: 110: 105: 103:Franco-Flemish 100: 94: 93: 90: 89: 86: 85: 84: 83: 73: 68: 67: 61: 60: 54: 53: 26: 9: 6: 4: 3: 2: 8427: 8416: 8413: 8412: 8410: 8400: 8390: 8388: 8378: 8377: 8374: 8355: 8354: 8345: 8343: 8342: 8331: 8329: 8328: 8317: 8316: 8313: 8307: 8304: 8300: 8297: 8295: 8292: 8291: 8290: 8287: 8285: 8284:Music therapy 8282: 8280: 8277: 8275: 8272: 8268: 8265: 8263: 8260: 8259: 8258: 8255: 8253: 8250: 8248: 8245: 8243: 8240: 8238: 8235: 8233: 8230: 8228: 8225: 8224: 8222: 8218: 8212: 8209: 8207: 8204: 8202: 8199: 8197: 8194: 8192: 8189: 8187: 8184: 8182: 8179: 8177: 8174: 8172: 8169: 8167: 8164: 8162: 8159: 8157: 8154: 8153: 8151: 8147: 8138: 8135: 8133: 8130: 8128: 8125: 8123: 8120: 8118: 8115: 8113: 8110: 8108: 8105: 8103: 8100: 8098: 8095: 8093: 8090: 8088: 8087:United States 8085: 8083: 8080: 8078: 8075: 8073: 8070: 8068: 8065: 8063: 8060: 8058: 8055: 8053: 8050: 8048: 8045: 8043: 8040: 8038: 8035: 8033: 8030: 8028: 8025: 8023: 8020: 8018: 8015: 8013: 8010: 8008: 8005: 8003: 8000: 7998: 7995: 7993: 7990: 7988: 7985: 7983: 7980: 7978: 7975: 7973: 7970: 7968: 7965: 7963: 7960: 7958: 7955: 7953: 7950: 7948: 7945: 7943: 7940: 7938: 7935: 7933: 7930: 7928: 7925: 7923: 7920: 7918: 7915: 7913: 7910: 7908: 7905: 7903: 7900: 7898: 7895: 7893: 7890: 7888: 7885: 7883: 7880: 7878: 7875: 7873: 7870: 7868: 7865: 7863: 7860: 7858: 7855: 7853: 7850: 7848: 7845: 7843: 7840: 7838: 7835: 7833: 7830: 7828: 7825: 7823: 7820: 7818: 7815: 7813: 7810: 7808: 7805: 7803: 7800: 7798: 7795: 7793: 7790: 7788: 7785: 7783: 7780: 7778: 7775: 7773: 7770: 7768: 7765: 7763: 7760: 7758: 7755: 7753: 7750: 7748: 7745: 7743: 7740: 7738: 7735: 7733: 7730: 7728: 7725: 7723: 7720: 7718: 7715: 7713: 7710: 7708: 7705: 7703: 7700: 7698: 7695: 7693: 7690: 7688: 7685: 7683: 7680: 7678: 7675: 7673: 7670: 7668: 7665: 7663: 7660: 7658: 7655: 7653: 7650: 7648: 7647:Liechtenstein 7645: 7643: 7640: 7638: 7635: 7633: 7630: 7628: 7625: 7623: 7620: 7618: 7615: 7613: 7610: 7608: 7605: 7603: 7600: 7598: 7595: 7593: 7590: 7588: 7585: 7583: 7580: 7578: 7575: 7573: 7570: 7568: 7565: 7563: 7560: 7558: 7555: 7553: 7550: 7548: 7545: 7543: 7540: 7538: 7535: 7533: 7530: 7528: 7525: 7523: 7520: 7518: 7515: 7513: 7510: 7508: 7505: 7503: 7502:Guinea-Bissau 7500: 7498: 7495: 7493: 7490: 7488: 7485: 7483: 7480: 7478: 7475: 7473: 7470: 7468: 7465: 7463: 7460: 7458: 7455: 7453: 7450: 7448: 7445: 7443: 7440: 7438: 7435: 7433: 7430: 7428: 7425: 7423: 7420: 7418: 7415: 7413: 7410: 7408: 7405: 7403: 7400: 7398: 7395: 7393: 7390: 7388: 7385: 7383: 7380: 7378: 7375: 7373: 7370: 7368: 7365: 7363: 7360: 7358: 7355: 7353: 7350: 7348: 7345: 7343: 7340: 7338: 7335: 7333: 7330: 7328: 7325: 7323: 7320: 7318: 7315: 7313: 7310: 7308: 7305: 7303: 7300: 7298: 7295: 7293: 7290: 7288: 7285: 7283: 7280: 7278: 7275: 7273: 7270: 7268: 7265: 7263: 7260: 7258: 7255: 7253: 7250: 7248: 7245: 7243: 7240: 7238: 7235: 7233: 7230: 7228: 7225: 7223: 7220: 7218: 7215: 7213: 7210: 7208: 7205: 7203: 7200: 7198: 7195: 7193: 7190: 7188: 7185: 7183: 7180: 7178: 7175: 7173: 7170: 7168: 7165: 7163: 7160: 7158: 7155: 7153: 7150: 7147: 7140: 7137: 7133: 7125: 7122: 7120: 7117: 7115: 7112: 7111: 7110: 7107: 7103: 7100: 7099: 7098: 7095: 7091: 7088: 7086: 7083: 7082: 7081: 7078: 7074: 7071: 7069: 7066: 7065: 7064: 7061: 7057: 7054: 7052: 7049: 7047: 7044: 7042: 7039: 7037: 7034: 7033: 7032: 7029: 7025: 7022: 7020: 7017: 7015: 7012: 7010: 7007: 7005: 7002: 7001: 7000: 6997: 6996: 6994: 6991: 6988:Cultural and 6984: 6978: 6975: 6973: 6970: 6968: 6965: 6963: 6960: 6958: 6955: 6953: 6950: 6948: 6945: 6943: 6940: 6938: 6935: 6931: 6928: 6926: 6923: 6921: 6918: 6917: 6916: 6915:Extended play 6913: 6909: 6906: 6905: 6904: 6901: 6900: 6898: 6894: 6886: 6885:Zoomusicology 6883: 6881: 6878: 6876: 6873: 6871: 6868: 6866: 6863: 6861: 6860:Ecomusicology 6858: 6856: 6853: 6851: 6848: 6846: 6845:Biomusicology 6843: 6842: 6841: 6838: 6834: 6831: 6830: 6829: 6826: 6824: 6821: 6819: 6818:Music history 6816: 6814: 6811: 6809: 6806: 6804: 6801: 6799: 6796: 6794: 6791: 6789: 6786: 6785: 6783: 6780: 6776: 6770: 6767: 6765: 6762: 6760: 6757: 6755: 6754:Improvisation 6752: 6750: 6747: 6745: 6742: 6740: 6737: 6736: 6734: 6729: 6726: 6724: 6721: 6720: 6717: 6709: 6706: 6704: 6703:Lead vocalist 6701: 6700: 6699: 6698:Military band 6696: 6694: 6691: 6689: 6686: 6684: 6681: 6677: 6674: 6672: 6669: 6667: 6664: 6663: 6662: 6659: 6658: 6656: 6651: 6648: 6646: 6643: 6642: 6639: 6629: 6626: 6624: 6621: 6619: 6616: 6614: 6611: 6609: 6606: 6604: 6601: 6599: 6596: 6594: 6591: 6590: 6588: 6586: 6582: 6576: 6573: 6571: 6568: 6566: 6563: 6561: 6558: 6556: 6553: 6551: 6550:Hip hop music 6548: 6546: 6543: 6541: 6540:Country music 6538: 6536: 6533: 6531: 6528: 6526: 6523: 6522: 6520: 6518: 6512: 6506: 6503: 6501: 6498: 6496: 6493: 6491: 6488: 6486: 6483: 6481: 6478: 6476: 6473: 6471: 6470:Ottoman music 6468: 6466: 6463: 6461: 6458: 6456: 6453: 6451: 6448: 6446: 6443: 6441: 6438: 6436: 6433: 6431: 6428: 6426: 6423: 6421: 6418: 6416: 6413: 6411: 6408: 6406: 6403: 6401: 6398: 6397: 6395: 6393: 6389: 6383: 6380: 6376: 6373: 6372: 6371: 6368: 6366: 6363: 6361: 6358: 6356: 6353: 6351: 6348: 6347: 6345: 6343: 6339: 6335: 6328: 6323: 6321: 6316: 6314: 6309: 6308: 6305: 6295: 6285: 6279: 6276: 6274: 6273:Manufacturers 6271: 6269: 6266: 6265: 6263: 6259: 6253: 6250: 6248: 6245: 6243: 6240: 6238: 6235: 6233: 6230: 6228: 6225: 6223: 6220: 6219: 6217: 6213: 6203: 6200: 6198: 6195: 6193: 6190: 6188: 6185: 6183: 6180: 6178: 6175: 6173: 6170: 6168: 6165: 6163: 6160: 6158: 6155: 6154: 6152: 6148: 6142: 6139: 6137: 6134: 6132: 6129: 6127: 6124: 6122: 6119: 6117: 6114: 6112: 6109: 6107: 6104: 6102: 6099: 6097: 6094: 6092: 6089: 6087: 6084: 6082: 6079: 6077: 6074: 6072: 6069: 6067: 6064: 6062: 6059: 6057: 6054: 6052: 6049: 6047: 6044: 6042: 6039: 6037: 6034: 6032: 6029: 6028: 6026: 6022: 6016: 6013: 6011: 6008: 6007: 6005: 6001: 5998: 5994: 5990: 5983: 5978: 5976: 5971: 5969: 5964: 5963: 5960: 5948: 5945: 5944: 5942: 5938: 5932: 5929: 5927: 5924: 5922: 5919: 5917: 5914: 5912: 5909: 5907: 5904: 5902: 5899: 5897: 5894: 5892: 5889: 5887: 5884: 5882: 5879: 5878: 5876: 5872: 5866: 5863: 5861: 5858: 5856: 5853: 5851: 5848: 5846: 5845:Peter Philips 5843: 5841: 5838: 5836: 5833: 5831: 5830:Thomas Morley 5828: 5826: 5823: 5821: 5818: 5816: 5813: 5811: 5810:Giles Farnaby 5808: 5806: 5803: 5801: 5798: 5796: 5793: 5791: 5788: 5787: 5785: 5781: 5777: 5770: 5765: 5763: 5758: 5756: 5751: 5750: 5747: 5735: 5732: 5730: 5727: 5725: 5722: 5720: 5717: 5716: 5713: 5709: 5702: 5697: 5695: 5690: 5688: 5683: 5682: 5679: 5667: 5664: 5662: 5659: 5658: 5656: 5652: 5646:(c.1561–1613) 5645: 5642: 5640:(c.1558–1617) 5639: 5636: 5634:(c.1557–1609) 5633: 5630: 5628:(c.1555–1612) 5627: 5626: 5622: 5619: 5616: 5613: 5610: 5607: 5604: 5602:(c.1540–1611) 5601: 5598: 5595: 5592: 5590:(c.1529–1601) 5589: 5586: 5583: 5580: 5577: 5574: 5571: 5570: 5566: 5564:(c.1515–1565) 5563: 5560: 5558:(1511–c.1576) 5557: 5554: 5552:(c.1532–1585) 5551: 5550: 5546: 5544:(c.1500–1565) 5543: 5540: 5538:(c.1490–1562) 5537: 5536: 5532: 5531: 5529: 5525: 5521: 5514: 5509: 5507: 5502: 5500: 5495: 5494: 5491: 5479: 5476: 5474: 5471: 5469: 5466: 5464: 5463:Jacob Regnart 5461: 5459: 5456: 5454: 5451: 5449: 5446: 5444: 5441: 5440: 5438: 5434: 5428: 5425: 5423: 5420: 5418: 5415: 5413: 5410: 5408: 5405: 5403: 5400: 5398: 5395: 5394: 5392: 5388: 5382: 5379: 5377: 5374: 5372: 5369: 5367: 5364: 5362: 5361:Jacob Obrecht 5359: 5357: 5354: 5352: 5349: 5347: 5344: 5342: 5339: 5337: 5334: 5333: 5331: 5327: 5321: 5318: 5316: 5313: 5311: 5308: 5306: 5303: 5301: 5298: 5296: 5293: 5291: 5288: 5286: 5283: 5281: 5278: 5277: 5275: 5271: 5265: 5262: 5260: 5257: 5255: 5252: 5250: 5247: 5246: 5244: 5242: 5238: 5234: 5227: 5222: 5220: 5215: 5213: 5208: 5207: 5204: 5192: 5189: 5187: 5184: 5183: 5181: 5177: 5171: 5168: 5166: 5163: 5162: 5160: 5156: 5150: 5147: 5145: 5142: 5141: 5139: 5135: 5129: 5126: 5124: 5121: 5119: 5116: 5114: 5113:Robert Morton 5111: 5109: 5106: 5104: 5101: 5099: 5096: 5094: 5091: 5089: 5086: 5084: 5081: 5079: 5076: 5074: 5071: 5069: 5066: 5064: 5061: 5059: 5056: 5054: 5051: 5050: 5048: 5044: 5040: 5033: 5028: 5026: 5021: 5019: 5014: 5013: 5010: 5004: 4997: 4985: 4982: 4978: 4975: 4973: 4970: 4968: 4965: 4964: 4963: 4960: 4958: 4955: 4954: 4952: 4948: 4942: 4939: 4937: 4934: 4932: 4929: 4927: 4924: 4923: 4921: 4919: 4915: 4903: 4900: 4899: 4898: 4895: 4893: 4890: 4889: 4887: 4883: 4877: 4874: 4872: 4869: 4867: 4866:Low Countries 4864: 4860: 4857: 4855: 4852: 4851: 4850: 4847: 4845: 4842: 4840: 4837: 4836: 4834: 4832: 4828: 4822: 4819: 4817: 4814: 4812: 4809: 4805: 4802: 4801: 4800: 4797: 4795: 4792: 4790: 4787: 4785: 4782: 4781: 4779: 4777: 4773: 4770: 4768: 4764: 4758: 4755: 4753: 4750: 4748: 4745: 4741: 4738: 4737: 4736: 4733: 4729: 4726: 4725: 4724: 4721: 4719: 4716: 4714: 4711: 4709: 4706: 4702: 4699: 4697: 4694: 4692: 4689: 4688: 4687: 4684: 4682: 4679: 4675: 4672: 4670: 4667: 4666: 4665: 4662: 4660: 4657: 4653: 4650: 4648: 4645: 4643: 4640: 4638: 4635: 4633: 4630: 4629: 4628: 4625: 4621: 4618: 4616: 4613: 4611: 4608: 4606: 4603: 4601: 4598: 4596: 4593: 4591: 4590:Italian domes 4588: 4586: 4583: 4581: 4578: 4576: 4573: 4572: 4571: 4568: 4567: 4565: 4561: 4555: 4552: 4550: 4547: 4543: 4540: 4539: 4538: 4535: 4533: 4530: 4528: 4525: 4523: 4520: 4519: 4517: 4515: 4511: 4507: 4500: 4495: 4493: 4488: 4486: 4481: 4480: 4477: 4465: 4457: 4455: 4451: 4447: 4445: 4437: 4435: 4427: 4426: 4423: 4420: 4418: 4415: 4413: 4410: 4408: 4405: 4404: 4401: 4395: 4392: 4390: 4387: 4383: 4380: 4378: 4375: 4374: 4373: 4370: 4368: 4365: 4363: 4362:New-age music 4360: 4358: 4355: 4353: 4350: 4348: 4345: 4343: 4340: 4338: 4335: 4334: 4332: 4328: 4322: 4319: 4317: 4314: 4312: 4309: 4305: 4302: 4301: 4300: 4297: 4296: 4294: 4290: 4284: 4281: 4279: 4276: 4274: 4271: 4269: 4266: 4264: 4261: 4259: 4256: 4254: 4251: 4250: 4248: 4244: 4238: 4237:United States 4235: 4231: 4228: 4227: 4226: 4223: 4221: 4218: 4216: 4213: 4211: 4208: 4206: 4203: 4201: 4198: 4196: 4193: 4191: 4188: 4184: 4181: 4180: 4179: 4176: 4174: 4171: 4170: 4168: 4164: 4154: 4151: 4149: 4146: 4144: 4141: 4139: 4136: 4135: 4133: 4131: 4127: 4119: 4116: 4115: 4114: 4111: 4107: 4104: 4103: 4102: 4099: 4095: 4094: 4090: 4088: 4085: 4084: 4083: 4080: 4079: 4077: 4075: 4071: 4063: 4060: 4059: 4058: 4055: 4053: 4050: 4049: 4047: 4045: 4041: 4038: 4034: 4028: 4027:Dates of eras 4025: 4023: 4020: 4019: 4017: 4013: 4009: 4002: 3997: 3995: 3990: 3988: 3983: 3982: 3979: 3967: 3963: 3959: 3957: 3949: 3948: 3945: 3944: 3943:Baroque music 3938: 3937: 3929: 3921: 3918: 3916: 3913: 3911: 3908: 3906: 3903: 3901: 3898: 3897: 3896: 3893: 3891: 3888: 3887: 3885: 3881: 3875: 3872: 3870: 3867: 3865: 3862: 3860: 3857: 3855: 3852: 3850: 3847: 3845: 3842: 3840: 3837: 3835: 3832: 3830: 3827: 3825: 3824:Andrea Antico 3822: 3820: 3817: 3816: 3814: 3812: 3808: 3802: 3799: 3797: 3794: 3792: 3789: 3787: 3784: 3782: 3779: 3777: 3774: 3772: 3769: 3767: 3764: 3762: 3759: 3757: 3754: 3753: 3751: 3747: 3741: 3738: 3736: 3733: 3731: 3728: 3726: 3723: 3721: 3718: 3716: 3713: 3711: 3708: 3707: 3705: 3703:Musical forms 3701: 3695: 3692: 3690: 3687: 3685: 3682: 3680: 3677: 3675: 3672: 3670: 3667: 3665: 3662: 3660: 3657: 3656: 3654: 3652: 3648: 3642: 3639: 3637: 3634: 3632: 3629: 3627: 3624: 3622: 3619: 3617: 3616:Thomas Morley 3614: 3612: 3609: 3607: 3606:Luca Marenzio 3604: 3602: 3599: 3597: 3594: 3592: 3589: 3587: 3584: 3582: 3579: 3577: 3574: 3572: 3569: 3567: 3564: 3562: 3559: 3557: 3554: 3552: 3549: 3547: 3544: 3542: 3539: 3538: 3536: 3532: 3527: 3523: 3517: 3514: 3512: 3509: 3507: 3504: 3502: 3501:Thomas Tallis 3499: 3497: 3494: 3492: 3489: 3487: 3484: 3482: 3479: 3477: 3474: 3472: 3469: 3467: 3464: 3462: 3459: 3457: 3454: 3452: 3449: 3447: 3444: 3442: 3439: 3437: 3434: 3432: 3429: 3427: 3424: 3422: 3419: 3418: 3416: 3414: 3410: 3404: 3401: 3399: 3396: 3394: 3393:John Taverner 3391: 3389: 3386: 3384: 3381: 3379: 3378:Jacob Obrecht 3376: 3374: 3371: 3369: 3366: 3364: 3361: 3359: 3356: 3354: 3351: 3349: 3346: 3344: 3341: 3339: 3336: 3334: 3331: 3330: 3328: 3326: 3322: 3316: 3313: 3311: 3308: 3306: 3303: 3301: 3298: 3296: 3293: 3291: 3288: 3286: 3283: 3281: 3278: 3276: 3273: 3271: 3268: 3266: 3263: 3261: 3258: 3256: 3253: 3251: 3248: 3246: 3243: 3242: 3240: 3238: 3234: 3230: 3225: 3221: 3214: 3209: 3207: 3202: 3200: 3195: 3194: 3191: 3184: 3181: 3178: 3175: 3173: 3170: 3167: 3164: 3161: 3159: 3156: 3153: 3152: 3148: 3147: 3144: 3141: 3138: 3135: 3132: 3129: 3126: 3123: 3120: 3117: 3115: 3112: 3109: 3106: 3103: 3100: 3098: 3095: 3094: 3085: 3081: 3077: 3072: 3069: 3065: 3059: 3054: 3053: 3046: 3042: 3036: 3032: 3028: 3024: 3020: 3016: 3011: 3007: 3000: 2994: 2990: 2986: 2982: 2978: 2977: 2971: 2966: 2962: 2958: 2953: 2948: 2940: 2936: 2935: 2929: 2928:"Renaissance" 2922: 2918: 2913: 2909: 2905: 2904:Munrow, David 2901: 2897: 2892: 2888: 2883: 2880: 2879:0-8153-2388-3 2876: 2872: 2867: 2864: 2863:0-89917-034-X 2860: 2856: 2851: 2847: 2842: 2838: 2832: 2828: 2823: 2820: 2816: 2812: 2811: 2805: 2802: 2798: 2794: 2789: 2784: 2781: 2780:0-13-608497-4 2777: 2773: 2768: 2764: 2763: 2757: 2753: 2748: 2744: 2739: 2734: 2731: 2727: 2723: 2719: 2715: 2711: 2707: 2702: 2698: 2693: 2690: 2689:0-393-97169-4 2686: 2682: 2677: 2673: 2668: 2664: 2659: 2658: 2646: 2645:Besseler 1950 2641: 2634: 2629: 2622: 2617: 2610: 2605: 2597: 2593: 2589: 2585: 2581: 2577: 2573: 2569: 2565: 2558: 2551: 2546: 2532: 2528: 2521: 2513: 2509: 2505: 2501: 2497: 2493: 2489: 2482: 2475: 2470: 2463: 2458: 2451: 2446: 2439: 2434: 2427: 2422: 2415: 2410: 2403: 2398: 2392:, p. 25. 2391: 2386: 2384: 2376: 2371: 2369: 2361: 2356: 2354: 2346: 2341: 2334: 2329: 2327: 2325: 2320: 2310: 2307: 2305: 2302: 2300: 2297: 2295: 2292: 2291: 2282: 2279: 2276: 2273: 2270: 2267: 2264: 2260: 2257: 2254: 2251: 2248: 2245: 2244: 2239: 2232: 2229: 2228: 2227: 2220: 2216: 2212: 2208: 2207:alta cappella 2203: 2191: 2188: 2185: 2182: 2181: 2180: 2178: 2174: 2162: 2159: 2157: 2154: 2152: 2149: 2147: 2144: 2142: 2139: 2137: 2134: 2132: 2129: 2127: 2124: 2122: 2119: 2116: 2112: 2109: 2106: 2103: 2099: 2095: 2092: 2089: 2086: 2083: 2078: 2077:viola da mano 2074: 2070: 2067: 2066: 2065: 2058: 2046: 2043: 2040: 2036: 2033: 2030: 2027: 2026:Slide trumpet 2024: 2023: 2022: 2014: 2012: 2008: 2004: 2003:church organs 1994: 1990: 1988: 1984: 1980: 1976: 1972: 1966: 1957: 1955: 1951: 1947: 1943: 1939: 1934: 1932: 1928: 1924: 1921:Beginning in 1918: 1908: 1906: 1902: 1898: 1894: 1890: 1886: 1876: 1874: 1873: 1867: 1865: 1861: 1857: 1851: 1848: 1847: 1842: 1840: 1835: 1833: 1828: 1823: 1822:musical era. 1821: 1817: 1813: 1809: 1800: 1791: 1789: 1788:Martin Luther 1785: 1774: 1763: 1754: 1750: 1747:This section 1745: 1742: 1738: 1737: 1731: 1726: 1717: 1715: 1710: 1708: 1704: 1700: 1696: 1695: 1690: 1679: 1670: 1665: 1661: 1659: 1655: 1651: 1646: 1642: 1638: 1634: 1630: 1626: 1622: 1618: 1614: 1610: 1606: 1603:–1474) was a 1595: 1591: 1589: 1585: 1581: 1580:strophic form 1577: 1573: 1572: 1571:ars subtilior 1566: 1561: 1550: 1546: 1544: 1540: 1536: 1534: 1530: 1528: 1527:cantus firmus 1523: 1522: 1517: 1516: 1511: 1507: 1501: 1499: 1498: 1493: 1489: 1485: 1480: 1478: 1477:fons et origo 1474: 1470: 1466: 1462: 1458: 1454: 1453: 1448: 1444: 1439: 1435: 1431: 1427: 1425: 1421: 1417: 1413: 1412: 1407: 1403: 1399: 1318: 1316: 1315:Pietro Cerone 1312: 1308: 1304: 1300: 1296: 1292: 1288: 1284: 1280: 1276: 1272: 1267: 1265: 1260: 1256: 1251: 1249: 1245: 1241: 1240:quarter notes 1235: 1233: 1229: 1225: 1221: 1217: 1213: 1209: 1205: 1200: 1196: 1195:Margaret Bent 1193:According to 1187: 1178: 1176: 1172: 1168: 1163: 1161: 1160:Intabulierung 1157: 1153: 1152:intabulations 1149: 1145: 1141: 1137: 1133: 1129: 1125: 1121: 1117: 1113: 1109: 1105: 1101: 1097: 1093: 1089: 1085: 1081: 1077: 1072: 1070: 1069:motet-chanson 1066: 1062: 1058: 1054: 1050: 1046: 1042: 1038: 1034: 1030: 1026: 1022: 1018: 1015:, the French 1014: 1010: 1004: 1002: 998: 994: 993: 992:Cantus firmus 985: 982: 980: 977: 974: 971: 970: 969: 966: 965: 964:cantus firmus 960: 956: 952: 948: 944: 940: 936: 926: 924: 919: 915: 914:Low Countries 911: 907: 903: 902:Thomas Tallis 899: 895: 891: 887: 883: 878: 873: 871: 868:style of the 867: 863: 859: 855: 851: 847: 843: 833: 826: 822: 819: 816: 812: 809: 808: 807: 804: 802: 798: 794: 793:Baroque music 790: 786: 782: 778: 774: 770: 769:perfect fifth 766: 762: 758: 748: 746: 745:musicologists 741: 735: 733: 729: 725: 721: 717: 712: 707: 704: 700: 696: 695:Secular music 692: 688: 683: 681: 670: 666: 662: 658: 654: 650: 646: 635: 630: 628: 624: 620: 616: 615: 610: 606: 603:as a coda to 602: 598: 594: 593: 588: 584: 573: 568: 566: 561: 559: 554: 553: 551: 550: 543: 541: 536: 532: 531: 521: 519: 516: 515: 505: 503: 500: 499: 496: 495: 492: 489: 488: 481: 478: 474: 473: 464: 462: 459: 458: 455: 452: 448: 447: 438: 436: 433: 432: 429: 426: 422: 421: 412: 410: 407: 406: 403: 402: 399: 396: 395: 388: 385: 381: 380: 371: 369: 366: 365: 362: 359: 355: 354: 345: 343: 340: 339: 336: 335: 332: 329: 328: 325: 321:Major eras of 320: 319: 309: 304: 302: 297: 295: 290: 289: 287: 286: 280: 279: 273: 272: 267: 266: 265: 264: 256: 253: 251: 248: 246: 243: 241: 240: 236: 234: 231: 230: 223: 222: 214: 211: 209: 206: 204: 201: 199: 196: 194: 191: 189: 186: 184: 181: 179: 176: 174: 171: 169: 166: 164: 161: 159: 156: 154: 151: 150: 146:Major figures 143: 142: 134: 131: 129: 126: 124: 121: 119: 116: 114: 111: 109: 106: 104: 101: 99: 96: 95: 88: 87: 80: 76: 72: 71: 70: 69: 63: 62: 59: 56: 55: 51: 47: 46: 41: 37: 32: 19: 8346: 8332: 8318: 8107:Vatican City 8057:Turkmenistan 7957:South Africa 7927:Sierra Leone 7907:Saudi Arabia 7282:Burkina Faso 6942:Record label 6828:Music school 6688:Concert band 6598:Angular harp 6525:Circus music 6410:Arabic music 6261:Other topics 6187:Swedish lute 5800:William Byrd 5708:Roman School 5623: 5567: 5547: 5542:Jacques Buus 5533: 5473:Jacobus Vaet 5128:Jacobus Vide 5053:Adrien Basin 4977:12th century 4717: 4570:Architecture 4389:Third stream 4352:Experimental 4183:Porto Alegre 4153:21st-century 4148:20th-century 4143:Contemporary 4091: 4056: 3941: 3934: 3905:Architecture 3839:Jacob Bathen 3556:John Dowland 3426:William Byrd 3300:Leonel Power 3219: 3171: 3157: 3075: 3067: 3051: 3026: 3014: 2974: 2956: 2932: 2916: 2907: 2895: 2870: 2854: 2826: 2808: 2792: 2771: 2760: 2751: 2742: 2709: 2696: 2680: 2640: 2628: 2616: 2604: 2571: 2567: 2557: 2545: 2534:. Retrieved 2530: 2520: 2495: 2491: 2481: 2469: 2457: 2445: 2438:Classen 2008 2433: 2421: 2409: 2397: 2340: 2224: 2170: 2076: 2063: 2020: 2000: 1991: 1974: 1970: 1967: 1963: 1935: 1920: 1904: 1903:). The term 1882: 1870: 1868: 1852: 1844: 1843: 1836: 1827:Roman School 1824: 1805: 1770: 1757: 1753:adding to it 1748: 1711: 1699:formes fixes 1692: 1685: 1668: 1592: 1569: 1547: 1537: 1532: 1525: 1519: 1513: 1502: 1495: 1483: 1481: 1476: 1460: 1450: 1428: 1409: 1398:Leonel Power 1395: 1268: 1264:musica ficta 1252: 1236: 1192: 1164: 1159: 1156:intavolatura 1155: 1107: 1073: 1005: 990: 988: 975:(tenor mass) 962: 943:sacred music 932: 906:William Byrd 874: 854:Ancient Rome 842:Early Modern 839: 830: 805: 797:root motions 754: 736: 728:church modes 708: 699:sacred music 687:counterpoint 684: 680:Roman School 665:counterpoint 631: 612: 590: 582: 581: 540:21st-century 535:20th-century 518:Contemporary 367: 276: 269: 237: 77: / 57: 35: 8211:Terminology 8191:Instruments 7997:Switzerland 7967:South Sudan 7962:South Korea 7887:Saint Lucia 7842:Philippines 7787:North Korea 7767:New Zealand 7762:Netherlands 7567:Ivory Coast 7407:El Salvador 7152:Afghanistan 7119:Micronesian 6920:Compilation 6833:Composition 6728:Composition 6693:Disc jockey 6666:Backup band 6593:Arched Harp 6350:Prehistoric 5874:Collections 5835:John Munday 5596:(1533–1604) 5584:(1527–1575) 5578:(1525–1603) 5572:(1517–1590) 5356:Jean Mouton 5098:Gilles Joye 5078:Jean Cousin 4984:Reenactment 4967:Carolingian 4600:Plateresque 4522:Renaissance 4506:Renaissance 4464:WikiProject 4357:Light music 4342:Baroque pop 4337:Avant-garde 4292:Performance 4057:Renaissance 4044:Early music 3895:Renaissance 3890:Early music 3786:Netherlands 3766:Elizabethan 3621:Jacopo Peri 3591:Alonso Lobo 3551:John Cooper 3413:Late (1530) 3373:Jean Mouton 3285:Jean Japart 3275:Walter Frye 2621:Bowles 1954 2462:Munrow 1974 2402:Stolba 1990 2345:Montagu n.d 2333:Fuller 2010 2156:Harpsichord 2105:Hurdy-gurdy 1960:Instruments 1885:manneristic 1689:fauxbourdon 1654:isorhythmic 1629:fauxbourdon 1621:Magnificats 1601: 1397 1556: 1400 1497:fauxbourdon 1283:Pietro Aron 1208:Note values 1177:are heard. 1104:basse danse 973:Cyclic mass 761:Middle Ages 740:early music 691:dissonances 676: 1525 641: 1397 587:Renaissance 527: 1945 511: 1890 368:Renaissance 331:Early music 226:Major forms 36:The Concert 8097:Uzbekistan 8017:Tajikistan 7922:Seychelles 7902:San Marino 7737:Mozambique 7727:Montenegro 7697:Mauritania 7662:Madagascar 7657:Luxembourg 7612:Kyrgyzstan 7587:Kazakhstan 7392:East Timor 7342:Costa Rica 7307:Cape Verde 7217:Bangladesh 7202:Azerbaijan 7124:Polynesian 7114:Melanesian 6896:Production 6875:Organology 6840:Musicology 6575:Soul music 6530:Folk music 6515:Vernacular 5158:Influences 4941:Structures 4747:Technology 4723:Philosophy 4686:Literature 4605:Portuguese 4377:Film score 4372:Soundtrack 4311:Conducting 4230:Birmingham 4166:By country 4015:Definition 3920:Philosophy 3915:Literature 3883:Background 3749:Traditions 3725:Magnificat 3715:Intermedio 3659:Burgundian 3163:Pantagruel 3102:Ancient FM 2949:required.) 2609:Anon. 2017 2536:2024-09-11 2474:Pryer 1983 2315:References 2190:Jew's harp 2184:Tambourine 2167:Percussion 2151:Clavichord 2094:Irish Harp 2007:portatives 1987:tambourine 1946:concertato 1915:See also: 1760:April 2020 1512:, such as 1434:polyphonic 1255:tablatures 1220:whole note 1175:intermedio 1173:, and the 1116:saltarello 1108:bassadanza 1078:music for 1063:, and the 1057:villanella 1053:canzonetta 1041:bergerette 1025:villancico 1011:, Italian 959:polyphonic 955:monophonic 866:polyphonic 846:humanistic 836:Background 775:, and the 669:Palestrina 601:musicology 213:Monteverdi 193:Palestrina 98:Burgundian 38:(1623) by 8232:Album era 8112:Venezuela 7977:Sri Lanka 7932:Singapore 7817:Palestine 7772:Nicaragua 7702:Mauritius 7652:Lithuania 7537:Indonesia 7492:Guatemala 7192:Australia 7182:Argentina 7102:Caribbean 7056:Southeast 6781:and study 6779:Education 6769:Technique 6650:Ensembles 6560:Pop music 6392:Art music 6370:Religious 6268:Composers 6157:Angélique 5947:Virginals 5911:Parthenia 5795:John Bull 5783:Composers 5527:Composers 5137:Uncertain 5046:Composers 4936:Humanists 4926:Composers 4767:By region 4647:Sculpture 4595:Palladian 4537:Mannerism 4422:Festivals 4321:Orchestra 4173:Australia 4138:Modernism 4130:New music 4101:Classical 4022:Art music 3735:Offertory 3664:Colorists 3526:Mannerism 3008:required) 2765:8:115–40. 2647:, passim. 2633:Anon. n.d 2588:0771-6788 2531:study.com 2512:0027-4631 2390:Bent 2000 2247:Reed pipe 2141:Orpharion 2005:to small 1905:mannerism 1893:Luzzaschi 1879:Mannerism 1714:isorhythm 1633:antiphons 1473:Tinctoris 1216:semibreve 1128:allemande 1080:recorders 1065:lute song 858:bourgeois 815:polyphony 781:Polyphony 645:cantilena 502:Modernism 491:New music 435:Classical 173:Tinctoris 75:Composers 8409:Category 8353:Category 8166:Timeline 8137:Zimbabwe 8027:Thailand 8022:Tanzania 7987:Suriname 7942:Slovenia 7937:Slovakia 7852:Portugal 7832:Paraguay 7807:Pakistan 7722:Mongolia 7677:Maldives 7672:Malaysia 7597:Kiribati 7517:Honduras 7432:Ethiopia 7427:Eswatini 7382:Dominica 7377:Djibouti 7332:Colombia 7297:Cameroon 7292:Cambodia 7277:Bulgaria 7262:Botswana 7222:Barbados 7109:Oceanian 7063:European 7019:Southern 6952:Sampling 6749:Notation 6683:Big band 6645:Musician 6375:Biblical 6162:Archlute 6116:Shamisen 6066:Kutiyapi 5940:See Also 5654:See also 5620:(d.1601) 5608:(d.1587) 4972:Ottonian 4892:Portugal 4876:Scotland 4794:Lombardy 4789:Florence 4713:Medicine 4664:Humanism 4620:Venetian 4563:By field 4444:Category 4113:Romantic 4052:Medieval 3956:Category 3933: ← 3796:Portugal 3720:Madrigal 3694:Venetian 3025:(1959). 2967:(2001). 2426:Bent n.d 2360:OED 2005 2288:See also 2281:Recorder 2253:Hornpipe 2173:triangle 2161:Virginal 2098:Guinness 2075:(called 1954:madrigal 1942:antiphon 1923:Florence 1901:Gesualdo 1897:Marenzio 1889:madrigal 1645:virelais 1641:ballades 1637:rondeaux 1588:Burgundy 1584:chivalry 1576:rondeaux 1469:Binchois 1438:medieval 1402:medieval 1224:Ars Nova 1214:was the 1204:barlines 1199:notation 1132:courante 1124:galliard 1112:tourdion 1096:ricercar 1061:villotta 1021:madrigal 1013:frottola 999:and the 951:madrigal 882:chansons 757:interval 751:Overview 720:trombone 703:madrigal 629:period. 592:ars nova 461:Romantic 342:Medieval 245:Madrigal 208:Victoria 163:Ockeghem 158:Binchois 123:Venetian 108:Colorist 65:Overview 50:a series 48:Part of 8373:Portals 8262:Warfare 8161:Outline 8117:Vietnam 8102:Vanuatu 8092:Uruguay 8072:Ukraine 8047:Tunisia 7952:Somalia 7912:Senegal 7867:Romania 7782:Nigeria 7747:Namibia 7742:Myanmar 7732:Morocco 7712:Moldova 7637:Liberia 7632:Lesotho 7627:Lebanon 7572:Jamaica 7552:Ireland 7527:Iceland 7522:Hungary 7487:Grenada 7472:Germany 7467:Georgia 7447:Finland 7422:Estonia 7417:Eritrea 7397:Ecuador 7372:Denmark 7347:Croatia 7337:Comoros 7287:Burundi 7252:Bolivia 7232:Belgium 7227:Belarus 7212:Bahrain 7207:Bahamas 7197:Austria 7187:Armenia 7167:Andorra 7162:Algeria 7157:Albania 7036:Central 7004:Central 6999:African 6382:Secular 6365:Martial 6355:Ancient 6294:Commons 6278:Players 6237:Gittern 6227:Cittern 6202:Vihuela 6197:Theorbo 6182:Mandora 6177:Mandore 6101:Sanxian 6096:Sanshin 6056:Dramyin 5179:Related 4950:Related 4931:Figures 4849:Germany 4839:England 4757:Warfare 4752:Theatre 4735:Science 4701:Spanish 4615:Spanish 4514:General 4434:Outline 4330:Related 4299:Concert 4205:Ireland 4200:Germany 4082:Baroque 3946:→ 3776:Germany 3756:British 2670:Anon. 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