Synonymer & Anagram | Engelska ordet CANTUS

Exempel på hur man kan använda CANTUS i en mening

• Other techniques for organizing the cyclic mass evolved by the beginning of the 16th century, including the paraphrase technique, in which the cantus firmus was elaborated and ornamented, and the parody technique, in which several voices of a polyphonic source, not just one, were incorporated into the texture of the mass.
• In contradistinction, masses which incorporated only a single voice of the polyphonic source, treated not as a cantus firmus ('Tenor Mass') but elaborated and moving between different parts, are referred to by writers on musical theory as paraphrase masses.
• A key-figure of that era was Ieronimos o Tragodistis (Greek: Ιερώνυμος Τραγωδιστής, Hieronymus the Cantor), a Cypriot student of Gioseffo Zarlino, who flourished around 1550-1560 and, among others, proposed a system that enabled medieval Byzantine chant to correspond to the current contrapuntal practices via the cantus.
• Every hymn begins with a verset with a continuous cantus firmus: the hymn melody is stated in long note values in one of the voices, usually the bass, while the other voices provide contrapuntal accompaniment.
• He regretfully observed in 1666 that 'all solemn musick was much laid aside, being esteemed too heavy and dull for the light heels and brains of this nimble and wanton age,' and he therefore ventured to 'new string the harp of David' by issuing fresh editions of his 'Skill of Music,' with music for church service, in 1674, and, in 1677, 'The Whole Book of Psalms' in which he gave for the first time the church tunes to the cantus part.
• A cantus (Latin for "singing", derived from cantare) is an activity organised by Belgian, Dutch, German, French, and Baltic fraternities.
• In this work, texts from Ecclesiasticus are woven together with the Antiphon for Peace, "Da pacem Domine", which is used as a cantus firmus.
• There are numerous other examples of secular cantus firmi used for composition of masses; some of the most famous include: "Se la face ay pale" (Dufay), "Fortuna desperata" (attributed to Antoine Busnois), "Fors seulement" (Johannes Ockeghem), "Mille Regretz", and "Westron Wynde" (anonymous).
• Scheidemann's lasting contribution to the organ literature, and to Baroque music in general, was in his settings of Lutheran chorales, which were of three general types: cantus firmus chorale arrangements, which were an early type of chorale prelude; "monodic" chorale arrangements, which imitated the current style of monody—a vocal solo over basso continuo—but for solo organ; and elaborate chorale fantasias, which were a new invention, founded on the keyboard style of Sweelinck but using the full resources of the developing German Baroque organ.
• Stylistically, the sacred works are typical of the more conservative music of the early 16th century, using non-imitative polyphony over a cantus firmus, alternating sectionally with more homophonic textures or with unadorned plainsong.
• Some of Févin's music uses the technique of free contrapuntal fantasy, later perfected by Josquin, where strict imitation is absent; fragments of a cantus firmus pervade the texture, giving a feeling of overall unity and complete equality of all the voices.
• Chorale preludes are typically polyphonic settings, with a chorale tune, plainly audible and often ornamented, used as cantus firmus.
• Westron Wynde is an early 16th-century song whose tune was used as the basis (cantus firmus) of Masses by English composers John Taverner, Christopher Tye and John Sheppard.
• His Missa domenicalis and Missa ferialis, which have been tentatively dated to the 1470s at the earliest, use paraphrase technique in the tenor voice – the normal voice for carrying the cantus firmus – but also include the same melodic material in other voices at the start of points of imitation.
• In the earlier period, the chorale was typically used as a cantus firmus, fairly easy to hear, with other lines either weaving in and out contrapuntally around it, or following along in the same rhythm in an entirely homophonic style.
• Major forms of music composed for consorts included fantasias, cantus firmus settings (including In nomines), variations, dances or ayres, and fantasia suites.
• In the Roman Rite of the Catholic Church it is known as the antiphona ad introitum (Entrance antiphon), as in the text for each day's Mass, or as the cantus ad introitum (Entrance chant) as in the General Instruction of the Roman Missal, 47 and the First Roman Ordo (sixth to seventh century).
• Nevertheless, the music is distinguished by a serious style, more suitable to the church than that of Lebègue; Gigault's dialogues go beyond those of his contemporaries, Nivers and Lebègue, in that they employ more divisions, and he also cultivates a number of five-voice genres: préludes and récits with pedal cantus firmus in the tenor.
• The alto sings the cantus firmus, transposed by a fifth to B-Dorian, while the other voices follow each other in a fugal stretto with entries just a beat apart until they fall away one by one.
• The Sarum works comprise antiphons, hymns and a respond, all on equal-note cantus firmi, and a large-scale six-part Magnificat that, like two of Taverner's settings, has a psalm tone as the tenor of the full-choir sections.

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