Information om | Engelska ordet VILLANCICOS

Exempel på hur man kan använda VILLANCICOS i en mening

• His known work also includes a setting of the Magnificat, 7 motets (including one Stabat Mater), 4 antiphons, 8 hymns, and 18 villancicos, but it is highly probable that his authorship is hidden among the many anonymous works of the Portuguese and Spanish renaissance manuscripts.
• Most of the secular songs in both manuscripts, including those by Perez de Gijón, are villancicos; most of them are for three voices, with the tune in the topmost voice.
• The majority of his vast output (over 700 pieces survive) include sacred motets, often for double choir, in the Renaissance style or stile antico as well as sacred villancicos.
• Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Manuel de Zumaya, Juana Inés de la Cruz, Gaspar Fernandes, and Juan Gutiérrez de Padilla.
• Also extant are a few of Cañizares' non-dramatic works, most notably a collection of lyrics for villancicos de Navidad (Christmas carols) commissioned by the Royal Chapel of Madrid, and two examples of Gongorine-style funereal prose in honor of the Dauphin of France, father of Felipe V.
• Cante Chico group: includes alboreá, alegrías, bambera, bandolá, boleras, bulerías, calesera, campanilleros, cantifia, caracoles, cartagenera, chuflas, columbianas, fandangos, fandanguillos, farruca, garrotín, guajíra, jaleo, lorqueña, mariana, media granaína, milonga, mirabrtis, murciana, nanas, panadero, rotis, rocieras, romeras, rondeña, rosás, rumba gitana, sevillanas, tangos gitanos, tanguillo, tiranas, trillera, verdiales, villancicos, vito, zambra, and zorongo gitano.
• With this new group she recorded premieres of a sizable number of villancicos, songs, and cantatas by Manuel José de Quirós, Rafael Antonio Castellanos, Pedro Nolasco Estrada Aristondo, José Eulalio Samayoa, and José Escolástico Andrino.
• It is divided into three parts and consists of fantasias and transcriptions for vihuela of polyphonic songs, motets, villancicos, villanescas and sonnets of other composers, such as Pedro Guerrero, Francisco Guerrero, Juan García de Basurto, Jean Maillard, Jean Richafort, Thomas Crecquillon, Simon Boyleau, Rodrigo de Ceballos, Juan de Navarro, Pedro Ordoñez and Clemens non Papa.
• Filipe da Madre de Deus composed mainly villancicos and tonos for several occasions and holidays, including an 18th-birthday salute to Afonso VI, Ostente aplausos festivos ("Ostentate joyous applause", 1661), and the famous negro villancico for Christmas, Antonya, Flaciquia, Gasipà.
• This songbook contains the only Portuguese manuscript madrigals known to date, besides vilancetes, cantigas and two rare examples of sacred villancicos, one for Christmas (Pues a Dios humano vemos) and the other for the feast of Corpus Christi (O manjar bivo, dulçe i provechoso).
• The earliest complete European compositions in quintuple time, however, appear to be seven villancicos in the Cancionero Musical de Palacio, which were composed between 1516 and 1520.
• The Libro Segundo collection contains 12 pieces of 1, 2, and 3 voices, tonos humanos and villancicos, the final being a vocal chaconne for 4 voices, A la vida bona which features in the works of Miguel de Cervantes.
• His output consisted of villancicos; his work was important for native Americans and immigrants to develop popular genres later in history, such as the bambuco, the torbellino, the guabina, the pasillo, the danza, and the contradanza, among others.
• His own transcriptions include villanos, villancicos, pasacalles, tonos frances, españoletas, romances, folías, seguidillas and a "Danza de la Hacha".
• The villancicos draw on different themes: Andad, pasiones, andad is a love song also included in the Cancionero de la Colombina and in the Cancionero de Segovia; Callen todas las galanas compares the women of Toledo and Seville; and D'aquel fraire flaco is an anticlerical satire.

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