2065:
2075:
509:. Printers paid singular attention to him, issuing for example, editions consisting solely of his works â most print editions at the time were anthologies of music by several composers. Although highly admired by his contemporaries, the next generation of Franco-Flemish composers mostly wrote in a more simplified style. Part of this was an inevitable stylistic reaction to a
156:(1560), in 1540 Gombert was convicted of sexual contact with a boy in his care and was sentenced to hard labor in the galleys. The exact duration of his service in the galleys is not known, but he was able to continue composing for at least part of the time. Most likely he was pardoned sometime in or before 1547, the date he sent a letter along with a motet from
93:("master of the boys") for the royal chapel. He and the singers went with the emperor on his travels throughout his holdings, leaving records of their appearances in various cities of the empire. These visits were musically influential, in part because of Gombert's stature as a musician; thus the travels of Charles and his chapel, as did those of his predecessor
450:, but more so than the majority of contemporary secular pieces, especially the 'Parisian' chanson. During the middle of the sixteenth century, Gombert received credit for several of the Parisian chansons, but later studies have discovered that he was not the sole 'Nicolas' of those secular pieces but many were actually by
173:
settings preserved uniquely in manuscript in Madrid are often held to have been the "swansongs" that according to Cardan won his pardon; according to this story, Charles was so moved by these
Magnificat settings that he let Gombert go early. An alternative hypothesis (Lewis 1994) is that Cardan was
325:
Out of the ten masses that
Gombert composed, nine survive complete. The chronology of the masses is not known, but an approximate order can be deduced from stylistic characteristics. Two musical characteristics, sequence and ostinato, that were rare in Gombertâs later works, are present in his
458:. Authors of the texts used in many chansons, a genre in which Gombert excelled, were mostly anonymous. He turned to older verse, often of a folkish type, with typical subject matter including unhappy love, farewells, separations, infidelities and the like. Many of these chansons appeared in
88:
as a singer in his court chapel in 1526 and possibly as a composer as well. Most likely he was taken on while
Charles was passing through Flanders, for the emperor traveled often, bringing his retinue with him, and picking up new members as he went. A document dated 1529 mentions Gombert as
192:
and
Nicolas Gombert are generally recognized as the exemplars of the late Franco-Flemish school, before the center of Renaissance art-music moved to Italy. A Fleming, Willaert relocated to Italy and along with the originally Flemish composer
181:, spending the final years of his life as canon there. Bracketing dates for his probable death are 1556 and 1561; in the former year Finck mentioned that he was still living, and in 1561 Cardan wrote that he was dead, without giving details.
520:
While most composers of the next generation did not continue to write vocal music using
Gombert's method of pervasive imitation, they continued to use this contrapuntal texture in instrumental works. Forms such as the
341:
was
Gombert's preferred form, and his compositions in this genre not only were the most influential part of his output, but they show the greatest diversity of compositional technique. His motets, alongside those of
679:, Ensemble Gombert, Tall Poppies TP192. Includes Gombert's motet "Hodie nobis caelorum" and seasonal works by Mouton, Josquin, de Silva, Clemens non Papa, Tallis, Victoria, Lassus, Sheppard and Palestrina.
685:, Ensemble Gombert, Move Records MCD 277. Includes Gombert's motet "Regina caeli laaetare" and works by Josquin, de Monte, Byrd, Brahms ("Drei Motetten," op. 110) and Frank Martin (Mass for Double Choir).
433:. Instead of dividing forces consistently, Gombert frequently changed the combinations of voice groups. These vocal pieces contained more direct repetition, sequence and ostinato than his other music.
145:
and
Crecquillon. While serving in this position, he likewise unofficially held the position of court composer, arranging numerous works commemorating the key happenings during Charles' life.
216:
passages are rare in his sacred works, and he is particularly fond of imitation at very close time intervals, a technically very difficult feat (although he only rarely wrote strict
517:, which required that text be understandable in sacred, especially liturgical, music â something which is next to impossible for a composer to achieve in a dense imitative texture.
174:
referring to the highly penitential First Book of four-part motets; however, in neither case is it clear how
Gombert was able to compose while rowing in the galleys as a prisoner.
369:, and double texts, are unusual in Gombert's style, excepting where he used aspects of the previous generation's style as an homage, such as in his motet on the death of Josquin,
177:
It is not known how long
Gombert lived after his pardon or what positions, if any, he held; his career faded into relative obscurity after he was freed. He may have retired to
1643:
101:, continued the transplantation of the Franco-Flemish polyphonic tradition onto the Iberian Peninsula. At some point in the 1530s Gombert became a cleric and probably a
407:
in which the voices were spatially separated; rather, the voice sub-groupings change during the pieces. These large ensemble compositions include an eight-voice
233:) which were the most common voicings for pieces at the time, such as five and six parts in mostly male registers. Gombert, unlike his predecessor and mentor,
248:
Harmonically, Gombert's compositions stressed the traditional modal framework as a baseline, but especially in dense textures of six or more voices, he wrote
455:
237:, used irregular numbers of voice entries and avoided precise divisions of phrases, resulting in a less-punctuated, more continuous sonic landscape.
142:
1036:
2114:
780:
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are later descendants. Gombert's music represents one of the extremes of contrapuntal complexity ever attained in purely vocal music.
501:, as can be seen by the wide distribution of his music, the use of his music as source material for compositions by others, including
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648:
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148:
In 1540 during the height of his career, he vanished from chapel records. According to a contemporary physician and mathematician
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2129:
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396:, and consists of a cycle of short motets, with the individual motets based on successive verses of the Magnificat text.
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Some of
Gombert's works are for unusually large vocal ensembles, including 8, 10, and 12 voices. These works are not
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1868:
1598:
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Details of his early life are sketchy, but he was probably born around 1495 in southern Flanders, probably between
46:
1316:
273:, or an extended set of pitches from the basic modal framework, was very prominent in his musical stylings. The
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1437:
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596:
Gombert: Masses, a la Coronatione, Media Vita, Philomena Previa, Beati Omnes. Motets, Media Vita, Beati omnes
267:. Melodic motion in one voice that, to retain melodic and harmonic coherence with the other voices, employed
85:
1878:
988:
137:. Even though he held this very position at the Imperial chapel, he never officially received the title of
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574:
1923:
994:
373:. When considering texts for his motets, Gombert obtained his inspiration from Scripture â such as the
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2109:
2068:
1971:
1786:
1309:
583:
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984:
425:
392:, which may have won him his pardon, are among his most famous works. Each is written in one of the
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2017:
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385:. He was less attentive to textual placement and clarity than to the overall expressive sonority.
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or B: a D major and D minor chord or a G major and a G minor chord might be simultaneously sounded
78:
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1806:
1781:
404:
17:
1480:
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that Gombert employed for emotional effect while adhering to traditional rules of counterpoint.
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2055:
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972:
The Oxford History of Western Music: Volume 1 â The Earliest Notations to the Sixteenth Century
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idiom which had reached an extreme, and part of this was due to the specific dictates of the
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34:
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arrangements, with their wide geographical distribution showing their immense popularity.
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230:
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129:("master of the children") until some time between 1537 and 1540, being succeeded by
38:
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357:
composers. Familiar characteristics of motets of the preceding generation, such as
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234:
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42:
673:, as well as motets by Willaert, Clemens non Papa, Ockeghem, Des Prez, and Mouton.
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1961:
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Gombert's style is characterized by dense, inextricable polyphony. Extended
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70:
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Gombert was one of the most renowned composers in Europe after the death of
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sections wherein a subset of voices would sing the lowered pitches of F or B
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69:, possibly in the town of La Gorgue. German writer and music theorist
66:
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brought the Franco-Flemish style of simultaneously dense and lyrical
106:
50:
1301:
651:. Contains two motets by Gombert, including his elegy for Josquin,
220:). He preferred the lower voice ranges instead of the four voices (
77:; this would have been during the renowned composer's retirement in
1832:
529:
486:
430:
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and cross-accents are characteristic of his rhythmic idiom, giving
110:
41:. He was one of the most famous and influential composers between
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221:
178:
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1852:
762:, The Sound and the Fury, ORF CD 3077. Includes twelve motets.
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102:
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Exemplary among Gombert's formally perfect pieces that employ
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is a common device in Josquin, it is integral in Gombert.
1010:"Tulerunt Dominum Meum" ("They have taken away my lord")
533:
are directly descended from the vocal style of Gombert;
839:
258:
while another subset would sing the raised pitches of F
938:
Renaissance Music: Music in Western Europe, 1400â1600
769:, Brabant Ensemble, Stephen Rice, Hyperion CDA67614
661:, Virginia Arts Recordings, VA-04413, performed by
141:â music director â which was a title given to both
49:, and best represents the fully developed, complex
723:, The Sound and the Fury, ORF SACD 3006. Includes
300:are his six-voice motet on the death of Josquin,
2091:
954:. ed. L. Macy (accessed 19 November 2007), <
950:Nugent, George and Jas, Eric âNicolas Gombertâ.
814:
812:
810:
808:
806:
692:, The Sound and the Fury, ORF CD 463. Includes
625:, Tallis Scholars, CD Gimell Records CDGIM 038
201:to Italy. Like Willaert, Gombert brought the
1317:
1030:
205:style to its highest state of perfection; if
899:
803:
429:style, Gombertâs multi-voice works were not
403:in the usual sense, or in the manner of the
974:. New York: Oxford University Press, 2005.
943:Brown, Howard Mayer and Stein, Louise K.
776:, Capella Alamire, Urquhart, Naxos 8.570180
485:(probably written when he was in Spain), a
442:â are less contrapuntally complex than his
423:. In comparison with the northern Italian
245:to his otherwise seamless, enduring lines.
1324:
1310:
1037:
1023:
947:2nd ed. New Jersey: Prentice-Hall, 1999.
1044:
999:International Music Score Library Project
125:. He remained in the Imperial chapel as
489:, and a handful of instrumental pieces.
419:, and 10- and 12- voice settings of the
582:, Beauty Farm, Fra Bernardo FB 1504211
53:style of this period in music history.
14:
2092:
649:Studio de musique ancienne de Montréal
591:, Beauty Farm, Fra Bernardo FB 1612457
2115:16th-century Franco-Flemish composers
1331:
1305:
1018:
598:. Beauty Farm, Fra Bernado FB 2005329
84:Gombert was employed by the emperor
639:, Henry's Eight, Hyperion CDA 66943
632:, Henry's Eight: Hyperion CDA 66828
24:
774:Motets, Chansons, and a Magnificat
647:, CBC Records, MVCD 1121, sung by
436:His secular compositions â mostly
316:apart., and his six-voice chanson
184:
81:, sometime between 1515 and 1521.
25:
2146:
978:
605:, Oxford Camerata, Naxos 8.557732
552:Music from the Court of Charles V
350:, stand out from the rest of the
109:at several cathedrals, including
2073:
2064:
2063:
1599:Giovanni Pierluigi da Palestrina
537:forms and processes such as the
388:Gombert's eight settings of the
73:wrote that Gombert studied with
2125:French male classical composers
469:His surviving works include 10
308:, and occasional root-position
277:, usually between an F and an F
995:Free scores by Nicolas Gombert
985:Free scores by Nicolas Gombert
917:
908:
830:
821:
13:
1:
2130:16th-century French musicians
1342:List of Renaissance composers
791:
665:. Includes Gombert's motet,
544:
2120:French Renaissance composers
989:Choral Public Domain Library
637:Missa Tempore paschali, etc.
492:
7:
965:. New York, Norton, 1954.
940:. New York: Norton, 1998.
10:
2151:
1972:Petrus Phalesius the Elder
1787:English Virginalist School
33:(c. 1495 â c. 1560) was a
2043:
1995:
1922:
1861:
1815:
1762:
1754:Jan Pieterszoon Sweelinck
1637:
1524:
1436:
1348:
1339:
1248:
1202:
1141:
1085:
1052:
956:http://www.grovemusic.com
945:Music in the Renaissance.
963:Music In the Renaissance
896:Nugent/Jas, Grove online
781:free recordings of songs
671:Missa Sub tuum presidium
348:Jacobus Clemens non Papa
1782:English Madrigal School
558:, Sony Vivarte SK 48249
56:
27:Franco-Flemish composer
1624:TomĂĄs Luis de Victoria
1428:Oswald von Wolkenstein
1215:Jacob Clemens non Papa
767:Tribulatio et angustia
749:Ne Reminiscaris Domine
733:Homo Erat in Jerusalem
725:Missa Sur Tous Regrets
677:Christmas to Candlemas
630:Eight-part Credo, etc.
612:, Tallis Scholars, CD
573:, ECM New Series 1884
417:Missa Tempore paschali
1644:Transition to Baroque
1589:Pierre de Manchicourt
1230:Pierre de Manchicourt
1046:Franco-Flemish School
694:Missa Quam Pulchra Es
667:Lugebat David Absalon
383:Roman Catholic church
1674:Girolamo Frescobaldi
1481:CristĂłbal de Morales
452:Nicolas de La Grotte
377:â as opposed to the
304:, with its clashing
1792:Florentine Camerata
1764:Composition schools
1423:Gaspar van Weerbeke
785:UmeÄ Akademiska Kör
95:Philip I of Castile
1987:Thomas Vautrollier
1967:Ottaviano Petrucci
1942:Pierre Attaingnant
1932:Hieronymus Andreae
1739:Michael Praetorius
1724:Claudio Monteverdi
1714:Giovanni de Macque
1709:Luzzasco Luzzaschi
1679:Alfonso Fontanelli
1569:Francisco Guerrero
1544:Antonio de CabezĂłn
1456:Thomas Crecquillon
1438:Middle (1470â1530)
1418:Johannes Tinctoris
1358:Alexander Agricola
1266:Giovanni de Macque
1220:Thomas Crecquillon
1179:Matthaeus Pipelare
1133:Johannes Tinctoris
1118:Marbrianus de Orto
1093:Alexander Agricola
952:Grove Music Online
603:Magnificat 1, etc.
589:Gombert: Motets II
507:Claudio Monteverdi
165:Ferrante I Gonzaga
139:maĂźtre de chapelle
131:Thomas Crecquillon
127:maĂźtre des enfants
79:Condé-sur-l'Escaut
2135:Pardon recipients
2110:Flemish composers
2087:
2086:
1684:Giovanni Gabrieli
1511:Philippe Verdelot
1408:Johannes Ockeghem
1350:Early (1400â1470)
1333:Renaissance music
1299:
1298:
1271:Philippe de Monte
1113:Johannes Ockeghem
1108:Guillaume Faugues
969:Taruskin, Richard
936:Atlas, Allan W.
772:Nicolas Gombert,
765:Nicolas Gombert,
760:Nicolas Gombert 3
758:Nicolas Gombert,
721:Nicolas Gombert 2
719:Nicolas Gombert,
690:Nicolas Gombert 1
688:Nicolas Gombert,
683:Josquin to Martin
635:Nicolas Gombert,
628:Nicolas Gombert,
621:Nicolas Gombert,
608:Nicolas Gombert,
601:Nicolas Gombert,
594:Nicolas Gombert,
587:Nicolas Gombert,
578:Nicolas Gombert,
571:Hilliard Ensemble
561:Nicolas Gombert,
550:Nicolas Gombert,
456:Guillaume Nicolas
91:magister puerorum
16:(Redirected from
2142:
2077:
2067:
2066:
1947:Vittorio Baldini
1924:Music publishing
1699:Hans Leo Hassler
1654:Gregorio Allegri
1609:Cipriano de Rore
1584:Vicente Lusitano
1579:Orlando di Lasso
1534:Jacques Arcadelt
1501:Pierre de la Rue
1496:Josquin des Prez
1476:Clément Janequin
1471:Antoine de FĂ©vin
1461:Antonius Divitis
1403:Johannes Martini
1378:Guillaume Du Fay
1326:
1319:
1312:
1303:
1302:
1256:Orlando di Lasso
1235:Cipriano de Rore
1210:Jacques Arcadelt
1194:Pierre de la Rue
1184:Josquin des Prez
1159:Antoine de FĂ©vin
1154:Antonius Divitis
1123:Johannes Prioris
1077:Johannes Pullois
1062:Guillaume Du Fay
1039:
1032:
1025:
1016:
1015:
1005:Ensemble Gombert
924:
923:Taruskin, p. 597
921:
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894:
837:
836:Taruskin, p. 593
834:
828:
825:
819:
816:
644:Heavenly Spheres
556:Huelgas Ensemble
515:Council of Trent
503:Orlando di Lasso
499:Josquin des Prez
332:Tempore paschali
318:Tous les Regretz
289:and B, create a
288:
287:
282:
281:
263:
262:
257:
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235:Josquin des Prez
195:Orlando di Lasso
99:Pierre de la Rue
43:Josquin des Prez
37:composer of the
21:
2150:
2149:
2145:
2144:
2143:
2141:
2140:
2139:
2090:
2089:
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2083:
2060:
2052:
2039:
1991:
1977:Girolamo Scotto
1962:Antonio Gardano
1918:
1857:
1811:
1758:
1749:Heinrich SchĂŒtz
1744:Philippe Rogier
1694:Orlando Gibbons
1646:
1642:
1633:
1629:Giaches de Wert
1619:Christopher Tye
1574:Claude Le Jeune
1564:Claude Goudimel
1559:Nicolas Gombert
1554:Andrea Gabrieli
1549:Jacobus Clemens
1520:
1516:Adrian Willaert
1446:Martin Agricola
1432:
1368:Antoine Busnois
1363:Gilles Binchois
1344:
1335:
1330:
1300:
1295:
1291:Giaches de Wert
1281:Philippe Rogier
1261:Carolus Luython
1244:
1240:Adrian Willaert
1225:Nicolas Gombert
1198:
1137:
1081:
1072:Antoine Busnois
1067:Gilles Binchois
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961:Reese, Gustave
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817:
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794:
741:Ave Salus Mundi
659:Flemish Masters
623:Magnificats 5â8
610:Magnificats 1â4
580:Gombert: Motets
547:
495:
405:Venetian School
344:Adrian Willaert
328:Quam pulchra es
326:earlier masses
298:cross-relations
285:
284:
279:
278:
275:false relations
260:
259:
254:
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190:Adrian Willaert
187:
185:Music and style
135:Cornelius Canis
59:
31:Nicolas Gombert
28:
23:
22:
15:
12:
11:
5:
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2049:Medieval music
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2020:
2015:
2005:
1999:
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1982:Tielman Susato
1979:
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1957:Valerio Dorico
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1689:Carlo Gesualdo
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1659:Thomas Campion
1656:
1650:
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1635:
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1626:
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1604:Costanzo Porta
1601:
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1594:Hans Neusidler
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1522:
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1513:
1508:
1503:
1498:
1493:
1488:
1483:
1478:
1473:
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1466:Costanzo Festa
1463:
1458:
1453:
1451:Antoine Brumel
1448:
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1434:
1433:
1431:
1430:
1425:
1420:
1415:
1410:
1405:
1400:
1395:
1393:Heinrich Isaac
1390:
1385:
1383:John Dunstaple
1380:
1375:
1373:Loyset CompĂšre
1370:
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1249:5th generation
1246:
1245:
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1242:
1237:
1232:
1227:
1222:
1217:
1212:
1206:
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1203:4th generation
1200:
1199:
1197:
1196:
1191:
1189:Jean Richafort
1186:
1181:
1176:
1171:
1166:
1164:Heinrich Isaac
1161:
1156:
1151:
1149:Antoine Brumel
1145:
1143:
1142:3rd generation
1139:
1138:
1136:
1135:
1130:
1128:Johannes Regis
1125:
1120:
1115:
1110:
1105:
1103:Firminus Caron
1100:
1098:Loyset CompĂšre
1095:
1089:
1087:
1086:2nd generation
1083:
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1079:
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1058:
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1054:1st generation
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979:External links
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143:Adrien Thibaut
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97:with composer
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914:Atlas, p. 397
911:
905:Reese, p. 257
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827:Reese, p. 256
824:
818:Atlas, p. 396
815:
813:
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428:
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426:cori spezzati
422:
418:
414:
411:the 12-voice
410:
406:
402:
397:
395:
391:
386:
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380:
376:
372:
368:
367:cantus firmus
364:
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159:
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151:
150:Jerome Cardan
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71:Hermann Finck
68:
64:
54:
52:
48:
44:
40:
36:
32:
19:
2105:1560s deaths
2100:1490s births
2054:
2047:
2018:Architecture
1952:Jacob Bathen
1669:John Dowland
1558:
1539:William Byrd
1413:Leonel Power
1286:Jacobus Vaet
1224:
991:(ChoralWiki)
971:
962:
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832:
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773:
766:
759:
752:
748:
744:
740:
737:Sancta Mundi
736:
732:
728:
724:
720:
713:
709:
706:Sancta Maria
705:
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689:
682:
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636:
629:
622:
609:
602:
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588:
579:
562:
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528:
522:
519:
511:contrapuntal
496:
473:, about 140
468:
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421:Regina caeli
420:
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398:
394:church modes
389:
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336:
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301:
295:
270:musica ficta
268:
247:
239:Syncopations
211:
199:counterpoint
188:
176:
168:
161:
160:to Charles'
153:
147:
138:
126:
90:
83:
60:
30:
29:
2008:Renaissance
2003:Early music
1899:Netherlands
1879:Elizabethan
1734:Jacopo Peri
1704:Alonso Lobo
1664:John Cooper
1526:Late (1530)
1486:Jean Mouton
1398:Jean Japart
1388:Walter Frye
1169:Jean Mouton
702:Salve Maria
653:Musae Jovis
477:, about 70
371:Musae Jovis
302:Musae Jovis
39:Renaissance
2094:Categories
2033:Philosophy
2028:Literature
1996:Background
1862:Traditions
1838:Magnificat
1828:Intermedio
1772:Burgundian
792:References
779:Listen to
616:CDGIM 037
565:media vita
545:Recordings
431:antiphonal
401:polychoral
390:Magnificat
291:dissonance
214:homophonic
203:polyphonic
170:Magnificat
154:Theonoston
133:and later
67:Saint-Omer
51:polyphonic
47:Palestrina
1848:Offertory
1777:Colorists
1639:Mannerism
745:Emendemus
714:Inviolata
698:Ave Maria
493:Influence
415:from the
306:semitones
250:polymodal
207:imitation
107:benefices
86:Charles V
2069:Category
2046: â
1909:Portugal
1833:Madrigal
1807:Venetian
710:Da Pacem
663:Zephyrus
530:ricercar
487:madrigal
479:chansons
439:chansons
359:ostinato
286:♭
280:♯
261:♯
255:♭
111:Courtrai
2059:â
1889:Germany
1869:British
1001:(IMSLP)
997:at the
987:in the
931:Sources
535:Baroque
524:canzona
483:canciĂłn
464:vihuela
381:of the
379:liturgy
352:Flemish
314:tritone
179:Tournai
167:. The
158:Tournai
123:BĂ©thune
75:Josquin
18:Gombert
2079:Portal
1904:Poland
1884:France
1874:Cyprus
1853:Pavane
1647:c.1600
567:, etc.
563:Missa
475:motets
471:masses
448:masses
444:motets
409:Credo,
375:Psalms
310:triads
283:or a B
121:, and
103:priest
2023:Dance
1914:Spain
1894:Italy
1823:Carol
1802:Roman
958:>.
797:Notes
783:from
539:fugue
413:Agnus
363:canon
355:motet
339:motet
243:ictus
218:canon
63:Lille
1843:Mass
1641:and
527:and
505:and
481:, a
462:and
460:lute
446:and
346:and
337:The
330:and
119:Metz
115:Lens
65:and
57:Life
45:and
2013:Art
454:or
2096::
841:^
805:^
751:,
747:,
743:,
739:,
735:,
731:,
727:,
712:,
708:,
704:,
700:,
696:,
569:,
554:,
365:,
361:,
334:.
322:.
312:a
117:,
113:,
1325:e
1318:t
1311:v
1038:e
1031:t
1024:v
787:.
755:.
716:.
655:.
231:B
228:T
225:A
222:S
20:)
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