28:
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156:, and the like. These ensembles first appeared in Europe in the thirteenth century, taken from the ceremonial loud bands of the Arab World, consisting of small shawms, nakers, and other percussion, together with pairs of straight trumpets functioning as something of a cross between drone and percussion. In Europe, these instruments were sometimes augmented by bagpipes and pipe and
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in long notes with a contratenor in more or less note-against-note motion and a highly decorated fast-moving upper part. Similar cantus-firmus settings from this period, mostly in three parts and in improvisatory style, may also be associated with these bands. Examples include pieces found in MS
214:", an event that takes place in the streets, always festive parade, which involved a variety of elements and Town Hall representatives, including musical (grallers), audio (fireworks) and visual type (giants, dwarfs, costumes, representations of animals or mythological beings or invented, etc.).
163:
By the fifteenth century, these bands had come mainly to consist of three musicians, two playing shawms and the other a slide trumpet or (later) sackbut, but in the sixteenth century the size gradually increased and the instrumentation became more varied. After about 1500 in
Germany, the
273:. During the sixteenth century, cantus firmus settings gave way to other kind of dances, sometimes improvised and sometimes composed. Music in four parts had become a normal texture by the early sixteenth century, and the bands accordingly increased in size.
309:(vol. 2) "It is not until a few years later, in 1468, that the names of the Mantuan court alta cappella, a group of four players, are recorded. From its origins as a simple band used on ceremonial occasions, this ensemble seems to have been transformed..."
179:
at the Royal
Exchange every Sunday and holiday toward the evening" (with winter break, between September and late March, excepted). These may have been London's first regularly scheduled public concerts.
469:
Peters, Gretchen. 2001. "Civic
Subsidy and Musicians in Southern France During the Fourteenth and Fifteenth Centuries: A Comparison of Montpellier, Toulouse and Avignon", in
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with melodies traditionally played by the tenor member of the family. In addition, in the same
Catalonia, specially in Tarragona area, the use of a shorten shawm called "
175:
Many
English cities in the 1500s had town waits, as did rich individuals and institutions. In 1571, London ordered its waits to play "upon their instruments
441:, edited by Reinhard Strohm and Bonnie J. Blackburn, 97–162. The New Oxford History of Music, vol. 3, part 1. Oxford and New York: Oxford University Press.
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In the hall it was haute musique, itself divided between musica alta for wind bands and basse musique for soft instruments accompanied by voices.
204:
522:
Das Alta-Ensemble und seine
Instrumente von der Spätgotik bis zur Hochrenaissance (1300–1550). Eine musikikonografische Studie
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331:
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band found throughout continental Europe from the thirteenth to the eighteenth centuries, which typically consisted of
529:
137:
293:, 2 vols., Cambridge Studies in Music (Cambridge and New York: Cambridge University Press, 1980–82)::2008,
17:
491:
Polk, Keith. 1989. "The
Trombone, the Slide Trumpet and the Ensemble Tradition of the Early Renaissance".
509:, edited by Colin Lawson and Robin Stowell, 335–52. Cambridge and New York: Cambridge University Press.
564:
230:
There is one surviving composition from the late-fifteenth or early sixteenth century actually titled
361:, and Keith Polk, "Alta (i)", Grove Music Online, edited by Deane Root (accessed 28 January 2015)
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Music as
Concept and Practice in the Late Middle Ages: Players, Patrons and Performance Practice
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Polk, Keith. 1987. "Instrumental Music in the Urban
Centres of Renaissance Germany".
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302:
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473:, edited by Fiona Kisby, 57–69. Cambridge and New York: Cambridge University Press.
437:
Brown, Howard Mayer, and Keith Polk. 2001. "Instrumental Music, c.1300–c.1520", in
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Tröster, Patrick. 2004. "More about
Renaissance Slide Trumpets: Fact or Fiction?"
387:, "Trumpet", Grove Music Online, edited by Deane Root (accessed 28 January 2015).
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is the British equivalent. These were not found anywhere outside of Europe.
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234:. It is an untexted piece for three (presumably instrumental) voices by
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Downey, Peter. 1984. "The Renaissance Slide Trumpet: Fact or Fiction?"
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Polk, Keith, 2012. "Instrumental Performance in the Renaissance". In
420:, "The Trompette des Ménestrels in the 15th-Century Alta Capella",
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Herbert W. Myers, "Slide Trumpet Madness: Fact or Fiction?",
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244:(E-Mp 2–1–5), and is assumed to be a typical example of the
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Present-day descendants of this tradition are the Catalan
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in general refers to the "loud music" of instruments like
113:
Modern reconstruction of a fifteenth-century slide trumpet
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developed into the kind of band that came to be known as
502:. Cambridge and New York: Cambridge University Press.
31:
Early 17th-century Flemish alta cappella, drawing by
471:
Music and Musicians in Renaissance Cities and Towns
191:dancers, and which feature a modern version of the
47:, a soprano shawm, a second alto shawm and a tenor
424:17, no. 3 (August 1989): 397–402. Citation on 399.
500:German Instrumental Music of the Late Middle Ages
374:17, no. 3 (August 1989): 382–89. Citation on 383.
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291:Music and Patronage in Sixteenth-Century Mantua
35:. Instruments are (from left to right): a bass
464:Journal of the American Musicological Society
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267:, and the setting of the basse danse melody,
507:The Cambridge History of Musical Performance
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226:Two shawms of the fifteenth-century type
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326:. London: Jonathan Cape. p. 123.
248:of this ensemble. It sets the popular
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462:. 1966. "Hoftanz and Basse Dance".
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550:International Guild of Town Pipers
524:. Tübingen: Medien Verlag Köhler.
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399:"Trombone History: 16th Century"
324:Feast: A History of Grand Eating
199:" is used for the human tower "
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456:12, no. 1 (February): 26–33.
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570:Instrumental musical groups
495:17, no. 3 (August): 389–97.
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466:19, no. 1 (Spring): 13–36.
187:bands, who play music for
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59:A re-created wait in York
539:32, no. 2 (May): 252–68.
520:Tröster, Patrick. 2001.
383:Margaret Sarkissian and
270:Je suy povere de leesse
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397:Will Kimball (2020).
241:Cancionero de Palacio
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498:Polk, Keith. 1992.
486:Early Music History
259:Trent 87,5 such as
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79:was a kind of town
359:Howard Mayer Brown
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565:Renaissance music
515:978-0-521-89611-5
479:978-0-521-66171-3
447:978-0-19-816205-6
333:978-0-224-06138-4
307:978-0-521-23587-7
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250:basse danse
208: [
71:(Italian),
69:alta musica
43:, a treble
559:Categories
404:2023-02-20
277:References
218:Repertoire
154:psalteries
39:, an alto
488:7:159–86.
301:(vol 1);
256:La Spagna
205:cercavila
138:recorders
322:(2002).
203:" and "
201:castells
126:sackbuts
93:sackbuts
189:sardana
146:fiddles
105:History
49:sackbut
45:cornett
37:dulcian
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197:gralla
122:shawms
85:shawms
253:tenor
212:]
193:shawm
185:cobla
158:tabor
150:harps
142:viols
130:drums
98:Waits
41:shawm
526:ISBN
511:ISBN
475:ISBN
443:ISBN
328:ISBN
303:ISBN
295:ISBN
232:Alta
166:alta
87:and
81:wind
77:alta
91:or
67:or
63:An
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