88:(singing-master) is the most important among them, needing to consecrate two more masses per week, and instructs the choristers. In order of importance the succentor is followed by the organist and the bass, then the ordinary vicars. Somewhere in the 17th century these last three vicars became expected to play an instrument too, usually a violin or a cello. In the 16th and 17th century vicars were replaced after a few months or years, but after shorter intervals than they were in the 18th century. As exams to appoint a new vicar were open to candidates of a larger area, it follows that musicians often travelled from one region to another for their next employment.
134:
and their
Imperial successors tried to stabilise itinerary musicians into court chapels, for regularity in worship, and showing off splendour, which in the 16th century led to a network of musicians throughout Europe. Eventually, such chapels could become "a group of musicians that is not explicitly
108:, modelled on the group of twelve choristers employed in the cathedral at Liège. These boys were educated from a very young age (sometimes only six years when starting) in a dedicated room above the ambulatory. The best of them stayed some time after
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The second group consisted of somewhat around seven or eight secular musicians, singers and instrumentists, hired for short-term assignments depending on financial possibilities. The instruments include violin, cello, bassoon,
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In
European Christian tradition church buildings had a body of clergymen responsible for the religious services, including the singing in these services. The group of performers could include instrumentalists. For the
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were among the most famous of such groups of performers in the 16th century. Other examples of such chapels with a history going back to the Middle Ages include the Music Chapel of the
Cathedral of Pamplona.
84:(here understood as spiritual musicians). These vicars have, by papal bull from 1444, six altars exclusively reserved for them, where they have to consecrate mass at least once a week. The
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Eventually, "Chapel", or one of its equivalents in other languages, became part of the name of diverse associations of musicians. Sometimes with a link to official instances:
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expands the chapel to a group of over twenty musicians, mostly singers, but by the end of the 17th century also four to six instrumentalists. By that time the canon-cantor (
100:. About half of these musicians had an established connection to the chapter, in a role as sacristan, sexton, adult acolyte, or exceptionally former choristers that became
104:. The others were often itinerary musicians additionally employed for some days in periods of high feasts. The third group were up to twelve
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41:, instruments and robes were kept. The name chapel transferred to the musical ensemble, and their director was known as
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Many private ensembles, where "chapel" often indicates the preference for a pre-classical music repertoire:
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Neue
Hofkapelle Graz, a new ensemble in the 2010s, with a name referring to a court chapel founded in 1564.
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are responsible for musical accompaniment of the religious services. By the end of the 16th century the
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Koninklijke muziekkapellen van
Defensie (literally, "Royal Music Chapels of Defense"), a series of
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The Royal Chapel in the Time of the
Habsburgs: Music and Court Ceremony in Early Modern Europe
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The genesis, development and organisation of such a musical chapel is documented for the
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Capella
Agostino Steffani, founded 1981, and fifteen years later renamed to
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Civic authorities would often employ a band for public functions: the term
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Hofkapelle München, new formation in 2009, referring to a prior orchestra
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112:, as instrumentist, or attending a position as vicar or adult musician.
80:) supervises three groups of musicians: the first is a fixed set of six
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Juan José Carreras López, Bernardo José García García, Tess
Knighton,
157:(Belgium), primarily an institute for the formation of young musicians
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317:, Volume 37, Issue 1, pp. 113-114. Oxford University Press , 2009
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linked to regular worship, but to public feasts and functions".
252:"El afianzamiento de la Capilla de Música durante el siglo XVI"
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indicates such a 15th-16th century
European town wind band.
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was used for rehearsing. That was also the place where
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130:From the 15th century worldly rulers like the
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271:Capilla de Música de la Catedral de Pamplona
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31:larger church buildings, like cathedrals
340:Koninklijke muziekkapellen van Defensie
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64:, at the time one of the towns in the
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20:refers to a group of musicians.
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163:, several orchestras in Germany
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203:La Capella Reial de Catalunya
68:: in the 15th century twenty
155:Queen Elisabeth Music Chapel
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311:"The Munich court chapel."
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66:Prince-Bishopric of Liège
24:Origin: religious service
366:.hannoversche-hofkapelle
257:capillademusicapamplona
209:Hannoversche Hofkapelle
309:Alexander J. Fisher.
299:, year 5, pp. 208-209
285:, year 5, pp. 207-208
197:Capella Istropolitana
120:Further information:
48:The musicians of the
391:Neue Hofkapelle Graz
185:Capella Cracoviensis
62:Basilica of Tongeren
297:De zeventiende eeuw
283:De zeventiende eeuw
380:Hofkapelle München
146:Later developments
414:Music performance
132:dukes of Burgundy
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116:Worldly variants
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409:Church music
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359:"Geschichte"
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126:Royal chapel
122:Court chapel
110:voice change
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315:Early Music
35:apse chapel
403:Categories
236:References
229:a cappella
170:in Belgium
106:choristers
39:choirbooks
16:In music,
181:(Belgium)
86:succentor
78:precentor
222:See also
187:, Kraków
102:chaplain
52:and the
94:trumpet
74:chapter
82:vicars
70:canons
18:chapel
33:, an
259:.com
124:and
98:zink
96:and
368:.de
364:www
361:at
347:.be
345:mil
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