The aim of this text is to investigate the traditions of alternative notations, which form the background for Ockeghem’s famous canon “Prenez sur moy”, the final song of the Copenhagen […]
WeiterlesenIt is dusk and the young Gypsy clings to his Zemfira. Both Gypsies hope to remain until daylight, despite the dire tragedy they know this might bring. If Zemifa’s non-Gypsy […]
WeiterlesenOriginally published in: Johannes Ockeghem. Actes du XLe Colloque international d’études humanistes Tours, 3-8 février 1997, Klincksieck 1998, pp. 253-270. READING LABORDE The Significance of Johannes Ockeghem’s chansons in the […]
WeiterlesenThe French musical manuscript in Florence, Biblioteca Riccardiana, Ms. 2794, and the ‘Loire Valley’ chansonniers http://chansonniers.pwch.dk/NOTES/Flo2794art.html
WeiterlesenSchoenberg, Unfolding, and “Composing With Twelve Tones”: A Case Study (Op. 25/I) John Brackett Introduction “Composition is: thinking in tones and rhythms. Every piece of music is the presentation of […]
WeiterlesenThis article has been inadvertently deleted and is now again at your disposition Syntonality is a system of composition designed to provide composers with the ability to control the tension/relaxation […]
WeiterlesenOriginally published in: International Journal of Musicology 2 – 1993, pp. 61-83 Text and Music as ‘Spiel’ – Humour in Ockeghem’s Chanson “L’aultre d’antan” “Dufay the Reader”2 is the title […]
WeiterlesenOriginally published in Musica Disciplina XLIV (1990), pp. 185-231 In his “Livre de l’Esperance”1 (ca. 1429/30), Alain Chartier developed a favourite topic of the 15th century which became the main […]
WeiterlesenBlog by Andrew Lawrence-King based on Luis de Milan. Very useful and interesting! View
WeiterlesenSteven Jan THE ILLUSORY MOZART: SELFISH MEMES IN THE PRIESTS’ MARCHES FROM IDOMENEO AND DIE ZAUBERFLÖTE for Julian Rushton I want to claim almost limitless power for slightly inaccurate self-replicating […]
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