1.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
2.
Pipe organ
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The pipe organ is a musical instrument that produces sound by driving pressurized air through organ pipes selected via a keyboard. Because each pipe produces a pitch, the pipes are provided in sets called ranks, each of which has a common timbre. Most organs have multiple ranks of pipes of differing timbre, pitch, a pipe organ has one or more keyboards played by the hands, and a pedalboard played by the feet, each keyboard has its own group of stops. The keyboard, pedalboard, and stops are housed in the organs console, the smallest portable pipe organs may have only one or two dozen pipes and one manual, the largest may have over 20,000 pipes and seven manuals. A list of some of the most notable and largest pipe organs in the world can be viewed at List of pipe organs. The origins of the organ can be traced back to the water organ in Ancient Greece, in the 3rd century BC. By the 6th or 7th century AD, bellows were used to supply organs with wind, beginning in the 12th century, the organ began to evolve into a complex instrument capable of producing different timbres. A pipe organ with great leaden pipes was sent to the West by the Byzantine emperor Constantine V as a gift to Pepin the Short, King of the Franks, in 757. Pepins son Charlemagne requested a similar organ for his chapel in Aachen in 812, by the 17th century, most of the sounds available on the modern classical organ had been developed. From that time, the organ was the most complex man-made device - a distinction it retained until it was displaced by the telephone exchange in the late 19th century. Pipe organs are installed in churches, synagogues, concert halls, schools and they are used in the performance of classical music, sacred music, secular music, and popular music. The beginning of the 21st century has seen a resurgence in installations in concert halls, the organ boasts a substantial repertoire, which spans over 500 years. The organ is one of the oldest instruments used in European classical music that has commonly been credited as having derived from Greece. Its earliest predecessors were built in Ancient Greece in the 3rd century BC. The word organ is derived from the Greek όργανον, a term for an instrument or a tool, via the Latin organum. The Greek engineer Ctesibius of Alexandria is credited with inventing the organ in the 3rd century BC and he devised an instrument called the hydraulis, which delivered a wind supply maintained through water pressure to a set of pipes. The hydraulis was played in the arenas of the Roman Empire, the 9th century Persian geographer Ibn Khurradadhbih, in his lexicographical discussion of instruments, cited the urghun as one of the typical instruments of the Eastern Roman Empire. It was often used in the Hippodrome in the capital of Constantinople
3.
Organist
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An organist is a musician who plays any type of organ. An organist may play solo organ works, play with an ensemble or orchestra, in addition, an organist may accompany congregational hymn-singing and play liturgical music. The majority of organists, amateur and professional, are involved in church music, playing in churches. The pipe organ still plays a part in the leading of traditional western Christian worship, with roles including the accompaniment of hymns, choral anthems. The degree to which the organ is involved depending on the church. It also may depend on the standard of the organist, as most churches can afford to employ only one musician, the organist is usually also responsible for directing and rehearsing the choir. In the twentieth-century, many pipe organs were replaced by electronic and digital organs. Sometimes the organist will be assisted by an organ scholar, the post of organist at most of the great cathedrals includes recital work and choral training. Another function of an organist is often as teacher to future players, few organists hold historically special positions such as Carol Williams who is the Civic Organist of San Diego, the last true Civic Organist position still active in this the USA. Since the strengths and weaknesses of the organ are difficult to understand without a deal of playing experience. Since the majority of pre-twentieth-century organs were installed in churches, classical literature was almost exclusively written for liturgical use. A few carry on the tradition today, there are many organists employed in the production of popular and jazz music. In the United States most of them play the Hammond organ, the Royal College of Organists in the United Kingdom is the oldest institution of organ studies. From that sprang the American Guild of Organists, the Gesellschaft der Orgelfreunde in Germany, all these institutions are oriented toward the organist involved in classical music rather than popular music. There is also the American Theatre Organ Society
4.
Composer
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A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
5.
Violin
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The violin is a wooden string instrument in the violin family. It is the smallest and highest-pitched instrument in the family in regular use, smaller violin-type instruments are known, including the violino piccolo and the kit violin, but these are virtually unused in the 2010s. The violin typically has four strings tuned in fifths, and is most commonly played by drawing a bow across its strings. Violins are important instruments in a variety of musical genres. They are most prominent in the Western classical tradition and in varieties of folk music. They are also used in genres of folk including country music and bluegrass music. Electric violins are used in forms of rock music, further. The violin is sometimes called a fiddle, particularly in Irish traditional music and bluegrass. The violin was first known in 16th-century Italy, with further modifications occurring in the 18th and 19th centuries. In Europe it served as the basis for stringed instruments used in classical music, the viola. According to their reputation, the quality of their sound has defied attempts to explain or equal it, many of these trade instruments were formerly sold by Sears, Roebuck and Co. and other mass merchandisers. A person who makes or repairs violins is called a luthier or violinmaker, the parts of a violin are usually made from different types of wood and on the use of a pickup and an amplifier and speaker). Violins can be strung with gut, Perlon or other synthetic, the earliest stringed instruments were mostly plucked. Similar and variant types were probably disseminated along East-West trading routes from Asia into the Middle East, the first makers of violins probably borrowed from various developments of the Byzantine lira. These included the rebec, the Arabic rebab, the vielle, the earliest pictures of violins, albeit with three strings, are seen in northern Italy around 1530, at around the same time as the words violino and vyollon are seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its tuning, is from the Epitome musical by Jambe de Fer, by this time, the violin had already begun to spread throughout Europe. The violin proved very popular, both among street musicians and the nobility, the French king Charles IX ordered Andrea Amati to construct 24 violins for him in 1560, one of these noble instruments, the Charles IX, is the oldest surviving violin. The Messiah or Le Messie made by Antonio Stradivari in 1716 remains pristine and it is now located in the Ashmolean Museum of Oxford
6.
Harpsichord
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A harpsichord is a musical instrument played by means of a keyboard. It produces sound by plucking a string when a key is pressed, Harpsichord designates the whole family of similar plucked keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was used in Renaissance and Baroque music. During the late 18th century, it disappeared from the musical scene with the rise of the piano. In the 20th century, it made a resurgence, being used in historically informed performances of music, in compositions. Harpsichords vary in size and shape, but all have the basic functional arrangement. The player depresses a key that rocks over a pivot in the middle of its length, the other end of the key lifts a jack that holds a small plectrum, which plucks the string. When the player releases the key, the far end returns to its rest position, the plectrum, mounted on a tongue that can swivel backwards away from the string, passes the string without plucking it again. As the key reaches its rest position, a felt damper atop the jack stops the strings vibrations and these basic principles are explained in detail below. The keylever is a pivot, which rocks on a balance pin that passes through a hole drilled through the keylever. The jack is a thin, rectangular piece of wood that sits upright on the end of the keylever, the jacks are held in place by the registers. These are two strips of wood, which run in the gap between pinblock and bellyrail. The registers have rectangular mortises through which the pass as they can move up. The registers hold the jacks in the location needed to pluck the string. In the jack, a plectrum juts out almost horizontally and passes just under the string, historically, plectra were made of bird quill or leather, many modern harpsichords have plastic plectra. When the front of the key is pressed, the back of the key rises, the jack is lifted, the vertical motion of the jack is then stopped by the jackrail, which is covered with soft felt to muffle the impact. When the key is released, the falls back down under its own weight. This is made possible by having the plectrum held in a tongue attached with a pivot and a spring to the body of the jack
7.
Musical composition
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People who create new compositions are called composers in classical music. In popular music and traditional music, the creators of new songs are usually called songwriters, with songs, Composition is the act or practice of creating a song or other piece of music. In popular music and traditional music, songwriting may involve the creation of an outline of the song, called the lead sheet. In classical music, orchestration is typically done by the composer, in some cases, a pop or traditional songwriter may not use written notation at all, and instead compose the song in her mind and then play, sing and/or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written or printed scores play in classical music. Although a musical composition often uses musical notation and has a single author, a piece of music can also be composed with words, images, or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds. A more commonly known example of chance-based music is the sound of wind chimes jingling in a breeze, although in the 2000s, composition is considered to consist of the manipulation of each aspect of music, according to Jean-Benjamin de Laborde, Composition consists in two things only. The first is the ordering and disposing of several sounds. in such a manner that their succession pleases the ear and this is what the Ancients called melody. The second is the rendering audible of two or more simultaneous sounds in such a manner that their combination is pleasant and this is what we call harmony, and it alone merits the name of composition. In classical music, a piece of music exists in the form of a composition in musical notation or as a live acoustic event. Since the invention of recording, a classical piece or popular song may also exist as a recording. If music is composed before being performed, music can be performed from memory, by reading written musical notation, compositions comprise a huge variety of musical elements, which vary widely from between genres and cultures. Popular music genres after about 1960 make extensive use of electric and electronic instruments, such as electric guitar, electric and electronic instruments are used in contemporary classical music compositions and concerts, albeit to a lesser degree than in popular music. Music from the Baroque music era, for example, used only acoustic and mechanical such as strings, brass, woodwinds, timpani and keyboard instruments such as harpsichord. A 2000s-era pop band may use electric guitar played with electronic effects through a guitar amplifier, different musical styles permit singers or performers to use various amounts of musical improvisation during the performance of a composed song or piece. In free jazz, the performers may play without any sheet music, improvisation is the act of composing musical elements spontaneously during the performance, as opposed to having a composer write down the music beforehand. Improvisation was an important skill during the Baroque music era, instrumentalists and singers were expected to be able to improvise ornaments, during the classical period, solo instrumentalists were expected to be able to improvise virtuostic cadenzas during a concerto. During the Romantic music era, composers began writing out ornaments and cadenzas, in contemporary classical music, some composers began writing pieces which indicate that the performer should improvise during certain sections
8.
Madame de Maintenon
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Françoise dAubigné, Marquise de Maintenon was the second wife of King Louis XIV of France. She was known during her first marriage as Madame Scarron, and her marriage to the king was never officially announced or admitted, though she was very influential at court. She founded the Maison royale de Saint-Louis, a school for girls from noble families. Françoise dAubigné was born on 27 November 1635, but her place of birth is under speculation, a plaque suggests her birthplace was at the Hotel du Chaumont in Niort, in western France. Her mother, Jeanne de Cardilhac, was the daughter of Constants jailer and her grandfather was Agrippa dAubigné, a well-known Protestant General, a former intimate servant of Henry IV, and an epic poet. Suzanne would later go to serve Anne of Austria and Maria Theresa, in 1639 Françoises father was released from prison and went with his family to the island of Martinique in the West Indies. Jeanne was a mother, allowed her children few liberties. Constant returned to France, leaving his wife and children behind in Martinique, Jeanne was forever trying to be mother and father to her children, and eventually she made it back to France, to join her husband in 1647. Within months of her return to France Jeannes husband died and Françoise returned to the care of her aunt, Madame de Villette. The Villettes house, Mursay, became a memory for Françoise. The de Villettes were wealthy and took care of the child. When this became known to her godmothers family, an order was issued that Françoise had to be educated in a convent, Françoise disliked the convent life, but she grew to love one of the nuns there, Sister Céleste, who persuaded Françoise to take her First Communion. I loved her more than I could possibly say, I wanted to sacrifice myself for her service. Madame de Neuillant, the mother of Françoises godmother Suzanne, brought her to Paris and introduced her to sophisticated women and men, in her excursion with Madame de Neuillant, Françoise met Paul Scarron, who was 25 years older than she, and began to correspond with him. Scarron was a poet and novelist, who counted Marie de Hautefort. He offered her marriage, or to pay her dowry so that she enter a convent. Although Scarron suffered from acute and crippling rheumatoid arthritis, she accepted his proposal, the match permitted her to gain access to the highest levels of Paris society, something that would have otherwise been impossible for a girl from an impoverished background. For nine years, she was Scarrons wife and nurse, and a fixture in his social circle
9.
Louis XIV
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Louis XIV, known as Louis the Great or the Sun King, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1643 until his death in 1715. His reign of 72 years and 110 days is the longest of any monarch of a country in European history. In the age of absolutism in Europe, Louis XIVs France was a leader in the centralization of power. Louis began his rule of France in 1661, after the death of his chief minister. By these means he became one of the most powerful French monarchs, under his rule, the Edict of Nantes, which granted rights to Huguenots, was abolished. The revocation effectively forced Huguenots to emigrate or convert in a wave of dragonnades, which managed to virtually destroy the French Protestant minority. During Louis reign, France was the leading European power, and it fought three wars, the Franco-Dutch War, the War of the League of Augsburg. There were also two lesser conflicts, the War of Devolution and the War of the Reunions, warfare defined Louis XIVs foreign policies, and his personality shaped his approach. Impelled by a mix of commerce, revenge, and pique, in peacetime he concentrated on preparing for the next war. He taught his diplomats their job was to create tactical and strategic advantages for the French military, Louis XIV was born on 5 September 1638 in the Château de Saint-Germain-en-Laye, to Louis XIII and Anne of Austria. He was named Louis Dieudonné and bore the title of French heirs apparent. At the time of his birth, his parents had married for 23 years. His mother had experienced four stillbirths between 1619 and 1631, leading contemporaries thus regarded him as a divine gift and his birth a miracle of God. Sensing imminent death, Louis XIII decided to put his affairs in order in the spring of 1643, in defiance of custom, which would have made Queen Anne the sole Regent of France, the king decreed that a regency council would rule on his sons behalf. His lack of faith in Queen Annes political abilities was his primary rationale and he did, however, make the concession of appointing her head of the council. Louis relationship with his mother was uncommonly affectionate for the time, contemporaries and eyewitnesses claimed that the Queen would spend all her time with Louis. Both were greatly interested in food and theatre, and it is likely that Louis developed these interests through his close relationship with his mother. This long-lasting and loving relationship can be evidenced by excerpts in Louis journal entries, such as, but attachments formed later by shared qualities of the spirit are far more difficult to break than those formed merely by blood
10.
Guillaume-Gabriel Nivers
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Guillaume-Gabriel Nivers was a French organist, composer and theorist. His first livre dorgue is the earliest surviving published collection with traditional French organ school forms, niverss other music is less known, however, his treatises on Gregorian chant and basso continuo are still considered important sources on 17th century liturgical music and performance practice. Nivers was born into a family, his father was farmer to the bishop. Nothing is known of his years or his musical training except that he may have received a degree from the University of Paris. In the early 1650s Nivers became organist of Saint-Sulpice, a post he would retain until 1702, in 1668 the composer married, he had one son. Niverss subsequent career was quite illustrious, on 19 June 1678 he was chosen as one of the four organists of the Chapelle Royale—an ensemble of musicians who performed sacred music for the king. The other three organists were Nicolas Lebègue, Jacques Thomelin and Jean Buterne, Nivers only resigned late in life, in 1708, and was succeeded by Louis Marchand. This prestigious post was followed by another in 1681, when the composer succeeded Henri Dumont as master of music to the queen. Finally, in 1686 Nivers was in charge of the music at the Maison Royale de Saint-Louis in Saint-Cyr-lÉcole—a convent school for ladies who were poor. Nivers apparently had difficulties with the founder of the school, Madame de Maintenon, clérambault succeeded Nivers both at St Sulpice and St Cyr. During his lifetime, Nivers was highly regarded not only as organist and composer and his treatise on composition was well-known outside France and endured into the 18th century. His work in the field of Gregorian chant resulted in influential editions of liturgical music, Nivers composed several religious vocal works, and published three organ books containing more than 200 pieces. They include suites in all ancient modes, a mass, hymns and these books are the first collections of organ music to have been printed in France since Jean Titelouzes. With his colleague and friend Lebègue, Nivers embodies the solo organ style which was subsequently represented - and adorned - by François Couperin, several theoretical treatises by Nivers are preserved. They remain useful sources for knowledge of musical theory and practice of his time. This is a partial list of surviving works by Nivers. See William Pruitt, Bibliographie des Oeuvres de Guillaume Gabriel Nivers, Recherches sur la musique française classique, Vol. XIII, pp. 133–156. Notes on other publications located after that article was published are in papers deposited in Cambridge University Library. All of the works were published in Paris, many were reprinted several times during the 17th
11.
Chant
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A chant is the rhythmic speaking or singing of words or sounds, often primarily on one or two main pitches called reciting tones. Chant may be considered speech, music, or a heightened or stylized form of speech, in the later Middle Ages some religious chant evolved into song. Chanting is a commonly used spiritual practice, like prayer, chant may be a component of either personal or group practice. Diverse spiritual traditions consider chant a route to spiritual development, tibetan Buddhist chant involves throat singing, where multiple pitches are produced by each performer. The concept of chanting mantras is of significance in many Hindu traditions. Indias bhakti devotional tradition centres on kirtan, which has a following in many countries, the Hare Krishna movement is based especially on the chanting of Sanskrit Names of God in the Vaishnava tradition. Japanese Shijin, or chanted poetry, mirrors Zen Buddhist principles and is sung from the Dan tien — the locus of power in Eastern traditions, a lo divino Fight song Sea shanty A site about Vedic chants Traditional Buddhist Chants as in the Buddhist Encyclopedia
12.
Cantata
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A cantata is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. Cantatas for use in the liturgy of church services are called church cantata or sacred cantata, several cantatas were, and still are, written for special occasions, such as Christmas cantatas. Johann Sebastian Bach composed cycles of cantatas for the occasions of the liturgical year. The term originated in the early 17th century simultaneously with opera, prior to that, all cultured music was vocal. With the rise of music the term appeared, while the instrumental art became sufficiently developed to be embodied in sonatas. From the beginning of the 17th century until late in the 18th, a cantata consisted first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples may be found in the music of Giacomo Carissimi. With the rise of the da capo aria, the became a group of two or three arias joined by recitative. George Frideric Handels numerous Italian duets and trios are examples on a large scale. His Latin motet Silete Venti, for solo, shows the use of this form in church music. This is equally evident whether we examine the church cantatas of Bach, of which nearly 200 are extant. Cantatas were in demand for the services of the Lutheran church. Many secular cantatas were composed for events in the nobility and they were so similar in form to the sacred ones that many of them were parodied to sacred cantatas, for example in Bachs Christmas Oratorio. The term cantata came to be applied almost exclusively to choral works, Anton Bruckner composed several Name-day cantatas, a Festive Cantata and two secular cantatas. Brucknerss Psalm 146 is also in cantata form, mendelssohns Symphony Cantata, the Lobgesang, is a hybrid work, partly in the oratorio style. Robert Schumann wrote the cantata Paradise and the Peri, the full lyric possibilities of a string of choral songs were realized by Johannes Brahms in his Rinaldo, that—like the Walpurgisnacht—was set to a text by Goethe. The competition for the French Prix de Rome prescribed that each candidate submit a cantata, hector Berlioz failed in three attempts before finally winning in 1830 with Sardanapale. While almost all of the Prix de Rome cantatas have long since been forgotten, cantatas, both of the chamber variety and on a grand scale, were composed after 1900 as well
13.
Motet
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In western music, a motet is a mainly vocal musical composition, of highly varied form and style, from the late medieval era to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music, according to Margaret Bent, a piece of music in several parts with words is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. In the early 20th century, it was believed the name came from the Latin movere. The Medieval Latin for motet is motectum, and the Italian mottetto was also used, if the word is from Latin, the name describes the movement of the different voices against one another. Today, however, the French etymology is favoured by reference books, in fact, the troped clausulas that were the forerunner of the motet were originally called motelli, soon replaced by the term moteti. The earliest motets arose in the 13th century from the organum tradition exemplified in the Notre Dame school of Léonin and Pérotin, the motet probably arose from clausula sections, usually strophic interludes, in a longer sequence of organum, to which upper voices were added. Usually the clausula represented a sequence in Latin which was sung as a discant over a cantus firmus. The motet took a definite rhythm from the words of the verse, the main exception is the conductus motet, in which the parts proceed in essentially homophonic rhythms. The practice of discant over a cantus firmus marked the beginnings of counterpoint in Western music, from these first motets arose a medieval tradition of secular motets. It is suspected that, for the sake of intelligibility, in performance the cantus firmus, among the trouvères, Robert de Reins La Chievre and Richart de Fournival composed motets. While it grew out of the isorhythmic motet, the Renaissance composers of the motet generally abandoned the use of a repeated figure as a cantus firmus. During this time, however, the use of cantus firmi in works such as the parody mass tended to stretch the cantus firmus out to great lengths compared to the multivoice descant above it. This tended to obscure the rhythm supplied by the cantus firmus that had been apparent in the medieval isorhythmic motet. The cascading, passing chords created by the interplay between multiple voices, and the absence of a strong or obvious beat, are the features that distinguish medieval, the texts of antiphons were frequently used as motet texts. This is the sort of composition that is most familiarly designated by the term motet, in essence, these motets were sacred madrigals. The language of the text was the feature, if it is Latin, it is a motet, if the vernacular. Religious compositions in vernacular languages were often called madrigali spirituali, spiritual madrigals, secular motets continued to be written, however. These motets typically set a Latin text in praise of a monarch, commemorating some public triumph, nevertheless, the themes of courtly love often found in the medieval secular motet were banished from the Renaissance motet
14.
Magnificat
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It is one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn. Its name comes from the incipit of the Latin version of the canticles text, the text of the canticle is taken directly from the Gospel of Luke where it is spoken by Mary upon the occasion of her Visitation to her cousin Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, Elizabeth praises Mary for her faith, and Mary responds with what is now known as the Magnificat. Within the whole of Christianity, the Magnificat is most frequently recited within the Liturgy of the Hours, in Western Christianity, the Magnificat is most often sung or recited during the main evening prayer service, Vespers in the Catholic and Lutheran churches, and Evening Prayer in Anglicanism. In Eastern Christianity, the Magnificat is usually sung at Sunday Matins, among Protestant groups, the Magnificat may also be sung during worship services, especially in the Advent season during which these verses are traditionally read. These songs are Marys Magnificat, Zechariahs Benedictus, the angels Gloria in Excelsis Deo, in form and content, these four canticles are patterned on the hymns of praise in Israels Psalter. In structure, these reflect the compositions of pre-Christian contemporary Jewish hymnology. The balance of the two lines bursts out into a dual Magnificat of declaring the greatness of and finding delight in God. Mary symbolizes both ancient Israel and the Lucan faith-community as the author/singer of the Magnificat, the canticle echoes several biblical passages, but the most pronounced allusions are to the Song of Hannah, from the Books of Samuel. Scriptural echoes from the Torah, the Prophets, and the Writings complement the main allusions to Hannahs magnificat of rejoicing. Along with the Benedictus, as well as several Old Testament canticles, the Magnificat is included in the Book of Odes, the original language of the Magnificat is Koine Greek, the language of the New Testament. However, in the liturgical and devotional use in Western Christianity, Μεγαλύνει ἡ ψυχή μου τὸν Κύριον καὶ ἠγαλλίασεν τὸ πνεῦμά μου ἐπὶ τῷ Θεῷ τῷ σωτῆρί μου, ὅτι ἐπέβλεψεν ἐπὶ τὴν ταπείνωσιν τῆς δούλης αὐτοῦ. ἰδοὺ γὰρ ἀπὸ τοῦ νῦν μακαριοῦσίν με πᾶσαι αἱ γενεαί, ὅτι ἐποίησέν μοι μεγάλα ὁ δυνατός, καὶ ἅγιον τὸ ὄνομα αὐτοῦ, Ἐποίησεν κράτος ἐν βραχίονι αὐτοῦ, διεσκόρπισεν ὑπερηφάνους διανοίᾳ καρδίας αὐτῶν· καθεῖλεν δυνάστας ἀπὸ θρόνων καὶ ὕψωσεν ταπεινούς, πεινῶντας ἐνέπλησεν ἀγαθῶν καὶ πλουτοῦντας ἐξαπέστειλεν κενούς. ἀντελάβετο Ἰσραὴλ παιδὸς αὐτοῦ, μνησθῆναι ἐλέους, καθὼς ἐλάλησεν πρὸς τοὺς πατέρας ἡμῶν τῷ Αβραὰμ καὶ τῷ σπέρματι αὐτοῦ εἰς τὸν αἰῶνα. The translation of the hymn into Church Slavonic is as follows, Transcription in modern Cyrillic alphabet, Вели́чит душа́ Моя́ Го́спода, Честне́йшую херуви́м и сла́внейшую без сравне́ния серафи́м, без истле́ния Бо́га Сло́ва ро́ждшую, су́щую Богоро́дицу, Тя велича́ем. Я́ко призре́ на смире́ние рабы́ Своея́, се бо от ны́не ублажа́т Мя вси ро́ди, Честне́йшую херуви́м… Я́ко сотвори́ Мне вели́чие Си́льный, и свя́то и́мя Его́, и ми́лость Его́ в ро́ды родо́в боя́щимся Его́. Честне́йшую херуви́м… Сотвори́ держа́ву мы́шцею Свое́ю, расточи́ го́рдыя мы́слию се́рдца их, Честне́йшую херуви́м… Низложи́ си́льныя со престо́л, и вознесе́ смире́нныя, а́лчущия испо́лни благ, и богатя́щияся отпусти́ тщи. Честне́йшую херуви́м… Восприя́т Изра́иля о́трока Своего́, помяну́ти ми́лости, я́коже глаго́ла ко отце́м на́шим, Честне́йшую херуви́м…, Magnificat anima mea Dominum, et exultavit spiritus meus in Deo salvatore meo, quia respexit humilitatem ancillae suae
15.
Te Deum
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The Te Deum is an early Christian hymn of praise. The title is taken from its opening Latin words, Te Deum laudamus, rendered as Thee, O God and it is sung either after Mass or the Divine Office or as a separate religious ceremony. The hymn also remains in use in the Anglican Communion and some Lutheran Churches in similar settings, a plenary indulgence is granted, under the usual conditions, to those who recite it in public on New Years Eve. Authorship is traditionally ascribed to Saints Ambrose and Augustine, on the occasion of the baptism by the former in AD387. It has also ascribed to Saint Hilary, but The Historical Companion to Hymns Ancient and Modern says it is now accredited to Nicetas. The petitions at the end of the hymn are a selection of verses from the book of Psalms, the hymn follows the outline of the Apostles Creed, mixing a poetic vision of the heavenly liturgy with its declaration of faith. The hymn then returns to its formula, naming Christ and recalling his birth, suffering and death. The hymn was chanted jubilantly by the people of Orléans after the successful Siege of Orléans, during the Hundred Years War, when St. Joan of Arc and the French army entered the town. The text has been set to music by composers, with settings by Haydn, Mozart, Berlioz, Verdi, Bruckner, Furtwängler, Dvořák, Britten, Kodály. Jean-Baptiste Lully wrote a setting of Te Deum for the court of Louis XIV of France, earlier it had been used as the theme music for Bud Greenspans documentary series, The Olympiad. Sir William Waltons Coronation Te Deum was written for the coronation of Queen Elizabeth II in 1953, puccinis opera Tosca features a dramatic performance of the initial part of the Te Deum at the end of Act I. A version by Father Michael Keating is popular in some Charismatic circles, mark Hayes wrote a setting of the text in 2005, with Latin phrases interpolated amid primarily English lyrics. In 1978, British hymnodist Christopher Idle wrote God We Praise You, British composer John Rutter has composed two settings of this hymn, one entitled Te Deum and the other Winchester Te Deum. Igor Stravinsky set the first 12 lines of the text as part of The Flood in 1962, antony Pitts was commissioned by the London Festival of Contemporary Church Music to write a setting for the 2011 10th Anniversary Festival. The 18th-century German hymn Großer Gott, wir loben dich is a translation of the Te Deum. In the Book of Common Prayer, verse is written in half-lines, at which reading pauses, texts on Wikisource, Te Deum Te Deum Catholic Encyclopedia entry Piers Maxim Te Deum in Service, Cathedral of Notre Dame, Paris on YouTube
16.
Sonata (music)
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Sonata, in music, literally means a piece played as opposed to a cantata, a piece sung. The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance, by the early 19th century, it came to represent a principle of composing large-scale works. It was applied to most instrumental genres and regarded—alongside the fugue—as one of two methods of organizing, interpreting and analyzing concert music. Though the musical style of sonatas has changed since the Classical era, most 20th-, the term sonatina, pl. sonatine, the diminutive form of sonata, is often used for a short or technically easy sonata. In the Baroque period, a sonata was for one or more instruments almost always with continuo, sonatas for a solo instrument other than keyboard have been composed, as have sonatas for other combinations of instruments. Although the four, five, or six movements of the sonata da chiesa are also most often in one key, one or two of the internal movements are sometimes in a contrasting tonality. This scheme, however, was not very defined, until the works of Arcangelo Corelli when it became the essential sonata. The sonata da camera consisted almost entirely of idealized dance-tunes, on the other hand, the features of sonata da chiesa and sonata da camera then tended to be freely intermixed. Although nearly half of Bachs 1,100 surviving compositions, arrangements and they are frequently virtuosic, and use more distant harmonic transitions and modulations than were common for other works of the time. They were admired for their variety and invention. Both the solo and trio sonatas of Vivaldi show parallels with the concerti he was writing at the same time. He composed over 70 sonatas, the majority of which are of the solo type, most of the rest are trio sonatas. The sonatas of Domenico Paradies are mild and elongated works with a graceful and this evolution stretched over fifty years. The term came to both to the structure of individual movements and to the layout of the movements in a multi-movement work. In the transition to the Classical period there were several names given to multimovement works, including divertimento, serenade, the usage of sonata as the standard term for such works began somewhere in the 1770s. Haydn labels his first piano sonata as such in 1771, after which the term divertimento is used sparingly in his output, the term sonata was increasingly applied to either a work for keyboard alone, or for keyboard and one other instrument, often the violin or cello. It was less and less frequently applied to works with more than two instrumentalists, for piano trios were not often labelled sonata for piano, violin. Initially the most common layout of movements was, Allegro, which at the time was understood to not only a tempo
17.
Basso continuo
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Basso continuo parts, almost universal in the Baroque era, provided the harmonic structure of the music. The phrase is shortened to continuo, and the instrumentalists playing the continuo part are called the continuo group. The titles of many Baroque works make mention of the section, such as J. S. Bachs Concerto for Two Violins, Strings. The makeup of the group is often left to the discretion of the performers. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any number of instruments play in the bass register may be included, such as cello, double bass, bass viol. The most common combination, at least in modern performances, is harpsichord and cello for instrumental works and secular works, such as operas. Harps, lutes, and other instruments are more typical of early 17th-century music. The keyboard player realizes a continuo part by playing, in addition to the bass line, notes above it to complete chords. The figured bass notation, described below, is a guide, but performers are expected to use their musical judgment. Experienced players sometimes incorporate motives found in the instrumental parts into their improvised chordal accompaniment. Modern editions of music usually supply a realized keyboard part, fully written out in staff notation for a player. With the rise in historically informed performance, however, the number of performers who are able to improvise their parts from the figures, as Baroque players would have done, has increased. Basso continuo, though a structural and identifying element of the Baroque period, continued to be used in many works, mostly sacred choral works. An example is C. P. E. Bachs Concerto in D minor for flute, strings and basso continuo. Examples of its use in the 19th century are rarer, but they do exist, masses by Anton Bruckner, Beethoven, the phrase tasto solo indicates that only the bass line is to be played for a short period, usually until the next figure is encountered. This instructs the chord-playing instrumentalist not to play any improvised chords for a period, composers were inconsistent in the usages described below. Especially in the 17th century, the numbers were omitted whenever the composer thought the chord was obvious, early composers such as Claudio Monteverdi often specified the octave by the use of compound intervals such as 10,11, and 15
18.
Unmeasured prelude
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Unmeasured or non-measured prelude is a prelude in which the duration of each note is left to the performer. The form resurfaced in the music of the 20th century. The first unmeasured preludes appeared during the Renaissance era and they were short improvised compositions for lute, usually performed as an introduction to another piece of music or to test the instrument. Later unmeasured lute preludes retained the character of the genre but became more complex. Unmeasured preludes flourished into full-fledged compositions by the middle of the 17th century, however the development of lute music had already stopped by that time and the last surviving unmeasured lute preludes date from the end of the same century. Important lute composers who contributed to the development of the unmeasured prelude include Pierre Gaultier, René Mesangeau, unmeasured preludes for harpsichord started appearing around 1650. Louis Couperin is usually credited as the first composer to embrace the genre, Couperin wrote unmeasured preludes using long groups of whole notes, and these groups were connected by long curves. This kind of notation is found in Couperins unmeasured preludes and was also done by Élisabeth Jacquet de la Guerre, another important contribution to the development of the genre was made by Nicolas Lebègue, who used diverse note values in his unmeasured preludes. The first ever published unmeasured preludes appeared in Lebègues Le pieces de clavessin in 1677, unmeasured harpsichord prelude became a typical French genre, used by many famous composers including Jean-Philippe Rameau, Jean-Henri dAnglebert, Louis Marchand and Élisabeth Jacquet de la Guerre. Unmeasured preludes were also present in the works of German composers who were influenced by French style, of these, Johann Caspar Ferdinand Fischer was one of the first to use unmeasured preludes in harpsichord suites. One instance of unmeasured prelude by Giovanni Battista Draghi is the known example to appear in English harpsichord music. François Couperins didactic Lart de toucher le clavecin contained eight preludes that, while unmeasured and these pieces, along with several preludes from Nicolas Sirets Second Livre de Pieces de Clavecin, were among the last unmeasured harpsichord preludes written
19.
International Music Score Library Project
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Since its launch on February 16,2006, over 370,000 scores and 42,000 recordings for over 110,000 works by over 14,000 composers have been uploaded. The project uses MediaWiki software to provide contributors with a familiar interface, since June 6,2010, IMSLP has also included public domain and licensed recordings in its scope, to allow for study by ear. The site was launched on February 16,2006, the library consists mainly of scans of old musical editions out of copyright. In addition, it admits scores by composers who wish to share their music with the world by releasing it under a Creative Commons license. One of the projects of IMSLP was the sorting and uploading of the complete works of Johann Sebastian Bach in the Bach-Gesellschaft Ausgabe. Besides providing a repository, IMSLP offers possibilities as a musicological encyclopaedia, since multiple. Also, pages on publishers provide valuable information, and the pages themselves often contain a large quantity of information. IMSLP is recommended as a tool by MIT, which also uses it extensively for providing scores for its OpenCourseWare courses. In 2007–2015, IMSLP / Petrucci Music Library used logo based on a score, the score image in the background was taken from the beginning of the very first printed book of music, the Harmonice Musices Odhecaton. It was published in Venice, Italy in 1501 by Ottaviano Petrucci, in 2016, IMSLP changed its logo to a clean wordmark, featuring its two project names – IMSLP and Petrucci Music Library. In 2009, IMSLP won the MERLOT Classics award for Music and it was named one of the Top 100 Web Sites of 2009 by PC Magazine. On October 19,2007, the IMSLP closed following legal demands from Universal Edition of Vienna, at first I thought this letter would be similar in content to the first Cease and Desist letter I received in August. I cannot apologize enough to all IMSLP contributors, who have done so much for IMSLP in the last two years, in response, director Michael S. Hart of Project Gutenberg offered support to keep the project online. This offer was declined by Feldmahler, who voiced concern about having the project hosted in the United States, on November 2,2007, Michael Geist, a prominent Canadian copyright academic, wrote an article for the BBC discussing the specifics and the wider implications of this case. IMSLP went back online on June 30,2008, although the server is located in Canada, files which are not public domain in the US were until July 2010 flagged, for Technical Block or Temporary Block, and could not be viewed. The FAQ posted in their forum stated, Unfortunately, these temporary blocks will be until further notice – possibly all the way until the expiration of term in the USA. After an initial phase, flagged items have disappeared thanks to the introduction of regional servers operated by unaffiliated organizations. On 21 April 2011, the Music Publishers Association issued a DMCA takedown notice against the IMSLP, Go Daddy, the domain name registrar for the IMSLP, removed the domain name imslp. org, leaving it inaccessible
20.
Church of Saint-Sulpice, Paris
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Saint-Sulpice is a Roman Catholic church in Paris, France, on the east side of the Place Saint-Sulpice within the rue Bonaparte, in the Luxembourg Quarter of the 6th arrondissement. At 113 metres long,58 metres in width and 34 metres tall, it is slightly smaller than Notre-Dame. It is dedicated to Sulpitius the Pious, construction of the present building, the second church on the site, began in 1646. During the 18th century, a gnomon, the Gnomon of Saint-Sulpice, was constructed in the church. The present church is the building on the site, erected over a Romanesque church originally constructed during the 13th century. Additions were made over the centuries, up to 1631, the new building was founded in 1646 by parish priest Jean-Jacques Olier who had established the Society of Saint-Sulpice, a clerical congregation, and a seminary attached to the church. Anne of Austria laid the first stone, gittard completed the sanctuary, ambulatory, apsidal chapels, transept, and north portal, after which construction was halted for lack of funds. Gilles-Marie Oppenord and Giovanni Servandoni, adhering closely to Gittards designs, the decoration was executed by the brothers Sébastien-Antoine Slodtz and Paul-Ambroise Slodtz. He also built a bell-tower on top of the transept crossing and this miscalculation may account for the fact that Oppenord was then relieved of his duties as an architect and restricted to designing decoration. In 1732 a competition was held for the design of the west facade, won by Servandoni, the 1739 Turgot map of Paris shows the church without Oppenords crossing bell-tower, but with Servandonis pedimented facade mostly complete, still lacking however its two towers. Unfinished at the time of his death in 1766, the work was continued by others, primarily the obscure Oudot de Maclaurin, Chalgrin also designed the decoration of the chapels under the towers. The principal facade now exists in altered form. Large arched windows fill the vast interior with natural light, the result is a simple two-storey west front with three tiers of elegant columns. The overall harmony of the building is, some say, only marred by the two mismatched towers, one can still barely make out the printed words ‘’Le Peuple Francais Reconnoit L’Etre Suprême Et L’Immortalité de L’Âme’’. Further questions of interest are the fate of the frieze that this must have replaced, the responsible for placing this manifesto. Inside the church to either side of the entrance are the two halves of a shell given to King Francis I by the Venetian Republic. They function as holy water fonts and rest on rock-like bases sculpted by Jean-Baptiste Pigalle, Pigalle also designed the large white marble statue of Mary in the Lady Chapel at the far end of the church. The stucco decoration surrounding it is by Louis-Philippe Mouchy, pigalles work replaced a solid-silver statue by Edmé Bouchardon, which vanished at the time of the Revolution
21.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
22.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
23.
MusicBrainz
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MusicBrainz is a project that aims to create an open data music database that is similar to the freedb project. MusicBrainz was founded in response to the placed on the Compact Disc Database. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become an open online database for music. MusicBrainz captures information about artists, their works, and the relationships between them. Recorded works entries capture at a minimum the album title, track titles, and these entries are maintained by volunteer editors who follow community written style guidelines. Recorded works can also store information about the date and country. As of 26 July 2016, MusicBrainz contained information about roughly 1.1 million artists,1.6 million releases, end-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as MP3, Ogg Vorbis or AAC. As with other contributions, the MusicBrainz community is in charge for maintaining and reviewing the data, besides collecting metadata about music, MusicBrainz also allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this, in 2000, MusicBrainz started using Relatables patented TRM for acoustic fingerprint matching. This feature attracted many users and allowed the database to grow quickly, however, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions. This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, tRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND, some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free service was uncertain, a replacement for it was sought. The Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský, while AcoustID and Chromaprint are not officially MusicBrainz projects, they are closely tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second, additional post-processing is then applied to compress this fingerprint while retaining patterns. The AcoustID search server then searches from the database of fingerprints by similarity, since 2003, MusicBrainzs core data are in the public domain, and additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL, the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, in December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye
24.
National Diet Library
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The National Diet Library is the only national library in Japan. It was established in 1948 for the purpose of assisting members of the National Diet of Japan in researching matters of public policy, the library is similar in purpose and scope to the United States Library of Congress. The National Diet Library consists of two facilities in Tokyo and Kyoto, and several other branch libraries throughout Japan. The Diets power in prewar Japan was limited, and its need for information was correspondingly small, the original Diet libraries never developed either the collections or the services which might have made them vital adjuncts of genuinely responsible legislative activity. Until Japans defeat, moreover, the executive had controlled all political documents, depriving the people and the Diet of access to vital information. The U. S. occupation forces under General Douglas MacArthur deemed reform of the Diet library system to be an important part of the democratization of Japan after its defeat in World War II. In 1946, each house of the Diet formed its own National Diet Library Standing Committee, hani Gorō, a Marxist historian who had been imprisoned during the war for thought crimes and had been elected to the House of Councillors after the war, spearheaded the reform efforts. Hani envisioned the new body as both a citadel of popular sovereignty, and the means of realizing a peaceful revolution, the National Diet Library opened in June 1948 in the present-day State Guest-House with an initial collection of 100,000 volumes. The first Librarian of the Diet Library was the politician Tokujirō Kanamori, the philosopher Masakazu Nakai served as the first Vice Librarian. In 1949, the NDL merged with the National Library and became the national library in Japan. At this time the collection gained a million volumes previously housed in the former National Library in Ueno. In 1961, the NDL opened at its present location in Nagatachō, in 1986, the NDLs Annex was completed to accommodate a combined total of 12 million books and periodicals. The Kansai-kan, which opened in October 2002 in the Kansai Science City, has a collection of 6 million items, in May 2002, the NDL opened a new branch, the International Library of Childrens Literature, in the former building of the Imperial Library in Ueno. This branch contains some 400,000 items of literature from around the world. Though the NDLs original mandate was to be a library for the National Diet. In the fiscal year ending March 2004, for example, the library reported more than 250,000 reference inquiries, in contrast, as Japans national library, the NDL collects copies of all publications published in Japan. The NDL has an extensive collection of some 30 million pages of documents relating to the Occupation of Japan after World War II. This collection include the documents prepared by General Headquarters and the Supreme Commander of the Allied Powers, the Far Eastern Commission, the NDL maintains a collection of some 530,000 books and booklets and 2 million microform titles relating to the sciences
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