Jump to content


  • Content Count

  • Joined

  • Last visited

About christopher3393

  • Rank

Personal Information

  • Location
    Madison, WI

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. wiki: John Dunstable, c. 1390 – 1453) was an English composer of polyphonic music of the late medieval era and early Renaissance periods. He was one of the most famous composers active in the early 15th century, and was widely influential, not only in England but on the continent, especially in the developing style of the Burgundian School. Dunstaple's influence on the continent's musical vocabulary was enormous, particularly considering the relative paucity of his (attributable) works. He was recognized for possessing something never heard before in music of the Burgundian School: la contenance angloise("the English countenance"), a term used by the poet Martin le Franc in his Le Champion des Dames. Le Franc added that the style influenced Dufay and Binchois — high praise indeed. Writing a few decades later in about 1476, the Flemish composer and music theorist Tinctoris reaffirmed the powerful influence Dunstaple had, stressing the "new art" that Dunstaple had inspired. Tinctoris hailed Dunstaple as the fons et origo of the style, its "wellspring and origin." The contenance angloise, while not defined by Martin le Franc, was probably a reference to Dunstaple's stylistic trait of using full triadic harmony, along with a liking for the interval of the third. Assuming that he had been on the continent with the Duke of Bedford, Dunstaple would have been introduced to French fauxbourdon; borrowing some of the sonorities, he created elegant harmonies in his own music using thirds and sixths. Taken together, these are seen as defining characteristics of early Renaissance music, and both Le Franc's and Tinctoris's comments suggest that many of these traits may have originated in England, taking root in the Burgundian School around the middle of the century. Of the works attributed to him only about fifty survive, among which are two complete masses, three sets of connected mass sections, fourteen individual mass sections, twelve complete isorhythmic motets (including the famous one which combines the hymn Veni creator spiritus and the sequence Veni sancte spiritus.
  2. Ok, so significance is in the eyes, or in this case the ears, of the beholder? So are you saying that significance is subjective and that this is a fact?
  3. Is that: a) an objective statement b) a subjective statement c) a radically subjective statement d) both an objective and a subjective statement e) neither an objective nor a subjective statement ⏰
  4. but of fire? ohhhh, sorry, perro del fuego, si, si! firedog has a knack for keeping his cool when things get hot while still speaking his mind. what's up with that?
  5. What price beauty? When I started this "hobby" seven years ago, I kept noticing how much better music sounded with sometimes even simple system improvements. The word "beauty" came to mind often, so I started thinking and reading about it more, and noticing it more, particularly when listening to music. The Stanford Encyclopedia of philosophy actually has a good overview article with a very striking beginning for our purposes: "This article will begin with a sketch of the debate over whether beauty is objective or subjective, which is perhaps the single most-prosecuted disagreement in the literature. " It is the first and by far the longest part of this article, but some may find it worth the effort since this is no trivial question, even as it applies to audio (particularly regarding music and sound quality): https://plato.stanford.edu/entries/beauty/ Have a good weekend.
  6. Hilary Putnam ( 1926 – 2016) was an American philosopher, mathematician, and computer scientist, and a major figure in analytic philosophy in the second half of the 20th century. Under the influence of Pragmatism, Putnam became convinced that there is no fact-value dichotomy; that is, normative (e.g., ethical and aesthetic) judgments often have a factual basis, while scientific judgments have a normative element. At the end of the 1980s, Putnam became increasingly disillusioned with what he perceived as the "scientism" and the rejection of history that characterize modern analytic philosophy. His The Collapse of the Fact/Value Dichotomy and Other Essays, 2002, was primarily influenced by 2 economists, so economics is central here, particularly the economics of Amartya Sen. From the preface:”… this was a perfect opportunity to present a detailed rebuttal of the view that ‘fact is fact and value is value and never the twain shall meet,’ a view that implies that the Senian enterprise of bringing economics closer to ethics is logically impossible. This was also an opportunity to present a philosophy of language very different from the logical positivist one that made that Senian enterprise seem so impossible. Of course it is clear that developing a less scientistic account of rationality an account that enables us to see how reasoning, far from being impossible in normative areas, is, in fact, indispensable to them, and conversely understanding how normative judgments are presupposed in all reasoning, is important not only in economics, but as Aristotle saw, in all of life.”
  7. https://projects.houstonchronicle.com/media/video/aliveinside/brainparallax.mp4 https://www.lionsroar.com/how-meditation-changes-your-brain-and-your-life/ https://reprogrammingmind.com/richard-davidson-on-resilience-and-circuits-in-the-brain/
  8. Here is a little known 3 part motet by Guillaume de Machaut. He is regarded by many musicologists as the greatest and most important composer of the 14th century. One part of the motet is a Veni Creator Spiritus that is Machaut's own creation, lyrically and musically.
  9. Here is another medieval hymn with the same title, Veni Creator Spiritus, but with different lyrics and melody, as well as 3 part harmony. It is written by anon. sometime between 1150-1250, and belongs to the Notre Dame of Paris school of early polyphony. The composer does borrow a few lines of both lyrics and melody from the Rabanus Maurus plainchant, but this is from a quite distinct musical and in this case lyrical world than the Carolingian monk from Mainz. Ensemble Gilles Binchois, Dominique Vellard - Veni creator spiritus Veni creator spiritus · Trio Mediaeval and two performances by the Hilliard Ensemble: Link to the booklet for Perotin and the Ars Antiqua, which includes both Latin lyrics and a faithful English translation: https://www.chandos.net/chanimages/Booklets/CO6046.pdf (Perotin and Leonin are the best-known composers from the Notre Dame school) Here is a brief description of the music of the Notre Dame school: "Where the earlier repertories had consisted, with only the rarest (and oft-times dubious) exceptions, of two-part settings that paired the original chant tenor with one added voice, there is a whole cycle of Notre Dame settings with two added parts for a total texture of three voices, and even a few especially grandiose items with three added parts for an unheard-of complement of four. The earlier repertories had favored two styles: a note-against-note style called discant, and a somewhat more florid style called organum, with the tenor sustained against short melismatic flights in the added voice. A typical Notre Dame composition alternated the two styles and took them both to extremes. In “organal” sections, each tenor note could literally last minutes, furnishing a series of protracted drones supporting tremendous melismatic outpourings; the discant sections, by contrast, were driven by besetting rhythms that (for the first time anywhere) were precisely fixed in the notation. The chant settings associated with Notre Dame, in short, were as ambitious as the cathedral for which they were composed. They took their stylistic bearings from existing polyphonic repertories but vastly outstripped their predecessors in every dimension—length, range, number of voices. --Taruskin, Richard. Music from the Earliest Notations to the Sixteenth Century: The Oxford History of Western Music
  10. Sorry about that. "Veni Creator Spiritus which ends the disc is a splendid example of ornamented falsobordone. Strongly recommended." https://www.gramophone.co.uk/review/corsican-chant-from-franciscan-manuscripts "In 16th-century Italy and Spain, simple chord settings of psalms, usually in four parts, were frequently labeled falsobordone. But unlike the earlier fauxbourdon, falsobordone was based on chords in root position. Even though inversions do not necessarily alter the harmonic implications of chords, root positions do convey a greater sense of harmonic stability, since the fundamental tone, the chord root, appears in the bass, acoustically its natural habitat." https://www.britannica.com/art/fauxbourdon For a more comprehensive list of settings by composer, see Veni Creator Spiritus ChoralWiki: http://www2.cpdl.org/wiki/index.php/Veni_Creator_Spiritus
  11. sorry about all the blank space. The edit function isn't responding. Hugo, thanks for mentioning the Dum complerentur...had forgotten it is Pentecost music, and reminds me to revisit this:
  12. Yes, this Corsican polyphony is remarkable! Manuscript from the mid 17th century, but the sound is renaissance to my ears. One reviewer writes: "a splendid example of ornamented falsobordone" ( here ), which is a 16th century Italian and Spanish development ( see this ). And while looking into this, I found a much more comprehensive list in a ChoralWiki.
  13. Pentecost is celebrated on June 9 (western Christian liturgical calendar) and so I thought it would be interesting to trace the musical development of at least 2 well-known hymns to the Holy Spirit. The first is Veni Creator Spiritus. There are at least 2 very old hymns with this title and I'll address, the oldest from the 9th century by Rabanus Maurus, one of the first monks to provide written notation for music. There are variations on and musical settings for this hymn by composers such as Binchois, Dunstable, Palestrina, Martin Luther, Bach, Berlioz, Bruckner, Mahler, Durufle, Hindemith, Penderecki, Stockhausen, and Arvo Part. The second main trajectory is Veni Sancte Spiritus, of uncertain origin, which started as a plainchant sequence, and was set to music in the renaissance by Dufay, Josquin Desprez, Willaert, Palestrina, John Dunstaple, Lassus, Victoria, and Byrd, and in the 20th century, Part, Lauridsen, and others. The hope is to attend to most of these and to discover others along the way. To start this off here is Anonymous 4 performing Rabanus Maurus' Veni Creator Spiritus:
  • Create New...