SEARCH RESULTS FOR: Claude Goudimel
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(Klod Goo-de-mel’) c. 1514–72 French composer Goudimel worked with the French music publisher Nicolas du Chemin, first as proofreader and later as partner. He corresponded with French humanists and writers such as Pierre Ronsard, some of whose verse he set. However, he is most important for his psalms, based on French translations begun by Clement Marot and published ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Klod Le Zhön) c. 1530–1600 French composer Le Jeune mixed in French humanist circles, participating in the Académie de Poésie et de Musique, a circle of poets and musicians dedicated to reviving the ideals of classical sung verse. He was the principal composer to experiment with musique mesurée, the attempt to set text according to the principles of ancient ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(E-les-a-bet’ Klod Zha-ka’ de la Gâr) 1665–1729 French composer and harpsichordist Jacquet de la Guerre was a child prodigy. The daughter of an organ builder, she was described by the Mercure Galant in 1678 as la merveille de notre siècle (‘the marvel of our century’). After performing for Louis XIV, she was taken to live at Versailles, where her ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

1862–1918, French Debussy wrote only one opera that has entered the repertoire, but there were many other compositions without which this masterpiece among masterpieces may never have come into being. His lover, the singer Marie-Blanche Vasnier, some years his elder, had deepened his understanding of literature in his early twenties, and his interest in poetry ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Pelléas survives because it challenges its interpreters to peel away layers and discover new depths. Its story can be written on the back of a postage stamp: brother marries girl; other brother falls in love with her; brother kills brother; girl dies. But of what ? Her wound would not have killed a sparrow, we are told. It is the ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

(Klod De’-bu-se) 1862–1918 French composer Debussy was one of the father figures of twentieth-century music, often associated with the Impressionist movement. He was not only influential on subsequent French composers such as Ravel and Messiaen, but also on other major European figures, including Stravinsky and Bartók. His early songs experimented with an intimate kind of word-setting, while ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Ne-ko-las’ Gôm-bâr) c. 1495–1560 Flemish composer Joining the Burgundian court around 1525, Gombert travelled widely with the emperor, Charles V, and composed music for state occasions. At a time when many composers were moving towards a style based on clear enunciation of the text and balanced phrases, Gombert wrote complex polyphony with long-breathed melodic lines, unbroken by ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Classical ideals began to emerge and take shape in musical treatises in the late fifteenth century. One of the most famous exponents of this was Johannes Tinctoris (1430–after 1511), who, in his writings, claimed that music had been reborn in the works of John Dunstaple (c. 1390–1453) and his followers around 1440. Also central to Renaissance thinking about music ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

The political structure of Europe changed greatly during the second half of the nineteenth century. Germany and Italy became united countries under supreme rulers. The Habsburgs’ Austrian Empire, ruled from Vienna, became fragmented into Austria-Hungary. The borders of this new confederation contained the cauldron of difficulties that eventually developed into the confrontations which culminated in World War I in ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

As ensemble music became more popular during the sixteenth century there was increased demand for wind instruments that could elegantly negotiate the lower ranges. Large versions of wind instruments intended for the higher registers lacked volume and agility and were often difficult to play. Various elements of existing instruments – the bass recorder’s crook and the shawm’s double reed, for ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

The history of musical instruments has always been very closely linked to the history of music itself. New musical styles often come about because new instruments become available, or improvements to existing ones are made. Improvements to the design of the piano in the 1770s, for instance, led to its adoption by composers such as Wolfgang Amadeus Mozart ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

Cymbals are thin metal discs played by being struck together or placed on a stand (suspended) and hit with sticks or beaters. They are made from beaten metal and so are distinct from crotales or antique cymbals, which are tuned cast metal discs. Turkish and Chinese Cymbals Suspended and crash cymbals used in western orchestral music, rock, pop ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

A musical ensemble is a group of two or more musicians who have come together to play music. In theory, an ensemble could contain any number of instruments in any combination, but in practice, certain combinations just don’t work very well, either for musical reasons or because of the sheer practicality of getting particular instruments and players ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

In the history of musical instruments, the keyboard is something of a Johnny-come-lately, having first appeared some 2,250 years ago. The earliest instrument of all is the human voice, and some form of rudimentary percussion probably came next. The plucked string – ancestor of the harpsichord family – is likely to have arrived with the firing of ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

The 1860s saw a number of major reorganizations in European politics. Italy became a united country under the king of (former) Piedmont-Sardinia, Victor Emmanuel II, in 1861 and its new national government tried to retain the kingdom’s liberal ideals, such as removing instances of operatic and intellectual censorship. However, Italy’s liberalism was not aspired to by other ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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