English Musica Ficta and the Western Wind Mass of John Taverner

DAVISON , N. , " The Western Wind Masses " , Musical Quarterly , lvii ( 1971 ) , p . 429 . > DOE , Paul , " Another View of Musica Ficta in Tudor Music " , Proceedings of the Royal Musical Association , Vol . 98 ( 1971-1972 ) , pp .

English Musica Ficta and the Western Wind Mass of John Taverner


Mass

Mass


The western wind mass

The western wind mass


Early English Composers and the Credo

14 Western Wind Mass Paul Doe contends that the three men who composed the three Western Wind Mass settings—John Taverner, John Sheppard, and Christopher Tye—must have known each other sometime between 1526 and 1543.15 However, ...

Early English Composers and the Credo

This book develops an innovative approach for understanding the relationship between music and words in the works of five major composers of the English Renaissance: John Taverner, Christopher Tye, John Sheppard, Thomas Tallis, and William Byrd. Focusing on these composers’ settings of the Latin Credo, the author shows how musical and linguistic emphasis can be used to understand the composers’ theological interpretations of the text. By combining markedness theory with style analysis, this study demonstrates that the composers used their musical skills not only to create beautiful music, but to raise certain elements of the text to the foreground of perception and relegate others to supporting roles, inviting listeners to experience the familiar words of the liturgy in unique ways. Providing new insights into the changing musical and religious world of the sixteenth century, this book is relevant to anyone researching music or religion in early modern England, while offering a flexible and widely adaptable tool for the analysis of musical-textual relationships.

John Taverner

The Four-voice Masses The western wind mass and the Plainsong mass are different in many respects from the five- and six-voice settings, and from each other. The former was composed for trebles, means, countertenors and basses, ...

John Taverner

John Taverner was the leading composer of church music under Henry VIII. His contributions to the mass and votive antiphon are varied, distinguished and sometimes innovative; he has left more important settings for the office than any of his predecessors, and even a little secular music survives. Hugh Benham, editor of Taverners complete works for Early English Church Music, now provides the first full-length study of the composer for over twenty years. He places the music in context, with the help of biographical information, discussion of Taverners place in society, and explanation of how each piece was used in the pre-Reformation church services. He investigates the musical language of Taverners predecessors as background for a fresh examination and appraisal of the music in the course of which he traces similarities with the work of younger composers. Issues confronting the performer are considered, and the music is also approached from the listeners point of view, initially through close analytical inspection of the celebrated votive antiphon Gaude plurimum.

European Music 1520 1640

David chadd, Early English church Music, 17 (London, 1977); Soriano : Missa super voces musicales, in Selectus novus missarum, ed. carl proske (Regensburg, 1857), i/2 ; Taverner: Western Wind mass, in Four- and Five-PartMasses, ed.

European Music  1520 1640

An authoritative survey of music and its context in the Renaissance.

Tallis

In fact the four - part and three - part music that makes up the Gyffard collection turns out to be anything but dull or trivial . This is a treasury of fascinating and often beautiful repertory , including the Western Wind masses by ...

Tallis

The composer Thomas Tallis (c. 1505 - November 1585) lived and worked through much of the turbulent Tudor period in England. Unlike many of his contemporaries, he did not just react to radical change: he thrived on it. He helped invent new musical styles to meet the demands of the English Reformation. He revived and reimagined older musical forms for a new era. Fewer than a hundred of his works have survived, but they are incredibly diverse, from miniature settings of psalms and hymns to a monumental forty-voice motet. In this new biography, author Kerry McCarthy traces Tallis's long career from his youthful appointment at Dover Priory to his years as a senior member of the Chapel Royal, revisiting the most important documents of his life and a wide variety of his musical works. The book also takes readers on a guided journey along the River Thames to the palaces, castles, and houses where Tallis made music for the four monarchs he served. It ends with reflections on Tallis's will, his epitaph (whose complete text McCarthy has recently rediscovered), and other postmortem remembrances that give us a glimpse of his significant place in the sixteenth-century musical world. Tallis will be treasured by performers, scholars, Tudor enthusiasts, and anyone interested in English Renaissance music.

The Latin Church Music Part 1

The Masses Christopher Tye John Satterfield. The "Western Wind" Mass t 1E IE Yi ICC * B; in ter - The "Western Wind" Mass.

The Latin Church Music  Part 1


Music History During the Renaissance Period 1520 1550

This contains transcriptions of three unaccompanied Masses , the Plainsong Mass , the Western Wind Mass , and the Mean Mass . John Taverner . Edited by Hugh Benham . Early English Church Music , no . 25. . London : Published for the ...

Music History During the Renaissance Period  1520 1550

Lists concise information on musical theory, notation, style, performance practices, and composition from the middle of the Renaissance Period.

First Time Bars A Choral Singer s Handbook

Most of his surviving works are Masses, or Mass movements, and a few secular songs. John Taverner, born around 1490, is remembered primarily for some fine Mass settings including the “Western WindMass probably written in the 1540's.

First Time Bars   A Choral Singer s Handbook

Packed with information to help you get more out of your choir time, First Time Bars is an invaluable handbook for every choral singer.

Try Whistling This

But by the time John Taverner cametocompose his Western Wind Mass, early in Henry VIII's reign, he wasamaster ofthe technique. Western wind, when wiltthoublow, The small raindown can rain. Christ,if mylove were inmy arms AndIinmy ...

Try Whistling This

Perceptive and entertaining, Try Whistling This is a pleasurable journey through music, ideas and history. Andrew Ford traces the concept of dirty dancing back to the sixteenth century, marvels at the weirdness of Percy Grainger and considers the decision of Wilhelm Furtwängler to keep conducting under the Nazis. He explores the intersection of words and music, the bugbear of Australian musical identity, and the fundamental importance, in music and in life, of listening. There are essays based on Ford’s acclaimed radio series Music and Fashion, as well as illuminating examinations of music-makers from Mozart to Shostakovich, Elgar to Britten, Cole Porter to Bob Dylan. In Try Whistling This, a brilliant communicator offers a fresh take on music and changing times.

I Saw Eternity the Other Night

THE CLERKES OF OXENFORD Willcocks recorded the three Byrd masses, Tye's Mass 'Euge bone' and Taverner's Mass 'Western Wind', together with a large number of Latin motets by Tallis, Byrd, Philips and Taverner, almost certainly more ...

I Saw Eternity the Other Night

The sound of the choir of King's College, Cambridge - its voices perfectly blended, its emotions restrained, its impact sublime - has become famous all over the world, and for many, the distillation of a particular kind of Englishness. This is especially so at Christmas time, with the broadcast of the Festival of Nine Lessons and Carols, whose centenary is celebrated this year. How did this small band of men and boys in a famous fenland town in England come to sing in the extraordinary way they did in the twentieth and early twenty-first centuries? It has been widely assumed that the King's style essentially continues an English choral tradition inherited directly from the Middle Ages. In this original and illuminating book, Timothy Day shows that this could hardly be further from the truth. Until the 1930s, the singing at King's was full of high Victorian emotionalism, like that at many other English choral foundations well into the twentieth century. The choir's modern sound was brought about by two intertwined revolutions, one social and one musical. From 1928, singing with the trebles in place of the old lay clerks, the choir was fully made up of choral scholars - college men, reading for a degree. Under two exceptional directors of music - Boris Ord from 1929 and David Willcocks from 1958 - the style was transformed and the choir broadcast and recorded until it became the epitome of English choral singing, setting the benchmark for all other choral foundations either to imitate or to react against. Its style has now been taken over and adapted by classical performers who sing both sacred and secular music in secular settings all over the world with a precision inspired by the King's tradition. I Saw Eternity the Other Night investigates the timbres of voices, the enunciation of words, the use of vibrato. But the singing of all human beings, in whatever style, always reflects in profound and subtle ways their preoccupations and attitudes to life. These are the underlying themes explored by this book.

Third Mass in D

THE CHORAL SYMPHONY ( THE VOCAL SECOND MASS , IN C ( LATIN ) . THE LAY OF THE BELL . PORTION ) . ... THE PASSION OF OUR LORD . THE SONG OF BALDER . ЕРНЫНАН . E . SILAS . CHERUBINI . HAMISH MACCUNN . MASS , IN ... ODE TO THE WEST WIND .

Third Mass  in D


Music and the Reformation in England 1549 1660

Of the three Masses , the “ Western WindMass is the simplest , being constructed , much like Taverner's Mass , on the variation principle . The Peterhouse Mass is imitative but of “ Short - Service ” proportions , whilst the Euge ...

Music and the Reformation in England 1549 1660

Presents issues that affected the course of music within the church of England during the reformation.

The Western Wind

punishment of failure, since I'd asked for it from the west and it was not from the west; what hope of saving my parish, ... A continuous circle of shadows holding windthrashed torches, and a mass of shapes that bloated and narrowed.

The Western Wind

**SHORTLISTED FOR THE WALTER SCOTT PRIZE 2019** 15th century Oakham, in Somerset; a tiny village cut off by a big river with no bridge. When a man is swept away by the river in the early hours of Shrove Saturday, an explanation has to be found: accident, suicide or murder? The village priest, John Reve, is privy to many secrets in his role as confessor. But will he be able to unravel what happened to the victim, Thomas Newman, the wealthiest, most capable and industrious man in the village? And what will happen if he can’t? Moving back in time towards the moment of Thomas Newman’s death, the story is related by Reve – an extraordinary creation, a patient shepherd to his wayward flock, and a man with secrets of his own to keep. Through his eyes, and his indelible voice, Harvey creates a medieval world entirely tangible in its immediacy.

A Performer s Guide to Transcribing Editing and Arranging Early Music

The Tallis Scholars, Peter Phillips, Taverner, Tye, Sheppard: Western Wind Masses, Gimmel CDGIM027 (1993); Taverner Choir & Players, Western Wind: Mass by John Taverner & Court Music for Henry VIII, Avie AC2352 (2016); Circa 1500, ...

A Performer s Guide to Transcribing  Editing  and Arranging Early Music

A Performer's Guide to Transcribing, Editing, and Arranging Early Music provides instruction on three important tasks that early music performers often undertake in order to make their work more noticeable and appealing to their audiences. First, the book provides instruction on using early sources-manuscripts, prints, and treatises-in score, parts, or tablature. It then illuminates priorities behind basic editorial decisions-determining what constitutes a "version" of a musical piece, how to choose a version, and how to choose the source for that version. Lastly, the book offers advice about arranging both early and new music for early instruments, including how to consider instruments' ranges and various registers, how to exploit the unique characteristics of period instruments, and how to produce convincing textures of accompaniment. Drawing on methods based on early models (for example, how baroque composers arranged the music of their contemporaries), Alon Schab pays tribute to the ideas and ideals promoted by the pioneers of the early music revival and examines how these could be implemented in an early music field revolutionized by technology and unprecedented artistic independence.

Student Voice

... at ease and ensure that this is what happens. Chapter 15 The counter-tenor: a special case? In writing a. * John Sheppard (c.1515–58), Tudor singer and composer. His works for choir include the Western Wind Mass and Frences Mass.

Student Voice

This book is written for students of singing. Whilst primarily designed for undergraduate and graduate level students, it will also be of use to mature singers and to those already in the singing profession, who simply want to keep their technique and knowledge alive. Over a successful career as a singing teacher for more than a quarter of a century, Colin Baldy has been frustrated by the lack of suitable reading materials aimed specifically at the student of the singing voice. He hopes that this book will be a useful resource, not only to students, but also to their teachers who undoubtedly receive frequent requests for such a book. The book includes a certain amount of physiology, enough but not too much, with suggested exercises and methods for developing the correct use of that physiology. It suggests a suitable repertoire to run alongside the exercises, and contains a large amount of trouble-shooting advice. The author's intention is to encourage the singing student and to assist them in avoiding common pitfalls. It is also hoped that the book may help singers to identify vocal problems which they may already have developed.

Classical Music

... (Léonin and Pérotin) Palestrina: Missa Papae Marcelli Tallis: Lamentations Taverner: Western Wind Mass Further reading Atlas, Allan W. Renaissance Music. Music in Western Europe 1400–1600. Further reading and suggested listening.

Classical Music

Pick up where Classic FM leaves off What does classical music mean to the Western World? How has it transformed over the centuries? With such a rich tradition, what relevance does it have today? Julian Johnson inspires readers to explore the field, and examines how music is related to some of the big ideas of Western experience including spirituality, emotion, the weight of history, and self identity.