Results 231 to 240 of about 9,743,254 (290)

Du Fay, Jean Noé

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Some Songs by Du Fay

Jesse Rodin
exaly   +2 more sources

Du Fay einstimmig

2003
Michel de Beringhen, Kanonikus in Cambrai, also Kollege, wohl auch Freund von Du Fay, sah im Jahre 1457 seinem nahen Ende entgegen und wollte der Kathedrale eine neue Liturgie fur den letzten Sonntag im August stiften. Er bat einen seiner Vorgesetzten, Gilles Carlier, Texte fur eine Recollectio Festorum Beatae Mariae Virginis zu verfassen, ein Offizium,
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The Early Career of Guillaume Du Fay

Journal of the American Musicological Society, 1993
Owing to a paucity of documentation, Guillaume Du Fay's biography from 1414 to 1427 is blank; his origins have remained elusive. The earliest reference to him dates from 1409. New documents from Cambrai and a passage in the execution of his will change these circumstances.
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The Motet in the Age of Du Fay

1999
During the lifetime of Guillaume Du Fay (c. 1400–1474) the motet underwent a profound transformation. Because of the protean nature of the motet during this period, problems of definition have always stood in the way of a full understanding of this crucial shift.
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The mensura of φ in the works of Du Fay

Early Music, 2006
The sign Φ has both mensural and non-mensural meanings in the works of Du Fay. As a mensural sign, Φ almost always represents a mensura on the perfect breve, which may or may not be equated proportionally with a perfect semibreve of major prolation. In one instance, it represents a mensura on the imperfect breve, which is equated proportionally with an
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Notes on Guillaume Du Fay's Last Works

Journal of Musicology, 1995
his study began as a sample of the "dialogue" with Reinhard Strohm's The Rise of European Music' that I called for in a review of that work.2 At the time I recalled a brief conversation with Rob C. Wegman in which he mentioned his study of the genesis of Du Fay's Ave regina celorum mass.
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Du Fay's canons

Early Music, 2002
R. Deford, C. Turner
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Du Fay and the Cultures of Renaissance Florence

1996
Abstract As with other Italian cities during the Quattrocento, the fortunes of poly phonic music in Florence tended to wax and wane with the circumstances of patronage, the changing interests of the political and intellectual elites. Al though the palimpsest manuscript Archivio Capitolare di San Lorenzo 2211, compiled ca.
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