Josquin Des Prez Analysis

Through the study of the records of courts, both secular and ecclesiastical, which exists in thousands of European and American archives and libraries, a patient and careful researcher can reconstruct particular images of “the world we have lost” and of the people who inhabited that world. From this vast, largely untapped repository of judicial records, Gene Brucker uses the notarial protocols of Ser Filippo Mazzei, which contains the transcripts of the litigation in the archiepiscopal court and the catasto records, which provides information about Florentine households, to piece together the dossier of Giovanni and Lusanna. The story of Giovanni and Lusanna explores the love and marriage in renaissance Florence and uncovers the gradation of the city’s social hierarchy and the role of women in society.

Piero di Cosimo dé Medici, Florence’s ruler in the 1460’s , designated Guillaume Dufay as “the greatest ornament of our age.” Born in Cambrai, northern France in 1397, Dufay’s life was bifurcated between France and Italy. Known as “The Father of the Renaissance,” he is credited with over 200 sacred music works including the first Requiem mass , and multiple Marian antiphons. In the Renaissance, Marian veneration was performed within liturgies. France’s Chartres Cathedral, the epicenter of Marian worship, even developed Marian themes and liturgy to perform in tandem with Christ-centered worship in Advent. Dufay conjoins English and Italian treats in his compositions, and his Marian works are prime examples of an international sound. Although these antiphons are not original in their compositional provenance, the amalgamation creates a unique style. David Fallows writes, “Dufay’s hymn cycle seems to have been composed during his time at the court of Savoy in 1434-1435.” He also mentions, “The hymns…show an attempt to refine his technique…to return to first essentials with…economical means.” Three Marian works worth analyzing are the Salve Regina, Ave Maris Stella, and Petrarch’s setting of Vergene Bella. Although Vergene Bella is not a Marian antiphon, it is a cantilena motet expressing Marian praise. Vergene Bella, Ave Maris Stella, and Salve Regina not only contain multinational

The finest choral composer of Les Six his works are known for their melodic invention and originality. Because Poulenc’s family intended for him to have a career in the family business he was largely self-taught. His music often juxtaposes humor and irony with the sentimental and melancholy. After the death of a close friend in the 1930s he rediscovered Catholicism and composed many religious works. He was particularly fond of woodwinds and planned to write a set of sonatas

Though much of Josquin des Prez’s early life remains a mystery, it is believed that he was either born in Hainaut (Belgium) or in France. For quite a while des Prez’s was believed to have been born in 1440 but recent studies have found that he was actually born some years later, closer to the year 1450. After his father died around 1466, des Prez aunt and uncle, Gille Lebloitte dit des Prez and Jacque Banestonne, renamed him their heir and in their will his name is written Josquin Lebloitte.

As the years past he composed multiple sheets of chamber and vocal music, many of which were lost during the great wars. In total some say there are around 500 different compositions and about 100 or so fugues and numerous chaconnes, ricercars, arias, preludes, and different forms of keyboard music. Soon he would pass in his mid 50s on either March 3rd or March 7th, 1706 and would be laid to rest at St. Rochus Cemetery.

Pierre de la Rue was the head composer at the court of Burgundy which where a group of composers during the golden age of Franco-Flemish polyphony. “He makes the third stage of the three-step advance the musical form lead by his generation, following upon the work of Obrecht and then Josquin”(Todd M. McComb, September 09,2017). Most people say that he could possibly have been the oldest of the three by just a few years. “While La Rue did not achieve the subsequent fame of Josquin, it was he who perfected the formal innovations of the era, reinjecting them with a refined and subtle sense of variety”(Todd M. McComb, September 09,2017). He was the most influential composer of his generation but the downfall was that he did now work in Italy.

In the first two parts, Julian is determined to deny the object in terms of the subject. Thus he is denying the existence of objects, the separations from himself. He is the subject and his self is divided against itself. His unconscious narcissistic desires are motivating him to reconfigure the world in terms of his own desires, however his conscious is not in agreement. Julian has now conceptualized the relation between himself and others, and the importance it carries. He has now denied himself, and ceases to exist except unto others; he now denies the subject and in terms of the object. He is allowing complete domination of himself by the world, realizing this is the only way to again achieve paradise. Although this has changed, Julian will only ever be motivated by the same end result: his return to primary narcissism.

Jo-burg , oh , jo-burg Tumbling away in the waves of poverty Drowning , gasping for air in between the buildings Jo-burg , oh , jo-burg The roots that run deep , slowly dying The dark corners being used to leave scars Jo-burg , oh , jo-burg Cold and sad faces walk the paths Wearing their pride on their sleeves Jo-burg , oh ,

“La Déploration de Johannes Ockeghem” is Josquin des Prez’s best-known works, “Based on a poem by Jean Molinet and composed on the occasion of Johannes Ockeghem’s death in February 1497, the piece is considered one of the most moving memorials ever written.” Another popular work of Josquin des Prez is “Miserere” “which commemorates the execution of Girolamo Savonarola in 1498,” it played an important role of the Penitential Psalms.

14th-century France was referred to as “Ars Nova” and 14-century Italy was referred to as “Trecento.” The Ars Nova was named for the Ars Nova Treatise, ascribed to Philippe de Vitry. France and Italy both had significant breakthroughs with musical composition: France had the Roman de Fauvel, a satirical poem that incorporated music and portrayed modern affairs. Italy had a lavishly embellished compilation called the Squarcialupi Codex that consists of 354 songs for two or three parts. In addition, Italy’s polyphonic Ballata was a lyrical composition with an AbbaA arrangement that is similar to a stanza in the French virelai.

Arguably the most politically controversial and influential women in Argentine history, and Spiritual Leader of the nation, Maria Eva Duarte de Peron (1919-1952) and much of the history of her life is subject to substantial bias due to a myriad of anti-Peronist propaganda during the Peron’s regime, as Marysa Navarro states “you were either for her, or against her”. Although there is a consensus to a monumental sum of the facts apropos to Eva Peron’s life, the subject of discourse is rather in the interpretations and perceptions of her life, such as her reasons for the creation of the Eva Peron Foundation, how she came the her prominence, and her purpose and goals. The orthodox view of Eva was formed directly after her death and entails an image of promiscuity, manipulation, greed, and hunger for power and revenge. However, towards the end of the twentieth century, revisionists refined this interpretation, diminishing the negative portrayal; creating a less biased presentation.

One of the greatest composers of music, even though it was only slightly notated at the time, was Guillaume de Machaut (d. 1377), “one of the undisputed pinnacle geniuses of Western music…” His most famous piece was the four-voice Mass of Notre Dame, which maintained his reputation through the changes in fashion (Roberge). After almost a millennium’s worth of music was composed and contributed, the style of music began to change with the next era.

“Le Corsaire” is a well-known ballet originally choreographed by Joseph Mazilier to music composed by Adolphe Adam. The ballet was first performed in Paris in 1856 but was made famous by a revival choreographed by Marius Petipa. The original “Le Corsaire,” which is based off of the poem titled “The Corsair” by Lord Byron. Many individual works from this ballet, such as “Le Jardin Animé”, “the Pas de Trois des Odalisques”, and the “Pas de Deux”, all of which are in our adaption of “Le Corsaire”, are celebrated and performed independently from the full-length work. These excerpts are some of the most widely known and performed excerpts in classical ballet. Many different ballet companies have performed these works as well as the ballet in full. After dancing and watching our version of “Le Corsaire”, I was interested in learning more about the story behind the movement. After learning more about the story, I became interested in how the excerpts I have become familiar with through this course fit to tell this detailed story of a pirate and a slave woman. In this paper, I will share my interpretation of the story and how it is shown through our slight variation of Petipa’s choreography.

Giovanni Gabrieli was an Italian composer born in 1554 and wrote many works in the ‘in between’ stage of Renaissance and Baroque. He was a composer and

The main objective in the performance of Renaissance music is that everything done by the singer is subservient to the text. Musicians of the Renaissance were fixated on the concept of music serving the text. Composers set poems to text attempting to imitate natural speech and inflection pattern in the rhythms of the music, and wished to write the music in such a way that the words could be understood. Singers should strive toward clear diction, making sure their vowel shapes and ornamentation do not obscure the text.