Fauxbourdon also Fauxbordon , and also commonly two words fake Faux bourdon &ndash Music of France French for false bass &ndash is a technique of musical harmony harmonisation used in the late Medieval music Middle Ages and early Renaissance music Renaissance , particularly by composers of the Burgundian School . Guillaume Dufay was a prominent practitioner of the form, and may have been its inventor. The monotone monotonous Timbre quality of the parallel key parallel chord music chords allows the text of the mostly liturgical lyrics to be understood clearly. Description In its simplest form, fauxbourdon consists of the cantus firmus and two other part s a Interval music sixth and a perfect fourth ... a small part of a composition employs the fauxbourdon technique. Image Avemarisstella.png center thumb 600px Example of fauxbourdon. This is a portion of Ave Maris Stella , a Marian Antiphon , in a setting ... are freely composed the middle line, designated fauxbourdon in the original, follows the top line ... , and Thomas Ravenscroft . History The earliest example of fauxbourdon may be in the Bologna manuscript ... of the earliest fauxbourdon is difficult. Dufay s contribution to this collection contains the first ... in miniature above the music . The earliest definitely datable example of fauxbourdon is in a motet ... the tenor&mdash the lowest voice&mdash drops out, the upper three voices proceed in fauxbourdon. Even though its first use appears to have been in Italy , fauxbourdon was to become a defining characteristic ... H. Besseler, Bourdon und Fauxbourdon Leipzig, 1950 Sources, MS Renaissance Polyphony The New ...., 1980. ISBN 1 56159 174 2 Brian Trowell Fauxbourdon , Grove Music Online ed. L. Macy Accessed August ... Category Renaissance music Category Medieval music da Fauxbourdon de Fauxbourdon es Fauxbourdon eo Falsobordono fr Faux bourdon it Falso bordone he nl Faux bourdon ja no Fauxbourdon pl Fauxbourdon pt Fauxbourdon ru sv Faux bourdon uk ... more details
Reginaldus Libert Reginald also Liebert fl. c. 1425 1435 was a French composer of the early Renaissance music Renaissance . He was a minor member of the Burgundian School , a contemporary of Guillaume Dufay , and one of the first to use fauxbourdon in a mass music mass setting. Little to nothing is known of his life. He may be the same as a Reginaldus who was employed at the cathedral in Cambrai as a singing teacher to the boys in 1424. Four compositions by Libert have been identified. Two are Rondeau music rondeaux , which was the popular type of French chanson at the time. Both rondeaux are for three voices with only the uppermost voice being supplied with a text instruments were often used for the other parts, especially in the music of the Burgundians . ref Wright, Burgundy , Grove ref His most famous composition is a complete setting of the mass music mass , for three voices, which contains some of the earliest use of fauxbourdon . ref Reese, p. 65. ref An unusual feature of this mass is that it contains music not only for the Ordinary liturgy Ordinary Kyrie , Gloria in Excelsis Deo Gloria , Credo , Sanctus , Agnus Dei but the Proper liturgy Proper as well in this regard it resembles the Missa Sancti Jacobi of Guillaume Dufay, which is often considered to be the earliest example of fauxbourdon to which the term was applied by the composer. ref Trowell, Grove ref Libert s mass uses a plainsong source which permeates all the movements, and migrates from voice to voice. ref Reese, p. 66 ref Stylistically, this mass, as well as his other compositions, fit the period around 1430. Libert also wrote a setting of the Kyrie for four voices. Both this Kyrie and the complete mass survive in the Trent Codices . ref Wright, Libert, Reginaldus , Grove. ref References Craig Wright Reginaldus Libert Brian Trowell, Fauxbourdon . Grove Music Online, ed. L. Macy Accessed January 7, 2006 , http www.grovemusic.com subscription access Craig Wright, Burgundy , in The New Grove Dictio ... more details
Faux is a French word meaning false. Faux may also refer to Faux painting Faux chateau Faux pas literally false step as in a misstep or more usually a social gaffe Fauxbourdon Communes in France Faux, Ardennes , in the Ardennes d partement Faux, Dordogne , in the Dordogne d partement Faux Fresnay , in the Marne d partement Faux la Montagne , in the Creuse d partement Faux Mazuras , in the Creuse d partement Faux V signeul , in the Marne d partement Faux Villecerf , in the Aube d partement Faux is also a rare last name, of British origin. As a name, it is often pronounced Forks , or Foe . Everything else Special PrefixIndex faux All pages beginning with the word faux . disambig ... more details
Family name name Faul image image size width in pixels caption pronunciation meaning region Germany language German related names Faulbaum , Faulhaber , Faulstich footnotes nolinklanguage yes Faul is surname of Ashlee Faul born 1993 , Australian association footballer Bill Faul 1909 ? , Australian rules footballer Bill Faul baseball William Bill Alvan Faul 1940, Cincinnati, Ohio 2002 link de Christian Faul born 1949 , Austrian politician Denis Faul Denis O Beirne Monsignor Faul 1932 2006 , Irish Roman Catholic priest Jan Faul Jan W. Faul , photographer link de R diger Faul born 1948 , German engineer See also wikt faul Fauxbourdon Faul bordon Fauls Green or Faulsgreen , a small village situated in rural Shropshire surname Faul Category German language surnames surname stub de Faul ... more details
otheruses wiktionary faux Faux IPAc en icon f o is a French language French word for false or fake . It is often used in English phrases such as faux pearls . When manufacturing faux objects or materials, an attempt is often made to create products which will resemble the imitated items as closely as possible. However, some products are intentionally made to look faux , for example, faux furs made for prospective buyers who want their fur to be recognizable as imitation due to controversy over the use and manufacture of real animal furs. Faux materials are produced in a variety of ways, for example faux finishing faux finishes , such as Terrazzo and scagliola , generally made with marble dust in a plaster binder, yielding a hard material that will take a polish. To imitate marble s, porphyry geology porphyry , and other stones, faux finishes are often painted using spatterdash, sponging, and feather streaking techniques on gesso gessoed and painted surfaces. See also Faux painting also called faux finishing Faux chateau Faux pas literally false step as in a misstep or more usually a social gaffe Fauxbourdon References references Category Decorative arts Category French loanwords ceb Faux de Faux es Faux fr Faux it Faux nl Faux pt Faux uk ... more details
Falsobordone is a style of Reciting tone recitation found in music from the 15th to the 18th centuries. Most often associated with the harmonization of Gregorian chant Gregorian psalm tone s, it is based on root position triad music triads and is first known to have appeared in southern Europe in the 1480s. Falsobordoni are made up of two sections, each containing a recitation on one chord music chord , followed by a cadence music cadence . Their usage was mostly intended for the singing of vespers psalm s, but falsobordone can also be found in Passion Christianity Musical settings of Gospel narratives Passion s, Lamentation s, Improperia reproaches , litany litanies , psalm s, response s, and settings of the Magnificat . Unlike the etymologically related but largely dissimilar fauxbourdon , falsobordoni have all four vocal parts written out and chiefly use root position triads as opposed to first inversion triads. References Bradshaw, Murray C. Falsobordone, Grove Music Online ed. L. Macy, http grovemusic.com subscription access Further reading Bradshaw, Murray C. The Falsobordone a Study in Renaissance and Baroque Music , Musicological Studies and Documents , 1978 . Bradshaw, Murray C. The History of the Falsobordone from its Origins to 1750 diss., U. of Chicago, 1969 music theory stub Category Vocal music Category Musical techniques Category Renaissance music Category Medieval music ... more details
Clement Liebert floruit fl. 1433 1454 was a Franco Flemish School Franco Flemish singer and composer of the early Renaissance music Renaissance , active in Rome and at the Burgundian School Burgundian court. His life is only documented briefly for two periods. Like many composers who originated in the modern day Low Countries , he spent time in Italy , and sang in the papal chapel in 1433. His presence is also recorded in the Burgundian court chapel, where he was employed as a singer from 1441 to 1454. ref name Fallows, Grove online Fallows, Grove online ref Only one piece of music is securely attributed to him, a song Comment porray . ref name Fallows, Grove online The manuscript containing it, formerly in the Strasbourg Biblioth que Municipale, was destroyed on August 24, 1870, during the Siege of Strasbourg in the Franco Prussian War . ref Grove online, Sources, MS, VII ref It is not known if Liebert was related to Reginaldus Libert Liebert , another Burgundian composer who was one of the first to use fauxbourdon in a setting of the Ordinary of the Mass . It is also possible that Clement Liebert is the same as a J. de Climen, a composer of around 1430, to whom a two voice canon was attributed in a manuscript formerly from a Strasbourg library, now destroyed. ref Tom R. Ward, Grove online ref References David Fallows Clement Liebert , Grove Music Online, ed. L. Macy Accessed May 16, 2007 , http www.grovemusic.com subscription access Stanley Boorman, et al. Sources, MS, VII. Grove Music Online, ed. L. Macy Accessed February 19, 2009 http www.grovemusic.com subscription access Tom R. Ward J. de Climen , Grove Music Online, ed. L. Macy Accessed May 16, 2007 , http www.grovemusic.com subscription access Gustave Reese , Music in the Renaissance . New York, W.W. Norton & Co., 1954. ISBN 0393095304 Notes Reflist Persondata Metadata see Wikipedia Persondata . NAME Liebert, Clement ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH PLACE OF BIRTH DATE OF DEATH PLACE OF DEAT ... more details
, including mass music mass es, motet s, Magnificat s, hymn s, simple chant settings in fauxbourdon ... years, judging from the copious literature on the subject. Masses Motets Chant settings and fauxbourdon ... used a technique of parallel writing known as fauxbourdon , as in the following example ... The beginning of Dufay s setting of Ave maris stella , in fauxbourdon. The top line is paraphrased of the chant the middle line, designated fauxbourdon , not written follows the top line but exactly a perfect ... fauxbourdon to describe this style, which was prominent in 15th century liturgical music, especially ... more details
was fauxbourdon , a harmonization of an existing chant in parallel 6 3 chords, occasionally ornamented to prevent monotony. Composition using fauxbourdon allowed sung text to be clearly understood, but yet ... more details
was the practice of Fauxbourdon , which is a three voice technique not infrequently Improvisation ... and sixth below. Fauxbourdon, while making extensive use of fourths, is also an important step towards ... to the Fauxbourdon style. An example of this is the start of the Marian Antiphon Ave Maris Stella Image ... of Fauxbourdon. In medieval thought, contemplation of the musical intervals was frequently expressed ... more details
Image Josquin Missa BV Kyrie.jpg thumb Manuscript showing the opening Kyrie of the Missa de Beata Virgine , a late work by Josquin des Prez , and a paraphrase mass. Each of the voices sings a version of the source plainchant, elaborated or paraphrased . 300px A paraphrase mass is a musical setting of the Ordinary of the Mass Ordinary of the mass liturgy Mass , using as its basis an elaborated version of a cantus firmus , typically chosen from plainsong or some other sacred source. It was a common means of mass composition from the late 15th century until the end of the 16th century, during the Renaissance music Renaissance period in music history, and was most frequently used by composers in the parts of western Europe which remained under the direct control of the Roman Catholic Church . It is distinguished from the other types of mass composition, including cantus firmus mass cantus firmus , parody mass parody , canon music canon , soggetto cavato , free composition, and mixtures of these techniques. History Musical paraphrase, in general, had been used for a long time before it was first applied to the music of the Ordinary of the mass. It was common in the early and middle 15th century for a work such as a motet to use an embellished plainchant melody as its source, with the melody usually in the topmost voice. John Dunstable s Gloria is an example of this procedure, as are the two settings by Guillaume Dufay of the Marian Antiphon Alma redemptoris mater. Many compositions in fauxbourdon , a characteristic technique of the Burgundian School , use a paraphrased version of a plainchant tune in the highest voice. In these cases the source would not be obscured by the paraphrase it was still easily recognizable through whatever ornamentation was applied. ref Harvard Dictionary of Music, p. 608. ref Dufay was probably one of the first to use paraphrase technique in the mass. His Missa Ave regina celorum written between 1463 and 1474 is similar to a cantus firmus mass ... more details
varied Harmony harmonization for a stanza descant added by sopranos, above the melody Fauxbourdon ... each tune. The melody of the tune appears in the tenor fauxbourdon , often with the first stanza ... more details
Image Caruaru S o Jo o 2005 Trio forr .jpg thumb right Statues of Forr musicians Forr IPA pt fo is a kind of Northeastern Brazil ian dance that developed from European styles of folk music such as Chula and Xotis term that originated the derivate xote , as well as a word used to denote the different genres of music which accompanies the dance. Both are much in evidence during the annual Festa Junina June Festival , a part of Brazilian traditional culture which celebrates some Catholic saint s. The most celebrated day of the festival is known as John the Baptist S o Jo o . Origin of the term unreferenced section date February 2011 THere are several theories on the origin of the name. Forr in the same written way with the accented o in the Hungarian language means burning hot . In the 1940s, there were thousands of Hungarian emigrants arriving to South America. This is thought to have led to the naming of this dance. Another accepted theory puts forr as a derivative of forrobod , meaning great party or commotion . This is the view held by Brazilian folklorist C mara Cascudo , who studied the Brazilian Northeast through most of his life. Forrobod is believed to come from the word forbod itself a corruption of fauxbourdon , which was used in the Portuguese court to define a dull party. Another theory often heard popularly in Brazil is that the word forr is a derivative of the English language English expression for all and that it originated in the early 1900s. English engineers on the Great Western Railway of Brazil near Recife would throw balls on weekends and classify them as either only for railroad personnel or for the general populace for all . This belief was somewhat reinforced by a similar practice by USAF personnel stationed at the Natal Air Force Base during World War II , but it is not possible because before the USAF went to Natal, the name Forr was already in use. Popularity Forr is the most popular genre in Brazil s Northeast. It is the name ... more details
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