Escolar Documentos
Profissional Documentos
Cultura Documentos
Informao geral
Nascimento 1390
Local de nascimento Dunstable, Bedfordshire
Inglaterra
Data de morte 24 de dezembro de 1453 (63 anos)
Local de morte St Stephen's, Walbrook, Cidade de Londres
Nacionalidade britnico
ndice
1 Biografia
2 Obra
3 Referncias
4 Ligaes externas
Biografia
Nascido numa data que pode estar entre os anos de 1370 a 1400, o mais provvel que
seja por volta de 1390, pouco se sabe sobre sua vida. Alm de msico, foi matemtico e
astrnomo. Dunstable esteve a servio do duque de Bedford entre 1422 e 1435, durante
sua regncia sobre a Frana, morando l por muitos anos. H controvrsias ser ele ou
no John Dustavylle, relacionado Catedral de Hereford entre 1419 a 1440. Serviu
ainda Joana de Navarra, segunda mulher de Henrique IV. John Dunstable morreu no dia
24 de dezembro de 1453.
Obra
Dunstable o responsvel pela renovao harmonica na msica, ao empregar
sistematicamente trades com terceiras e sextas no tratamento polifnico de suas obras.
Este estilo, tambm conhecido como o falso bordo ingls seria o prenncio da riqueza
meldica presente em todo o renascimento. Apesar da sua msica carregar
caractersticas medievais, como o isorritmo e textos diferentes nas vozes, Dunstable
considerado o primeiro compositor renascentista. Dunstable foi tambm o primeiro
compositor que se conhece que teve a preocupao de preparar as dissonncias, isto , a
msica era conduzida at elas, no eram mais uma ocorrncia aleatria. Foi a principal
influncia de msicos como Leonel Power, seu contemporneo, com quem divide os
crditos pela primeira missa feita baseadas em apenas um cantus firmus, o que lhe dava
um carter cclico, ligando toda a obra, Guillaume Dufay e Gilles Binchois, posteriores
a ele.
Entre suas obras esto missas, motetos e chansons. Apesar de vrias obras suas em
italiano, incerta sua autoria sobre a msica Rosa bela, um dos mais belos exemplos do
perodo.
The spelling "Dunstaple" is preferred by Margaret Bent, since it occurs in more than
twice as many musical attributions as that of "Dunstable". The few English musical
sources are equally divided between "b" and "p"; however, the contemporary non-
musical sources, including those with a claim to a direct association with the composer,
spell his name with a "p." Both spellings remain in common usage.
John Dunstaple
From Wikipedia, the free encyclopedia
This article includes a list of references, but its sources remain unclear because
it has insufficient inline citations. Please help to improve this article by
introducing more precise citations. (June 2015) (Learn how and when to remove this
template message)
The spelling "Dunstaple" is preferred by Margaret Bent, since it occurs in more than
twice as many musical attributions as that of "Dunstable". The few English musical
sources are equally divided between "b" and "p"; however, the contemporary non-
musical sources, including those with a claim to a direct association with the composer,
spell his name with a "p." Both spellings remain in common usage.
Contents
1 Life
2 Influence
3 Compositions
4 Notes
6 Recording
7 External links
Life
Dunstaple was probably born in Dunstable, Bedfordshire. His birth date is a conjecture
based on his earliest surviving works (from around 14101420) which imply a birth
date of around 1390. Many of the details of his life are conjectural. Nothing is known of
his musical training and background. He was clearly a highly educated man, though
there is no record of an association with either Oxford or Cambridge universities. He is
widely held to have been in the royal service of John of Lancaster, 1st Duke of Bedford,
the fourth son of Henry IV and brother of Henry V. As such he may have stayed in
France for some time, since the duke was Regent of France from 1423 to 1429, and then
Governor of Normandy from 1429 to his death in 1435. He owned property in
Normandy, and also in Cambridgeshire, Essex and London, according to tax records of
1436. After the death in 1437 of another patron, the Dowager Queen Joan, he evidently
was in the service of Humphrey, Duke of Gloucester, the fifth son of Henry IV.
Unlike many composers of the time, he was probably not a cleric, though there are links
with St Albans Abbey (see below); he was probably married, based on the record of
women sharing his name in his parish, and he also owned a manor in Hertfordshire.
the abbot John Whethamstede is associated with the Duke of Gloucester (who
was buried at St Albans following his death in 1447), and Dunstaple's
isorhythmic motet Albanus roseo rutilat, possibly with some of the Latin words
adapted by Whethamstede from an older poem, was clearly written for St
Albans, possibly for a visit to the abbey by the Duke of Bedford in 1426.
Whethamstede's plan for a magnificent library for the abbey in 1452-3 included
a set of twelve stained glass windows devoted to the various branches of
learning. Dunstaple is clearly, if indirectly, referred to in some of the verses the
abbot composed for each window, not only music but also astronomy, medicine,
and astrology.
He died on Christmas Eve 1453, as recorded in his epitaph, which was in the church of
St Stephen Walbrook in London (until it was destroyed in the Great Fire of 1666). This
was also his burial place. The epitaph stating that he had "secret knowledge of the
stars" had been recorded in the early 17th century, and was reinstated in the church in
1904.
Influence
Dunstaple's influence on the continent's musical vocabulary was enormous, particularly
considering the relative paucity of his (attributable) works. He was recognized for
possessing something never heard before in music of the Burgundian School: la
contenance angloise ("the English countenance"), a term used by the poet Martin le
Franc in his Le Champion des Dames. Le Franc added that the style influenced Dufay
and Binchois high praise indeed.
Writing a few decades later in about 1476, the Flemish composer and music theorist
Tinctoris reaffirmed the powerful influence Dunstaple had, stressing the "new art" that
Dunstaple had inspired. Tinctoris hailed Dunstaple as the fons et origo of the style, its
"wellspring and origin."
The contenance angloise, while not defined by Martin le Franc, was probably a
reference to Dunstaple's stylistic trait of using full triadic harmony, along with a liking
for the interval of the third. Assuming that he had been on the continent with the Duke
of Bedford, Dunstaple would have been introduced to French fauxbourdon; borrowing
some of the sonorities, he created elegant harmonies in his own music using thirds and
sixths. Taken together, these are seen as defining characteristics of early Renaissance
music, and both Le Franc's and Tinctoris's comments suggest that many of these traits
may have originated in England, taking root in the Burgundian School around the
middle of the century.
Compositions
The musical output of medieval England was prodigious, yet almost all music
manuscripts were destroyed during the English Reformation, particularly as a result of
the Dissolution of the Monasteries in 15361540.[1] As a result, most of Dunstaples
work has had to be recovered from continental sources (predominantly those from
northern Italy and the southern Alps).
Because numerous copies of his works have been found in Italian and German
manuscripts, his fame must have been widespread. Two problems face musicologists of
the 15th century: first, determining which of the many surviving anonymous works
were written by which composers and, second, unraveling conflicting attributions. This
is made even more difficult for English composers such as Dunstaple: scribes in
England frequently copied music without any ascription, rendering it immediately
anonymous; and, while continental scribes were more assiduous in this regard, many
works published in Dunstaple's name have other, potentially equally valid, attributions
in different sources to other composers, including Gilles Binchois, John Forest and,
Leonel Power.[citation needed]
Of the works attributed to him only about fifty survive, among which are two complete
masses, three sets of connected mass sections, fourteen individual mass sections, twelve
complete isorhythmic motets (including the famous one which combines the hymn Veni
creator spiritus and the sequence Veni sancte spiritus, and the less well-known Albanus
roseo rutilat mentioned above), as well as twenty-seven separate settings of various
liturgical texts, including three Magnificats and seven settings of Marian antiphons,
such as Alma redemptoris Mater and Salve Regina, Mater misericordiae. Dunstaple was
one of the first to compose masses using a single melody as cantus firmus. A good
example of this technique is his Missa Rex seculorum.
He is believed to have written secular music, but no songs in the vernacular can be
attributed to him with any degree of certainty: although the French-texted rondeau
Puisque mamour is attributed to Dunstaple in two sources and there is no reason to
doubt his authorship, the ballade remained the more favoured form for English secular
song at this time and there is limited opportunity for comparison with the rest of his
output. The popular melody O Rosa Bella, once thought to be by Dunstaple, is now
attributed to John Bedyngham (or Bedingham). Yet, because so much of the surviving
15th-century repertory of English carols is anonymous, and Dunstaple is known to have
written many, most scholars consider it highly likely for stylistic as well as statistical
reasons that some of the anonymous carols from this time are actually by Dunstaple.
[citation needed]
Notes
1.
Stanley Boorman, et al. "Sources, MS." In Grove Music Online. Oxford Music
Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/50158pg28
(accessed December 29, 2008).
Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954;
ISBN 0-393-09530-4
Recording
1996 - Dunstaple: Sacred Works, Orlando Consort. Metronome METCD1009.
2012 O rosa bella, Ave maris stella and Quam pulchra es by John Dunstaple
have been recorded by the Lumina Vocal Ensemble
NOTAS
1. Era Medieval, Idade Medieval, Idade Mdia ou Medievo so os termos usados para
designar o perodo intermdio numa diviso esquemtica da Histria da Europa,
convencionada pelos historiadores, em quatro "eras", a saber: a Idade Antiga, a Idade
Mdia, a Idade Moderna e a Idade Contempornea. Este perodo caracteriza-se pela
influncia da Igreja sobre toda a sociedade. Esta encontra-se dividida em trs classes:
clero, nobreza e povo. Ao clero pertence a funo religiosa, a classe culta e possui
propriedades, muitas recebidas por doaes de reis ou nobres a conventos. Os elementos
do clero so oriundos da nobreza e do povo. A nobreza a classe guerreira, proprietria
de terras, cujos ttulos e propriedades so hereditrios. O povo a maioria da populao
que trabalha para as outras classes, constitudo em grande parte por servos. O sistema
poltico, social e econmico caracterstico foi o feudalismo, sistema muito rgido em
progresso social. Fome, pestes e guerras foram uma constante durante toda a era
medieval. As invases de rabes, vikings e hngaros do-se entre os sculos VIII e XI.
Isto trouxe grande instabilidade poltica e econmica. A economia medieval em
grande parte de subsistncia. A riqueza era medida em terras para cultivo e pastoreio. O
comrcio era escasso e a moeda era rara. A economia baseava-se no escambo. Muitos
Estados europeus so criados nesta poca: Frana, Inglaterra, Dinamarca, Portugal e os
reinos que se fundiram na moderna Espanha, entre outros. Muitas das lnguas faladas na
Europa evoluram nesta poca a partir do latim, recebendo influncias dos idiomas dos
povos invasores.
2. Termo musical para designar vrias melodias que se desenvolvem
independentemente, mas dentro da mesma tonalidade. As composies polifnicas tm
vrias partes simultneas e harmnicas. As partes so independentes, mas de igual
importncia. Embora a msica polifnica seja primordialmente vocal, o termo tambm
pode aplicar-se a obras instrumentais. Polifonia uma palavra que vem do grego e que
significa de muitas vozes.
3. Mestre, Padre-mestre, Indivduo de afir
4.Motete ou Moteto, sendo um dos grandes gneros musicais o moteto uma
composio polifnica vocal, executada a capela ou acompanhada de instrumentos, em
que cada voz ou grupo de vozes canta textos diferentes - e at em lnguas diferentes. A
origem da palavra remonta ao sculo XIII, quando foram acrescentadas palavras (mots,
em francs) a fragmentos vocalizados de canto gregoriano.
5.Bibliofilia (grego: biblion - livro e philia - amor) entende-se a arte de colecionar livros
tendo em vista circunstncias especiais ligadas publicao deles, segundo o verbete de
Aurlio Buarque de Holanda. No entanto, so essas duas palavras "circunstncias
especiais" que mais despertam dvida e mais lugar oferecem divagao.
Popularmente, denominamos de biblifilo aquele que costumar ler com muita
frequncia. Joo Jos Alves Dias define um biblifilo simplesmente como aquele que
ama os livros.
6. Gilles de Binche, Binch ou Bins, mais conhecido como Gilles Binchois (+/-1400
1460), foi um poeta, cantor, organista e compositor da Escola da Borgonha, um dos
compositores europeu mais famosos do sculo XV.Sua influncia foi emprestadas e
utilizadas como fonte de materiais para compositores de outras pocas.
7.Guillaume Dufay (5 de agosto de 1397, Beersel, atual Blgica 27 de novembro de
1474, Cambrai, Blgica), foi um compositor - da Escola de Borgonha, considerado o
maior msico da primeira metade do sculo XV e um dos nomes mais importantes do
perodo de transio da msica medieval para a renascentista. Guillaume Dufay
representou a primeira gerao da Escola Borgonhesa. Seu modelo de missa polifnica,
baseada no cantus firmus, teve grande aceitao entre os msicos at o final do sculo
XVI.
Saomo Versoza de Souza
REFERNCIAS BIBLIOGRFICAS
GROUT, Donald JAY. & PALISCA, Claude V. Historia da Musica Ocidental. Lisboa:
Gradativa, 2005.
HOPPIN, Richard H. (1978). Medieval Music. New York: W.W. Norton & Co.
Disponvel em acesso em 14 de julho de 2011
McLEISH, Valerie & Kenneth. Guia do Ouvinte de Msica Clssica. Rio de Janeiro,
editor Jorge Zahar . titulo Original: Listers Guideto Classical Music . traduo
autorizada da 1 edio inglesa publicada em 1986 por Longman Group UK Limited, de
Londres.
John Dunstable
(c.1380-1453)
English composer. We know so little about him that almost the only sure historical fact
is that he died on Christmas Eve 1453. Beyond that, the inscription of his epitaph
describes his different professions, and in a book on astronomy in St John's College,
Cambridge, he states in his own hand that he was a musician in the service of the Duke
of Bedford.
The fact that much of his music survives in Continental sources suggests that his fame
was widespread. Fifty-five works that are normally considered as by Dunstable survive,
including two complete Masses (one isorhythmic) and several paired and single Mass
sections, a large number of motets, and possibly two secular songs.
Thus all that we have of his music is in the form of liturgical or votive church music;
what may be counted as secular music amounts to so little that even the most celebrated
'O rosa bella' is not his for certain. What is certain is that Dunstable was the greatest
English composer before William Byrd. He was the man whose 'contenance anglaise'
influenced music for a century. it did so abecause of his residence in France for a
number of years as musician to John, Duke of BedfordHenry V's brother and Regent
of France from 1422 to 1435. It seems likely that the composer visited Italy also,
judging from the number of his works that exist in Italian manuscripts. At any rate he
was sufficiently renowned in France to be acclaimed by a contemporary French poet,
Martin le Franc, who in 1441-2 wrote:
'They' refers to the two leading composers on the Continent at that time, Dufay and
Binchois.
The 'English guise' (or 'contenance anglaise') as presented by Dunstable was not only
an increased sonority, but a more pronounced feeling for chords and chord progressions,
a more refined treatment of discord, a fresher, more lyrical vocal line, and a greater
equality of part-writing than had existed before, the chordal sense and equality of part-
writing being a natural outcome of English discant and conductus style combined.
Although Dunstable might well be called the first great composer in the early
Renaissance period, mediaeval features persist in much of his musicfor instance,
isorhythm (which, like most of the examples in the Old Hall manuscript, usually occurs
in all the voices), polytextuality, and distinction between the parts, both through
rhythmic differences and (more especially) through the use of voices and instruments,
particularly in secular pieces, the most common layout being a vocal top part with two
lower instrumental parts.