Free Essay

Musicology

In: Film and Music

Submitted By unicratt
Words 2146
Pages 9
Chapel Royal
As the title Music at Court denotes, this article discusses the history and evolution of music in England’s royal households. In the early centuries, a group of selected chaplains had always formed a part of the royal household. However, these chaplains generally served as advisers and their roles were primarily political than musical. Nevertheless, these priests also assisted at the ceremonial occasions by some three or four clerici who possessed good singing voices and were drafted into the chapel for such occasions. As time went on, the occasional recruitment of these musical clerics ceased to satisfy the needs of the sovereign and a more permanent, concrete set of musical retainers were selected; a self-contained department of the household called the capella regis, which included chaplains, clerks and choristers.
Beginning during the reigns of Edward I and Edward II (1272-1327), a specialized body of liturgical musicians called the “Chapel Royal” began to take shape. The Chapel Royal were a special group of musically inclined personnel maintained by sovereigns of England within the royal household, to perform divine service in the monarch’s presence. The Chapel Royal were in constant attendance to the sovereign and travelled with the royal household and discharged its duties in the chapel of whatever place the king then happened to reside. From these modest beginnings, the chapel eventually developed into one of the foremost secular liturgical choirs in Europe with kings maintaining 40-50 voices in the choir to project the king’s image and conspicuous display of his wealth, resources and creative talent. From this talented tool of musicians came some of the pre-reformation composers of England. From 1558 on, the Chapel Royal went through several periods of ups and downs depending upon the interests of the then current sovereign. For example, under the patronage of Elizabeth I and her immediate successors, the choir flourished and became the largest and finest in the country with musicians receiving a salary 3 times the national average, composed many pieces and anthems, and even establishing a choir school for boys. However, under William and Mary, the Chapel Royal, like all royal institution, went into decline. Since 1702, the Chapel Royal has been the smaller of the two royal chapels in St James’s Palace and still performs services to this day.
Secular Music
The secular aspect of the Royal Music changed in two fundamental ways in the reigns of Henry VII and Henry VIII. First, the medieval distinction between haut and bas instruments was intensified by the establishment into a distinction of Presence Chamber, the public areas, and the Privy Chamber, the private living and working areas of the monarch. Second, the solo or duet minstrelsy of the Middle Ages gave way to fixed groups playing sets of polyphonic consort instruments. This structure established in the 1540’s remained relatively unchanged until the Civil War and even beyond. The Tudor court was the largest musical institution in England, and as such employed many important composers of its time. Due to a fire that consumed the palace where many of the musical sources were stored, only a few importance pieces exist. Some of the surviving manuscripts are the Tudor songbooks and the Fayrfax Manuscripts. During the early-to-mid 17th century a number of monarchs made small changes to the Royal Music but the essence stayed the same. Under the reign of James I, the main changes to the Royal Music that occurred was concerning the violin, mainly the enlargement from 7 to 12 in the consort. Prince Henry combined separate consorts into a single group and Prince Charles combined James I’s Privy chamber with his musicians to make a new group. Then the Royal Music was abruptly dispersed at the beginning of the Civil War in 1642, leaving royal musicians to fend for themselves. After the Civil War and the Restoration in 1660, the Royal Music was reestablished exactly as it stood in 1642, though changes were soon made to accommodate the personal tastes of the monarch, Charles II. The Royal Music went into decline beginning during the reign of William and Mary in 1689. It became apparent that the Royal Music would only serve on an occasional basis and the musical life of England would be taken over by London’s commercial theatre’s and concert rooms. The Royal Music’s duties were reduced to attending Royal Weddings, baptisms, State banquets, and State Concerts etc. where they continue to perform their roles today.

Article Summaries
1.
Carse A.. ‘The Prince Regent's Band’, in Music & Letters 27 (1946): 147–55
Where I found it: JSTOR Online Journal Database, www.jstor.org
Summary:
In this article, the author Adam Carse chronicles the history of George IV’s personal band called “The Prince Regent’s Band”. He first documents much of the praise of George IV given by his biographers and historians. However, much of the praise may be skewed positively due to the liability of producing words displeasing to the Prince. According to the historians, Prince George was a gifted cello player that “few amateurs could equal him” and that he was gifted with a refined musical taste and highly rated musical knowledge. As such, the Prince patronized all the theatre’s and concert houses in his vicinity. Though much public concert-going occupied his leisure time, George’s personal interests laid with his own Private Band which was entirely his own personal affair. The band was known by several different names such as Prince of Wales’ Private Band, Prince Regent’s Band, and finally as the King’s Household Band. This band was composed entirely of skilled musicians regardless of nationality. The author then talks of the composition of the band instruments, noting how the early renditions favored the brass while woodwinds came to prominence later on. Carse then introduces quick sketches of some of the prominent musicians that have been in the Prince’s band. The band was soon disbanded after the death of George IV. My Impression:
Though I found the subject matter somewhat interesting in the beginning, I soon lost interest when I began reading the latter half of the article. I thought that the author spent an unnecessary length going in detail about the lives of some of the band members which detracted from the overall subject of the article. The author could have spent more time talking about the accomplishments of the band in general instead of what each of the members where doing. The article could have been written more concisely.

2.
Flood, W. H. G.. ‘The Beginning of the Chapel Royal’, in Music & Letters 5 (1924): 85-90.
Where I found it: JSTOR Online Journal Database, www.jstor.org
Summary:
The author states that many writers claim the origin of the Chapel Royal at the beginnings of the 15th century, but dismisses such statements as absurd. He then lays down examples of how the Chapel Royal existed well before then. Some of which are: the existence of a Chapel Royal at Windsor in 1351 as confirmed by Letters Patent of Edward III, and even further back is a reference from the Red Book of the Exchequer of an English Chapel Royal in 1135. Flood then cites numerous more references to the existence of the Chapel Royal in the 14th century. Following which begins a chronicling of many of the callings of position within the Chapel Royal in the 1400’s.
My Impression:
I thought the article articulated its point of the existence of the Chapel Royal but did so too repetitively. I thought only a few detailed examples and then a reference to the others would have sufficed. Also I did not see the need for the author to include the latter section on the various posts and callings within the Chapel Royal given the theme and subject matter of the article.

3.
Mabbett, M.. ‘Italian Musicians in Restoration England (1660–90)’, in Music & Letters 67 (1986)
Where I found it: JSTOR Online Journal Database, www.jstor.org
Summary:
The author Margaret Mabbett writes on the less recognized Italian musicians of the post-Restoration Court era of 1660-1690. During that time, though the court musical establishment was largely shut down, many foreign musicians came and went privately. Originally the Italian musicians came when Charles II was keen to establishing an Italian opera to England. Mabbett then produces documents from the time showing the breakdown of costs of hiring Italian musicians. Charles set about hiring and bringing over talented Italians musicians, but the opera never became popular in England. However, the Italian musicians where employed in other uses. One of the first Italian musicians Charles brought to London was Francesco Corbetta, a virtuoso guitarist. Instead of giving Corbetta an official musical role, he was assigned to various gentlemanly positions and much of his musical activities were performed on a private, informal level. Despite having large salaries, life was not easy for the Italian musicians as they had a hard time being paid by the King due to his insolvency, often not being paid for years. Mabbett relates the experiences of some of the Italian musicians and their troubles of trying to obtain rightful compensation.
My Impression:
I thought that this article was well written and presented a good view of how the Italian musicians lived in England during the time of Charles. The author introduced relevant examples from contemporary texts and included interesting facts and figures about the salaries of different types of musicians.

4.
Philipps, G. A.. ‘Crown Musical Patronage from Elizabeth I to Charles I’, in Music & Letters 63 (1977): 29–42.
Where I found it: JSTOR Online Journal Database, www.jstor.org Summary: In this article, the author Philipps, attempts to show the readers the different ideas of employment and patronage during our time and the time of the Elizabethans and the complex maneuverings and the many sources of income that were necessary to finance court life. Generally there were three ways in which a musician can receive royal patronage. First, musicians were able to receive income through grants of honor, peerage and knighthoods. These honors were very rare to be bestowed upon musicians as not many monarchs held then in that high of a regard. The second source is through receiving an office or position in the royal household and receiving a salary. The third source of revenue is through gifts of the Crown. The most common method is through the holding an office in the royal household. These salaries received from the Crown were ample but not generous in themselves. However, the ability to hold multiple offices allowed these musicians to receive several salaries amounting to a respectable sum. This is called pluralism. For example, Thomas Lupo, a Milanese violinist, received 40 pounds a year, he also held posts of “composer for our violins,” Musician in Ordinary and Composer of His Majesty’s Music. These four posts allowed Thomas to effective have 4 times his original salary and allowed him to live a financially comfortable life. Philipps also introduces a number of other musicians who were also employed in a variety of offices in the Royal Household. Musicians can also practice pluralism outside the Royal Court. As the popularity of paper music flourished in the late 16th century, another method of receiving income was discovered by musicians in the form of patents.
My Impression:
I thought that this article was well written and did a good job of explaining the way musicians made money during the Elizabethan period. The author introduced relevant examples that helped to understand how each of the methods worked, especially pluralism and patents. However, I did feel that the author should have included some of the problems musicians have actually getting paid from the monarch, for example, during periods of insolvency.

5.
Shaw, W.. ‘A Cambridge Manuscript from the English Chapel Royal’ in Music & Letters 42 (1961): 263–7.
Where I found it: JSTOR Online Journal Database, www.jstor.org
Summary:
“A Cambridge Manuscript from the English Chapel Royal” is a study on 20 pages in 5 fragments of manuscript consisting of outline organ short scores of English sacred music. The author finds that in the fragments there are two pairs relating to each other. The first pair, through comparison of existing manuscripts, the author is able to find who the original author was, Rev. William Tucker, and that the fragments represent parts of an organ book used in the Chapel Royal from 1670 on. The other fragments, though evident that they belonged in a Chapel Royal songbook, their origin remains unknown.
My Impression: This article was very hard to read and very confusing. It did not present very much detail or depth about the manuscripts and simply laid out some possible origins of the different pieces. I felt that the author could have implied better methods in research and presentation of the material.

Similar Documents

Free Essay

5 Musicological Fields

...Five Musicological Fields: The study of music also known as musicology encompasses five distinct fields. These include the study of historical musicology, ethnomusicology, philosophy of music, psychology of music and acoustics (Nation-master, 2013). The first major field, historical musicology, is the study of musical origins including subjects such as composers, genres and musical notation. Ethnomusicology is the second major field of musicology and is based around the field studies on music in diverse cultures. Thirdly, the philosophy of music is concerned with the central question of ‘what is music’. Another major field is Psychology of music which relates to the effect music has on human beings. The last musicological field of acoustics is the study of the science of sound (Nation-master, 2013). These five fields make up the fundamentals of musicology and will be explored within this report. Historical musicology focuses on the progression of music over time. This field studies the progressive styles of compositions, performances, receptions and criticisms of music (Nation-master, 2013). The methods of studying historical musicology also include source studies, manuscript studies, textual criticism, style criticism, the choice of historical method, musical analysis, and the application of musical analysis (Nation-master, 2013). This field of study also examines the lives and work of composers and performers (Queensland Studies Authority 2008). Influences and impacts on...

Words: 1527 - Pages: 7

Free Essay

Ethnomusicology Notes

...What is Music? Sound vibration with specific meaning Conceptual phenomenon based on society Ethnomusicologists try to understand societies through music. By understanding music, there is an understanding of people, the community or the society. Vocal, instrumental, dance. In some cultures, all these characteristics are combined where generally, vocal, dance and theater are separate. i.e: Flamingo Culturally specific activity Labels emblematic of the activities (contextualized in time and space) Folk, traditional, popular, art World Music? Peter Gabriel/ Paul Simon. Collaborating with artists outside of popular music. In the 80s, World Music was known as the collaboration with others. Zulu girls perform wedding song/dance. (Central Africa) (1) Paul Nabor from Belize. Transformation of this music which began to be a project of international world music. Village House Production, Punta Gorda Town, Belize Central America. Guitar, percussion and voice. (2) Andy Palacio – Watina. Producer transformed Paul Nabor’s base into Watina. The first album that put (Garifuna community in Belize) Garifuna music/this kind of music on an international scene. Was a popular album of world music. Andy Palacio – Dunya 2007 Festival Rotterdam (Joined by Paul Nabor) Paul Nabor sings in the Modal system whereas the instruments are in the tonal system. Completely different systems combined together. (3) Aurelio Martinez – The Laru Beya Sessions. In Senegal to commence a new collaboration...

Words: 1044 - Pages: 5

Premium Essay

Music 100 Chapter 1.

...Chapter 1 Before the Trip Begins: Fundamental Issues Questions to Consider When ethnomusicologist say that “Music is universal, but it is it not a universal language” they are telling us that music may be created and heard around the world, but it is not something that everyone can describe in one way. They are saying that every place has its own interpretation of what music is and no one interpretation will suit another, plus, music could never really be used to convey a direct message that text and actual conversations would; music is not a language because it does not requires specific symbols that must be structured by law in order to convey a message. Classifying music as “classical,” “folk,” or “popular” is saying that everyone can agree on one definition of what they understand these genres to be. “Classical,” “folk,” or “popular” may mean one thing to you and I here in the United States, but somewhere in Thailand or Hawaii what they know these genres to be would differ from what we are used to. Each individual listener’s interpretation is entirely the result of cultural conditioning, therefore, we cannot generalise and expect these genres to be similar or the same to everyone else. An ethnomusicologist studies the culture behind the music while a musicologist simply studies music. Thus, an ethnomusicologist might approach the study of Western classical music differently from a musicologist because an ethnomusicologist follows precise steps to ensure their findings...

Words: 525 - Pages: 3

Premium Essay

World Music Chapter 1

...Chapter1 1. What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? Ethnomusicologists perceive music in a semiotic view in which the music is a series of symbols that can be interpreted, not a series of words that can be read. 2. What are the potential problems in classifying music as “classical,” “folk,” or “popular”? In each culture, different styles of music may be considered to be one classification in one culture, and something else in another. What may be popular to some may not be to others. 3. How might an ethnomusicologist approach the study of Western classical music differently from a musicologist? An ethnomusicologist may get in close to the artists and not only listen and record their music (such as a musicologist), but will also study and participate in their culture as well. 4. What is “fieldwork”? What is its importance to the study of world music? Fieldwork is the practice of going out and listening and recording music directly from the source, the culture that is being studied. This is important in that it adds direct and pure sources and examples of the music being studied which can then be compared to and studied along with music of other cultures. 5. In what ways does world music study require an interdisciplinary approach? This is because not only is the music itself being studied (ethnomusicology), but the culture is being studied (anthropology) as well. 6. What is ethnocentrism? Have you ever...

Words: 279 - Pages: 2

Premium Essay

World Music

...Part One: Before the Trip Begins: Fundamental Issues (textbook) pg 1 – 15 Answer these questions below 1. What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? They say this because of many reasons. One reason being that many people have attempted to analyze music in terms of linguistics but it tends to be in a completely different realm. A second reason is that music is not usually known to cross cultural languages therefore it could not a universal language if one culture is not able to experience the emotions like another culture would. It is viewed in a semiotic view which means that is seen as a symbols that can be interpreted. 2. What are the potential problems in classifying music as “classical,” “folk,” or “popular” When using these terms together you are disrupting a value system that is based on different levels. Classical being the highest, then folk, and then popular being the lowest. They can not all be used together because some are greater or lesser than another. 3. How might an ethnomusicologist approach the study of Western classical music differently from a musicologist? An enthnomusicologist will get involved in more aspects of the culture while also doing what a musicologist would do such as record and study their music. 4. What is “fieldwork”? What is its importance to the study of world music? Fieldwork is when an ethnomusicologist goes to another country and experiences that cultures...

Words: 371 - Pages: 2

Premium Essay

World of Music

...1. What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? Ans: Music or rather musical activity exist within every human culture which makes it “universal” in nature. Because the interpretation of music varies differently from culture to culture, music is therefore not a universal language. 2. What are the potential problems in classifying music as “classical,” “folk,” or “popular”? Ans: In each culture, different styles of music may be considered to be one classification in one culture, and something else in another. Music consisted as popular to one individual may not be to other. 3. How might an ethnomusicologist approach the study of Western classical music differently from a musicologist? Ans:  Ethnomusicologist are more likely to get in close to the artists and not only listen and record their music like a musicologist which, but will also study and participate in their culture as well. 4. What is “fieldwork”? What is its importance to the study of world music? Ans: Fieldwork is the practice of going out and listening and recording music directly from the source, the culture that is being studied. This is important in that it adds direct and pure sources and examples of the music being studied which can then be compared to and studied along with music of other cultures. 5. In what ways does world music study require an interdisciplinary approach? Ans: This is because not only is the music itself being...

Words: 318 - Pages: 2

Free Essay

Chapter 1

...Sept 1, 2014 CST 2420-03 Chapter 1 Questions 1- What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? Music is universal but it is not a language even though both are made of symbols. Language is made of symbols with assigned meaning whereas music is made of symbols that are neutral are open to the listeners perception to assign their meaning. Also, it is debatable if music can transcend language barriers. 2- What are the potential problems in classifying music as “classical,” “folk”, or “popular”? Generally music is related to class instead of being nuetral. No better or no worse. 3- How might an ethnomusicologist approach the study of Western classical music differently from a musicologist? Ethnomusicologists not only study the music but how that music effects its audiences in a certain culture. Whereas, a musicologist studies music as a whole. An ethnomusicologist would study western classical musics effect on the western world. A musicologist would just study the music as it is. 4- What is “fieldwork”? What is its importance to the study of world music? Fieldwork is the recording of music using various methods including a cyclinder, disk, wire, and a magnetic acetate tape. The importance of this is that we can record the music we hear for further analysis. 5- In what ways does world music study require an interdisciplinary approach? The world music study requires an interdisciplinary approach because music...

Words: 287 - Pages: 2

Free Essay

Responsible Project

...Running head: RESPONSIBLE PROJECT 1 University of Phoenix Responsible Project Ethics 316 * * * * * * * * * * * * * * * * Running head: RESPONSIBLE PROJECT 2 * * * In the short video I watched about the Responsible Project which was on the Liberty Mutual website. This short video was about a young teenager who grew up with his father who was a garbage man and his grand-father who was a musician. This young teenager was a great high school basketball player that was getting full basketball schorlorships from all kinds of great basketball playing University’s around the world. But at the same time this teenager was also a great musician and Running head: RESPONSIBLE PROJECT 3 wanted to go to the Manhatten College of Music but was getting discouraged from his father about going to music school because he wanted his son to take the basketball scholarship because he did not want his own son to grow up and be like him and in the video it looked like his grand father wanted him to do whatever made him happy. In the teenagers last basketball he was having all different kinds of different University’s come watch him play and instead of him playing in the game he went to an audition at the...

Words: 683 - Pages: 3

Premium Essay

Ethnomusicology

...What do Ethnomusicologist mean when they say, "Music is universal, but it is not a universal language”? ~ Ethnomusicologist mean that music is found and made all over the world, but everyone doesn’t interpret music the same way. Chapter 1, page 4 states, “Each individual listener's interpretation is entirely the result of cultural conditioning and life experience." Meaning, depending on your cultural upbringing and your experiences in life, you will process and analyze music differently. We can all listen to the same exact song and all feel that it has a different meaning. Something can be music to one person and noise to another. What are the potential problems in classifying music as "classical," "folk," or "popular”? ~ Labeling music can often mislead people. Due to different cultural backgrounds it can confuse people. According to the textbook, in shorter words, "it is often tempting to use labels as shorthand. Unfortunately, not everyone understands their meanings and limitations. All three terms came from different cultures. Folk came from the Germans with the meaning coming from the Romantic Movement in the 18th-19th century, Classical came from the French and Italian culture. The textbooks states that the terms, "suggest a hierarchical value system in which classical is typically considered highest, folk of the much lower value, and popular at the lowest level." So by categorizing music you’re also categorizing it with a certain type of people. How might an ethnomusicologist...

Words: 549 - Pages: 3

Premium Essay

Music in History

...Music history, sometimes called historical musicology, is the highly diverse subfield of the broader discipline of musicology that studies the composition, performance, reception, and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (such as baroque concertos), the social function of music for a particular group of people (such as music at the court), or the modes of performance at a particular place and time (such as the performance forces of Johann Sebastian Bach's choir in Leipzig). In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics are nearly always categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based. The methods of music history include source studies (esp. manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis, and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. (For a more detailed discussion of the methods see the section on "Research in Music History" below) Some of the intellectual products...

Words: 272 - Pages: 2

Premium Essay

Dr. Ramon Pagayon Santos

...1989. He has studied composition with Hilarion Rubio, Lucio San Pedro, Thomas Beversdorf, Roque Cordero, Ramon Fuller, and William Koethe. He has taken contemporary music courses with Istvan Anhalt and George Perle and has studied Ethnomusicology with Bruno Nettl. He has also studied Javanese music and dance with Sundari Wisnusubroto and Nan Kuan with Lao Hong Kio. Studies: COLLEGE University of the Philippines Conservatory (now College) of Music · Teacher’s Diploma in Composition and Conducting (1964) · Bachelor of Music in Composition and Conducting (1965) GRADUATE Indiana University · Master of Music in Composition, with distinction (1969) State University of New York at Buffalo · Doctor of Philosophy in Composition, minor in Musicology (1972) POST-DOCTORAL Institute for New Music, Darmstadt, Germany · Summer Courses for New Music (1974) University of Illinois, Champaign-Urbana · Special Seminars in Ethnomusicology (1988-89) Previous Positions and Affiliations: • Vice President, International Music Council Executive Committee at UNESCO (since 2001) • Member, 14-man Executive Committee of the International Music Council (UNESCO) • Commissioner for the Arts, National Commission for Culture and the Arts (1998-2004) • Head, Executive Council of the...

Words: 959 - Pages: 4

Free Essay

Musical

... Greetings from the Director Ladies and Gentlemen! On behalf of The Ohio State University School of Music, I am thrilled to announce, as our gift to Central Ohio and musiclovers everywhere (I’ve been waiting to say this for months!), cue timpani roll … FREE ADMISSION TO SCHOOL OF MUSIC EVENTS FOR ACADEMIC YEAR 2014-2015 (With the exception of just a few premium concerts, noted throughout this brochure.) Our facility fund-raising New Day Initiative is well underway but there is no reason to wait for a new building, we’re making music now! We want you to come to a concert and find out why we are celebrating YOUR School of Music. Want to get involved? Join our new Patron Society. Learn about the possibilites at music.osu.edu. A few reminders: Musicology Lecture Series – We enjoy this series and want to spread the word. Not only will you hear fascinating speakers, but also you’ll have the opportunity to discuss their research with them. Parking on Campus – We recommend using the Ohio Union South Garage located a short distance south of our performance venues and accessible from both College Road and High Street. Find more information in the back of this brochure and at music.osu.edu. 22nd Annual Music Celebration Concert Friday, December 5, 2014 | 8 p.m. (see page 12 for additional information) I look forward to seeing you at these concerts, lectures and recitals. Be sure to stop backstage afterwards and introduce yourself to the performers. We want to know you, what you enjoy, and...

Words: 2306 - Pages: 10

Premium Essay

Gene Seymour: A Brief Summary

...Gene Seymour is a film critic and the author of Jazz: The Great American Art that was published in 1995. His articles and reviews were published in Newsday since 2011; the most recent article was, a book review, published in October 2015.He has been working for The Nation as a journalist, and the most recent article “Have We Reached the End of Jazz Itself?” was published in March 2015. The article starts with the introduction of how hard bop is a new genre rather than a subgenre of jazz. According to David Rosenthal, hard bop may be simple, but it makes the music sound extraordinary. (373) Louis Jordan was an influential altoist after World War Two. He formed his own band, Tympany Five, in 1938. Musicologists have agreed that Jordan had...

Words: 385 - Pages: 2

Free Essay

Xxxxx

...Bernard Dewagtere Arranger, Composer, Director, Teacher France, Erchin(59) About the artist Doctor of musicology, conductor and composer, I manage ACCELERANDO, vocational musical school (visit the website) Personal web: http://www.formationmusicale.fr About the piece Title: Composer: Arranger: Licence: Instrumentation: Style: Deck the hall Traditional Dewagtere, Bernard Copyright © Dewagtere, Bernard Recorder quartet Christmas, Carols Bernard Dewagtere on free-scores.com http://www.free-scores.com/Download-PDF-Sheet-Music-bernard-dewagtere.htm ■ ■ ■ ■ ■ ■ Donate / Financial compensation Download other works by this artist Listen to his pieces Contact the artist Write feedback comments Share your mp3 recording of this piece First added the : 2011-12-09 Last update : 2011-12-09 18:28:15 Dans une étable obscure - Lo, how a rose e’er blooming Es ist ein Ros’ entsprungen German’s Christmas Carol (1599) Arr. : M. Praetorius (1609) & Bernard Dewagtere (2011) Flûte à bec Soprano &b C Ó ˙ .. œ œ œ œ ˙ ˙ Flûte à bec Alto &b C Ó ˙ .. œ ˙ Vb C Ó .. œ œ œ œ ˙ Flûte à bec Ténor ˙ ˙ ?b C Ó ˙ .. ˙ ˙ œ œœœ Flûte à bec Basse œœ ˙ ˙ ˙ ˙ Fl. à b. S. &b œ œ œ œ ˙ ˙ ˙ œœ œ˙ Fl. à b. A. &b œ ˙ ˙ ˙ œ . œj ˙ Fl. à b. T. Vb œ œ œ œ œ œ œœ˙ Fl. à b. B. ?b ˙ œœ &b j‰ œ œ œ œ œ ˙ ˙ œ 7 13 Fl. à b. S. ...

Words: 376 - Pages: 2

Free Essay

Africa Has a History

...critically reflect and response to Hegel‘s and Trevor-Roper's comments about Africa Introduction In the mid nineteenth century, the German thinker Hegel, in his original Lectures on the Philosophy of History, pronounced that Africa is no verifiable part of the world; it has no development or improvement to show. Over 100 years after the fact, in 1965, then the Oxford University educator Hugh Trevor-Roper reverberated Hegel's notion. He pronounced that maybe, later on, there will be some African history to instruct. However, at present there is none, or next to know: there is just the historical backdrop of the Europeans in Africa. The rest is to a great extent murkiness, and obscurity is not a subject of history. Such assumptions are demonstrative of a bigot perspective and a general doubt of African accomplishments. Other than prejudice, in any case, explanations denying that Africa has a history are established in an essential origination of legitimate verifiable sources. It was trusted that social orders' advancements towards change and advance should have been recorded in composing structure at the general time that they happened. It was this emphasis on composing archives that rendered Africa's past imperceptible to the history specialist specifically and the more extensive open when all is said in done. Most African people groups did not create composing frameworks until the nineteenth and twentieth hundreds of years. Subsequently, there was a scarcity of composing records...

Words: 2129 - Pages: 9