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The new musical style of the Ars Nova was made possible by a set of innovations in notating rhythm, innovations that underlies the modern system of note values.
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Published in Palestrina’s Second Book of Masses in 1567. The legend is probably inaccurate and was embellished over time, Palestrina did note in his dedication to the collection that the masses it contained were written “in a new manner,” no doubt responding to the desire of some for greater clarity in presenting the text.
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Gabrieli’s innovative instrumental works, both shaped by the rich musical environment of Venice. His Sacrae Symphoniae (Sacred Symphonies, 1597) resembles a double-chorus motet for two groups of four instruments, with organ accompaniment.
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In Vivaldi’s L’Estro Armonico, the opening ritornello is composed in small units and was alternated between the orchestra and the soloist. The solo episode is characterized by virtuosic playing.
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Traite de l’harmonie quickly won Rameau renown as a theorist. He recorded his methods in that work and by the late 18th century his concepts about music theory became the principal basis for teaching harmony.
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Both sets were designed to explore the possibilities of playing in all keys on an instrument tuned in near-equal temperament, then still novel for keyboards. Bach had pedagogical aims as well. The typical prelude assigns the player a specific technical task, so that the piece functions as an étude. he fugues constitute a compendium of contrapuntal writing, from two to five voices and from archaic procedures to more modern techniques.
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The concert was funded by private funds and amateurs are music lovers, not professional musicians. They premiered new works.
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Original piano version
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Premiere
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Premiere of complete cycle
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Premiere
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Premiere
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