faburden

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faburden

(ˈfæbədən)
n
(Music, other) obsolete an early system of musical harmonization
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
References in periodicals archive ?
James Haar observes how the indication of fauxbourdon, the new, unfamiliar technique of devising an unnotated contraternor from other voices to re-create the parallel sonorities heard by Continental composers in contemporary English music, confused mid-fifteenth-century scribes from its earliest likely appearance in the Communion of Du Fay's Missa Sancti Jacobi (ca.
Among whom Lardenie said to her that the place was suitable for playing music because of the fauxbourdon of the noisy water and the warbling of the little birds." (82) Similar scenes, in which women perform music in natural settings heavily loaded with sexual imagery, feature in earlier installments of the Amadis series.
6.30pm Congregational Service, Byrd - Fauxbourdon (Nun Dimitis), Locke - Let God arise.
77 As indicated in a letter of [14 January 1835] from Liszt to Lamennais: 'The plainchant that you love so much is preserved there with the fauxbourdon'.
While many of Dufay's hymns are set in three-voice composed polyphony, a large number, including half of those in the present edition, are in fauxbourdon, or include an alternative fauxbourdon setting.
Steib's comments on the use of fauxbourdon in the psalm settings and his decision to realize it only where specified in the sources mark him as a sensitive, subtle editor.
Congregational Service: Byrd - Fauxbourdon (Magnificat).
This absence of incipits also conceals the editorial nature of the added fauxbourdon parts in Nos.
One is the elaborate and flowing style found particularly in the Mass music and motets; the other is a much more ascetic style, simply declaimed fauxbourdon or related material, used for much of his service music.
(40) In particular, she has queried whether the two Magnificat antiphons attributed to Fede in the Ferrarese court choir-book (Modena, Biblioteca Estense, [alpha].X.1.11 [ModB])--the three-void' O lumen ecclesie, and fauxbourdon setting of Magne pater sancte dominice--could be by the same man that authored the chansons in Nivelle.
After the introductory chapter (to which I shall return), the second essay, `Dufay's Concept of Faux-Bourdon' (which first appeared in the Revue beige de musicologie in 1989) proposes that fauxbourdon allows Dufay to express the idea of the disciples following Christ, and that Dufay coined the term `fauxbourdon'.