Franco-Flemish


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Fran·co-Flem·ish

 (frăng′kō-flĕm′ĭsh)
adj.
Of or relating to historical Flanders, Brabant, and Hainaut, and especially to the style of polyphonic musical composition that flourished there in the 1400s and 1500s.
References in periodicals archive ?
30pm-10pm ST ANN'S CHURCH, NEWCASTLE UPON TYNE Gibson Street () From The Low Countries -Masterpieces Of The Franco-Flemish School: Dec 22, 7.
Renaissance music lovers will enjoy four polyphonic works and a dance: two Canzone in majestic Venetian polychoral style by the Italian composer Giovanni Gabrielli, a Ricercare by Andrea Gabrielli, an arrangement by Alkis Baltas of the highly expressive French chanson Mille Regretz by the Franco-flemish composer Josquin des Prez, as well as the jubilant dance La Mourisque by the Flemish composer Tielman Susato.
Several round-note fonts are known, most notably one by the master Franco-Flemish punch cutter Robert Granjon.
Scholars of the sixteenth-century chanson have long recognized a division of the repertory into the Franco-Flemish and the Parisian types, with the former generally understood to encompass works by the major Franco-Flemish composers of the time--Josquin des Prez most prominent among them--in a learned style virtually indistinguishable from the contemporary motet, and the latter understood to encompass a repertory of lighter works primarily by composers active around Paris--here the most prominent is perhaps Sermisy--and published first and foremost by Attaingnant.
To my knowledge it hasn't been performed since the 16th century," said Peter Urquhart, founder and director of Capella Alamire, about Franco-Flemish composer Noel Bauldeweyn's "Missa Du bon du cueur," one of the works in tonight's program titled "The Legacy of Jean Mouton.
In the Europe of the 14th to the 16th centuries, Franco-Flemish singers and composers were similar to what Champions League soccer players are in our day: in demand by the rich and the wealthy.
The program will draw from the Odhecaton, an anthology of secular songs published in Venice in 1501 by Ottaviano Petrucci, with polyphonic music by Franco-Flemish composers such as Josquin Des Prez, Hayne Van Ghizighem and Jacob Obrecht.
On the other hand, the Utraquists, who distanced themselves from Catholicism, sang polyphonic songs by Catholic - for instance, Franco-Flemish - authors.
Backed by a strong Franco-Flemish cast and generally efficient storytelling, pic should chacha among arthouse distribs after its Cannes Critics' Week premiere.
In the course of the chapter Wilson discusses the importance of the Venetian poet Leonardo Giustinian as well as Florence's interaction with other musical cultures, from Franco-Flemish to Neapolitan and northern Italian.
Art historians and other medievalists explore such topics as the representation and meaning of luxurious textiles in Franco-Flemish manuscript illuminations, the use of textiles in manuscripts, and the interpretation of Chrysom effigies on late medieval tomb monuments.
Kreitner affirms that, although at the time Spain remained part of the musical periphery, compared to Franco-Flemish territories and Italy, it will be worth listening to these works.