Dufai biography

One of the ancestors of the Franco-Flamand school. The life of the priest’s life is the life of the life. He was brought up in the metrise at the Cathedral in Cambress, sang in the choir of boys. He studied music presumably in - gg. He wrote the first works while in the service of the Malatest family in the Italian city of Rimini - in - gg. B - and in - gg.

Benshua and the poet M. since December G. Grenon revised old singing books, wrote his own liturgical music; In the city of G. in the city of Tincatoris, in Ocegem, it is also possible with A. Bunua and L. Comper that a color miniature with a lifetime image of Dufai was preserved next to a positive in the company with Benshua with an harp, placed in the manuscript of M.

Le Frank's poem “Le Champion des Dams” F-PN FR. The creative heritage of Dufai wrote almost in all genres of spiritual and secular music of his time, but the authorship of many attributed to him in the old manuscripts of essays modern science disputes. With a high probability, he belongs to the Mass of St. Anthony of Paduan also plenary. The skillful in the technique of the composition of Mass “Caput”, the author of which was considered to be Dufai, according to the research of the 20th century.

In addition to the cycles, the processing of individuals - mainly triggered - singing the order of the mass: Kyrie, Gloria, Sanctus, Agnus Dei; The Gloria AD Modum Tubae is popular, where the voices depict pipe signals. Separate Gregorian singles of the mass of mass and office were also processed-antiphones, hymns, sequences, magnificals, version of BeneDicamus Domino and others.

Among the latter Flos Florum and Vergine Bella “Virgin Beautiful” on the 1st stanza from the famous canon technique was made. “Inclita Stella Maris”, which can be performed by moving from simple to complex, 2, 3 or 4 votes. Works of secular genres are created mainly for poems in solid forms, which have become widespread in the 14th century.

Features of the Harmony style of Dufai clearly outline the new comparison of the ARS NOSTASISTICAL SAME, previously considered dissonances - Terctions and Sexts. According to M. Lindley, the "rise of sober" English. However, the concord of Kintktava is still acting as the main support of Lada-in the most significant cadents in it, as in the 13-14 centuries. Inside the textbook of the stanza, terrace-second foburdon parallel sextakcords is often found.

The latter is noted both in church music and secular: in the Communio “Vos Qui Secuti Estis” of the Mass of St. Jacob around; Traditionally, it is generally considered the first example of the continental foburdon, in the Supremum Est Mortalibus motate, in the Rondo “Le Serviteur”, “Ave Maris Stella”, one of the most melodic works of the composer. Published on December 14, the latest update on December 14, contact the editors.