قائمة مفصلة بالموسيقيين في عصر النهضة

(تم التحويل من قائمة ملحني النهضة)

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المدرسة البورجاندية

Name Born Died Notes
Johannes Tapissier
(Jean de Noyers)
c. 1370 before 1410
Nicolas Grenon c. 1375 1456
Pierre Fontaine c. 1380 c. 1450
Jacobus Vide fl. 1405? after 1433
Guillaume Legrant
(Lemarcherier)
fl. 1405 after 1449
John Dunstaple
(or Dunstable)
c. 1390 1453 Native to England.
Guillaume Dufay
(Guillaume Du Fay)
1397 1474
Johannes Brassart c. 1400/1405 1455
Johannes Legrant fl. c. 1420 after 1440
Gilles Binchois
(Gilles de Bins)
c. 1400 1460
Hugo de Lantins fl. c. 1420 after 1430
Arnold de Lantins fl. 1423 1431/1432
Reginaldus Libert fl. c. 1425 after 1435
Jean Cousin before 1425 after 1475
Gilles Joye 1424/1425 1483
Guillaume le Rouge fl. 1450 after 1465
Robert Morton c. 1430 1479
Antoine Busnois c. 1430 1492
Adrien Basin fl. 1457 after 1498
Hayne van Ghizeghem c. 1445 after 1476


الإنجليزية

Due in part to its isolation from mainland Europe, the English Renaissance began later than most]].

1370–1450

Name Born Died Notes
Forest
probably John Forest
1365/70 1446 Dean of Wells. One credo setting and six antiphons by him survive in the second layer of the Old Hall Manuscript; two anonymous settings may also be by him.
Pycard fl. c. 1390 after c. 1410 Has works preserved in the first layer of the Old Hall Manuscript and elsewhere. His identity is unclear; probably English, but possibly from France.
Leonel Power c. 1370 1445
J. Cooke
probably John Cooke
c. 1385 1442? Nine pieces attributed to him in the Old Hall Manuscript.
Damett
almost certainly Thomas Damett
c. 1389 1436/7 A significant contributor to the second layer of the Old Hall Manuscript where nine of his works are preserved.
Roy Henry fl. 1410 after 1410 Very likely to be Henry V of England (1387–1422).
Byttering
possibly Thomas Byttering
fl. c. 1410 after 1420
N. Sturgeon
almost certainly Nicholas Sturgeon
fl. 1413 1454
Richard Smert c. 1400 1478/9 Has eight carols for 2 or 3 voices attributed entirely to him in the Ritson Manuscript; a further four are jointly credited to Smert and John Trouluffe.
John Plummer c. 1410 c. 1483
Henry Abyngdon c. 1418 1497
John Trouluffe
John Treloff
fl. 1448 c. 1473 Represented in the Ritson Manuscript, by three settings of Nesciens mater for three voices and by four carols. Richard Smert is jointly credited.
Richard Mowere
possibly the same as Richard Mawere
fl. 1450 after 1470 Has two 3-voice settings in the Ritson Manuscript.
Walter Frye fl. c. 1450 after 1475
William Horwood c. 1430 1484 Some of his music is collected in the Eton Choirbook.
John Hothby
Johannes Ottobi
c. 1430 1487 English theorist and composer mainly active in Italy.
William Hawte
William Haute
c. 1430 1497
Richard Hygons c. 1435 c. 1509
Gilbert Banester c. 1445 1487
John Tuder
John Tudor
fl. c. 1470 after 1470 A number of his works are found in the Pepys Manuscript; the most extended piece, a setting of Lamentations, is incomplete (only one voice part is preserved).
Walter Lambe c. 1450 after 1504 Major contributor to the Eton Choirbook.
Henry Prentyce
Harry Prentes
1450s 1514 Has an extant 5-voice Magnificat setting in the Caius Choirbook.
Hugh Kellyk late 15th century 16th century? has two surviving pieces, a five-part Magnificat and a seven-part Gaude flore virginali, in the Eton Choirbook.
Edmund Turges
possibly the same as Edmund Sturges
fl. 1507 after 1508 Has a number of works preserved in the Eton Choirbook; at least three Magnificat settings and two masses have been lost.

1451–1500

1501–1550

Thomas Tallis, c. 1505-1585
  • Hyett (fl. before 1548) Represented by a single work in the Gyffard partbooks
  • John Ensdale (fl. before 1548) Represented by a single work in the Gyffard partbooks
  • John Hake (fl. before 1548) Represented by a single work in the Gyffard partbooks
  • Walter Erly (16th century) Has a single work in the Peterhouse partbooks
  • Arthur Chamberlain (early 16th century) Also spelt Chamberlayne. Has a single work in the Peterhouse partbooks
  • John Ambrose (fl. 1520 to 1545) Few pieces survive
  • William Shelby (? – 1570) Also spelt Shelbye, Selby, Selbie, Selbye. Two liturgical keyboard pieces, a Miserere and Felix namque, survive in The Mulliner Book
  • Robert Okeland (fl. before 1548) Also spelt Hockland, Ockland. Represented by a single work in the Gyffard partbooks
  • Thomas Tallis (c. 1505–1585)
  • Christopher Tye (c. 1505 – ? 1572)
  • John Wood (fl. 1530) He is represented by a single work, an Exsurge Domine et dissipentur inimici, in the Christchurch partbooks
  • John Merbecke (also Marbeck) (c. 1510 – c. 1585) Produced the first musical setting for the English liturgy, publishing The Booke of Common Praier Noted 1549. Surviving works include a Missa Per arma iustitie Almost burnt as a heretic in 1543.
  • Osbert Parsley (1511–1585) Also spelt Parsely Wrote a set of Lamentations for Holy Week
  • E. Strowger (fl. early 16th century) Only a single piece for keyboard, a Miserere in a المتحف البريطاني MS, can be attributed to him
  • Thomas Knyght (fl. 1530 to 1535) Presumably also spelt Knight. Has a single work in the Peterhouse partbooks, and three works in the Gyffard partbooks
  • Philip Alcocke (fl. before 1548) Represented by a single work in the Gyffard partbooks
  • John Sheppard (c. 1515–1559)
  • John Thorne (died 1573) Exsultabunt sancti in a British Museum MS
  • Kyrton (fl. 1540 to 1550) Miserere for keyboard in a المتحف البريطاني MS
  • John Black (c. 1520–1587)
  • Thomas Caustun (c. 1520/1525–1569), or Causton
  • John Blitheman (c. 1525–1591)
  • Richard Wynslate (died 1572) Also spelt Wynslade. His keyboard piece Lucem tuamis in a British Museum MS
  • Henry Stenings (fl. before 1548 – after 1600) Also spelt Stonninge, Stoninge, Stoninges, Stoning, Stonings. Surviving consort works on MS are three five-part works - a Miserere, a Browning and an In Nomine - and a simpler, four-part In Nomine. A four-part Latin Magnificat is found in the Gyffard partbooks
  • Richard Allwood (fl. c. 1550–1570) Also spelt Alwood
  • Richard Edwardes (1525–1566) Also spelt Edwards
  • Hugh Sturmys (16th century) Has a single work in the Peterhouse partbooks
  • Thomas Wright (16th century) Also spelt Wrighte. He is represented by a single work in the Gyffard partbooks, a Nesciens mater
  • William Mundy (c. 1528 – before 1591) Father of John Mundy His output includes fine examples of both the large-scale Latin votive antiphon and the short English anthem, as well as Masses and Latin psalm settings; his style is vigorous and eloquent. He is represented in The Mulliner Book and in the Gyffard partbooks.
  • Robert Parsons (c. 1535–1572) Latin music includes antiphons, Credo quod redemptor, Domine quis habitabit, Magnificat and Jam Christus astra. Also three responds from the Office of the Dead, songs (including Pandolpho), In nomine settings for ensemble, and a galliard.
  • Thomas Whythorne (1528–1595)
  • John Heath (16th century) Contributed a Morning and Communion Service to Day's Certaine Notes, of 1560. Probably the composer of a Christe qui lux for keyboard in MS, ascribed to 'Heath'
  • Clement Woodcock (1540–1590) Also spelt Woodcoke, Woodecock. His Browning my dear is one of several pieces of the period based on a popular tune, also known as The leaves be green
  • John Cuk (16th century) An extant mass on Venit dilectus meus in the York MS
  • Robert White (1538–1574) Also spelt Whyte
  • William Byrd (c. 1540–1623)
  • Richard Hunt (16th century) Has two works in the Peterhouse partbooks
  • Anthony Holborne (c. 1545–1602) Also known as Olborner
  • John Johnson (c. 1545–1594)
  • Thomas Woodson (ت. ? 1605) Forty Wayes of 2 pts. in one is found in a British Museum MS, canonic settings of Miserere
  • Thomas Warrock (fl. 1580–1590) Also spelt Warrocke, Warwick. Two pieces in the Fitzwilliam Virginal Book, Nos. 97-8
  • John Baldwin (before 1560–1615)
  • John Cosyn (died 1609) Published Musicke of six, and five partes in 1585
  • Edward Martyn (16th century) Has a single work in the Peterhouse partbooks
  • John Northbrooke (16th century) Has a single work in the Peterhouse partbooks
  • Picforth (fl. c. 1580) An In nomine survives in MS, unusual in that each instrumental part consists of notes of only one time-value throughout, the values differing in each of the five parts
  • Poynt (fl. c. 1580) Works survive in manuscript
  • Thomas Oldfield(?) His Praeludium is No. 49 in the Fitzwilliam Virginal Book
  • Jehan Oystermayre (?) Almost certainly German origin. Represented in the Fitzwilliam Virginal Book
William Byrd, 1543–1623


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1551–1570

John Bull, 1562–1628

1571–1580

Orlando Gibbons, 1583–1625

1581–1611

بدأ عصر الباروك لاحقا في إنجلترا في وقت متأخر عن الدول الآخر لذا هذه القائمة تمتد في الزمن أكثر من غيرها


  • Robert Tailour (fl. 1615) Possibly Robert Taylor, also spelt Tailer, Taler, Taylour. Published Sacred Hymns, consisting of Fiftie select Psalms in 1615
  • Robert Johnson (c. 1582–1633)
  • Thomas Simpson (1582 – c. 1628) Also spelt Sympson. Active in Denmark
  • Orlando Gibbons (1583–1625)
  • Charles Coleman (died 1646)
  • William Corkine (fl. 1610–1617)
  • George Mason (fl. 1611 to 1618) Published (with John Earsden) The Ayres That Were Sung And Played, at Brougham Castle in Westmerland, in the Kings Entertainment... 1618. This included some of the few masque songs that survive from the period immediately after 1613
  • Robert Ramsey (died 1644) Composed mythological and biblical dialogues, such as Dives and Abraham, Saul and the Witch of Endor, and Orpheus and Pluto
  • John Adson (1587–1640)
  • John Lugg (? 1587 – 165?) Also spelt Lugge. There survive nine plainsong settings, one hexachord, and three voluntaries for double organ in a Christ Church autograph MS, among others
  • Nicholas Lanier (1588–1666) Also spelt Lanière
  • Walter Porter (c. 1588–1659) Madrigalist. Publications include instrumental toccatas, sinfonias and ritornellos as well as vocal pieces
  • John Tomkins (1589–1638) Half brother of Thomas Tomkins. John come kiss me now (variations) survives in a British Museum MS
  • Richard Mico (1590–1661) Two 18th century arrangements for viols of keyboard pavans in a MS in the المتحف البريطاني survive
  • Thomas Ravenscroft (c. 1590 – c. 1633) Published a book of psalms amongst others
  • Robert Dowland (1591–1641) Son of John Dowland. Only three works are definitely ascribed to him: two lute pieces in the 'Varietie of Lute Lessons' and one in the 'Margaret Board Lutebook'.
  • John Jenkins (1592–1678)

فرانكو -فلامنك


1370–1450

Josquin Des Prez, c. 1450–1521

1451–1500

Jacob Obrecht, 1457/58/55-1505
Orlande de Lassus, 1532–1594


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1501–1550

1551–1574

فرنسا

1370–1450

Claude Le Jeune, 1530–1600

1451–1500

1501–1550

Jean Maillard, c. 1510 – c. 1570
Guillaume Costeley, 1530–1606

1551–1600

ألمانيا

1350–1400

Oswald von Wolkenstein, 1376/77–1445

1401–1450

Hans Leo Hassler, 1564–1612

1451–1500

Michael Praetorius, c. 1571–1621

1501–1550

1551–1600

إيطاليا

1350–1470

Zacara da Teramo, 1350/60–1413/16

1471–1500

1501–1525

Carlo Gesualdo, 1560–1613

1526–1550

Orazio Vecchi, 1550–1605
Jacopo Peri, 1561–1633
Claudio Monteverdi, 1567–1643

1551–1586

بولندا

البرتغال

John IV of Portugal, 1603–1656

أسبانيا

1370–1450

1451–1510

Diego Ortiz, c. 1510–c. 1570

1511–1570

التشيك

Kryštof Harant z Polžic a Bezdružic, 1564–1621

أخرى

موسيقيون مجهولو الجنسية

  • Lupus (c. 1495 – after 1530) Possibly a Franco-Flemish composer, whose music has survived in the Medici Codex: stylistically distinct from Lupus Hellinck who otherwise would be identified as this composer
  • Teodora Ginés (c. 1530 – after 1598) Not to be confused with the later Cuban singer and former slave of the same name
  • Jean Courtois (fl. 1530–1545) Flemish or French, active at Cambrai

انظر كذلك

There is considerable overlap near the beginning and end of this era. See lists of composers for the previous and following eras.