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The monk Guido of Arezzo proposed the syllables ut, re, mi, fa, sol, and la to help singers remember the set of whole tones and semitones in the hexachords. He also developed an arrangement of lines and spaces, from which the modern staff came from and taught students the system of the Guidonian hand, where each of the twenty notes that made up the musical system at the time stood on each joint and any accidentals outside of the hand, were considered false music.
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It was a style of polyphony from France and was a new system of rhythmic notation that allowed duple and triple subdivisions of longer notes, new note shapes to indicate shorter durations than previously used, a greater variety of rhythmic combinations and flexibility, including syncopations.
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Palestrina's mass is a six-voice mass that is freely composed and does not use canons or borrowed material and demonstrates his counterpoint. He mostly uses a stepwise melodic motion with very few repeated notes; leaps that are greater than a third are followed by stepwise notes that would reverse the direction of the skip, and the melody remains diatonic to avoid chromaticism.
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This was piece written by Giovanni Gabrieli to be performed for a service at St. Mark's church and was the earliest known piece to demonstrate what instruments were to be played for the piece and the dynamics in the music.
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It is a set of 12 concertos for stringed instruments and was published by a foreign publisher, Estienne Roger. It was the most significant publication in the early 18th century that developed the popularity of the Italian concerto in Europe.
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Treatise on Harmony is a music treatise that was published in Paris in 1722 by Jean-Philippe Rameau. It describes music and how to write it based on the tonal system that is still used today. It uses the major and minor keys, with the triad and seventh chord being the most important.
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It is a collection of preludes and fugues in all 24 major and minor keys composed for the keyboard by Johann Sebastian Bach. It includes compositions from many different periods of Bach's life and it was designed to explore the possibilities of playing in all keys on an instrument tuned in near-equal temperament.
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He played as a violinist in Gossec's new orchestra, Les Concert des Amateurs in 1769, and impressed the Parisian public. In 1772, he became the conductor and created a sensation as a soloist, playing his first two violin concertos, with Gossec conducting the orchestra.
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Premiere Date
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