翻訳と辞書 Words near each other ・ Tomás de Bhaldraithe ・ Tomás de Borja y Castro ・ Tomás de Cardona ・ Tomás de Heres Airport ・ Tomás de Herrera ・ Tomás de Iriarte y Oropesa ・ Tomás de Jesús Mangual ・ Tomás de la Cerda, 3rd Marquis of la Laguna ・ Tomás de la Rosa ・ Tomás de la Vega ・ Tomás de Mattos ・ Tomás de Mercado ・ Tomás de Morla y Pacheco, 3rd Conde de Cartaojal ・ Tomás de Rocamora ・ Tomás de San Martín ・ Tomás de Santa María ・ Tomás de Suría ・ Tomás de Teresa ・ Tomás de Torquemada ・ Tomás de Torrejón y Velasco ・ Tomás de Torres ・ Tomás de Vedia ・ Tomás De Vincenti ・ Tomás de Zumalacárregui ・ Tomás del Toro del Villar ・ Tomás Diez Acosta ・ Tomás Domínguez ・ Tomás Domínguez Arévalo ・ Tomás Eloy Martínez ・ Tomás Enrique Soley Soler Dictionary Lists mini英和辞書 mini和英辞書 Webster 1913 Latin-English FOLDOC Wikipedia English ウィキペディア

翻訳と辞書　辞書検索 [ 開発暫定版 ] スポンサード リンク Tomás de Santa María ： ウィキペディア英語版 Tomás de Santa María Fr. Tomás de Santa María O.P. (also Tomás de Sancta Maria) (ca. 1510 – 1570) was a Spanish music theorist, organist and composer of the Renaissance. He was born in Madrid but the date is highly uncertain; he died in Ribadavia. Little is known about his life except that he joined the Dominican order of friars in 1536, he was employed as an organist in various locales in mid-century, and he published his major work, ''Arte de tañer fantasía'', in Valladolid in 1565. This book is a comprehensive work on keyboard technique of the time. Its principal aim is to teach how to improvise in a fugal style, but to get to that point, difficult to the most accomplished musicians of any age, he includes detailed treatments of the rudiments of music, the eight church modes, ornaments, touch, articulation, fingering, and counterpoint, including a categorization of four-note chords, rather similar to what Pietro Aron had written several decades before in Italy (which work he may have used as a source). The classification of chords is especially significant for this is the period in music history during which composers began to think in terms of harmonic progression as a generative mechanism rather than purely the happenstance of intersecting, independent melodic lines. Santa María's book also gives instruction for creating music using the paired imitation technique of Josquin des Prez, who he clearly held to be the master of the style. Santa María's writings were influential both inside of Spain and throughout the rest of Europe, as can be seen by the numerous early Baroque music theorists (for example Dámaso Artufel and Pietro Cerone) who plagiarized him. The preface to the 1565 edition mentions that the influential clavichordist and organist Antonio de Cabezón (and his brother Juan de Cabezón) examined the treatise and approved it. ==References== * Almonte Howell, "Tomás de Santa María". ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Tomás de Santa María」の詳細全文を読む スポンサード リンク 翻訳と辞書 : 翻訳のためのインターネットリソース Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.