MANTENIMIENTO DE LA OFERTA

the refrain of a song or hymn. 2 A pedal tone, espe- cially on the bagpipe. 3 Another spelling of BOUR-

DON.

Burgundian (bûr gun′de¯ ən) school A group of composers who, during the first half of the fifteenth century, were associated with the court of the Duchy of Burgundy. Today a province in northern France, Burgundy at that time included all of what is now eastern France, Belgium, and the Netherlands. The court, located at the city of Dijon, was one of the most powerful in Europe, and it had a strong influ- ence on the arts as well as politics. Other important Burgundian cities were Cambrai and Liège, which had outstanding choir schools. The leading com- posers of the Burgundian school were Gilles Bin- chois and Guillaume DUFAY; possibly they were

influenced by their English contemporaries, John

DUNSTABLE and Leonel Power, who worked along similar lines (although it is not certain if there was direct contact between them). See also the chart of composers accompanying the entry RENAISSANCE.

Although Dufay in particular wrote very fine Masses and motets, the Burgundian composers are noted principally for their secular (nonreligious) music, especially their chansons (songs with several voice-parts). For texts they relied largely on three conventional forms of French poetry, the RONDEAU

(which they used most frequently), the BALLADE,

and the VIRELAI. The music was commonly in three voice-parts, all of fairly high range (soprano, alto, tenor). One new technique they used was

FAUXBOURDON, a formula whereby two lesser voice-

parts move at prescribed distances from the main melody. Another new development was the cantus firmus Mass, a Mass composition in three or four voice-parts based on a fixed melody, the cantus fir- mus. This melody, usually in the tenor, was gener- ally in longer time values (longer-held notes) than the other parts, which wove their harmony around it.

The Burgundians were also noted for their lovely, songlike melodies.

The Burgundian composers are considered the first composers of the period called the RENAIS- SANCE. They were followed by the FLEMISH SCHOOL.

burlescamente See BURLESCO.

burlesco (booàr les′kô) Italian. Also, burlesca-

mente (booàr les′′ kä men′ te). A direction to perform

in a comical, jesting manner.

Busnois (bY nwA′), Antoine (äN twAn′), c.

1430–1492. A composer who worked at the Bur- gundian court for most of his life and is remembered principally for his chansons, polyphonic settings of the principal poetic forms of his time and also some polyphonic arrangements of popular tunes. About one-third of his works are for four voice-parts, a tex- ture that later (about 1500) replaced the earlier stan- dard three-voice settings. They are notable espe- cially for the long, elaborately shaped melodic lines in each voice-part.

Busoni (boo— sô′ ne¯), Ferruccio (fe roo— ′chà e¯ ô), 1866–1924. An Italian-German pianist and com- poser who coined the term NEOCLASSICISM but

whose own approach to composition, although more intellectual than emotional, was more traditional than his theories. A child prodigy, Busoni won worldwide fame as a pianist, and later he also did some conducting. In addition, he wrote a number of pieces about music and aesthetics, most notably his essay Entwurf einer neuen Aesthetik der Tonkunst (“Outline for a New Aesthetics of Music”), pub- lished in 1907. His compositions, however, which include several operas, orchestral suites, chamber music, a piano concerto, Fantasia contrappuntistica (“Contrapuntal Fantasy”) for piano, as well as numerous arrangements and transcriptions and other works for piano, are largely in traditional nine- teenth-century style. Only a few of the late piano works and the opera Doktor Faust (which many con- sider his best work, although incomplete at the time of his death) use the expressive chromaticism and dissonance he advocated in his writings.

Byzantine chant 53 Buxtehude (books′tə hoo— ′′də), Dietrich

(de¯′triKHà ), c. 1637–1707. A German organist and composer who was so famous an organist that Johann Sebastian Bach traveled two hundred miles on foot to hear him play. Buxtehude was born in Holstein, then ruled by Denmark but today part of Germany. Little is known about his early life. In 1668 he succeeded the composer and organist Franz Tunder at the Marienkirche (St. Mary’s Church) in Lübeck, Germany. There he established the practice of Abendmusik (“evening music”), a series of public concerts held every year for five Sundays before Christmas. For these concerts Buxtehude wrote both organ music and choral works, mainly cantatas for soloists, chorus, and orchestra, and directed the per- formances as well. Of the many kinds of organ music he wrote, his chorale preludes are particularly outstanding; also, his toccatas, preludes, and fugues are noteworthy for their virtuoso pedal parts. In addition, Buxtehude wrote music for harpsichord and for various instrumental ensembles. There is a catalog of Buxtehude’s compositions, Buxtehude

Werke-Verzeichnis (1974;1985) edited by G. Karstädt; it is abbreviated BUXWV.

buzuki (bə zoo— ′ke¯) Greek. A plucked stringed instrument of present-day Greece, where it is used mainly for folk music. Very much like the tanbur, it has a pear-shaped body and a long neck with two triple courses (sets of three strings tuned to the same pitch) of metal strings. Similar instruments are the Turkish bozuq, which has eight strings, and the Near Eastern (Arab) buzuq, with three double courses. These, too, are largely folk instruments.

BWV See under BACH,JOHANN SEBASTIAN. Byrd (bûrd), William, 1543–1623. An English composer and organist who excelled in writing church music (Latin Masses and motets, English anthems and services), as well as consort songs,

madrigals, and music for consorts of viols and for keyboard. He is considered a great master of polyphony in the Renaissance tradition. Byrd stud- ied music from an early age, and at twenty became organist at Lincoln Cathedral. Later he became organist for the Chapel Royal, and Queen Elizabeth I granted Byrd and his fellow composer, Thomas Tallis, a monopoly on printing and selling music and music paper in England. The first book they pub- lished was the Cantiones sacrae (“Sacred Songs”) of 1575, which contained motets by both men. Byrd himself was a Roman Catholic, but he wrote both Catholic and Anglican church music. In addition to his vocal music he composed a great many pieces for the harpsichord and organ, which appeared in such collections as Parthenia, the Fitzwilliam Vir-

ginal Book, and his own My Ladye Nevells Booke.

(See also VIRGINAL.)

Byzantine (biz′ən te¯n′′, biz′ən tin, bizan′tin) chant The chant used in the religious services of the Christian church of the Byzantine Empire, founded about 330 by Constantine the Great and conquered in 1453 by the Turks. The music of the Byzantine hymns is written in a special notation, called ekphonetic, which resembles the neumes of Gregorian chant but is not exactly the same. The signs used indicate intervals rather than pitches, and ascending signs differ from descending ones. Like Gregorian chant, Byzantine chant is unaccompa- nied and monophonic (having only one voice-part) and it is based on a system of modes, called, in the Byzantine chant, oktoechos (“eight echoes” or “eight modes”). These similarities indicate that very likely both Gregorian and Byzantine chant are derived from older Jewish models. Byzantine chant had considerable influence on the chant of the vari- ous eastern Christian (Orthodox) churches, espe- cially those in Greece, Serbia, Bulgaria, and Russia. The extent of its influence on Gregorian chant is disputed.

55

C

C 1 One of the musical tones (see PITCH NAMES),