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extended beyond France. Collections were published in
Germany, and more importantly in England, where translations were rather popular, as attested by the several publications and copies. There exists a delightfully titled publication:
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with the 1st finger, both up and down. There have been several articles on the finer points of this, as well as the exact meaning of the notation, in the
English and French Lute Society Journals.
420:
205:, compared to that of the contemporary Italian madrigalists, is cool, classical and reserved, in keeping with contemporary French taste. Vocal range of the music is usually limited to one
124:; towards the end of the 16th century, four or five voices are common, sometimes accompanied (or instrumental accompaniment may have been optional); and by the mid-17th century, most
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form. This is all the more surprising as
Italian musicians often worked in France, and the polyphonic and concertato forms of madrigal were being deeply influential in
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which developed in Paris around 1570. Collections exist which deviate considerably from these trends, however; several printers specialized in polyphonic
240:
The atmosphere of these songs is very different from the
English lute song, and the lute technique employs some novel features. There are notated
120:(Book on Court Tunes for the Luth), a collection of music published in 1571. The earliest examples of the form are for solo voice accompanied by
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The primary sources were published by the royal publishers Le Roy and
Ballard. Garland has published many of them in facsimile in modern times.
480:
145:, i.e. successive verses of the text were set with similar music. While the earlier music, especially that for multiple voices, was
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Amour Cruel: airs by Michel
Lambert et Sebastien Le Camus / Suzie LeBlanc, Stephen Stubbs, Les Voix Humaines (ATMA ACD2 2216)
677:
463:
Airs de Cour Orinda: French renaissance songs, featuring
Jennifer Lane can be listened to online (free and legally!) at
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Airs de Cour, La dispute des bergers/La pierre philosophale Les Arts
Florissants/William Christie (Erato 3984-25485-2)
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throughout the early 17th century, and there are eight volumes published by Le Roy & Ballard which are
682:
479:
Cœur, airs de cour français de la fin du XVIe siècle, Vincent
Dumestre, Le Poème Harmonique, (Alpha 213)
365:
667:
100:, this was the predominant form of secular vocal composition in France, especially in the royal court.
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30:
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period, from about 1570 until around 1650. From approximately 1610 to 1635, during the reign of
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570:(Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986.
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Etienne
Moulinie: Airs with lute tablature First Book (Musica Viva B000003XT6)
641:
532:
256:
154:
113:
93:
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138:, a form of ballet which was quickly becoming popular at the French court.
522:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.
234:
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were again for solo voice with accompaniment. Beginning in 1608,
198:
611:
Diana Maury Robin; Anne R. Larsen, Carole Levin, ABC-CLIO, 2007
217:
are rare; and the overall simplicity of expression is striking.
457:
Etienne Moulinié, Airs de Cour (L'empreinte digitale, ed 13010)
206:
186:
85:
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had considerable influence on the development of the English
182:
121:
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Antoine Boesset: Air Qui Produit Tant Des Choses :
584:. Chicago, The University of Chicago Press, 2000.
473:by Monique Zanetti, Ensemble A Deux Violes Esgales
512:
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601:Indiana University Press, 2004 pp. 156–158
520:The New Grove Dictionary of Music and Musicians
227:French Court-airs, with their Ditties Englished
201:at the same time. Emotional expression in the
582:Courtly Song in Late Sixteenth-Century France
84:was a popular type of secular vocal music in
181:show surprisingly little influence from the
556:. New York, W.W. Norton & Co., 1947.
539:. New York, W.W. Norton & Co., 1954.
149:, after about 1610 the music usually was
66:Learn how and when to remove this message
568:Music in the Middle Ages and Renaissance
29:This article includes a list of general
640:
252:Composers of airs de cour included:
15:
13:
566:Harold Gleason and Warren Becker,
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193:, either in its polyphonic or its
157:, with a clear influence from the
35:it lacks sufficient corresponding
14:
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518:John H. Baron, "Air de cour", in
439:Problems playing this file? See
418:
391:Problems playing this file? See
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341:Jean-Baptiste Drouard de Bousset
153:, sung syllabically and without
20:
513:References and further reading
500:
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1:
323:Joseph Chabanceau de La Barre
229:, (Edward Filmer, 1629), The
485:
414:"Je suis ravi de mon Uranie"
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118:Airs de cour miz sur le luth
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10:
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678:European court festivities
599:A history of baroque music
497:Robin, et al., 2007, p. 82
171:– for a single voice with
108:The first use of the term
653:17th-century music genres
648:16th-century music genres
554:Music in the Baroque Era
537:Music in the Renaissance
347:
185:early Baroque trends of
301:(c.1600 – c.1669)
283:(c.1570 – c.1620)
50:more precise citations.
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359:
271:(ca.1550 – after 1604)
132:were often taken from
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331:(c.1575 – 1630)
313:(c.1610 – after 1650)
307:(c.1605 – 1661)
265:(1530 – c.1600)
259:(c.1520 – 1598)
220:The influence of the
663:French music history
506:Buelow, 2004, p. 156
263:Nicolas de La Grotte
141:Musically they were
295:(1586 – 1643)
277:(1557 – 1627)
683:French royal court
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317:BĂ©nigne de Bacilly
668:Renaissance music
597:George J. Buelow
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366:"Enfin la Beauté"
335:Michel L'Affilard
305:Jean de Cambefort
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299:Étienne Moulinié
287:François Richard
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289:(c.1585 – 1650)
275:Jacques Mauduit
269:Charles Tessier
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175:accompaniment.
160:musique mesurée
135:ballets de cour
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215:chromaticism
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179:Airs de cour
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88:in the late
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634:Air de cour
629:(in French)
449:Discography
343:(1662–1725)
325:(1633–1678)
231:air de cour
222:air de cour
110:air de cour
90:Renaissance
81:air de cour
48:introducing
658:Song forms
642:Categories
441:media help
393:media help
242:strummings
211:dissonance
195:concertato
169:monophonic
151:homophonic
147:polyphonic
98:Louis XIII
92:and early
56:March 2018
31:references
486:Footnotes
465:this site
248:Composers
191:madrigal
189:and the
143:strophic
104:Features
471:Boesset
199:Germany
183:Italian
112:was in
94:Baroque
44:improve
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207:octave
187:monody
86:France
33:, but
348:Media
155:meter
613:ISBN
603:ISBN
586:ISBN
572:ISBN
558:ISBN
541:ISBN
524:ISBN
235:ayre
213:and
122:lute
78:The
116:'s
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173:no
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63:(
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54:(
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