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162:, who published his first set in 1584. Monteverdi was to return to the form with his ninth and final book of madrigals (published posthumously in 1651). Orazio Vecchi was another important composer of canzonettas in the 1580s. His canzonettas varied widely, and included some for dancing and some that parodied the excesses of the contemporary madrigal. Some composers, such as
138:. The songs were always secular, and generally involved pastoral, irreverent, or erotic subjects. The rhyme and stanza schemes of the poems varied but always included a final "punch line." Typically the early canzonetta was for three unaccompanied voices, moved quickly, and shunned
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complexity, though it often involved animated cross-rhythms. It was fun to sing, hugely popular, and quickly caught on throughout Italy, paralleling the madrigal, with which it later began to interact. The earliest books of canzonettas were published by
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By the end of the century most canzonettas were for four to six voices, and had become more similar to the madrigal. Some composers who studied in Italy carried the canzonetta back to their home countries, such as
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referred to it specifically as a lighter form of madrigal in his writings, canzonets in
England are almost indistinguishable from madrigals: they are longer than Italian canzonettas, more complex, and more
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but lighter in style—but by the 18th century, especially as it moved outside of Italy, the term came to mean a song for voice and accompaniment, usually in a light secular style.
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Sometimes the term canzonetta is used by composers to denote a songlike instrumental piece. A famous example is the slow movement of the
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When the madrigal was imported into
England in the late 16th century, the term canzonetta went along with it, anglicized to
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During the 17th century, composers continued to produce canzonettas, but the form gradually changed from a madrigalian,
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By the 1580s some of the major composers of secular music in Italy were writing canzonettas, including
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secular vocal composition that originated around 1560. Earlier versions were somewhat like a
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to apply to smaller
Canzona-type keyboard works (often, like the Canzona, in
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The term has also been applied since the 17th century to mean "little
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In its earliest form, the canzonetta was closely related to a popular
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Popular
Italian secular vocal composition that originated around 1560
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259:form and style). A good example of this is the
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251:" and has been used by such composers as
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198:were entitled canzonets, and although
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422:The New Harvard Dictionary of Music
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271:Composers of canzonettas include:
221:genre to something more akin to a
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380:which also featured a Tarantella.
261:Canzonetta in A minor, BuxWV 225
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385:References and further reading
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194:. Many compositions of the
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376:wrote a Canzonetta called
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178:, who brought the form to
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390:Article "Canzonetta," in
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365:wrote a Canzonet called
267:Representative composers
32:This article includes a
196:English Madrigal School
61:more precise citations.
480:Classical music styles
99:[kantsoˈnetta]
95:Italian pronunciation:
465:Italian music history
326:Giovanni Maria Nanino
341:Dieterich Buxtehude
253:Dieterich Buxtehude
276:Claudio Monteverdi
211:Later developments
160:Claudio Monteverdi
34:list of references
470:Renaissance music
331:Francesca Caccini
291:Adriano Banchieri
149:Girolamo Conversi
145:Giovanni Ferretti
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321:Hans Leo Hassler
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126:Origins in Italy
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53:Please help
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112:canzonettas
67:August 2020
59:introducing
485:Song forms
439:Categories
218:a cappella
136:villanella
134:form, the
132:Neapolitan
108:canzonetti
104:canzonette
91:canzonetta
151:in 1572.
372:In 1876
357:In 1871
192:canzonet
120:madrigal
249:Canzona
227:cantata
186:England
180:Germany
166:member
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