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The frottola was a significant influence not only on the madrigal, but on the French chanson, which also tended to be a light, danceable, and popular form. Many French composers of the period went to Italy, either to work in aristocratic courts or at the papal chapel in Rome. While in Italy, they
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While "frottola" is a generic term, several subcategories can be recognized, as would be expected of a musical form which was used for approximately a hundred years, maintaining immense popularity for more than half of that time. Most typically, a frottola is a composition for three or four voices
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Very little is known about performance practice. Contemporary editions are sometimes for multiple voices, with or without lute tablature; occasionally keyboard scores survive. Frottole may have been performed as solo voice with
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court, as is implied by his renown as lutenist, singer, and composer of frottole—and they also may have been performed by other combinations of singers and instruments as well.
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Except for
Tromboncino and Cara, who were extremely famous, very little is known about most of these composers; in many cases only their names survive, and those because
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textures, clear and repetitive rhythms, and a narrow melodic range. It was an important predecessor not only to the madrigal, but to much later practices in the
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of CDCDDA or CDCDDEEA, though there is much variation between subtypes of frottola. Most likely the poetic forms are descended from the fourteenth-century
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62:. The peak of activity in composition of frottole was the period from 1470 to 1530, after which time the form was replaced by the madrigal.
101:, since it anticipates chordal accompaniment, has the melody in the highest voice, and shows an early feeling for what later developed into
66:(more towards the end of the period), with the uppermost voice containing the melody: instrumental accompaniments may have been used. The
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popular secular song of the late fifteenth and early sixteenth century. It was the most important and widespread predecessor to the
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encountered the frottola, and incorporated some of what they heard in their native secular compositions.
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269:, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986.
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255:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. (
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and
Marchetto Cara, although some of the popular secular compositions of
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publisher, included their names in collections containing their music.
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Italian song of the late 15th and early 16th century
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253:The New Grove Dictionary of Music and Musicians
241:. New York, W.W. Norton & Co., 1954. (
124:The most famous composers of frottola were
70:usually has a rhyme scheme of ABBA for a
288:The Frottolists and their contemporaries
117:may have performed them this way at the
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267:The New Harvard Dictionary of Music
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152:Composers of frottole include:
85:Musically, the frottola avoids
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239:Music in the Renaissance
113:accompaniment—certainly
89:complexity, preferring
207:Bartolomeo Tromboncino
126:Bartolomeo Tromboncino
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324:16th century in music
319:15th century in music
314:Italian music history
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47:[ˈfrɔttola]
103:functional harmony
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309:Renaissance music
212:Michele Vicentino
197:Rossino Mantovano
192:Filippo de Lurano
182:Lodovico Fogliano
74:(reprise), and a
16:(Redirected from
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221:, the prominent
187:Erasmus Lapicida
177:Giacomo Fogliano
167:Antonio Caprioli
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281:Further reading
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202:Michele Pesenti
162:Giovanni Brocco
157:Francesco d'Ana
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304:Song forms
298:Categories
229:References
134:Scaramella
91:homophonic
43:pronounced
148:Composers
138:El Grillo
50:; plural
223:Venetian
219:Petrucci
60:madrigal
52:frottole
39:frottola
18:Frottole
130:Josquin
119:Gonzaga
95:Baroque
80:ballata
72:ripresa
56:Italian
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99:monody
76:stanza
136:and "
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243:ISBN
111:lute
68:poem
37:The
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