154:
35:
282:
135:. This is considered the beginning of the popularity of the lute songs, that set the standard for other composer’s songbooks of English ayres. The music was printed on the page, so that when placed in the center of a table it could be read by the performers around the table. John Dowland's ayres, like other composers, used music from dance forms such as
221:. The format of these songbooks was intended to be performed with a solo voice and an accompaniment, but some did include variations for multiple voices and additional instruments. It is possible that lute songs were composed before these books were published, but the written record of such songs starts with John Dowland.
85:
compositions to short harmonized tunes. The text could be written by the composer or most often borrowed from a poem, set in verse form. These songs were composed for professional and amateur performers, which had variations for solo and ensemble. The lute song was popular among the
Royalty and
105:. The consort song, popular in England, is considered to be closely related to the lute song. This was an earlier strophic form of music that was for a solo voice accompanied by a small group of string instruments. In France, the chanson is a precursor to the lute song or
257:
structure. Composer Jean
Planson, published 38 short airs in 1587, much like Leblanc; however, his had an ABB form. In the 17th century the popularity of the airs grew. The simple solo strophic melodies were a favorite at the court of
172:
252:
published the first collection of airs de cour, a collection of 22 airs with lute accompaniment. In 1582, Composer Didier LeBlanc released a collection of 43 short airs that were strophic form, homophonic and
109:. Collections of airs de cour were used in other countries, besides England and France. Collections of the French airs were published in England, Germany and Holland. Italy had forms of song such as the
232:, leads to some consideration that the lute songs were composed prior to 1597. Other composers of lute songs during this time include John Danyel, Robert Jones, Pilkington and Alfonso Ferrabosco.
170:
171:
81:
The basic style of lute songs is light and serious, with poetic lyrics that usually followed word-setting to composed music. In
England, the songs tended to range from extended
262:(1610–1643). During this time many volumes were released from the Royal court and others. The general form was strophic, with a vocal range of one octave and a
78:
or other string instruments, and could also be written for more voices. The composition could be performed either solo or with a small group of instruments.
366:
340:
Chew, G., Mathiesen, T., Payne, T., & Fallows, D. (2001, January 01). Song. Grove Music Online. Ed. Retrieved 25 Nov. 2018
313:
Chew, G., Mathiesen, T., Payne, T., & Fallows, D. (2001, January 01). Song. Grove Music Online. Ed. Retrieved 25 Nov. 2018
396:
163:
349:
Fortune, N., Greer, D., & Dill, C. (2001, January 01). Air (i). Grove Music Online. Ed. Retrieved 25 Nov. 2018,
322:
Fortune, N., Greer, D., & Dill, C. (2001, January 01). Air (i). Grove Music Online. Ed. Retrieved 25 Nov. 2018
357:
270:. Other composers of airs were Antoine Boesset, Jean Boyer, Jean-Baptiste Boessert, and Francois Richard.
417:
127:
388:
113:
that were much like the lute song, but the lute song seemed more prominent in
England and France.
121:
In
England, the lute song was usually called an "ayre", possibly borrowed from the French word,
412:
287:
225:
102:
229:
90:
was believed to be fond of the simple songs, which led to a volume of work during his reign.
259:
213:
songs with minimal phrase repetition with their own lyrics. The last book published was by
87:
8:
422:
70:
texture. The composition was written for a solo voice with an accompaniment, usually the
28:
392:
254:
55:
201:, court musician, composer, and theatrical manager, published a collection in 1601,
295:
43:
24:
198:
93:
Composers of the lute song usually composed other forms of music as well such as
54:
is given to a music style from the late 16th century to early 17th century, late
206:
179:
406:
380:
374:
361:
249:
63:
62:, that was predominantly in England and France. Lute songs were generally in
59:
39:
125:. The first written record of the lute songs or ayres is a 1597 publication
132:
82:
34:
20:
241:
106:
331:
Greer, David. 2001 "Rosseter, Philip." Grove Music Online. 26 Nov. 2018.
214:
190:
370:. Vol. xvii (1st ed.). London: Macmillan. pp. 510–521.
245:
210:
75:
67:
267:
263:
140:
110:
94:
98:
74:. It was not uncommon for other forms of accompaniments such as
136:
244:". The first airs were not homophonic or solos, but rather
71:
144:
277:
377:; Greer, David. "Air" in ibid., i, 180–182.
404:
367:The New Grove Dictionary of Music and Musicians
19:This article is about a style of music. For
16:Renaissance-Baroque Anglo-French music style
235:
116:
33:
405:
240:In France, the lute song was called "
356:
248:and for up to four voices. In 1571,
13:
152:
27:. For the 1946 stage musical, see
14:
434:
280:
266:harmony, with text usually from
189:Problems playing this file? See
168:
209:. The compositions were short,
343:
334:
325:
316:
307:
228:, popular during the reign of
128:First Booke of Songes or Ayres
1:
301:
164:"I care not for these ladies"
7:
273:
10:
439:
389:W. W. Norton & Company
66:or verse repeating with a
18:
205:, with composer and poet
385:Music in the Renaissance
131:, which was composed by
38:A concert, painting by
23:-era Chinese play, see
288:Classical music portal
236:The French air de cour
157:
47:
156:
117:The English lute ayre
37:
360:(1980). "Song". In
219:First Book of Ayres
29:Lute Song (musical)
387:. New York City:
158:
147:, for the melody.
48:
418:Renaissance music
397:978-0-393-09530-2
173:
430:
371:
350:
347:
341:
338:
332:
329:
323:
320:
314:
311:
296:English art song
290:
285:
284:
283:
217:in 1622, called
175:
174:
155:
44:National Gallery
25:Tale of the Pipa
438:
437:
433:
432:
431:
429:
428:
427:
403:
402:
353:
348:
344:
339:
335:
330:
326:
321:
317:
312:
308:
304:
286:
281:
279:
276:
238:
203:A Book of Ayres
199:Philip Rosseter
196:
195:
187:
185:
184:
183:
182:
176:
169:
166:
159:
153:
119:
86:nobility. King
32:
17:
12:
11:
5:
436:
426:
425:
420:
415:
401:
400:
381:Reese, Gustave
378:
375:Fortune, Nigel
372:
362:Sadie, Stanley
358:Chew, Geoffrey
352:
351:
342:
333:
324:
315:
305:
303:
300:
299:
298:
292:
291:
275:
272:
237:
234:
230:Henry the VIII
207:Thomas Campion
186:
180:Thomas Campion
177:
167:
162:
161:
160:
151:
150:
149:
118:
115:
15:
9:
6:
4:
3:
2:
435:
424:
421:
419:
416:
414:
413:Baroque music
411:
410:
408:
398:
394:
390:
386:
382:
379:
376:
373:
369:
368:
363:
359:
355:
354:
346:
337:
328:
319:
310:
306:
297:
294:
293:
289:
278:
271:
269:
265:
261:
256:
251:
247:
243:
233:
231:
227:
222:
220:
216:
212:
208:
204:
200:
194:
192:
181:
178:Lute song by
165:
148:
146:
142:
138:
134:
130:
129:
124:
114:
112:
108:
104:
103:consort songs
100:
96:
91:
89:
84:
79:
77:
73:
69:
65:
64:strophic form
61:
57:
53:
45:
41:
40:Lorenzo Costa
36:
30:
26:
22:
384:
365:
345:
336:
327:
318:
309:
250:Adrian LeRoy
239:
226:consort song
223:
218:
202:
197:
188:
133:John Dowland
126:
122:
120:
92:
83:contrapuntal
80:
51:
49:
21:Ming Dynasty
242:air de cour
107:air de cour
56:Renaissance
423:Song forms
407:Categories
302:References
260:Louis XIII
246:polyphonic
215:John Attey
211:homophonic
191:media help
88:Louis XIII
68:homophonic
268:pastorals
95:madrigals
76:bass viol
58:to early
52:lute song
50:The term
42:, in the
383:(1954).
274:See also
141:galliard
111:frottola
99:chansons
46:, London
364:(ed.).
255:ametric
60:Baroque
395:
137:pavane
101:, and
264:tonal
393:ISBN
224:The
143:and
72:lute
391:.
145:jig
123:air
409::
139:,
97:,
399:.
193:.
31:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
