1064:; functional tonality developed, and treated dissonance freely for composers to emphasise the dramatic contrast among vocal groups and instruments. The 17th-century madrigal emerged from two trends of musical composition: (i) the solo madrigal with basso continuo; and (ii) the madrigal for two or more voices with basso continuo. In England, composers continued to write ensemble madrigals in the older, 16th-century style. In 1600, the harmonic and dramatic changes in the composition of the madrigal expanded to include instrumental accompaniment, because the madrigal originally was composed for group performance by talented, amateur artists, without a passive audience; thus instruments filled the missing parts. The composer usually did not specify the instrumentation; in
735:
719:
38:
1096:
1249:
484:
5099:
4310:
5109:
4320:
983:
1245:(1560â1619) a collection of Italian madrigals with corresponding English translations of the lyrics, which later initiated madrigal composition in England. The unaccompanied madrigal survived longer in England than in Continental Europe, where the madrigal musical form had fallen from popular favour, but English madrigalists continued composing and producing music in the Italian style of the late-16th century.
1026:, of the early Baroque period. As an expressive composer, Monteverdi avoided the stylistic extremes of Gesualdo's chromaticism, and concentrated upon the drama inherent to the madrigal musical form. His fifth and sixth books include polyphonic madrigals for equal voices (in late-16th-century style) and madrigals with solo-voice parts accompanied by basso continuo, which feature unprepared dissonances and
901:
ceremonial performances of music for the public. The amateur entertainment function made the madrigal famous, yet professional singers replaced amateur singers when madrigalists composed music of greater range and dramatic force that was more difficult to sing, because the expressed sentiments required soloist singers of great range, rather than an ensemble of singers with mid-range voices.
5135:
886:
579:, chordal textures and styles, which were simpler than the composition styles of the Franco-Flemish school. Moreover, the Italian popular taste in literature was changing from frivolous verse to the type of serious verse used by Bembo and his school, who required more compositional flexibility than that of the frottola, and related musical forms.
408:(13thâ16th centuries). The technical contrast between the musical forms is in the frottola consisting of music set to stanzas of text, whilst the madrigal is through-composed, a work with different music for different stanzas. As a composition, the madrigal of the Renaissance is unlike the two-to-three voice
1296:
In the 16th century, the musical form of the
Italian madrigal greatly influenced secular music throughout Europe, which composers wrote either in Italian or in their native tongues. The extent of madrigalist musical influence depended upon the cultural strength of the local tradition of secular
697:
of
Petrarch. Second to Willaert, Cipriano de Rore was the most influential composer of madrigals; whereas Willaert was restrained and subtle in his settings for the text, striving for homogeneity, rather than sharp contrast, Rore used extravagant rhetorical gestures, including word-painting and
900:
At the end of the 16th century, the changed social function of the madrigal contributed to its development into new forms of music. Since its invention, the madrigal had two roles: (i) a private entertainment for small groups of skilled, amateur singers and musicians; and (ii) a supplement to
692:
Unlike
Arcadelt and Verdelot, Willaert preferred the complex textures of polyphonic language, thus his madrigals were like motets, although he varied the compositional textures, between homophonic and polyphonic passages, to highlight the text of the stanzas; for verse, Willaert preferred the
1162:
supplanted the monodic-style madrigal. In 1618, the last, published book of solo madrigals contained no arias, likewise in that year, books of arias contained no madrigals, thus published arias outnumbered madrigals, and the prolific madrigalists
Saracini and d'India ceased publishing in the
1131:, 1601), Caccini said that the point of the composition was anti-contrapuntal, because the lyrics and words of the song were primary, and balanced-voice polyphony interfered with hearing the lyrics of the song. After Caccini's developments, the composers
1155:(1619), Monteverdi published his only madrigal in the solo continuo style, which uses one singing voice, and three groups of instruments â a great technical advance from Caccini's simple voice-and-basso-continuo compositions from the 1600 period.
645:, given that French was their native tongue. As composers, they were attentive to the setting of the text, per Bembo's ideas, and through-composed the music, rather than use the refrain-and-verse constructions common to French secular music.
453:
compositions for three to six voices, which either copied or translated the musical styles of the original madrigals from Italy. By the mid-16th century, Italian composers began merging the madrigal into the composition of the
1218:
and the aria supplanted the solo continuo madrigal, and the ensemble madrigal was supplanted by the cantata and the dialogue, and, by 1640, the opera was the predominant dramatic musical form of the 17th century.
920:
at the beginning of the 17th century, yet composers continued using the madrigal into the new century, such as the old-style madrigal for many voices; the solo madrigal with instrumental accompaniment; and the
877:(1567â1620) criticised word-painting as a negative mannerism in the madrigal: "where the nature of everie word is precisely expresst in the Note ... such childish observing of words is altogether ridiculous."
746:
The latter history of the madrigal begins with
Cipriano de Rore, whose works were the elementary musical forms of madrigal composition that existed by the early 17th century. The relevant composers include
633:(1490â1562), to rearrange some four-voice madrigals for single-voice and lute. In 1541, Verdelot also published five-voice madrigals and six-voice madrigals. The success of the first book of madrigals,
641:(1507â1568), made it the most reprinted madrigal book of its time. Stylistically, the music in the books of Arcadelt and Verdelot was closer to the French chanson than the Italian frottola and the
625:
In the 1533â34 period, at Venice, Verdelot published two popular books of four-voice madrigals that were reprinted in 1540. In 1536, that publishing success prompted the founder of the
802:
of
Ferrara encouraged composers to visit the court at Ferrara, to listen to women sing and to offer compositions for them to sing. In turn, other cities established their own
653:
Although the madrigal originated in the cities of
Florence and Rome, by the mid 16th-century Venice had become the centre of musical activity. The political turmoils of the
531:, the positioning of a word within a line of text. As a form of poetry, the madrigal consisted of an irregular number of lines (usually 7â11 syllables) without repetition.
4677:
94:
2353:
1284:(15thâ16th c.) consequent to the prolific publishing of sheet music in the 16th and 17th centuries, even before the rediscovery of the madrigals of the composer
1056:
vocal composition for balanced voices, to a vocal composition for one or more voices with instrumental accompaniment. The inner voices became secondary to the
1044:(1540â1613) who negatively defended the limitations of dissonance and equal voice parts of the old-style polyphonic madrigal against the concertato madrigal.
1080:, the instrumental bass part, was optional in the ensemble madrigal. The usual instruments for playing the bass line and filling inner voice parts, were the
321:
548:
and by employment in the court of an aristocrat or with the Roman
Catholic Church. The composers of the Franco-Flemish school had mastered the style of
495:(Tuscan dialect) for poetry and literature, which facilitated composers' creating lyrical styles for the madrigal musical form in 16th-century Italy. (
381:, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the
433:, and reached its formal and historical zenith in the later-16th century, when the form also was taken up by German and English composers, such as
2033:
1330:(1521â1603) in Vienna. The German-speaking composers who studied the Italian techniques for composing madrigals, especially in Venice, included
1040:(second practice) Monteverdi said that the lyrics must be "the mistress of the harmony" of a madrigal, which was his progressive response to
2569:
4357:
1194:, not for performance, indicating composer Mazzochi's retrospective review of the madrigal as an old form of musical composition. In the
4927:
2882:
661:
diminished that city's significance as a musical centre. In addition, Venice was the music publishing centre of Europe; the
Basilica of
1182:
performance. For the first time in a collection of madrigal music, Mazzocchi published precise instructions, including the symbols for
904:
There emerged the division between the active performers and the passive audience, especially in the culturally progressive cities of
869:(sigh) to a note that falls to the note below. In the 17th century, acceptance of word-painting as a musical form had changed, in the
761:(Sibylline Prophecies, 1600), and later, when he moved to Munich in 1556, began the history of madrigal composition beyond Italy; and
1010:
usually is credited as the principal madrigalist whose nine books of madrigals showed the stylistic, technical transitions from the
2943:
1052:
In the first decade of the 17th century, the
Italian compositional techniques for the madrigal progressed from the old ideal of an
3481:
314:
4922:
1166:
In the late 1630s, two madrigal collections summarised the compositional and technical practises of the late-style madrigal. In
3973:
2080:
Durchkomponiert (G.) Through-composed; applied to songs with different music for every stanza, i.e. not merely a repeated tune.
2766:
2650:
777:
2973:
2450:
1760:
559:
Third, the printing press facilitated the availability of sheet music in Italy. The musical forms then in common use â the
1771:
582:
The madrigal slowly replaced the frottola in the transitional decade of the 1520s. The early madrigals were published in
575:â were light compositions with verses of low literary quality. Those musical forms used repetition and soprano-dominated
3815:
3307:
665:(St. Mark's Basilica) was beginning to attract musicians from Europe; and Pietro Bembo had returned to Venice in 1529.
307:
1346:. From northern Europe, Danish and Polish court composers went to Italy to learn the Italian style of madrigal; while
5170:
5165:
2816:
2794:
2722:
2700:
2681:
2376:
2073:
2042:
658:
4942:
4197:
798:(1534â1590) composed ornamented madrigals, often with instrumental accompaniment. The great artistic quality of the
4902:
4632:
4182:
4155:
2968:
1483:
1285:
1143:(1586â1630) also published collections of madrigals in the solo continuo style. Whereas Caccini's music mostly was
748:
361:, and the number of voices varies from two to eight, but the form usually features three to six voices, whilst the
208:
556:, which much differed from the secular, lighter styles of composition in late-15th- and early-16th-century Italy.
4350:
4177:
4187:
3436:
892:
da Venosa (1566â1613), Prince of Venosa and Count of Conza, composed madrigals and religious music that feature
734:
4947:
4471:
3493:
3101:
2983:
4383:
853:, compositions with dance rhythms and verses about a care-free life. In the late 16th century, composers used
4602:
4559:
4375:
3302:
2848:
La musa madrigalesca, or, A collection of madrigals, ballets, roundelays etc.: chiefly of the Elizabethan age
2641:
1214:. In the event, the evolution of musical composition eliminated the madrigal as a discrete musical form; the
90:
833:(1540â1609) re-incorporated lighter elements of composition to the madrigal; serious Petrarchan verse about
4912:
3421:
3336:
2936:
2853:
42:
4957:
2785:
5125:
5102:
5005:
4820:
4343:
4300:
4165:
2963:
2843:
1147:, later composers, especially d'India, composed solo continuo madrigals using an experimental idiom of
938:
710:
that made the genre distinctive, and the five-voice texture which became the standard for composition.
143:
65:
932:
In Naples, the compositional style of the pupil Carlo Gesualdo followed from the style of his mentor,
718:
4787:
4160:
3835:
3830:
3476:
2636:
2165:
1489:
1320:
1253:
822:
31:
17:
4657:
223:
5051:
4907:
1798:
1776:
552:
composition for religious music, and knew the secular compositions of their homelands, such as the
422:(maternal) denoting musical work in service to the mother church or from the post-classical Latin
5082:
4840:
4815:
4313:
3461:
3391:
2929:
2170:
1993:
1449:
1272:, leading to an upsurge of interest in the form and creation of musical institutions such as the
1228:
974:(1601â1656), whose two books of unaccompanied madrigals display sustained, extreme chromaticism.
861:, passages in which the music matches the meaning of a word in the lyrics; thus, a composer sets
446:
148:
138:
4514:
4172:
5139:
5112:
5089:
5066:
5061:
4697:
4672:
4582:
4461:
4323:
4202:
4008:
3664:
3351:
1936:
Nineteenth-century imitation of an English Madrigal: "Brightly dawns our wedding day" from the
1728:
1144:
818:(1553â1599) were the madrigals that came closest to unifying the different styles of the time.
3044:
2758:
2368:
4932:
4917:
4830:
4622:
4264:
3579:
3431:
3287:
3282:
3144:
2890:
2178:
1982:
1975:
1695:
1606:
1513:
1472:
1326:
In German-speaking Europe, the prolific composers of madrigals included Lassus in Munich and
1303:
disallowed the development of a French-style madrigal; nonetheless, French composers such as
1136:
963:
757:
626:
541:
118:
4577:
3726:
3356:
4707:
4076:
4071:
3978:
3795:
3782:
3731:
3700:
3649:
3540:
3386:
3201:
3186:
3129:
3079:
3039:
2996:
2871:
2867:
1937:
782:
662:
3446:
3216:
8:
5160:
4825:
4456:
4279:
4274:
4122:
3905:
3695:
3594:
3525:
3401:
3396:
3341:
3257:
3227:
3084:
3074:
3029:
2991:
2612:
1442:â I Libro a 5, 1535. One of the first madrigalists, also associated with the Medici court
1413:
1384:
1120:
814:(1536â1592) to compose madrigals in the style of Luzzaschi. In Rome, the compositions of
811:
654:
508:
409:
128:
4509:
4504:
3366:
3008:
2876:
1825:
5155:
5020:
5000:
4975:
4965:
4797:
4772:
4757:
4747:
4742:
4712:
4489:
4451:
4391:
4233:
4223:
4192:
4003:
3983:
3825:
3721:
3669:
3629:
3614:
3530:
3381:
3292:
3064:
2779:
2749:
2594:
2543:
2506:
2489:
2359:
1786:
1650:
1633:
1627:
1531:
1519:
1501:
1417:
1355:
1171:
1073:
1007:
987:
971:
970:(1592â1665) in their musical works. In the 1620s, Gesualdo's successor madrigalist was
967:
951:
933:
926:
787:
670:
228:
188:
4782:
2910:
2695:. Prentice Hall History of Music Series. Englewood Cliffs, New Jersey: Prentice-Hall.
1700:
1339:
5108:
5056:
4805:
4717:
4544:
4441:
4366:
4319:
4105:
3993:
3963:
3923:
3870:
3805:
3716:
3711:
3659:
3619:
3556:
3535:
3441:
3426:
3376:
3237:
3196:
3124:
3034:
2812:
2790:
2762:
2718:
2696:
2677:
2646:
2586:
2456:
2372:
2069:
2062:
2038:
1803:
1617:
1611:
1580:
1574:
1477:
1439:
1395:
1390:
1343:
1327:
1312:
1304:
1132:
999:
830:
795:
762:
752:
678:
607:
430:
346:
178:
113:
73:
4406:
2159:
1256:(1756â1778) â a madrigal in G major for 5 voices, "presented by Mr. Sheridan to the
4980:
4810:
4732:
4687:
4642:
4617:
4612:
4567:
4534:
4529:
4494:
4436:
4411:
4117:
3865:
3788:
3741:
3705:
3675:
3654:
3346:
3331:
3090:
2754:
2732:
2578:
2535:
2498:
2446:
2364:
1857:
1820:
1689:
1665:
1486:â famous mostly for his sacred music, he also wrote at least 140 secular madrigals.
1467:
1433:
1407:
1331:
1273:
1183:
1140:
1030:
passages â foreshadowing the compositional integration of the solo madrigal to the
991:
703:
686:
682:
638:
611:
511:
for daily life and communication, instead of Latin. In 1501, the literary theorist
507:
trends in 16th-century Italy. First, renewed interest in the use of Italian as the
397:
378:
213:
203:
193:
168:
123:
54:
1862:
958:
and extreme chromaticism, which were compositional techniques selectively used by
5010:
4995:
4937:
4777:
4727:
4662:
4652:
4607:
4597:
4592:
4587:
4549:
4479:
4401:
4396:
4269:
4093:
3998:
3958:
3894:
3850:
3242:
3221:
3206:
3152:
3059:
2894:
2710:
2403:
1847:
1733:
1670:
1644:
1638:
1622:
1585:
1537:
1461:
1445:
1428:
1335:
1316:
1308:
1233:
In 16th-century England, the madrigal became greatly popular upon publication of
1041:
1036:
826:
791:
772:(1532â1585) composed madrigals with bright, open, polyphonic textures, as in his
769:
666:
630:
587:
545:
524:
183:
173:
2902:
2898:
1311:(1528â1600) applied madrigalian techniques in their musics. In the Netherlands,
5015:
4990:
4722:
4692:
4637:
4627:
4499:
4484:
4426:
4416:
4228:
4098:
4088:
3968:
3899:
3860:
3840:
3820:
3550:
3520:
3406:
3262:
3232:
2952:
2906:
2331:
1877:
1852:
1815:
1748:
1743:
1713:
1655:
1595:
1507:
1422:
1363:
1242:
1175:
1108:
1023:
889:
874:
739:
615:
492:
438:
389:
286:
1553:
old-style madrigal for four or five voices continued in parallel with the new
936:(1545â1607), who had published six books of madrigals and the religious music
353:(1600â1750) periods, although revisited by some later European composers. The
37:
5149:
4970:
4856:
4762:
4752:
4647:
4539:
4524:
4034:
3933:
3800:
3768:
3624:
3545:
3191:
3069:
3052:
2804:
2744:
2740:
2590:
2460:
2057:
2028:
1781:
1738:
1676:
1600:
1590:
1525:
1347:
1280:
in 1741. In the 19th century, the madrigal was the best-known music from the
1265:
1095:
1003:
959:
854:
815:
727:
723:
599:
442:
374:
362:
358:
350:
293:
198:
3371:
1248:
5046:
4985:
4876:
4835:
4702:
4572:
4446:
4259:
4066:
4029:
3988:
3953:
3928:
3913:
3411:
3247:
3022:
2632:
2582:
1842:
1837:
1723:
1718:
1148:
947:
893:
865:(smile) to a passage of quick, running notes that mimic laughter, and sets
699:
674:
619:
536:
512:
503:
The madrigal is a musical composition that emerged from the convergence of
488:
429:
Artistically, the madrigal was the most important form of secular music in
265:
218:
133:
2838:
The Italian Madrigal in the Early 16th Century: Sources and Interpretation
2502:
689:(1515â1565), were the principal composers of the madrigal at mid-century.
396:(1470â1530); partly from composers' renewed interest in poetry written in
5041:
5036:
4767:
4737:
4519:
4431:
4421:
4254:
4249:
4044:
3416:
3361:
3267:
3115:
1867:
1753:
1281:
1277:
1187:
1089:
434:
342:
27:
Secular vocal music composition of the Renaissance and early Baroque eras
3323:
602:, which became compositional characteristics of the later madrigal. The
483:
4871:
4861:
3845:
3515:
3211:
3177:
3172:
2833:
2736:
2547:
2532:
Revue Belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap
2526:
2385:
1946:
1269:
1264:
In early 18th-century England, the singing of madrigals was revived by
1257:
1191:
1027:
1019:
954:(1557â1622) and Luzzaschi, but few madrigalists followed his stylistic
922:
850:
846:
595:
572:
568:
3139:
2598:
2563:
2510:
2483:
702:
relationships, a compositional trend encouraged by the music theorist
4881:
4056:
3918:
3736:
3471:
1977:
Musical antiquarianism and the madrigal revival in England, 1726-1851
1882:
1061:
1011:
982:
955:
838:
786:(1580â1597), the concert of the ladies, three women singers for whom
765:(1521â1603), the most prolific madrigalist, first published in 1554.
576:
549:
449:(1588â1627). Although of British temper, most English madrigals were
354:
4335:
3134:
2717:(Three volumes). Princeton, New Jersey: Princeton University Press.
2663:
Artusi, Giovanni (1950). "Della imperfezioni della moderna musica".
2539:
1410:â I Libro a 4, 1543. Author of the most reprinted book of madrigals.
4218:
4138:
4061:
4024:
3507:
3297:
3277:
3252:
1276:, which was established in London by attorney and amateur musician
1203:
560:
516:
504:
459:
393:
53:) by Caravaggio. The lutenist reads madrigal music by the composer
2277:
1662:, 1602, is the first example of madrigals published with continuo.
4132:
4110:
4081:
4039:
3810:
3466:
3014:
3001:
2921:
1872:
1299:
1215:
1211:
1085:
1057:
905:
564:
553:
455:
401:
388:
Madrigals written by Italianized FrancoâFlemish composers in the
370:
339:
254:
2351:
Bianconi, Lorenzo; Watkins, Glenn (2001). Watkins, Glenn (ed.).
2068:(Tenth ed.). Oxford: Oxford University Press. p. 308.
412:(1300â1370) of the 14th century, having in common only the name
4886:
3855:
3777:
3272:
2916:
2875:
1116:
1015:
909:
807:
694:
584:
Musica di messer Bernardo Pisano sopra le canzone del Petrarcha
528:
496:
366:
248:
722:
In the last twenty years of the 16th century, the madrigalist
4127:
4051:
1941:
1561:
provided an autonomous basso continuo line, presented in the
917:
842:
773:
642:
467:
405:
270:
2014:
The Penguin Dictionary of Literary Terms and Literary Theory
1765:
885:
2037:, vol. 18, London: Macmillan Press, pp. 292â293,
1198:(1638), Monteverdi published his most famous madrigal, the
1159:
1081:
1031:
913:
834:
726:(1553â1599) was an influential composer until Monteverdi's
463:
382:
1557:
style of madrigal, but the compositional watershed of the
1047:
751:(1525â1594), who wrote secular music in his early career;
1759:
Some 60 madrigals of the English School are published in
2313:
2265:
2253:
2229:
977:
2850:; with remarks and annotations. London: Calkin and Budd
950:
and textural contrasts of Ferrarese composers, such as
669:(1490â1562) and his associates at St. Mark's Basilica,
2789:. Cambridge, Massachusetts: Harvard University Press.
2747:; Roche, Jerome (2001). "Madrigal". In L. Macy (ed.).
2667:. Translated by Oliver Strunk. New York: W. W. Norton.
2241:
912:. The emotions communicated in a madrigal in 1590, an
5123:
2674:
Renaissance Music: Music in Western Europe, 1400â1600
2427:
946:, 1611). In the early 1590s, Gesualdo had learnt the
738:
The commemorative statue of the singer and publisher
604:
Madrigali de diversi musici: libro primo de la Serena
2455:. New York: W. W. Norton & Company. p. 37.
2406:, Brian Mann, Ed. University of Chicago Press, 2003.
2301:
2289:
1350:(1553â1599) went to the Polish court to work as the
523:(1453) about achieving graceful writing by applying
400:; partly from the stylistic influence of the French
2354:"Gesualdo, Carlo, Prince of Venosa, Count of Conza"
2185:
2157:
1366:(1621â1690) and Heinrich SchĂŒtz wrote the treatise
990:(1567â1643) was the most influential madrigalist. (
706:(1511â1576). From Rore's musical language came the
2562:
2525:
2482:
2352:
2158:
2061:
1974:
1123:(1573â1587). In the collection of solo madrigals,
527:, careful attention to the sounding of words, and
2731:
2452:Music in the Baroque Era: From Monteverdi to Bach
2418:
2416:
2414:
2412:
2339:
2146:
1480:â author of the largest number of madrigal books.
1119:and descended from the experimental music of the
1034:. In the fifth book of madrigals, using the term
742:(1560â1619), who introduced madrigals to England.
730:transformation of the madrigal as a musical form.
5147:
1297:music. In France, the native composition of the
540:("those from beyond the Alps") composers of the
534:Second, Italy was the usual destination for the
2484:"'Ancient' Music in Eighteenth-Century England"
2350:
2202:
2200:
2034:The New Grove Dictionary of Music and Musicians
1908:Stage 3 Madrigal (seconda practica): Gesualdo,
590:(1490â1548), while no one composition is named
392:partly originated from the three-to-four voice
2534:. 26/27. Societe Belge de Musicologie: 25â37.
2409:
478:
4351:
2937:
2631:
2422:
1901:Stage 2 Madrigal (prima practica): Willaert,
1455:
1202:, a dramatic composition much like a secular
1178:and ensemble works specifically composed for
515:(1470â1547) published an edition of the poet
315:
2886:. Vol. 17 (11th ed.). p. 295.
2570:Proceedings of the Royal Musical Association
2219:
2217:
2215:
2197:
2085:
2011:
2007:
2005:
2003:
1707:
1206:, featuring musical innovations such as the
896:not heard again until the late 19th century.
365:of the madrigal varies between two or three
3587:
1495:
1323:(1562â1621) composed madrigals in Italian.
1115:style, compositions technically related to
417:
377:sung to the same music, most madrigals are
4358:
4344:
2944:
2930:
2866:
2142:
2140:
2138:
2136:
2134:
2132:
2130:
2128:
2126:
2124:
2122:
2120:
1966:
1448:â Franco-Flemish composer, founder of the
1222:
1014:of the late 16th century to the styles of
929:(1567â1643) was the most famous composer.
322:
308:
2212:
2118:
2116:
2114:
2112:
2110:
2108:
2106:
2104:
2102:
2100:
2027:Tilmouth, Michael (1980), "Strophic", in
2000:
1809:
1792:
1766:English composers of the classical period
1210:(agitated style) that employs the string
1103:(1601), by the madrigalist Giulio Caccini
594:, some of the settings are Petrarchan in
2709:
2560:
2445:
2391:
2283:
2026:
1358:(r. 1587â1632) in Warsaw. Moreover, the
1247:
1094:
981:
884:
825:(1535â1592) â Monteverdi's instructor â
755:(1530â1594), who wrote the twelve-motet
733:
717:
482:
36:
3578:
3482:List of Galician-Portuguese troubadours
2759:10.1093/gmo/9781561592630.article.40075
2497:(4). Oxford University Press: 401â415.
2369:10.1093/gmo/9781561592630.article.10994
2056:
2020:
1924:Il Combatimento di Tancredi et Clorinda
1544:
1174:collected and organised madrigals into
1048:Transition from the concertato madrigal
14:
5148:
2778:
2662:
2480:
2433:
2223:
2097:
1972:
1933:, late 16th century/early 17th century
1111:(1551â1618) produced madrigals in the
880:
4365:
4339:
2925:
2803:
2690:
2671:
2319:
2307:
2295:
2271:
2259:
2247:
2235:
2206:
2191:
2091:
1291:
978:Transition to the concertato madrigal
462:; and by the early 17th century, the
2917:The Italian Madrigal Resource Center
2903:free recordings of Spanish Madrigals
2895:free recordings of English Madrigals
2179:participating institution membership
1761:The Oxford Book of English Madrigals
1378:
1288:(Giovanni Pierluigi da Palestrina).
1200:Combattimento di Tancredi e Clorinda
1190:; however, those madrigals were for
3308:Other troubadours and trobairitz...
2739:; Newcomb, Anthony; Ossi, Massimo;
2523:
2404:The Madrigals of Michelangelo Rossi
1888:
648:
622:(1485â1538) and Verdelot, himself.
24:
2951:
2856:contains scores for many madrigals
2826:
1401:
778:Alfonso II d'Este, Duke of Ferrara
25:
5182:
2860:
2527:"Old Music in England, 1790-1820"
1362:of the University of Wittenberg,
5133:
5107:
5098:
5097:
4633:Giovanni Pierluigi da Palestrina
4318:
4309:
4308:
2899:free recordings of German Lieder
2665:Source Readings in Music History
1484:Giovanni Pierluigi da Palestrina
1354:(Master of the chapel) for King
939:Responsoria pro hebdomada sancta
749:Giovanni Pierluigi da Palestrina
404:; and from the polyphony of the
349:(15thâ16th centuries) and early
2605:
2577:. Taylor & Francis: 33â46.
2554:
2517:
2474:
2439:
2397:
2344:
2325:
2060:(1970). Ward, John Owen (ed.).
1831:
1673:â I Libro a 2-5vv with bc, 1644
1565:(1605), by Claudio Monteverdi.
1373:
1168:Madrigali a 5 voci in partitura
610:(1480â1540), included music by
519:(1304â1374); and published the
426:(maternal, simple, primitive).
416:, which derives from the Latin
57:. (Hermitage, Saint Petersburg)
2151:
2050:
1922:Stage 5 Madrigal: Monteverdi,
873:(1601), the poet and composer
780:(r. 1559â1597), there was the
776:compositions. At the court of
713:
13:
1:
4376:List of Renaissance composers
3303:William IX, Duke of Aquitaine
2642:The Oxford Companion to Music
2617:. Leipzig: Digitalisat. 1653.
2340:von Fischer & et al. 2001
2147:von Fischer & et al. 2001
2064:The Oxford Companion to Music
1954:
1931:O Care, thou wilt despatch me
1342:(1585â1672) who studied with
1334:(1564â1612) who studied with
659:Siege of Florence (1529â1530)
47:
2854:Choral Public Domain Library
2691:Brown, Howard Mayer (1976).
1894:Stage 1 Madrigal: Arcadelt,
7:
2974:List of musical instruments
2786:Harvard Dictionary of Music
2363:. Oxford University Press.
1929:English Madrigal: Weelkes,
1915:Stage 4 Madrigal: Caccini,
1703:â I Libro a 5, Venice 1611.
1252:"Hark! Hark! The birds" by
1158:Beginning around 1620, the
1066:The Fifth Book of Madrigals
986:In the early 17th century,
806:, as at Firenze, where the
635:Il primo libro di madrigali
521:Oratio pro litteris graecis
479:Origins and early madrigals
10:
5187:
5006:Petrus Phalesius the Elder
4821:English Virginalist School
2909:, Academic Computer Club,
2811:. New York: W. W. Norton.
2676:. New York: W. W. Norton.
2639:. In Alison Latham (ed.).
2625:
2012:J. A. Cuddon, ed. (1991).
1683:
1456:Late Renaissance composers
1382:
1226:
944:Responsories for Holy Week
473:
29:
5077:
5029:
4956:
4895:
4849:
4796:
4788:Jan Pieterszoon Sweelinck
4671:
4558:
4470:
4382:
4373:
4290:
4242:
4211:
4148:
4017:
3946:
3887:
3836:Matheus de Sancto Johanne
3831:Johannes Symonis Hasprois
3766:
3762:
3688:
3642:
3607:
3574:
3505:
3501:
3492:
3477:Galician-Portuguese lyric
3422:Jehan le Cuvelier d'Arras
3337:Andrieu Contredit d'Arras
3322:
3171:
3113:
3109:
3100:
2982:
2959:
2423:Arnold & Wakelin 2011
2166:Oxford English Dictionary
1658:â I Libro a 5, 1600. His
1490:Giovan Leonardo Primavera
1321:Jan Pieterszoon Sweelinck
1254:Thomas Linley the younger
1153:Seventh Book of Madrigals
466:replaced the madrigal in
410:Italian Trecento madrigal
373:. Unlike verse-repeating
369:, followed by one or two
32:Madrigal (disambiguation)
5171:Renaissance music genres
5166:Songs in classical music
3866:Antonio Zacara da Teramo
2809:Music in the Renaissance
2735:; D'Agostino, Gianluca;
2693:Music in the Renaissance
2672:Atlas, Allan W. (1998).
2635:; Wakelin, Emma (2011).
2561:Craufurd, J. G. (1956).
1959:
1910:Io parto e non piu dissi
1799:Robert Lucas de Pearsall
1777:Thomas Attwood Walmisley
1568:
1496:At the Baroque threshold
1196:Eighth Book of Madrigals
544:, who were attracted by
4816:English Madrigal School
3392:Gillebert de Berneville
2969:List of music theorists
2883:EncyclopĂŠdia Britannica
2774:(subscription required)
2658:(subscription required)
2171:Oxford University Press
1708:English madrigal school
1563:Fifth Book of Madrigals
1504:â I Libro a 5 e 6, 1583
1229:English Madrigal School
1223:English madrigal school
1070:Sixth Book of Madrigals
998:In the transition from
447:English Madrigal School
4658:TomĂĄs Luis de Victoria
4462:Oswald von Wolkenstein
3665:Gherardello da Firenze
3352:Le Chastelain de Couci
3145:Philippe le Chancelier
2564:"The Madrigal Society"
2481:Lovell, Percy (1979).
2394:, Vol II, pp. 867â871.
1973:Hobson, James (2015).
1903:Aspro core e selvaggio
1810:20th-century composers
1793:19th-century composers
1261:
1104:
1088:(chitarrone), and the
995:
897:
845:was replaced with the
823:Marc'Antonio Ingegneri
743:
731:
500:
487:As a writer, Cardinal
418:
58:
4678:Transition to Baroque
4623:Pierre de Manchicourt
3974:Johannes de Garlandia
3288:Raimbaut de Vaqueiras
2872:Tovey, Donald Francis
2868:Gosse, Edmund William
1983:University of Bristol
1896:Ahime, dov'e bel viso
1696:Johann Hermann Schein
1630:â Madrigali a 5, 1638
1473:Francisco Leontaritis
1251:
1098:
985:
888:
758:Prophetiae Sibyllarum
737:
721:
627:Franco-Flemish school
542:Franco-Flemish school
486:
107:Movements and schools
95:Transition to Baroque
40:
4708:Girolamo Frescobaldi
4515:CristĂłbal de Morales
4295:Also music theorist*
3979:Johannes de Grocheio
3796:Conradus de Pistoria
3783:Philippus de Caserta
3732:Philippus de Caserta
3701:Antonello da Caserta
3650:Andreas de Florentia
3541:Guillaume de Machaut
3202:Bernart de Ventadorn
3187:Aimeric de Peguilhan
3130:Albertus Parisiensis
3080:Adam of Saint Victor
3040:Saint Martial school
2997:Notker the Stammerer
2715:The Italian Madrigal
2583:10.1093/jrma/82.1.33
2524:Day, Thomas (1972).
2447:Bukofzer, Manfred R.
2336:First Booke of Ayres
1938:Gilbert and Sullivan
1545:Baroque madrigalists
1425:â I Libro a 3, 1541.
1416:â court composer to
810:family commissioned
804:concerto delle donne
800:Concerto delle donne
783:Concerto delle donne
663:San Marco di Venezia
345:most typical of the
30:For other uses, see
4826:Florentine Camerata
4798:Composition schools
4457:Gaspar van Weerbeke
3906:Contenance angloise
3696:Bartolino da Padova
3595:Marchetto da Padova
3526:Magister Franciscus
3402:Guillaume le Vinier
3397:Gontier de Soignies
3342:Audefroi le Bastart
3228:Folquet de Marselha
3085:Wulfstan the Cantor
3075:Hildegard of Bingen
3045:Adémar de Chabannes
3030:Fulbert of Chartres
2992:Abbey of Saint Gall
2984:Early (before 1150)
2907:UmeÄ Academic Choir
2503:10.1093/ml/60.4.401
2490:Music & Letters
2322:, pp. 636â638.
2274:, pp. 224â225.
2262:, pp. 221â224.
2238:, pp. 431â432.
2169:(Online ed.).
1679:â I Libro a 6, 1583
1647:â I Libro a 4, 1608
1614:â I Libro a 5, 1602
1603:â I Libro a 5, 1605
1577:â I Libro a 5, 1600
1540:â I Libro a 5, 1558
1534:â I Libro a 5, 1587
1528:â I Libro a 5, 1580
1522:â I Libro a 5, 1571
1516:â I Libro a 5, 1606
1464:â I Libro a 3, 1575
1436:- I Libro a 5, 1542
1414:Francesco Corteccia
1385:Madrigal (Trecento)
1352:maestro di cappella
1260:" (see inscription)
1121:Florentine Camerata
1076:indicated that the
925:madrigal, of which
881:Turn of the century
871:First Book of Ayres
812:Alessandro Striggio
655:Sack of Rome (1527)
509:vernacular language
445:(1557â1602) of the
144:English Virginalist
129:Florentine Camerata
5021:Thomas Vautrollier
5001:Ottaviano Petrucci
4976:Pierre Attaingnant
4966:Hieronymus Andreae
4773:Michael Praetorius
4758:Claudio Monteverdi
4748:Giovanni de Macque
4743:Luzzasco Luzzaschi
4713:Alfonso Fontanelli
4603:Francisco Guerrero
4578:Antonio de CabezĂłn
4490:Thomas Crecquillon
4472:Middle (1470â1530)
4452:Johannes Tinctoris
4392:Alexander Agricola
4234:Neo-Medieval music
4224:Medieval folk rock
4004:Berno of Reichenau
3984:Iacobus de Ispania
3826:Petrus de Goscalch
3727:NiccolĂČ da Perugia
3722:Grazioso da Padova
3670:Lorenzo da Firenze
3630:Vincenzo da Rimini
3615:Giovanni da Cascia
3447:Other trouvĂšres...
3432:Perrin d'Angicourt
3382:Gautier de Dargies
3357:Chrétien de Troyes
3293:Raimon de Miravalh
3283:Raimbaut d'Aurenga
2750:Grove Music Online
2614:Von den Madrigalen
2601:– via JSTOR.
2550:– via JSTOR.
2513:– via JSTOR.
2360:Grove Music Online
2338:(1601), quoted in
1917:Perfidissimo volto
1787:John Wall Callcott
1651:Michelangelo Rossi
1634:Claudio Monteverdi
1628:Domenico Mazzocchi
1607:Sigismondo d'India
1532:Claudio Monteverdi
1520:Luzzasco Luzzaschi
1514:Sigismondo d'India
1502:Camillo Cortellini
1418:Cosimo I de Medici
1368:Von den Madrigalen
1356:Sigismund III Vasa
1292:Continental Europe
1262:
1235:Musica Transalpina
1172:Domenico Mazzocchi
1137:Sigismondo d'India
1105:
1074:Claudio Monteverdi
1008:Claudio Monteverdi
996:
988:Claudio Monteverdi
972:Michelangelo Rossi
968:Domenico Mazzocchi
964:Sigismondo d'India
952:Alfonso Fontanelli
934:Luzzasco Luzzaschi
927:Claudio Monteverdi
898:
788:Luzzasco Luzzaschi
744:
732:
671:Girolamo Parabosco
501:
493:vernacular Italian
398:vernacular Italian
59:
5121:
5120:
4718:Giovanni Gabrieli
4545:Philippe Verdelot
4442:Johannes Ockeghem
4384:Early (1400â1470)
4367:Renaissance music
4333:
4332:
4301:Renaissance music
4009:Aurelian of RĂ©ĂŽme
3994:Johannes de Muris
3964:Franco of Cologne
3942:
3941:
3924:Arnold de Lantins
3883:
3882:
3879:
3878:
3806:Johannes Cuvelier
3758:
3757:
3754:
3753:
3750:
3749:
3717:Giovanni Mazzuoli
3712:Matteo da Perugia
3684:
3683:
3660:Francesco Landini
3638:
3637:
3620:Jacopo da Bologna
3603:
3602:
3570:
3569:
3566:
3565:
3557:Philippe de Vitry
3536:Jehan de Lescurel
3457:
3456:
3442:Raoul de Soissons
3387:Gautier d'Espinal
3377:Gautier de Coincy
3318:
3317:
3238:Giraut de Bornelh
3217:CerverĂ de Girona
3197:Arnaut de Mareuil
3167:
3166:
3163:
3162:
3125:Notre-Dame school
3035:Heriger of Lobbes
2964:List of composers
2840:. Cambridge, 1988
2768:978-1-56159-263-0
2733:von Fischer, Kurt
2652:978-0-19-957903-7
2286:, Vol. I, p. 391.
2250:, pp. 432ff.
2177:(Subscription or
2058:Scholes, Percy A.
1618:Alessandro Grandi
1612:Marco da Gagliano
1581:Adriano Banchieri
1575:Agostino Agazzari
1478:Philippe de Monte
1440:Philippe Verdelot
1396:Jacopo da Bologna
1391:Francesco Landini
1379:Trecento madrigal
1344:Giovanni Gabrieli
1328:Philippe de Monte
1319:(1517â1595), and
1313:Cornelis Verdonck
1305:Orlande de Lassus
1239:Transalpine Music
1192:musicologic study
1139:(1582â1629), and
1133:Marco da Gagliano
1000:Renaissance music
966:(1582â1629), and
831:Giovanni Ferretti
829:(1532â1585), and
796:Lodovico Agostini
794:(1535â1596), and
763:Philippe de Monte
753:Orlande de Lassus
679:Baldassare Donato
677:(1524â1557), and
608:Philippe Verdelot
441:(1576â1623), and
431:Renaissance Italy
332:
331:
74:Renaissance music
16:(Redirected from
5178:
5138:
5137:
5136:
5129:
5111:
5101:
5100:
4981:Vittorio Baldini
4958:Music publishing
4733:Hans Leo Hassler
4688:Gregorio Allegri
4643:Cipriano de Rore
4618:Vicente Lusitano
4613:Orlando di Lasso
4568:Jacques Arcadelt
4535:Pierre de la Rue
4530:Josquin des Prez
4510:Clément Janequin
4505:Antoine de FĂ©vin
4495:Antonius Divitis
4437:Johannes Martini
4412:Guillaume Du Fay
4360:
4353:
4346:
4337:
4336:
4322:
4312:
4311:
4118:Liturgical drama
3885:
3884:
3792:
3789:Johannes Ciconia
3764:
3763:
3760:
3759:
3742:Zacara da Teramo
3706:Johannes Ciconia
3686:
3685:
3676:Paolo da Firenze
3655:Donato da Cascia
3640:
3639:
3605:
3604:
3585:
3584:
3576:
3575:
3572:
3571:
3560:
3503:
3502:
3499:
3498:
3494:Late (1300â1400)
3437:Philippe de RĂ©mi
3367:Conon de BĂ©thune
3347:Blondel de Nesle
3332:Adam de la Halle
3320:
3319:
3258:Peire d'Alvernha
3169:
3168:
3156:
3111:
3110:
3107:
3106:
3102:High (1150â1300)
3091:Wipo of Burgundy
3056:
3026:
3018:
3009:Stephen of LiĂšge
2946:
2939:
2932:
2923:
2922:
2887:
2879:
2877:"Madrigal"
2844:Oliphant, Thomas
2832:Iain Fenlon and
2822:
2800:
2775:
2772:
2728:
2711:Einstein, Alfred
2706:
2687:
2668:
2659:
2656:
2619:
2618:
2609:
2603:
2602:
2573:(82nd session).
2566:
2558:
2552:
2551:
2529:
2521:
2515:
2514:
2486:
2478:
2472:
2471:
2469:
2467:
2443:
2437:
2431:
2425:
2420:
2407:
2401:
2395:
2389:
2383:
2382:
2356:
2348:
2342:
2329:
2323:
2317:
2311:
2305:
2299:
2293:
2287:
2281:
2275:
2269:
2263:
2257:
2251:
2245:
2239:
2233:
2227:
2221:
2210:
2204:
2195:
2189:
2183:
2182:
2174:
2162:
2155:
2149:
2144:
2095:
2089:
2083:
2082:
2067:
2054:
2048:
2047:
2024:
2018:
2017:
2009:
1998:
1997:
1991:
1989:
1980:
1970:
1889:Musical examples
1858:Morten Lauridsen
1826:Bohuslav MartinĆŻ
1821:Constant Lambert
1690:Hans Leo Hassler
1666:Claudio Saracini
1559:seconda prattica
1468:Orlando di Lasso
1434:Cypriano de Rore
1408:Jacques Arcadelt
1332:Hans Leo Hassler
1307:(1532â1594) and
1274:Madrigal Society
1141:Claudio Saracini
1125:Le nuove musiche
1107:The madrigalist
1101:Le nuove musiche
992:Bernardo Strozzi
704:Nicola Vicentino
687:Cipriano de Rore
685:(1520â1562) and
683:Perissone Cambio
649:Mid-16th century
639:Jacques Arcadelt
614:(1490â1524) and
612:Sebastiano Festa
491:advocated using
421:
379:through-composed
324:
317:
310:
287:â Medieval music
149:English Madrigal
82:
61:
60:
55:Jacques Arcadelt
52:
49:
21:
5186:
5185:
5181:
5180:
5179:
5177:
5176:
5175:
5146:
5145:
5144:
5140:Classical music
5134:
5132:
5124:
5122:
5117:
5094:
5086:
5073:
5025:
5011:Girolamo Scotto
4996:Antonio Gardano
4952:
4891:
4845:
4792:
4783:Heinrich SchĂŒtz
4778:Philippe Rogier
4728:Orlando Gibbons
4680:
4676:
4667:
4663:Giaches de Wert
4653:Christopher Tye
4608:Claude Le Jeune
4598:Claude Goudimel
4593:Nicolas Gombert
4588:Andrea Gabrieli
4583:Jacobus Clemens
4554:
4550:Adrian Willaert
4480:Martin Agricola
4466:
4402:Antoine Busnois
4397:Gilles Binchois
4378:
4369:
4364:
4334:
4329:
4328:
4305:
4286:
4238:
4207:
4144:
4094:Gregorian chant
4013:
3999:Walter Odington
3959:Guido of Arezzo
3938:
3895:Johannes Alanus
3875:
3851:Jacob Senleches
3787:
3746:
3680:
3634:
3599:
3562:
3555:
3488:
3453:
3314:
3243:Guiraut Riquier
3222:Comtessa de Dia
3207:Bertran de Born
3175:
3159:
3153:Petrus de Cruce
3151:
3096:
3060:Notker Physicus
3051:
3021:
3013:
2978:
2955:
2950:
2911:UmeÄ University
2863:
2829:
2827:Further reading
2819:
2797:
2773:
2769:
2725:
2703:
2684:
2657:
2653:
2628:
2623:
2622:
2611:
2610:
2606:
2559:
2555:
2540:10.2307/3686537
2522:
2518:
2479:
2475:
2465:
2463:
2444:
2440:
2432:
2428:
2421:
2410:
2402:
2398:
2390:
2386:
2379:
2349:
2345:
2332:Campion, Thomas
2330:
2326:
2318:
2314:
2306:
2302:
2294:
2290:
2282:
2278:
2270:
2266:
2258:
2254:
2246:
2242:
2234:
2230:
2222:
2213:
2205:
2198:
2190:
2186:
2176:
2156:
2152:
2145:
2098:
2090:
2086:
2076:
2055:
2051:
2045:
2025:
2021:
2010:
2001:
1987:
1985:
1971:
1967:
1962:
1957:
1891:
1848:Emma Lou Diemer
1834:
1812:
1795:
1768:
1734:Orlando Gibbons
1710:
1701:Heinrich SchĂŒtz
1692:â I Libro, 1600
1686:
1671:Barbara Strozzi
1645:Paolo Quagliati
1641:â I Libro, 1604
1639:Giovanni Priuli
1623:Marco Marazzoli
1586:Antonio Caldara
1571:
1547:
1538:Giaches de Wert
1510:â I Libro, 1594
1498:
1462:Andrea Gabrieli
1458:
1450:Venetian School
1446:Adrian Willaert
1429:Bernardo Pisano
1404:
1402:Early composers
1387:
1381:
1376:
1340:Heinrich SchĂŒtz
1336:Andrea Gabrieli
1317:Hubert Waelrant
1309:Claude Le Jeune
1294:
1231:
1225:
1208:stile concitato
1050:
1042:Giovanni Artusi
1037:seconda pratica
1022:accompanied by
1002:(1400â1600) to
980:
883:
827:Andrea Gabrieli
792:Giaches de Wert
770:Andrea Gabrieli
716:
667:Adrian Willaert
651:
631:Adrian Willaert
588:Bernardo Pisano
546:Italian culture
481:
476:
328:
297:
294:Baroque music â
290:
277:
276:
275:
243:
235:
234:
233:
163:
155:
154:
153:
108:
98:
97:
80:
50:
43:The Lute Player
35:
28:
23:
22:
15:
12:
11:
5:
5184:
5174:
5173:
5168:
5163:
5158:
5143:
5142:
5119:
5118:
5116:
5115:
5105:
5087:
5083:Medieval music
5079:
5078:
5075:
5074:
5072:
5071:
5070:
5069:
5064:
5059:
5054:
5049:
5039:
5033:
5031:
5027:
5026:
5024:
5023:
5018:
5016:Tielman Susato
5013:
5008:
5003:
4998:
4993:
4991:Valerio Dorico
4988:
4983:
4978:
4973:
4968:
4962:
4960:
4954:
4953:
4951:
4950:
4945:
4940:
4935:
4930:
4925:
4920:
4915:
4910:
4905:
4899:
4897:
4893:
4892:
4890:
4889:
4884:
4879:
4874:
4869:
4864:
4859:
4853:
4851:
4847:
4846:
4844:
4843:
4838:
4833:
4831:Franco-Flemish
4828:
4823:
4818:
4813:
4808:
4802:
4800:
4794:
4793:
4791:
4790:
4785:
4780:
4775:
4770:
4765:
4760:
4755:
4750:
4745:
4740:
4735:
4730:
4725:
4723:Carlo Gesualdo
4720:
4715:
4710:
4705:
4700:
4695:
4693:Thomas Campion
4690:
4684:
4682:
4669:
4668:
4666:
4665:
4660:
4655:
4650:
4645:
4640:
4638:Costanzo Porta
4635:
4630:
4628:Hans Neusidler
4625:
4620:
4615:
4610:
4605:
4600:
4595:
4590:
4585:
4580:
4575:
4570:
4564:
4562:
4556:
4555:
4553:
4552:
4547:
4542:
4537:
4532:
4527:
4522:
4517:
4512:
4507:
4502:
4500:Costanzo Festa
4497:
4492:
4487:
4485:Antoine Brumel
4482:
4476:
4474:
4468:
4467:
4465:
4464:
4459:
4454:
4449:
4444:
4439:
4434:
4429:
4427:Heinrich Isaac
4424:
4419:
4417:John Dunstaple
4414:
4409:
4407:Loyset CompĂšre
4404:
4399:
4394:
4388:
4386:
4380:
4379:
4374:
4371:
4370:
4363:
4362:
4355:
4348:
4340:
4331:
4330:
4327:
4326:
4316:
4298:
4297:
4296:
4292:
4291:
4288:
4287:
4285:
4284:
4283:
4282:
4277:
4272:
4267:
4262:
4252:
4246:
4244:
4240:
4239:
4237:
4236:
4231:
4229:Medieval metal
4226:
4221:
4215:
4213:
4209:
4208:
4206:
4205:
4200:
4195:
4190:
4185:
4180:
4175:
4170:
4169:
4168:
4163:
4152:
4150:
4146:
4145:
4143:
4142:
4135:
4130:
4125:
4120:
4115:
4114:
4113:
4103:
4102:
4101:
4099:Pope Gregory I
4091:
4086:
4085:
4084:
4079:
4074:
4064:
4059:
4054:
4049:
4048:
4047:
4037:
4032:
4027:
4021:
4019:
4015:
4014:
4012:
4011:
4006:
4001:
3996:
3991:
3986:
3981:
3976:
3971:
3969:Johannes Cotto
3966:
3961:
3956:
3950:
3948:
3944:
3943:
3940:
3939:
3937:
3936:
3931:
3926:
3921:
3916:
3911:
3910:
3909:
3900:John Dunstaple
3897:
3891:
3889:
3881:
3880:
3877:
3876:
3874:
3873:
3868:
3863:
3861:Johannes Susay
3858:
3853:
3848:
3843:
3841:Gacian Reyneau
3838:
3833:
3828:
3823:
3821:Martinus Fabri
3818:
3813:
3808:
3803:
3798:
3793:
3785:
3780:
3774:
3772:
3756:
3755:
3752:
3751:
3748:
3747:
3745:
3744:
3739:
3734:
3729:
3724:
3719:
3714:
3709:
3703:
3698:
3692:
3690:
3689:3rd generation
3682:
3681:
3679:
3678:
3673:
3667:
3662:
3657:
3652:
3646:
3644:
3643:2nd generation
3636:
3635:
3633:
3632:
3627:
3622:
3617:
3611:
3609:
3608:1st generation
3601:
3600:
3598:
3597:
3591:
3589:
3582:
3568:
3567:
3564:
3563:
3561:
3553:
3551:Jehan Vaillant
3548:
3543:
3538:
3533:
3528:
3523:
3521:Denis Le Grant
3518:
3513:
3511:
3496:
3490:
3489:
3487:
3486:
3485:
3484:
3474:
3469:
3464:
3458:
3455:
3454:
3452:
3451:
3450:
3449:
3439:
3434:
3429:
3427:Moniot d'Arras
3424:
3419:
3414:
3409:
3407:Guiot de Dijon
3404:
3399:
3394:
3389:
3384:
3379:
3374:
3369:
3364:
3359:
3354:
3349:
3344:
3339:
3334:
3328:
3326:
3316:
3315:
3313:
3312:
3311:
3310:
3300:
3295:
3290:
3285:
3280:
3275:
3270:
3265:
3263:Peire Cardenal
3260:
3255:
3250:
3245:
3240:
3235:
3233:Gaucelm Faidit
3230:
3225:
3219:
3214:
3209:
3204:
3199:
3194:
3189:
3183:
3181:
3165:
3164:
3161:
3160:
3158:
3157:
3149:
3148:
3147:
3142:
3137:
3132:
3121:
3119:
3104:
3098:
3097:
3095:
3094:
3088:
3082:
3077:
3072:
3067:
3062:
3057:
3049:
3048:
3047:
3037:
3032:
3027:
3019:
3011:
3006:
3005:
3004:
2999:
2988:
2986:
2980:
2979:
2977:
2976:
2971:
2966:
2960:
2957:
2956:
2953:Medieval music
2949:
2948:
2941:
2934:
2926:
2920:
2919:
2914:
2888:
2862:
2861:External links
2859:
2858:
2857:
2851:
2841:
2828:
2825:
2824:
2823:
2817:
2801:
2795:
2782:, ed. (1986).
2776:
2767:
2745:Kerman, Joseph
2741:Fortune, Nigel
2729:
2723:
2707:
2701:
2688:
2682:
2669:
2660:
2651:
2627:
2624:
2621:
2620:
2604:
2553:
2516:
2473:
2438:
2436:, p. 395.
2426:
2408:
2396:
2384:
2377:
2343:
2324:
2312:
2310:, p. 406.
2300:
2298:, p. 228.
2288:
2276:
2264:
2252:
2240:
2228:
2211:
2196:
2194:, p. 433.
2184:
2150:
2096:
2084:
2074:
2049:
2043:
2029:Sadie, Stanley
2019:
2016:. p. 521.
1999:
1964:
1963:
1961:
1958:
1956:
1953:
1952:
1951:
1934:
1927:
1920:
1913:
1906:
1899:
1890:
1887:
1886:
1885:
1880:
1878:Henri Pousseur
1875:
1870:
1865:
1860:
1855:
1853:Mauricio Kagel
1850:
1845:
1840:
1833:
1830:
1829:
1828:
1823:
1818:
1816:Paul Hindemith
1811:
1808:
1807:
1806:
1804:Vincent d'Indy
1801:
1794:
1791:
1790:
1789:
1784:
1779:
1774:
1767:
1764:
1757:
1756:
1751:
1749:Thomas Weelkes
1746:
1744:Thomas Tomkins
1741:
1736:
1731:
1726:
1721:
1716:
1714:Thomas Bateson
1709:
1706:
1705:
1704:
1698:
1693:
1685:
1682:
1681:
1680:
1674:
1668:
1663:
1656:Salamone Rossi
1653:
1648:
1642:
1636:
1631:
1625:
1620:
1615:
1609:
1604:
1598:
1596:Giulio Caccini
1593:
1588:
1583:
1578:
1570:
1567:
1546:
1543:
1542:
1541:
1535:
1529:
1523:
1517:
1511:
1508:Carlo Gesualdo
1505:
1497:
1494:
1493:
1492:
1487:
1481:
1475:
1470:
1465:
1457:
1454:
1453:
1452:
1443:
1437:
1431:
1426:
1423:Costanzo Festa
1420:
1411:
1403:
1400:
1399:
1398:
1393:
1383:Main article:
1380:
1377:
1375:
1372:
1364:Caspar Ziegler
1293:
1290:
1243:Nicholas Yonge
1227:Main article:
1224:
1221:
1109:Giulio Caccini
1099:Title page of
1078:basso seguente
1049:
1046:
1024:basso continuo
979:
976:
890:Carlo Gesualdo
882:
879:
875:Thomas Campion
821:In the 1560s,
740:Nicholas Yonge
715:
712:
650:
647:
616:Costanzo Festa
480:
477:
475:
472:
439:Thomas Weelkes
375:strophic forms
330:
329:
327:
326:
319:
312:
304:
301:
300:
299:
298:
291:
284:
279:
278:
274:
273:
268:
263:
258:
251:
245:
244:
241:
240:
237:
236:
232:
231:
226:
221:
216:
211:
206:
201:
196:
191:
186:
181:
176:
171:
165:
164:
161:
160:
157:
156:
152:
151:
146:
141:
136:
131:
126:
121:
119:Franco-Flemish
116:
110:
109:
106:
105:
102:
101:
100:
99:
89:
84:
83:
77:
76:
70:
69:
26:
9:
6:
4:
3:
2:
5183:
5172:
5169:
5167:
5164:
5162:
5159:
5157:
5154:
5153:
5151:
5141:
5131:
5130:
5127:
5114:
5110:
5106:
5104:
5096:
5095:
5092:
5091:
5090:Baroque music
5085:
5084:
5076:
5068:
5065:
5063:
5060:
5058:
5055:
5053:
5050:
5048:
5045:
5044:
5043:
5040:
5038:
5035:
5034:
5032:
5028:
5022:
5019:
5017:
5014:
5012:
5009:
5007:
5004:
5002:
4999:
4997:
4994:
4992:
4989:
4987:
4984:
4982:
4979:
4977:
4974:
4972:
4971:Andrea Antico
4969:
4967:
4964:
4963:
4961:
4959:
4955:
4949:
4946:
4944:
4941:
4939:
4936:
4934:
4931:
4929:
4926:
4924:
4921:
4919:
4916:
4914:
4911:
4909:
4906:
4904:
4901:
4900:
4898:
4894:
4888:
4885:
4883:
4880:
4878:
4875:
4873:
4870:
4868:
4865:
4863:
4860:
4858:
4855:
4854:
4852:
4850:Musical forms
4848:
4842:
4839:
4837:
4834:
4832:
4829:
4827:
4824:
4822:
4819:
4817:
4814:
4812:
4809:
4807:
4804:
4803:
4801:
4799:
4795:
4789:
4786:
4784:
4781:
4779:
4776:
4774:
4771:
4769:
4766:
4764:
4763:Thomas Morley
4761:
4759:
4756:
4754:
4753:Luca Marenzio
4751:
4749:
4746:
4744:
4741:
4739:
4736:
4734:
4731:
4729:
4726:
4724:
4721:
4719:
4716:
4714:
4711:
4709:
4706:
4704:
4701:
4699:
4696:
4694:
4691:
4689:
4686:
4685:
4683:
4679:
4674:
4670:
4664:
4661:
4659:
4656:
4654:
4651:
4649:
4648:Thomas Tallis
4646:
4644:
4641:
4639:
4636:
4634:
4631:
4629:
4626:
4624:
4621:
4619:
4616:
4614:
4611:
4609:
4606:
4604:
4601:
4599:
4596:
4594:
4591:
4589:
4586:
4584:
4581:
4579:
4576:
4574:
4571:
4569:
4566:
4565:
4563:
4561:
4557:
4551:
4548:
4546:
4543:
4541:
4540:John Taverner
4538:
4536:
4533:
4531:
4528:
4526:
4525:Jacob Obrecht
4523:
4521:
4518:
4516:
4513:
4511:
4508:
4506:
4503:
4501:
4498:
4496:
4493:
4491:
4488:
4486:
4483:
4481:
4478:
4477:
4475:
4473:
4469:
4463:
4460:
4458:
4455:
4453:
4450:
4448:
4445:
4443:
4440:
4438:
4435:
4433:
4430:
4428:
4425:
4423:
4420:
4418:
4415:
4413:
4410:
4408:
4405:
4403:
4400:
4398:
4395:
4393:
4390:
4389:
4387:
4385:
4381:
4377:
4372:
4368:
4361:
4356:
4354:
4349:
4347:
4342:
4341:
4338:
4325:
4321:
4317:
4315:
4307:
4306:
4303:
4302:
4294:
4293:
4289:
4281:
4278:
4276:
4273:
4271:
4268:
4266:
4263:
4261:
4258:
4257:
4256:
4253:
4251:
4248:
4247:
4245:
4241:
4235:
4232:
4230:
4227:
4225:
4222:
4220:
4217:
4216:
4214:
4210:
4204:
4201:
4199:
4196:
4194:
4191:
4189:
4186:
4184:
4181:
4179:
4176:
4174:
4171:
4167:
4164:
4162:
4159:
4158:
4157:
4156:British Isles
4154:
4153:
4151:
4147:
4141:
4140:
4136:
4134:
4131:
4129:
4126:
4124:
4121:
4119:
4116:
4112:
4109:
4108:
4107:
4104:
4100:
4097:
4096:
4095:
4092:
4090:
4087:
4083:
4080:
4078:
4075:
4073:
4070:
4069:
4068:
4065:
4063:
4060:
4058:
4055:
4053:
4050:
4046:
4043:
4042:
4041:
4038:
4036:
4033:
4031:
4028:
4026:
4023:
4022:
4020:
4018:Musical forms
4016:
4010:
4007:
4005:
4002:
4000:
3997:
3995:
3992:
3990:
3987:
3985:
3982:
3980:
3977:
3975:
3972:
3970:
3967:
3965:
3962:
3960:
3957:
3955:
3952:
3951:
3949:
3945:
3935:
3934:W. de Wycombe
3932:
3930:
3927:
3925:
3922:
3920:
3917:
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3912:
3908:
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3809:
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3804:
3802:
3801:Baude Cordier
3799:
3797:
3794:
3790:
3786:
3784:
3781:
3779:
3776:
3775:
3773:
3771:
3770:
3769:Ars subtilior
3765:
3761:
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3733:
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3658:
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3651:
3648:
3647:
3645:
3641:
3631:
3628:
3626:
3625:Maestro Piero
3623:
3621:
3618:
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3613:
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3610:
3606:
3596:
3593:
3592:
3590:
3586:
3583:
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3577:
3573:
3558:
3554:
3552:
3549:
3547:
3546:P. des Molins
3544:
3542:
3539:
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3534:
3532:
3529:
3527:
3524:
3522:
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3408:
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3333:
3330:
3329:
3327:
3325:
3321:
3309:
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3304:
3301:
3299:
3296:
3294:
3291:
3289:
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3279:
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3271:
3269:
3266:
3264:
3261:
3259:
3256:
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3251:
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3244:
3241:
3239:
3236:
3234:
3231:
3229:
3226:
3223:
3220:
3218:
3215:
3213:
3210:
3208:
3205:
3203:
3200:
3198:
3195:
3193:
3192:Arnaut Daniel
3190:
3188:
3185:
3184:
3182:
3179:
3174:
3170:
3154:
3150:
3146:
3143:
3141:
3138:
3136:
3133:
3131:
3128:
3127:
3126:
3123:
3122:
3120:
3118:
3117:
3112:
3108:
3105:
3103:
3099:
3092:
3089:
3086:
3083:
3081:
3078:
3076:
3073:
3071:
3070:Peter Abelard
3068:
3066:
3063:
3061:
3058:
3054:
3053:Odo of Arezzo
3050:
3046:
3043:
3042:
3041:
3038:
3036:
3033:
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3028:
3024:
3020:
3016:
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2896:
2892:
2889:
2885:
2884:
2878:
2873:
2869:
2865:
2864:
2855:
2852:
2849:
2846:, ed. (1837)
2845:
2842:
2839:
2835:
2831:
2830:
2820:
2818:0-393-09530-4
2814:
2810:
2806:
2805:Reese, Gustav
2802:
2798:
2796:0-674-61525-5
2792:
2788:
2787:
2781:
2777:
2770:
2764:
2760:
2756:
2752:
2751:
2746:
2742:
2738:
2734:
2730:
2726:
2724:0-691-09112-9
2720:
2716:
2712:
2708:
2704:
2702:0-13-608497-4
2698:
2694:
2689:
2685:
2683:0-393-97169-4
2679:
2675:
2670:
2666:
2661:
2654:
2648:
2644:
2643:
2638:
2634:
2633:Arnold, Denis
2630:
2629:
2616:
2615:
2608:
2600:
2596:
2592:
2588:
2584:
2580:
2576:
2572:
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2565:
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2549:
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2537:
2533:
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2500:
2496:
2492:
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2462:
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2454:
2453:
2448:
2442:
2435:
2430:
2424:
2419:
2417:
2415:
2413:
2405:
2400:
2393:
2392:Einstein 1949
2388:
2380:
2378:9781561592630
2374:
2370:
2366:
2362:
2361:
2355:
2347:
2341:
2337:
2333:
2328:
2321:
2316:
2309:
2304:
2297:
2292:
2285:
2284:Einstein 1949
2280:
2273:
2268:
2261:
2256:
2249:
2244:
2237:
2232:
2226:, p. 463
2225:
2220:
2218:
2216:
2209:, p. 221
2208:
2203:
2201:
2193:
2188:
2180:
2172:
2168:
2167:
2161:
2154:
2148:
2143:
2141:
2139:
2137:
2135:
2133:
2131:
2129:
2127:
2125:
2123:
2121:
2119:
2117:
2115:
2113:
2111:
2109:
2107:
2105:
2103:
2101:
2094:, p. 198
2093:
2088:
2081:
2077:
2075:0-19-311306-6
2071:
2066:
2065:
2059:
2053:
2046:
2044:0-333-23111-2
2040:
2036:
2035:
2030:
2023:
2015:
2008:
2006:
2004:
1995:
1984:
1979:
1978:
1969:
1965:
1949:
1948:
1943:
1939:
1935:
1932:
1928:
1925:
1921:
1918:
1914:
1911:
1907:
1904:
1900:
1897:
1893:
1892:
1884:
1881:
1879:
1876:
1874:
1871:
1869:
1866:
1864:
1863:György Ligeti
1861:
1859:
1856:
1854:
1851:
1849:
1846:
1844:
1841:
1839:
1836:
1835:
1827:
1824:
1822:
1819:
1817:
1814:
1813:
1805:
1802:
1800:
1797:
1796:
1788:
1785:
1783:
1782:Joseph Barnby
1780:
1778:
1775:
1773:
1772:Samuel Wesley
1770:
1769:
1763:
1762:
1755:
1752:
1750:
1747:
1745:
1742:
1740:
1739:Thomas Morley
1737:
1735:
1732:
1730:
1727:
1725:
1722:
1720:
1717:
1715:
1712:
1711:
1702:
1699:
1697:
1694:
1691:
1688:
1687:
1678:
1677:Orazio Vecchi
1675:
1672:
1669:
1667:
1664:
1661:
1660:Secondo Libro
1657:
1654:
1652:
1649:
1646:
1643:
1640:
1637:
1635:
1632:
1629:
1626:
1624:
1621:
1619:
1616:
1613:
1610:
1608:
1605:
1602:
1601:Antonio Cifra
1599:
1597:
1594:
1592:
1591:Antonio Lotti
1589:
1587:
1584:
1582:
1579:
1576:
1573:
1572:
1566:
1564:
1560:
1556:
1552:
1539:
1536:
1533:
1530:
1527:
1526:Luca Marenzio
1524:
1521:
1518:
1515:
1512:
1509:
1506:
1503:
1500:
1499:
1491:
1488:
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1471:
1469:
1466:
1463:
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1438:
1435:
1432:
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1412:
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1405:
1397:
1394:
1392:
1389:
1388:
1386:
1371:
1369:
1365:
1361:
1357:
1353:
1349:
1348:Luca Marenzio
1345:
1341:
1337:
1333:
1329:
1324:
1322:
1318:
1315:(1563â1625),
1314:
1310:
1306:
1302:
1301:
1289:
1287:
1283:
1279:
1275:
1271:
1267:
1259:
1255:
1250:
1246:
1244:
1240:
1236:
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1220:
1217:
1213:
1209:
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1201:
1197:
1193:
1189:
1185:
1181:
1177:
1173:
1169:
1164:
1161:
1156:
1154:
1150:
1146:
1142:
1138:
1135:(1582â1643),
1134:
1130:
1129:The New Music
1126:
1122:
1118:
1114:
1113:solo continuo
1110:
1102:
1097:
1093:
1091:
1087:
1083:
1079:
1075:
1071:
1067:
1063:
1059:
1055:
1045:
1043:
1039:
1038:
1033:
1029:
1025:
1021:
1017:
1013:
1009:
1006:(1580â1750),
1005:
1004:Baroque music
1001:
993:
989:
984:
975:
973:
969:
965:
962:(1584â1629),
961:
960:Antonio Cifra
957:
953:
949:
945:
941:
940:
935:
930:
928:
924:
919:
916:expressed in
915:
911:
907:
902:
895:
891:
887:
878:
876:
872:
868:
864:
860:
856:
855:word-painting
852:
848:
844:
840:
836:
832:
828:
824:
819:
817:
816:Luca Marenzio
813:
809:
805:
801:
797:
793:
790:(1545â1607),
789:
785:
784:
779:
775:
771:
766:
764:
760:
759:
754:
750:
741:
736:
729:
725:
724:Luca Marenzio
720:
711:
709:
705:
701:
696:
690:
688:
684:
681:(1525â1603),
680:
676:
673:(1524â1557),
672:
668:
664:
660:
656:
646:
644:
640:
636:
632:
628:
623:
621:
618:(1485â1545),
617:
613:
609:
605:
601:
600:word-painting
597:
596:versification
593:
589:
585:
580:
578:
574:
570:
566:
562:
557:
555:
551:
547:
543:
539:
538:
532:
530:
526:
525:Latin prosody
522:
518:
514:
510:
506:
498:
494:
490:
485:
471:
469:
465:
461:
457:
452:
448:
444:
443:Thomas Morley
440:
437:(1574â1638),
436:
432:
427:
425:
420:
415:
411:
407:
403:
399:
395:
391:
386:
384:
380:
376:
372:
368:
364:
360:
359:unaccompanied
356:
352:
348:
344:
341:
338:is a form of
337:
325:
320:
318:
313:
311:
306:
305:
303:
302:
296:
295:
289:
288:
283:
282:
281:
280:
272:
269:
267:
264:
262:
259:
257:
256:
252:
250:
247:
246:
239:
238:
230:
227:
225:
222:
220:
217:
215:
212:
210:
207:
205:
202:
200:
197:
195:
192:
190:
187:
185:
182:
180:
177:
175:
172:
170:
167:
166:
162:Major figures
159:
158:
150:
147:
145:
142:
140:
137:
135:
132:
130:
127:
125:
122:
120:
117:
115:
112:
111:
104:
103:
96:
92:
88:
87:
86:
85:
79:
78:
75:
72:
71:
67:
63:
62:
56:
45:
44:
39:
33:
19:
5088:
5081:
5052:Architecture
4986:Jacob Bathen
4866:
4703:John Dowland
4573:William Byrd
4447:Leonel Power
4299:
4265:Architecture
4137:
4089:Geisslerlied
4067:Formes fixes
3989:Notker Labeo
3954:Anonymous IV
3929:Leonel Power
3914:Thomas Fabri
3904:
3767:
3588:Predecessors
3506:
3412:Jehan Bretel
3248:Jaufre Rudel
3114:
3023:Odo of Cluny
2881:
2847:
2837:
2808:
2783:
2748:
2714:
2692:
2673:
2664:
2640:
2613:
2607:
2574:
2568:
2556:
2531:
2519:
2494:
2488:
2476:
2464:. Retrieved
2451:
2441:
2429:
2399:
2387:
2358:
2346:
2335:
2327:
2315:
2303:
2291:
2279:
2267:
2255:
2243:
2231:
2187:
2164:
2153:
2087:
2079:
2063:
2052:
2032:
2022:
2013:
1992:– via
1986:. Retrieved
1976:
1968:
1945:
1930:
1923:
1916:
1909:
1902:
1895:
1843:George Crumb
1838:Gavin Bryars
1832:Contemporary
1758:
1724:John Dowland
1719:William Byrd
1659:
1562:
1558:
1554:
1550:
1548:
1374:Madrigalists
1367:
1359:
1351:
1325:
1298:
1295:
1263:
1241:, 1588), by
1238:
1234:
1232:
1216:solo cantata
1207:
1199:
1195:
1179:
1167:
1165:
1157:
1152:
1149:chromaticism
1128:
1124:
1112:
1106:
1100:
1077:
1069:
1065:
1053:
1051:
1035:
997:
948:chromaticism
943:
937:
931:
903:
899:
894:chromaticism
870:
866:
862:
859:madrigalisms
858:
820:
803:
799:
781:
767:
756:
745:
708:madrigalisms
707:
691:
675:Jacques Buus
652:
634:
624:
620:Maistre Jhan
603:
591:
583:
581:
558:
537:oltremontani
535:
533:
520:
513:Pietro Bembo
502:
489:Pietro Bembo
450:
428:
423:
413:
387:
385:being sung.
357:madrigal is
335:
333:
292:
285:
260:
253:
93: /
41:
5042:Renaissance
5037:Early music
4933:Netherlands
4913:Elizabethan
4768:Jacopo Peri
4738:Alonso Lobo
4698:John Cooper
4560:Late (1530)
4520:Jean Mouton
4432:Jean Japart
4422:Walter Frye
4255:Middle Ages
4250:Early music
4212:Derivations
4045:Chansonnier
3417:Jehan Erart
3362:Colin Muset
3268:Peire Vidal
3116:Ars antiqua
2891:Early Music
2780:Randel, Don
2737:Haar, James
2434:Artusi 1950
2224:Randel 1986
1912:, 1590â1611
1905:, mid-1540s
1868:Paul Mealor
1754:John Wilbye
1729:John Farmer
1282:Renaissance
1278:John Immyns
1266:catch clubs
1188:decrescendo
1163:mid-1620s.
1090:harpsichord
1068:and in the
1018:and of the
768:In Venice,
728:Baroque-era
714:1550sâ1570s
637:(1539), by
606:(1530), by
586:(1520), by
435:John Wilbye
347:Renaissance
343:vocal music
242:Major forms
51: 1600
5161:Song forms
5150:Categories
5067:Philosophy
5062:Literature
5030:Background
4896:Traditions
4872:Magnificat
4862:Intermedio
4806:Burgundian
4280:Philosophy
4275:Literature
4243:Background
4149:Traditions
3516:F. Andrieu
3372:Gace Brulé
3212:Castelloza
3178:Trobairitz
3173:Troubadour
3065:St. Godric
2834:James Haar
2637:"Madrigal"
2320:Atlas 1998
2308:Reese 1954
2296:Brown 1976
2272:Brown 1976
2260:Brown 1976
2248:Atlas 1998
2236:Atlas 1998
2207:Brown 1976
2192:Atlas 1998
2181:required.)
2160:"madrigal"
2092:Brown 1976
1955:References
1947:The Mikado
1555:concertato
1286:Palestrina
1270:glee clubs
1258:Catch Club
1180:a cappella
1054:a cappella
1028:recitative
1020:concertato
923:concertato
851:canzonetta
847:villanella
573:mascherata
569:canzonetta
550:polyphonic
451:a cappella
424:matricalis
419:matricalis
355:polyphonic
229:Monteverdi
209:Palestrina
114:Burgundian
5156:Madrigals
4882:Offertory
4811:Colorists
4673:Mannerism
4193:Lithuania
4057:Conductus
3947:Theorists
3919:Roy Henry
3846:Rodericus
3737:Sant Omer
3472:Minnesang
2591:0080-4452
2466:3 October
2461:318558558
1988:2 October
1981:(Ph.D.).
1883:Ned Rorem
1551:a capella
1184:crescendo
1151:. In the
1062:bass line
1012:polyphony
956:mannerism
857:to apply
700:chromatic
577:homophony
189:Tinctoris
91:Composers
18:Madrigals
5103:Category
5080: â
4943:Portugal
4867:Madrigal
4841:Venetian
4314:Category
4219:Bardcore
4198:Portugal
4166:Scotland
4139:Planctus
4123:Madrigal
4062:Estampie
4025:Antiphon
3580:Trecento
3508:Ars nova
3467:Goliards
3324:TrouvĂšre
3298:Sordello
3278:Perdigon
3253:Marcabru
2913:, Sweden
2874:(1911).
2807:(1954).
2784:The New
2713:(1949).
2449:(1947).
1370:(1653).
1204:oratorio
1176:continuo
1170:(1638),
1145:diatonic
1060:and the
849:and the
698:unusual
657:and the
592:madrigal
571:and the
563:and the
561:frottola
517:Petrarch
505:humanist
460:dialogue
458:and the
414:madrigal
394:frottola
371:couplets
336:madrigal
261:Madrigal
224:Victoria
179:Ockeghem
174:Binchois
139:Venetian
124:Colorist
81:Overview
66:a series
64:Part of
5093:â
4923:Germany
4903:British
4183:Germany
4161:England
4133:Organum
4111:Tydorel
4082:Virelai
4077:Rondeau
4072:Ballade
4040:Chanson
3816:Egidius
3811:Egardus
3531:Grimace
3462:Casella
3140:PĂ©rotin
3015:Hucbald
3002:Tuotilo
2905:, from
2626:Sources
2548:3686537
2031:(ed.),
1873:Moondog
1684:Germany
1300:chanson
1212:tremolo
1086:theorbo
1058:soprano
994:, 1640)
906:Ferrara
867:sospiro
839:Longing
695:sonnets
565:ballata
554:chanson
474:History
456:cantata
402:chanson
367:tercets
351:Baroque
340:secular
255:Chanson
204:Zarlino
194:Josquin
184:Busnois
5126:Portal
5113:Portal
4938:Poland
4918:France
4908:Cyprus
4887:Pavane
4681:c.1600
4324:Portal
4270:Poetry
4178:France
4173:Cyprus
3888:Others
3871:Trebor
3856:Solage
3778:Borlet
3273:Peirol
3176:&
3135:LĂ©onin
2815:
2793:
2765:
2721:
2699:
2680:
2649:
2599:765866
2597:
2589:
2546:
2511:733505
2509:
2459:
2375:
2072:
2041:
1950:(1885)
1940:comic
1926:, 1624
1919:, 1602
1898:, 1538
1360:rektor
1338:, and
1117:monody
1084:, the
1016:monody
910:Mantua
841:, and
808:Medici
567:, the
529:syntax
497:Titian
249:Anthem
199:Tallis
169:Du Fay
5057:Dance
4948:Spain
4928:Italy
4857:Carol
4836:Roman
4203:Spain
4188:Italy
4128:Motet
4052:Chant
4035:Carol
4030:Canso
2595:JSTOR
2544:JSTOR
2507:JSTOR
2175:
1994:EThOS
1960:Notes
1942:opera
1569:Italy
918:opera
843:Death
774:motet
643:motet
468:opera
406:motet
390:1520s
363:metre
271:Motet
214:Lasso
134:Roman
4877:Mass
4675:and
2901:and
2813:ISBN
2791:ISBN
2763:ISBN
2719:ISBN
2697:ISBN
2678:ISBN
2647:ISBN
2587:ISSN
2468:2022
2457:OCLC
2373:ISBN
2070:ISBN
2039:ISBN
1990:2022
1549:The
1268:and
1237:in (
1186:and
1160:aria
1082:lute
1032:aria
914:aria
908:and
863:riso
835:Love
598:and
464:aria
383:poem
266:Mass
219:Byrd
5047:Art
4260:Art
4106:Lai
2755:doi
2579:doi
2536:doi
2499:doi
2365:doi
5152::
2897:,
2893:;
2880:.
2870:;
2836::
2761:.
2753:.
2743:;
2645:.
2593:.
2585:.
2575:82
2567:.
2542:.
2530:.
2505:.
2495:60
2493:.
2487:.
2411:^
2371:.
2357:.
2334:.
2214:^
2199:^
2163:.
2099:^
2078:.
2002:^
1944:,
1092:.
1072:,
837:,
629:,
470:.
334:A
68:on
48:c.
5128::
4359:e
4352:t
4345:v
4304:â
3791:*
3708:*
3672:*
3559:*
3224:*
3180:*
3155:*
3093:?
3087:?
3055:*
3025:*
3017:*
2945:e
2938:t
2931:v
2821:.
2799:.
2771:.
2757::
2727:.
2705:.
2686:.
2655:.
2581::
2538::
2501::
2470:.
2381:.
2367::
2173:.
1996:.
1127:(
942:(
499:)
323:e
316:t
309:v
46:(
34:.
20:)
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