1053:; 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
724:
708:
27:
1085:
1238:
473:
5088:
4299:
1234:(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.
1015:, 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
5098:
4309:
972:
890:
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.
568:, 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.
5124:
875:
397:(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
1285:
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
686:
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
889:
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
681:
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
1151:
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
1120:, 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
1144:(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.
634:, 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.
442:
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
1207:
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.
909:
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
866:(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."
735:
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
622:(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,
630:(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
4666:
83:
614:
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
791:
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
310:
642:
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
520:, 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.
2342:
2022:
1273:(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
1045:
vocal composition for balanced voices, to a vocal composition for one or more voices with instrumental accompaniment. The inner voices became secondary to the
1033:(1540â1613) who negatively defended the limitations of dissonance and equal voice parts of the old-style polyphonic madrigal against the concertato madrigal.
2558:
1069:, 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
4346:
2871:
537:
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
484:(Tuscan dialect) for poetry and literature, which facilitated composers' creating lyrical styles for the madrigal musical form in 16th-century Italy. (
370:, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the
2932:
422:, 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
3470:
303:
1319:(1521â1603) in Vienna. The German-speaking composers who studied the Italian techniques for composing madrigals, especially in Venice, included
3962:
2755:
2639:
1029:(second practice) Monteverdi said that the lyrics must be "the mistress of the harmony" of a madrigal, which was his progressive response to
766:
2962:
1749:
723:
1183:, not for performance, indicating composer Mazzochi's retrospective review of the madrigal as an old form of musical composition. In the
1760:
650:
diminished that city's significance as a musical centre. In addition, Venice was the music publishing centre of Europe; the
Basilica of
1171:
performance. For the first time in a collection of madrigal music, Mazzocchi published precise instructions, including the symbols for
3804:
3296:
893:
There emerged the division between the active performers and the passive audience, especially in the culturally progressive cities of
858:(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
750:(Sibylline Prophecies, 1600), and later, when he moved to Munich in 1556, began the history of madrigal composition beyond Italy; and
296:
647:
5159:
5154:
2805:
2783:
2711:
2689:
2670:
2365:
2062:
2031:
999:
usually is credited as the principal madrigalist whose nine books of madrigals showed the stylistic, technical transitions from the
1041:
In the first decade of the 17th century, the
Italian compositional techniques for the madrigal progressed from the old ideal of an
4891:
4621:
4144:
2957:
1472:
1274:
737:
197:
1155:
In the late 1630s, two madrigal collections summarised the compositional and technical practises of the late-style madrigal. In
4339:
3425:
2069:
Durchkomponiert (G.) Through-composed; applied to songs with different music for every stanza, i.e. not merely a repeated tune.
707:
2439:
548:
Third, the printing press facilitated the availability of sheet music in Italy. The musical forms then in common use â the
4591:
4364:
3291:
2630:
79:
5114:
571:
The madrigal slowly replaced the frottola in the transitional decade of the 1520s. The early madrigals were published in
564:â were light compositions with verses of low literary quality. Those musical forms used repetition and soprano-dominated
4901:
3410:
3325:
2925:
2842:
31:
654:(St. Mark's Basilica) was beginning to attract musicians from Europe; and Pietro Bembo had returned to Venice in 1529.
4946:
2774:
1335:. From northern Europe, Danish and Polish court composers went to Italy to learn the Italian style of madrigal; while
787:(1534â1590) composed ornamented madrigals, often with instrumental accompaniment. The great artistic quality of the
5091:
4994:
4809:
4332:
4289:
4154:
2952:
2832:
1132:(1586â1630) also published collections of madrigals in the solo continuo style. Whereas Caccini's music mostly was
927:
350:, and the number of voices varies from two to eight, but the form usually features three to six voices, whilst the
132:
54:
545:, which much differed from the secular, lighter styles of composition in late-15th- and early-16th-century Italy.
4931:
4776:
4646:
4186:
4149:
3824:
3819:
3465:
2154:
1478:
1309:
1242:
811:
212:
20:
881:
da Venosa (1566â1613), Prince of Venosa and Count of Conza, composed madrigals and religious music that feature
5040:
1787:
1765:
842:, compositions with dance rhythms and verses about a care-free life. In the late 16th century, composers used
2837:
La musa madrigalesca, or, A collection of madrigals, ballets, roundelays etc.: chiefly of the Elizabethan age
1203:. In the event, the evolution of musical composition eliminated the madrigal as a discrete musical form; the
5071:
4916:
4829:
4804:
4503:
4302:
4176:
4166:
3997:
3450:
3380:
2918:
2159:
1982:
1438:
1217:
822:(1540â1609) re-incorporated lighter elements of composition to the madrigal; serious Petrarchan verse about
435:
137:
127:
5128:
5101:
5078:
5055:
5050:
4686:
4571:
4450:
4312:
3653:
3340:
3033:
1717:
1133:
4921:
4819:
4611:
4253:
3568:
3276:
3133:
1971:
1684:
1461:
746:
615:
530:
107:
4566:
3715:
3420:
3345:
3271:
1595:
1502:
1136:, later composers, especially d'India, composed solo continuo madrigals using an experimental idiom of
1125:
952:
699:
that made the genre distinctive, and the five-voice texture which became the standard for composition.
921:
In Naples, the compositional style of the pupil Carlo Gesualdo followed from the style of his mentor,
4696:
4065:
4060:
3967:
3784:
3771:
3720:
3689:
3638:
3529:
3375:
3205:
3190:
3175:
3118:
3068:
3028:
2985:
2860:
2856:
2625:
1926:
771:
651:
5149:
4814:
4498:
4493:
4445:
4268:
4263:
4111:
3894:
3684:
3583:
3514:
3390:
3385:
3355:
3330:
3246:
3216:
3073:
3063:
3018:
2997:
2980:
1814:
1402:
1373:
1109:
800:
643:
541:
composition for religious music, and knew the secular compositions of their homelands, such as the
497:
398:
117:
5097:
4308:
411:(maternal) denoting musical work in service to the mother church or from the post-classical Latin
5144:
5009:
4989:
4964:
4954:
4906:
4786:
4761:
4746:
4736:
4731:
4701:
4478:
4440:
4380:
4222:
4212:
4181:
3992:
3972:
3814:
3710:
3658:
3618:
3603:
3519:
3370:
3281:
3053:
2768:
2738:
2583:
2532:
2495:
2348:
1775:
1639:
1622:
1616:
1520:
1508:
1490:
1406:
1344:
1261:, leading to an upsurge of interest in the form and creation of musical institutions such as the
1160:
1062:
996:
976:
963:(1601â1656), whose two books of unaccompanied madrigals display sustained, extreme chromaticism.
960:
956:
940:
922:
915:
850:, passages in which the music matches the meaning of a word in the lyrics; thus, a composer sets
776:
659:
217:
177:
4771:
2899:
2478:
1689:
1328:
1925:
Nineteenth-century imitation of an English Madrigal: "Brightly dawns our wedding day" from the
807:(1553â1599) were the madrigals that came closest to unifying the different styles of the time.
5045:
4794:
4706:
4661:
4548:
4533:
4460:
4430:
4395:
4372:
4355:
4094:
3982:
3952:
3912:
3859:
3794:
3705:
3700:
3648:
3608:
3545:
3524:
3430:
3415:
3365:
3226:
3185:
3113:
3023:
2801:
2779:
2751:
2747:
2707:
2685:
2666:
2635:
2575:
2445:
2361:
2357:
2058:
2027:
1792:
1606:
1600:
1569:
1563:
1466:
1428:
1384:
1379:
1332:
1316:
1301:
1293:
1121:
988:
819:
784:
751:
741:
667:
596:
419:
335:
167:
102:
62:
26:
2879:
2167:
1964:
1315:
In German-speaking Europe, the prolific composers of madrigals included Lassus in Munich and
1292:
disallowed the development of a French-style madrigal; nonetheless, French composers such as
4969:
4911:
4799:
4721:
4676:
4631:
4606:
4601:
4556:
4523:
4518:
4483:
4425:
4400:
4171:
4106:
3854:
3777:
3730:
3694:
3664:
3643:
3335:
3320:
3079:
2743:
2721:
2567:
2524:
2487:
2435:
2353:
1851:
1846:
1809:
1678:
1654:
1456:
1422:
1396:
1320:
1262:
1172:
1129:
1084:
980:
692:
675:
671:
627:
600:
386:
367:
202:
192:
182:
157:
112:
43:
1237:
4999:
4984:
4926:
4896:
4766:
4716:
4651:
4641:
4596:
4586:
4581:
4576:
4538:
4468:
4390:
4385:
4258:
4161:
4082:
3987:
3947:
3883:
3839:
3231:
3210:
3195:
3141:
3048:
2699:
1836:
1722:
1659:
1633:
1627:
1611:
1574:
1526:
1450:
1434:
1417:
1324:
1305:
1297:
1030:
1025:
815:
780:
758:
655:
619:
576:
534:
513:
172:
162:
2601:
1431:â I Libro a 5, 1535. One of the first madrigalists, also associated with the Medici court
803:(1536â1592) to compose madrigals in the style of Luzzaschi. In Rome, the compositions of
2865:
5004:
4979:
4936:
4711:
4681:
4626:
4616:
4488:
4473:
4415:
4405:
4217:
4191:
4087:
4077:
3957:
3888:
3849:
3829:
3809:
3539:
3509:
3482:
3395:
3251:
3221:
3090:
2972:
2941:
2320:
1866:
1841:
1804:
1737:
1732:
1702:
1644:
1584:
1496:
1411:
1352:
1231:
1164:
1097:
1012:
959:(1592â1665) in their musical works. In the 1620s, Gesualdo's successor madrigalist was
878:
863:
728:
604:
481:
427:
378:
275:
2684:. Prentice Hall History of Music Series. Englewood Cliffs, New Jersey: Prentice-Hall.
472:
5138:
4959:
4845:
4751:
4741:
4636:
4528:
4513:
4023:
3922:
3789:
3757:
3613:
3534:
3360:
3180:
3058:
3041:
2793:
2733:
2729:
2051:
2046:
2017:
1770:
1727:
1665:
1589:
1579:
1514:
1336:
1254:
992:
948:
843:
804:
716:
712:
588:
431:
363:
351:
347:
339:
282:
187:
2148:
1245:(1756â1778) â a madrigal in G major for 5 voices, "presented by Mr. Sheridan to the
5035:
4974:
4865:
4824:
4691:
4561:
4435:
4248:
4055:
4018:
3977:
3942:
3917:
3902:
3400:
3236:
3011:
2621:
1831:
1826:
1712:
1707:
1475:â famous mostly for his sacred music, he also wrote at least 140 secular madrigals.
1137:
1019:
passages â foreshadowing the compositional integration of the solo madrigal to the
936:
882:
688:
663:
608:
525:
501:
500:
for daily life and communication, instead of Latin. In 1501, the literary theorist
496:
trends in 16th-century Italy. First, renewed interest in the use of Italian as the
477:
254:
207:
122:
971:
947:
and extreme chromaticism, which were compositional techniques selectively used by
2883:
2392:
1222:
In 16th-century England, the madrigal became greatly popular upon publication of
761:(1532â1585) composed madrigals with bright, open, polyphonic textures, as in his
5030:
5025:
4756:
4726:
4508:
4420:
4410:
4243:
4238:
4033:
3435:
3405:
3350:
3312:
3256:
3104:
2891:
2887:
1856:
1742:
1300:(1528â1600) applied madrigalian techniques in their musics. In the Netherlands,
1270:
1266:
1176:
1078:
423:
331:
2895:
4860:
4850:
3834:
3504:
3200:
3166:
3161:
3128:
2822:
2725:
1935:
1542:
old-style madrigal for four or five voices continued in parallel with the new
1258:
1246:
1180:
1016:
1008:
925:(1545â1607), who had published six books of madrigals and the religious music
911:
839:
835:
584:
561:
557:
342:(1600â1750) periods, although revisited by some later European composers. The
2579:
2449:
1269:
in 1741. In the 19th century, the madrigal was the best-known music from the
4870:
4045:
3907:
3725:
3460:
1871:
1050:
1000:
944:
827:
565:
538:
343:
3123:
2571:
854:(smile) to a passage of quick, running notes that mimic laughter, and sets
492:
The madrigal is a musical composition that emerged from the convergence of
418:
Artistically, the madrigal was the most important form of secular music in
2827:
The Italian Madrigal in the Early 16th Century: Sources and Interpretation
2491:
678:(1515â1565), were the principal composers of the madrigal at mid-century.
385:(1470â1530); partly from composers' renewed interest in poetry written in
4207:
4127:
4050:
4013:
3496:
3286:
3266:
3241:
1192:
549:
505:
493:
448:
382:
16:
Secular vocal music composition of the Renaissance and early Baroque eras
591:, which became compositional characteristics of the later madrigal. The
4121:
4099:
4070:
4028:
3799:
3455:
3003:
2990:
2536:
2521:
Revue Belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap
2515:
1861:
1288:
1253:
In early 18th-century England, the singing of madrigals was revived by
1204:
1200:
1074:
1046:
943:(1557â1622) and Luzzaschi, but few madrigalists followed his stylistic
894:
553:
542:
444:
390:
359:
328:
243:
2587:
2552:
2499:
2472:
874:
691:
relationships, a compositional trend encouraged by the music theorist
4875:
3844:
3766:
3261:
1966:
Musical antiquarianism and the madrigal revival in England, 1726-1851
1105:
1004:
898:
796:
775:(1580â1597), the concert of the ladies, three women singers for whom
754:(1521â1603), the most prolific madrigalist, first published in 1554.
683:
517:
485:
438:(1588â1627). Although of British temper, most English madrigals were
355:
237:
4324:
2706:(Three volumes). Princeton, New Jersey: Princeton University Press.
2652:
Artusi, Giovanni (1950). "Della imperfezioni della moderna musica".
2528:
1399:â I Libro a 4, 1543. Author of the most reprinted book of madrigals.
1265:, which was established in London by attorney and amateur musician
42:) by Caravaggio. The lutenist reads madrigal music by the composer
4116:
4040:
1930:
1651:, 1602, is the first example of madrigals published with continuo.
1236:
1083:
970:
906:
873:
831:
762:
722:
706:
631:
471:
456:
394:
259:
25:
2910:
377:
Madrigals written by Italianized FrancoâFlemish composers in the
2340:
Bianconi, Lorenzo; Watkins, Glenn (2001). Watkins, Glenn (ed.).
2057:(Tenth ed.). Oxford: Oxford University Press. p. 308.
1148:
1070:
1020:
902:
823:
452:
401:(1300â1370) of the 14th century, having in common only the name
371:
4328:
2914:
2905:
2864:
573:
Musica di messer Bernardo Pisano sopra le canzone del Petrarcha
711:
In the last twenty years of the 16th century, the madrigalist
1550:
provided an autonomous basso continuo line, presented in the
2003:
The Penguin Dictionary of Literary Terms and Literary Theory
2026:, vol. 18, London: Macmillan Press, pp. 292â293,
1187:(1638), Monteverdi published his most famous madrigal, the
715:(1553â1599) was an influential composer until Monteverdi's
1546:
style of madrigal, but the compositional watershed of the
740:(1525â1594), who wrote secular music in his early career;
1748:
Some 60 madrigals of the English School are published in
2839:; with remarks and annotations. London: Calkin and Budd
939:
and textural contrasts of Ferrarese composers, such as
658:(1490â1562) and his associates at St. Mark's Basilica,
2778:. Cambridge, Massachusetts: Harvard University Press.
2736:; Roche, Jerome (2001). "Madrigal". In L. Macy (ed.).
2656:. Translated by Oliver Strunk. New York: W. W. Norton.
901:. The emotions communicated in a madrigal in 1590, an
5112:
2663:
Renaissance Music: Music in Western Europe, 1400â1600
935:, 1611). In the early 1590s, Gesualdo had learnt the
727:
The commemorative statue of the singer and publisher
593:
Madrigali de diversi musici: libro primo de la Serena
2444:. New York: W. W. Norton & Company. p. 37.
2395:, Brian Mann, Ed. University of Chicago Press, 2003.
1339:(1553â1599) went to the Polish court to work as the
512:(1453) about achieving graceful writing by applying
389:; partly from the stylistic influence of the French
5018:
4945:
4884:
4838:
4785:
4660:
4547:
4459:
4371:
4231:
4200:
4137:
4006:
3935:
3876:
3755:
3677:
3631:
3596:
3576:
3567:
3494:
3481:
3311:
3160:
3102:
3089:
2971:
2343:"Gesualdo, Carlo, Prince of Venosa, Count of Conza"
1355:(1621â1690) and Heinrich SchĂŒtz wrote the treatise
979:(1567â1643) was the most influential madrigalist. (
695:(1511â1576). From Rore's musical language came the
2551:
2514:
2471:
2341:
2147:
2050:
1963:
1112:(1573â1587). In the collection of solo madrigals,
516:, careful attention to the sounding of words, and
2441:Music in the Baroque Era: From Monteverdi to Bach
2407:
2405:
2403:
2401:
2328:
2135:
1469:â author of the largest number of madrigal books.
1108:and descended from the experimental music of the
1023:. In the fifth book of madrigals, using the term
731:(1560â1619), who introduced madrigals to England.
719:transformation of the madrigal as a musical form.
1286:music. In France, the native composition of the
529:("those from beyond the Alps") composers of the
523:Second, Italy was the usual destination for the
2473:"'Ancient' Music in Eighteenth-Century England"
2191:
2189:
2023:The New Grove Dictionary of Music and Musicians
1897:Stage 3 Madrigal (seconda practica): Gesualdo,
579:(1490â1548), while no one composition is named
381:partly originated from the three-to-four voice
2523:. 26/27. Societe Belge de Musicologie: 25â37.
4340:
2926:
2411:
1890:Stage 2 Madrigal (prima practica): Willaert,
1191:, a dramatic composition much like a secular
1167:and ensemble works specifically composed for
504:(1470â1547) published an edition of the poet
304:
8:
2875:. Vol. 17 (11th ed.). p. 295.
2559:Proceedings of the Royal Musical Association
2208:
2206:
2204:
1996:
1994:
1992:
1195:, featuring musical innovations such as the
885:not heard again until the late 19th century.
354:of the madrigal varies between two or three
1312:(1562â1621) composed madrigals in Italian.
1104:style, compositions technically related to
406:
366:sung to the same music, most madrigals are
4347:
4333:
4325:
3873:
3752:
3748:
3674:
3628:
3593:
3573:
3564:
3560:
3491:
3487:
3308:
3157:
3099:
3095:
2933:
2919:
2911:
2131:
2129:
2127:
2125:
2123:
2121:
2119:
2117:
2115:
2113:
2111:
2109:
1437:â Franco-Flemish composer, founder of the
1003:of the late 16th century to the styles of
918:(1567â1643) was the most famous composer.
311:
297:
49:
2107:
2105:
2103:
2101:
2099:
2097:
2095:
2093:
2091:
2089:
2016:Tilmouth, Michael (1980), "Strophic", in
1755:English composers of the classical period
1199:(agitated style) that employs the string
1092:(1601), by the madrigalist Giulio Caccini
583:, some of the settings are Petrarchan in
2380:
2272:
1347:(r. 1587â1632) in Warsaw. Moreover, the
814:(1535â1592) â Monteverdi's instructor â
744:(1530â1594), who wrote the twelve-motet
5119:
3471:List of Galician-Portuguese troubadours
2748:10.1093/gmo/9781561592630.article.40075
2486:(4). Oxford University Press: 401â415.
2358:10.1093/gmo/9781561592630.article.10994
1954:
1913:Il Combatimento di Tancredi et Clorinda
1163:collected and organised madrigals into
1037:Transition from the concertato madrigal
68:
61:
2422:
2212:
1922:, late 16th century/early 17th century
1100:(1551â1618) produced madrigals in the
2308:
2296:
2284:
2260:
2248:
2236:
2224:
2195:
2180:
2080:
967:Transition to the concertato madrigal
451:; and by the early 17th century, the
7:
2906:The Italian Madrigal Resource Center
2892:free recordings of Spanish Madrigals
2884:free recordings of English Madrigals
2168:participating institution membership
1750:The Oxford Book of English Madrigals
1277:(Giovanni Pierluigi da Palestrina).
1189:Combattimento di Tancredi e Clorinda
1179:; however, those madrigals were for
3297:Other troubadours and trobairitz...
2728:; Newcomb, Anthony; Ossi, Massimo;
2393:The Madrigals of Michelangelo Rossi
611:(1485â1538) and Verdelot, himself.
2845:contains scores for many madrigals
767:Alfonso II d'Este, Duke of Ferrara
14:
2516:"Old Music in England, 1790-1820"
1351:of the University of Wittenberg,
5122:
5096:
5087:
5086:
4622:Giovanni Pierluigi da Palestrina
4307:
4298:
4297:
2888:free recordings of German Lieder
2654:Source Readings in Music History
1473:Giovanni Pierluigi da Palestrina
1343:(Master of the chapel) for King
928:Responsoria pro hebdomada sancta
738:Giovanni Pierluigi da Palestrina
393:; and from the polyphony of the
338:(15thâ16th centuries) and early
2566:. Taylor & Francis: 33â46.
2049:(1970). Ward, John Owen (ed.).
1662:â I Libro a 2-5vv with bc, 1644
1554:(1605), by Claudio Monteverdi.
1157:Madrigali a 5 voci in partitura
599:(1480â1540), included music by
508:(1304â1374); and published the
415:(maternal, simple, primitive).
405:, which derives from the Latin
46:. (Hermitage, Saint Petersburg)
1911:Stage 5 Madrigal: Monteverdi,
862:(1601), the poet and composer
769:(r. 1559â1597), there was the
765:compositions. At the court of
1:
4365:List of Renaissance composers
3292:William IX, Duke of Aquitaine
2631:The Oxford Companion to Music
2606:. Leipzig: Digitalisat. 1653.
2329:von Fischer & et al. 2001
2136:von Fischer & et al. 2001
2053:The Oxford Companion to Music
1920:O Care, thou wilt despatch me
1331:(1585â1672) who studied with
1323:(1564â1612) who studied with
648:Siege of Florence (1529â1530)
36:
2843:Choral Public Domain Library
2680:Brown, Howard Mayer (1976).
1883:Stage 1 Madrigal: Arcadelt,
2963:List of musical instruments
2775:Harvard Dictionary of Music
2352:. Oxford University Press.
1918:English Madrigal: Weelkes,
1904:Stage 4 Madrigal: Caccini,
1692:â I Libro a 5, Venice 1611.
1241:"Hark! Hark! The birds" by
1147:Beginning around 1620, the
1055:The Fifth Book of Madrigals
975:In the early 17th century,
795:, as at Firenze, where the
624:Il primo libro di madrigali
510:Oratio pro litteris graecis
468:Origins and early madrigals
5176:
4995:Petrus Phalesius the Elder
4810:English Virginalist School
2898:, Academic Computer Club,
2800:. New York: W. W. Norton.
2665:. New York: W. W. Norton.
2628:. In Alison Latham (ed.).
2001:J. A. Cuddon, ed. (1991).
1445:Late Renaissance composers
1371:
1215:
933:Responsories for Holy Week
18:
5066:
4777:Jan Pieterszoon Sweelinck
4362:
4279:
3825:Matheus de Sancto Johanne
3820:Johannes Symonis Hasprois
3751:
3563:
3490:
3466:Galician-Portuguese lyric
3411:Jehan le Cuvelier d'Arras
3326:Andrieu Contredit d'Arras
3098:
2948:
2412:Arnold & Wakelin 2011
2155:Oxford English Dictionary
1647:â I Libro a 5, 1600. His
1479:Giovan Leonardo Primavera
1310:Jan Pieterszoon Sweelinck
1243:Thomas Linley the younger
1142:Seventh Book of Madrigals
455:replaced the madrigal in
399:Italian Trecento madrigal
362:. Unlike verse-repeating
358:, followed by one or two
21:Madrigal (disambiguation)
5160:Renaissance music genres
5155:Songs in classical music
3855:Antonio Zacara da Teramo
2798:Music in the Renaissance
2724:; D'Agostino, Gianluca;
2682:Music in the Renaissance
2661:Atlas, Allan W. (1998).
2624:; Wakelin, Emma (2011).
2550:Craufurd, J. G. (1956).
1899:Io parto e non piu dissi
1788:Robert Lucas de Pearsall
1766:Thomas Attwood Walmisley
1485:At the Baroque threshold
1185:Eighth Book of Madrigals
533:, who were attracted by
4805:English Madrigal School
3381:Gillebert de Berneville
2958:List of music theorists
2872:EncyclopĂŠdia Britannica
2763:(subscription required)
2647:(subscription required)
2160:Oxford University Press
1697:English madrigal school
1552:Fifth Book of Madrigals
1493:â I Libro a 5 e 6, 1583
1218:English Madrigal School
1212:English madrigal school
1059:Sixth Book of Madrigals
987:In the transition from
436:English Madrigal School
4647:TomĂĄs Luis de Victoria
4451:Oswald von Wolkenstein
3654:Gherardello da Firenze
3341:Le Chastelain de Couci
3134:Philippe le Chancelier
2553:"The Madrigal Society"
2470:Lovell, Percy (1979).
2383:, Vol II, pp. 867â871.
1962:Hobson, James (2015).
1892:Aspro core e selvaggio
1799:20th-century composers
1782:19th-century composers
1250:
1093:
1077:(chitarrone), and the
984:
886:
834:was replaced with the
812:Marc'Antonio Ingegneri
732:
720:
489:
476:As a writer, Cardinal
407:
47:
4667:Transition to Baroque
4612:Pierre de Manchicourt
3963:Johannes de Garlandia
3277:Raimbaut de Vaqueiras
2861:Tovey, Donald Francis
2857:Gosse, Edmund William
1972:University of Bristol
1885:Ahime, dov'e bel viso
1685:Johann Hermann Schein
1619:â Madrigali a 5, 1638
1462:Francisco Leontaritis
1240:
1087:
974:
877:
747:Prophetiae Sibyllarum
726:
710:
616:Franco-Flemish school
531:Franco-Flemish school
475:
96:Movements and schools
84:Transition to Baroque
29:
4697:Girolamo Frescobaldi
4504:CristĂłbal de Morales
4284:Also music theorist*
3968:Johannes de Grocheio
3785:Conradus de Pistoria
3772:Philippus de Caserta
3721:Philippus de Caserta
3690:Antonello da Caserta
3639:Andreas de Florentia
3530:Guillaume de Machaut
3191:Bernart de Ventadorn
3176:Aimeric de Peguilhan
3119:Albertus Parisiensis
3069:Adam of Saint Victor
3029:Saint Martial school
2986:Notker the Stammerer
2704:The Italian Madrigal
2572:10.1093/jrma/82.1.33
2513:Day, Thomas (1972).
2436:Bukofzer, Manfred R.
2325:First Booke of Ayres
1927:Gilbert and Sullivan
1534:Baroque madrigalists
1414:â I Libro a 3, 1541.
1405:â court composer to
799:family commissioned
793:concerto delle donne
789:Concerto delle donne
772:Concerto delle donne
652:San Marco di Venezia
334:most typical of the
19:For other uses, see
4815:Florentine Camerata
4787:Composition schools
4446:Gaspar van Weerbeke
3895:Contenance angloise
3685:Bartolino da Padova
3584:Marchetto da Padova
3515:Magister Franciscus
3391:Guillaume le Vinier
3386:Gontier de Soignies
3331:Audefroi le Bastart
3217:Folquet de Marselha
3074:Wulfstan the Cantor
3064:Hildegard of Bingen
3034:Adémar de Chabannes
3019:Fulbert of Chartres
2981:Abbey of Saint Gall
2973:Early (before 1150)
2896:UmeÄ Academic Choir
2492:10.1093/ml/60.4.401
2479:Music & Letters
2311:, pp. 636â638.
2263:, pp. 224â225.
2251:, pp. 221â224.
2227:, pp. 431â432.
2158:(Online ed.).
1668:â I Libro a 6, 1583
1636:â I Libro a 4, 1608
1603:â I Libro a 5, 1602
1592:â I Libro a 5, 1605
1566:â I Libro a 5, 1600
1529:â I Libro a 5, 1558
1523:â I Libro a 5, 1587
1517:â I Libro a 5, 1580
1511:â I Libro a 5, 1571
1505:â I Libro a 5, 1606
1453:â I Libro a 3, 1575
1425:- I Libro a 5, 1542
1403:Francesco Corteccia
1374:Madrigal (Trecento)
1341:maestro di cappella
1249:" (see inscription)
1110:Florentine Camerata
1065:indicated that the
914:madrigal, of which
870:Turn of the century
860:First Book of Ayres
801:Alessandro Striggio
644:Sack of Rome (1527)
498:vernacular language
434:(1557â1602) of the
133:English Virginalist
118:Florentine Camerata
5010:Thomas Vautrollier
4990:Ottaviano Petrucci
4965:Pierre Attaingnant
4955:Hieronymus Andreae
4762:Michael Praetorius
4747:Claudio Monteverdi
4737:Giovanni de Macque
4732:Luzzasco Luzzaschi
4702:Alfonso Fontanelli
4592:Francisco Guerrero
4567:Antonio de CabezĂłn
4479:Thomas Crecquillon
4461:Middle (1470â1530)
4441:Johannes Tinctoris
4381:Alexander Agricola
4223:Neo-Medieval music
4213:Medieval folk rock
3993:Berno of Reichenau
3973:Iacobus de Ispania
3815:Petrus de Goscalch
3716:NiccolĂČ da Perugia
3711:Grazioso da Padova
3659:Lorenzo da Firenze
3619:Vincenzo da Rimini
3604:Giovanni da Cascia
3436:Other trouvĂšres...
3421:Perrin d'Angicourt
3371:Gautier de Dargies
3346:Chrétien de Troyes
3282:Raimon de Miravalh
3272:Raimbaut d'Aurenga
2739:Grove Music Online
2603:Von den Madrigalen
2590:– via JSTOR.
2539:– via JSTOR.
2502:– via JSTOR.
2349:Grove Music Online
2327:(1601), quoted in
1906:Perfidissimo volto
1776:John Wall Callcott
1640:Michelangelo Rossi
1623:Claudio Monteverdi
1617:Domenico Mazzocchi
1596:Sigismondo d'India
1521:Claudio Monteverdi
1509:Luzzasco Luzzaschi
1503:Sigismondo d'India
1491:Camillo Cortellini
1407:Cosimo I de Medici
1357:Von den Madrigalen
1345:Sigismund III Vasa
1281:Continental Europe
1251:
1224:Musica Transalpina
1161:Domenico Mazzocchi
1126:Sigismondo d'India
1094:
1063:Claudio Monteverdi
997:Claudio Monteverdi
985:
977:Claudio Monteverdi
961:Michelangelo Rossi
957:Domenico Mazzocchi
953:Sigismondo d'India
941:Alfonso Fontanelli
923:Luzzasco Luzzaschi
916:Claudio Monteverdi
887:
777:Luzzasco Luzzaschi
733:
721:
660:Girolamo Parabosco
490:
482:vernacular Italian
387:vernacular Italian
48:
5110:
5109:
4707:Giovanni Gabrieli
4534:Philippe Verdelot
4431:Johannes Ockeghem
4373:Early (1400â1470)
4356:Renaissance music
4322:
4321:
4290:Renaissance music
3998:Aurelian of RĂ©ĂŽme
3983:Johannes de Muris
3953:Franco of Cologne
3931:
3930:
3913:Arnold de Lantins
3872:
3871:
3868:
3867:
3795:Johannes Cuvelier
3747:
3746:
3743:
3742:
3739:
3738:
3706:Giovanni Mazzuoli
3701:Matteo da Perugia
3673:
3672:
3649:Francesco Landini
3627:
3626:
3609:Jacopo da Bologna
3592:
3591:
3559:
3558:
3555:
3554:
3546:Philippe de Vitry
3525:Jehan de Lescurel
3446:
3445:
3431:Raoul de Soissons
3376:Gautier d'Espinal
3366:Gautier de Coincy
3307:
3306:
3227:Giraut de Bornelh
3206:CerverĂ de Girona
3186:Arnaut de Mareuil
3156:
3155:
3152:
3151:
3114:Notre-Dame school
3024:Heriger of Lobbes
2953:List of composers
2829:. Cambridge, 1988
2757:978-1-56159-263-0
2722:von Fischer, Kurt
2641:978-0-19-957903-7
2275:, Vol. I, p. 391.
2239:, pp. 432ff.
2166:(Subscription or
2047:Scholes, Percy A.
1607:Alessandro Grandi
1601:Marco da Gagliano
1570:Adriano Banchieri
1564:Agostino Agazzari
1467:Philippe de Monte
1429:Philippe Verdelot
1385:Jacopo da Bologna
1380:Francesco Landini
1368:Trecento madrigal
1333:Giovanni Gabrieli
1317:Philippe de Monte
1308:(1517â1595), and
1302:Cornelis Verdonck
1294:Orlande de Lassus
1228:Transalpine Music
1181:musicologic study
1128:(1582â1629), and
1122:Marco da Gagliano
989:Renaissance music
955:(1582â1629), and
820:Giovanni Ferretti
818:(1532â1585), and
785:Lodovico Agostini
783:(1535â1596), and
752:Philippe de Monte
742:Orlande de Lassus
668:Baldassare Donato
666:(1524â1557), and
597:Philippe Verdelot
430:(1576â1623), and
420:Renaissance Italy
321:
320:
63:Renaissance music
5167:
5127:
5126:
5125:
5118:
5100:
5090:
5089:
4970:Vittorio Baldini
4947:Music publishing
4722:Hans Leo Hassler
4677:Gregorio Allegri
4632:Cipriano de Rore
4607:Vicente Lusitano
4602:Orlando di Lasso
4557:Jacques Arcadelt
4524:Pierre de la Rue
4519:Josquin des Prez
4499:Clément Janequin
4494:Antoine de FĂ©vin
4484:Antonius Divitis
4426:Johannes Martini
4401:Guillaume Du Fay
4349:
4342:
4335:
4326:
4311:
4301:
4300:
4107:Liturgical drama
3874:
3781:
3778:Johannes Ciconia
3753:
3749:
3731:Zacara da Teramo
3695:Johannes Ciconia
3675:
3665:Paolo da Firenze
3644:Donato da Cascia
3629:
3594:
3574:
3565:
3561:
3549:
3492:
3488:
3483:Late (1300â1400)
3426:Philippe de RĂ©mi
3356:Conon de BĂ©thune
3336:Blondel de Nesle
3321:Adam de la Halle
3309:
3247:Peire d'Alvernha
3158:
3145:
3100:
3096:
3091:High (1150â1300)
3080:Wipo of Burgundy
3045:
3015:
3007:
2998:Stephen of LiĂšge
2935:
2928:
2921:
2912:
2876:
2868:
2866:"Madrigal"
2833:Oliphant, Thomas
2821:Iain Fenlon and
2811:
2789:
2764:
2761:
2717:
2700:Einstein, Alfred
2695:
2676:
2657:
2648:
2645:
2608:
2607:
2598:
2592:
2591:
2562:(82nd session).
2555:
2547:
2541:
2540:
2518:
2510:
2504:
2503:
2475:
2467:
2461:
2460:
2458:
2456:
2432:
2426:
2420:
2414:
2409:
2396:
2390:
2384:
2378:
2372:
2371:
2345:
2337:
2331:
2318:
2312:
2306:
2300:
2294:
2288:
2282:
2276:
2270:
2264:
2258:
2252:
2246:
2240:
2234:
2228:
2222:
2216:
2210:
2199:
2193:
2184:
2178:
2172:
2171:
2163:
2151:
2144:
2138:
2133:
2084:
2078:
2072:
2071:
2056:
2043:
2037:
2036:
2013:
2007:
2006:
1998:
1987:
1986:
1980:
1978:
1969:
1959:
1878:Musical examples
1847:Morten Lauridsen
1815:Bohuslav MartinĆŻ
1810:Constant Lambert
1679:Hans Leo Hassler
1655:Claudio Saracini
1548:seconda prattica
1457:Orlando di Lasso
1423:Cypriano de Rore
1397:Jacques Arcadelt
1321:Hans Leo Hassler
1296:(1532â1594) and
1263:Madrigal Society
1130:Claudio Saracini
1114:Le nuove musiche
1096:The madrigalist
1090:Le nuove musiche
981:Bernardo Strozzi
693:Nicola Vicentino
676:Cipriano de Rore
674:(1520â1562) and
672:Perissone Cambio
638:Mid-16th century
628:Jacques Arcadelt
603:(1490â1524) and
601:Sebastiano Festa
480:advocated using
410:
368:through-composed
313:
306:
299:
276:â Medieval music
138:English Madrigal
71:
50:
44:Jacques Arcadelt
41:
38:
5175:
5174:
5170:
5169:
5168:
5166:
5165:
5164:
5135:
5134:
5133:
5129:Classical music
5123:
5121:
5113:
5111:
5106:
5083:
5075:
5062:
5014:
5000:Girolamo Scotto
4985:Antonio Gardano
4941:
4880:
4834:
4781:
4772:Heinrich SchĂŒtz
4767:Philippe Rogier
4717:Orlando Gibbons
4669:
4665:
4656:
4652:Giaches de Wert
4642:Christopher Tye
4597:Claude Le Jeune
4587:Claude Goudimel
4582:Nicolas Gombert
4577:Andrea Gabrieli
4572:Jacobus Clemens
4543:
4539:Adrian Willaert
4469:Martin Agricola
4455:
4391:Antoine Busnois
4386:Gilles Binchois
4367:
4358:
4353:
4323:
4318:
4317:
4294:
4275:
4227:
4196:
4133:
4083:Gregorian chant
4002:
3988:Walter Odington
3948:Guido of Arezzo
3927:
3884:Johannes Alanus
3864:
3840:Jacob Senleches
3776:
3735:
3669:
3623:
3588:
3551:
3544:
3477:
3442:
3303:
3232:Guiraut Riquier
3211:Comtessa de Dia
3196:Bertran de Born
3164:
3148:
3142:Petrus de Cruce
3140:
3085:
3049:Notker Physicus
3040:
3010:
3002:
2967:
2944:
2939:
2900:UmeÄ University
2855:
2852:
2818:
2816:Further reading
2808:
2792:
2786:
2767:
2762:
2758:
2720:
2714:
2698:
2692:
2679:
2673:
2660:
2651:
2646:
2642:
2620:
2617:
2612:
2611:
2600:
2599:
2595:
2549:
2548:
2544:
2529:10.2307/3686537
2512:
2511:
2507:
2469:
2468:
2464:
2454:
2452:
2434:
2433:
2429:
2421:
2417:
2410:
2399:
2391:
2387:
2379:
2375:
2368:
2339:
2338:
2334:
2321:Campion, Thomas
2319:
2315:
2307:
2303:
2295:
2291:
2283:
2279:
2271:
2267:
2259:
2255:
2247:
2243:
2235:
2231:
2223:
2219:
2211:
2202:
2194:
2187:
2179:
2175:
2165:
2146:
2145:
2141:
2134:
2087:
2079:
2075:
2065:
2045:
2044:
2040:
2034:
2015:
2014:
2010:
2000:
1999:
1990:
1976:
1974:
1961:
1960:
1956:
1951:
1946:
1880:
1837:Emma Lou Diemer
1823:
1801:
1784:
1757:
1723:Orlando Gibbons
1699:
1690:Heinrich SchĂŒtz
1681:â I Libro, 1600
1675:
1660:Barbara Strozzi
1634:Paolo Quagliati
1630:â I Libro, 1604
1628:Giovanni Priuli
1612:Marco Marazzoli
1575:Antonio Caldara
1560:
1536:
1527:Giaches de Wert
1499:â I Libro, 1594
1487:
1451:Andrea Gabrieli
1447:
1439:Venetian School
1435:Adrian Willaert
1418:Bernardo Pisano
1393:
1391:Early composers
1376:
1370:
1365:
1329:Heinrich SchĂŒtz
1325:Andrea Gabrieli
1306:Hubert Waelrant
1298:Claude Le Jeune
1283:
1220:
1214:
1197:stile concitato
1039:
1031:Giovanni Artusi
1026:seconda pratica
1011:accompanied by
991:(1400â1600) to
969:
872:
816:Andrea Gabrieli
781:Giaches de Wert
759:Andrea Gabrieli
705:
656:Adrian Willaert
640:
620:Adrian Willaert
577:Bernardo Pisano
535:Italian culture
470:
465:
317:
286:
283:Baroque music â
279:
266:
265:
264:
232:
224:
223:
222:
152:
144:
143:
142:
97:
87:
86:
69:
39:
32:The Lute Player
24:
17:
12:
11:
5:
5173:
5171:
5163:
5162:
5157:
5152:
5147:
5137:
5136:
5132:
5131:
5108:
5107:
5105:
5104:
5094:
5076:
5072:Medieval music
5068:
5067:
5064:
5063:
5061:
5060:
5059:
5058:
5053:
5048:
5043:
5038:
5028:
5022:
5020:
5016:
5015:
5013:
5012:
5007:
5005:Tielman Susato
5002:
4997:
4992:
4987:
4982:
4980:Valerio Dorico
4977:
4972:
4967:
4962:
4957:
4951:
4949:
4943:
4942:
4940:
4939:
4934:
4929:
4924:
4919:
4914:
4909:
4904:
4899:
4894:
4888:
4886:
4882:
4881:
4879:
4878:
4873:
4868:
4863:
4858:
4853:
4848:
4842:
4840:
4836:
4835:
4833:
4832:
4827:
4822:
4820:Franco-Flemish
4817:
4812:
4807:
4802:
4797:
4791:
4789:
4783:
4782:
4780:
4779:
4774:
4769:
4764:
4759:
4754:
4749:
4744:
4739:
4734:
4729:
4724:
4719:
4714:
4712:Carlo Gesualdo
4709:
4704:
4699:
4694:
4689:
4684:
4682:Thomas Campion
4679:
4673:
4671:
4658:
4657:
4655:
4654:
4649:
4644:
4639:
4634:
4629:
4627:Costanzo Porta
4624:
4619:
4617:Hans Neusidler
4614:
4609:
4604:
4599:
4594:
4589:
4584:
4579:
4574:
4569:
4564:
4559:
4553:
4551:
4545:
4544:
4542:
4541:
4536:
4531:
4526:
4521:
4516:
4511:
4506:
4501:
4496:
4491:
4489:Costanzo Festa
4486:
4481:
4476:
4474:Antoine Brumel
4471:
4465:
4463:
4457:
4456:
4454:
4453:
4448:
4443:
4438:
4433:
4428:
4423:
4418:
4416:Heinrich Isaac
4413:
4408:
4406:John Dunstaple
4403:
4398:
4396:Loyset CompĂšre
4393:
4388:
4383:
4377:
4375:
4369:
4368:
4363:
4360:
4359:
4354:
4352:
4351:
4344:
4337:
4329:
4320:
4319:
4316:
4315:
4305:
4287:
4286:
4285:
4281:
4280:
4277:
4276:
4274:
4273:
4272:
4271:
4266:
4261:
4256:
4251:
4241:
4235:
4233:
4229:
4228:
4226:
4225:
4220:
4218:Medieval metal
4215:
4210:
4204:
4202:
4198:
4197:
4195:
4194:
4189:
4184:
4179:
4174:
4169:
4164:
4159:
4158:
4157:
4152:
4141:
4139:
4135:
4134:
4132:
4131:
4124:
4119:
4114:
4109:
4104:
4103:
4102:
4092:
4091:
4090:
4088:Pope Gregory I
4080:
4075:
4074:
4073:
4068:
4063:
4053:
4048:
4043:
4038:
4037:
4036:
4026:
4021:
4016:
4010:
4008:
4004:
4003:
4001:
4000:
3995:
3990:
3985:
3980:
3975:
3970:
3965:
3960:
3958:Johannes Cotto
3955:
3950:
3945:
3939:
3937:
3933:
3932:
3929:
3928:
3926:
3925:
3920:
3915:
3910:
3905:
3900:
3899:
3898:
3889:John Dunstaple
3886:
3880:
3878:
3870:
3869:
3866:
3865:
3863:
3862:
3857:
3852:
3850:Johannes Susay
3847:
3842:
3837:
3832:
3830:Gacian Reyneau
3827:
3822:
3817:
3812:
3810:Martinus Fabri
3807:
3802:
3797:
3792:
3787:
3782:
3774:
3769:
3763:
3761:
3745:
3744:
3741:
3740:
3737:
3736:
3734:
3733:
3728:
3723:
3718:
3713:
3708:
3703:
3698:
3692:
3687:
3681:
3679:
3678:3rd generation
3671:
3670:
3668:
3667:
3662:
3656:
3651:
3646:
3641:
3635:
3633:
3632:2nd generation
3625:
3624:
3622:
3621:
3616:
3611:
3606:
3600:
3598:
3597:1st generation
3590:
3589:
3587:
3586:
3580:
3578:
3571:
3557:
3556:
3553:
3552:
3550:
3542:
3540:Jehan Vaillant
3537:
3532:
3527:
3522:
3517:
3512:
3510:Denis Le Grant
3507:
3502:
3500:
3485:
3479:
3478:
3476:
3475:
3474:
3473:
3463:
3458:
3453:
3447:
3444:
3443:
3441:
3440:
3439:
3438:
3428:
3423:
3418:
3416:Moniot d'Arras
3413:
3408:
3403:
3398:
3396:Guiot de Dijon
3393:
3388:
3383:
3378:
3373:
3368:
3363:
3358:
3353:
3348:
3343:
3338:
3333:
3328:
3323:
3317:
3315:
3305:
3304:
3302:
3301:
3300:
3299:
3289:
3284:
3279:
3274:
3269:
3264:
3259:
3254:
3252:Peire Cardenal
3249:
3244:
3239:
3234:
3229:
3224:
3222:Gaucelm Faidit
3219:
3214:
3208:
3203:
3198:
3193:
3188:
3183:
3178:
3172:
3170:
3154:
3153:
3150:
3149:
3147:
3146:
3138:
3137:
3136:
3131:
3126:
3121:
3110:
3108:
3093:
3087:
3086:
3084:
3083:
3077:
3071:
3066:
3061:
3056:
3051:
3046:
3038:
3037:
3036:
3026:
3021:
3016:
3008:
3000:
2995:
2994:
2993:
2988:
2977:
2975:
2969:
2968:
2966:
2965:
2960:
2955:
2949:
2946:
2945:
2942:Medieval music
2940:
2938:
2937:
2930:
2923:
2915:
2909:
2908:
2903:
2877:
2851:
2850:External links
2848:
2847:
2846:
2840:
2830:
2817:
2814:
2813:
2812:
2806:
2790:
2784:
2771:, ed. (1986).
2765:
2756:
2734:Kerman, Joseph
2730:Fortune, Nigel
2718:
2712:
2696:
2690:
2677:
2671:
2658:
2649:
2640:
2616:
2613:
2610:
2609:
2593:
2542:
2505:
2462:
2427:
2425:, p. 395.
2415:
2397:
2385:
2373:
2366:
2332:
2313:
2301:
2299:, p. 406.
2289:
2287:, p. 228.
2277:
2265:
2253:
2241:
2229:
2217:
2200:
2185:
2183:, p. 433.
2173:
2139:
2085:
2073:
2063:
2038:
2032:
2018:Sadie, Stanley
2008:
2005:. p. 521.
1988:
1953:
1952:
1950:
1947:
1945:
1942:
1941:
1940:
1923:
1916:
1909:
1902:
1895:
1888:
1879:
1876:
1875:
1874:
1869:
1867:Henri Pousseur
1864:
1859:
1854:
1849:
1844:
1842:Mauricio Kagel
1839:
1834:
1829:
1822:
1819:
1818:
1817:
1812:
1807:
1805:Paul Hindemith
1800:
1797:
1796:
1795:
1793:Vincent d'Indy
1790:
1783:
1780:
1779:
1778:
1773:
1768:
1763:
1756:
1753:
1746:
1745:
1740:
1738:Thomas Weelkes
1735:
1733:Thomas Tomkins
1730:
1725:
1720:
1715:
1710:
1705:
1703:Thomas Bateson
1698:
1695:
1694:
1693:
1687:
1682:
1674:
1671:
1670:
1669:
1663:
1657:
1652:
1645:Salamone Rossi
1642:
1637:
1631:
1625:
1620:
1614:
1609:
1604:
1598:
1593:
1587:
1585:Giulio Caccini
1582:
1577:
1572:
1567:
1559:
1556:
1535:
1532:
1531:
1530:
1524:
1518:
1512:
1506:
1500:
1497:Carlo Gesualdo
1494:
1486:
1483:
1482:
1481:
1476:
1470:
1464:
1459:
1454:
1446:
1443:
1442:
1441:
1432:
1426:
1420:
1415:
1412:Costanzo Festa
1409:
1400:
1392:
1389:
1388:
1387:
1382:
1372:Main article:
1369:
1366:
1364:
1361:
1353:Caspar Ziegler
1282:
1279:
1232:Nicholas Yonge
1216:Main article:
1213:
1210:
1098:Giulio Caccini
1088:Title page of
1067:basso seguente
1038:
1035:
1013:basso continuo
968:
965:
879:Carlo Gesualdo
871:
868:
864:Thomas Campion
810:In the 1560s,
729:Nicholas Yonge
704:
701:
639:
636:
605:Costanzo Festa
469:
466:
464:
461:
428:Thomas Weelkes
364:strophic forms
319:
318:
316:
315:
308:
301:
293:
290:
289:
288:
287:
280:
273:
268:
267:
263:
262:
257:
252:
247:
240:
234:
233:
230:
229:
226:
225:
221:
220:
215:
210:
205:
200:
195:
190:
185:
180:
175:
170:
165:
160:
154:
153:
150:
149:
146:
145:
141:
140:
135:
130:
125:
120:
115:
110:
108:Franco-Flemish
105:
99:
98:
95:
94:
91:
90:
89:
88:
78:
73:
72:
66:
65:
59:
58:
15:
13:
10:
9:
6:
4:
3:
2:
5172:
5161:
5158:
5156:
5153:
5151:
5148:
5146:
5143:
5142:
5140:
5130:
5120:
5116:
5103:
5099:
5095:
5093:
5085:
5084:
5081:
5080:
5079:Baroque music
5074:
5073:
5065:
5057:
5054:
5052:
5049:
5047:
5044:
5042:
5039:
5037:
5034:
5033:
5032:
5029:
5027:
5024:
5023:
5021:
5017:
5011:
5008:
5006:
5003:
5001:
4998:
4996:
4993:
4991:
4988:
4986:
4983:
4981:
4978:
4976:
4973:
4971:
4968:
4966:
4963:
4961:
4960:Andrea Antico
4958:
4956:
4953:
4952:
4950:
4948:
4944:
4938:
4935:
4933:
4930:
4928:
4925:
4923:
4920:
4918:
4915:
4913:
4910:
4908:
4905:
4903:
4900:
4898:
4895:
4893:
4890:
4889:
4887:
4883:
4877:
4874:
4872:
4869:
4867:
4864:
4862:
4859:
4857:
4854:
4852:
4849:
4847:
4844:
4843:
4841:
4839:Musical forms
4837:
4831:
4828:
4826:
4823:
4821:
4818:
4816:
4813:
4811:
4808:
4806:
4803:
4801:
4798:
4796:
4793:
4792:
4790:
4788:
4784:
4778:
4775:
4773:
4770:
4768:
4765:
4763:
4760:
4758:
4755:
4753:
4752:Thomas Morley
4750:
4748:
4745:
4743:
4742:Luca Marenzio
4740:
4738:
4735:
4733:
4730:
4728:
4725:
4723:
4720:
4718:
4715:
4713:
4710:
4708:
4705:
4703:
4700:
4698:
4695:
4693:
4690:
4688:
4685:
4683:
4680:
4678:
4675:
4674:
4672:
4668:
4663:
4659:
4653:
4650:
4648:
4645:
4643:
4640:
4638:
4637:Thomas Tallis
4635:
4633:
4630:
4628:
4625:
4623:
4620:
4618:
4615:
4613:
4610:
4608:
4605:
4603:
4600:
4598:
4595:
4593:
4590:
4588:
4585:
4583:
4580:
4578:
4575:
4573:
4570:
4568:
4565:
4563:
4560:
4558:
4555:
4554:
4552:
4550:
4546:
4540:
4537:
4535:
4532:
4530:
4529:John Taverner
4527:
4525:
4522:
4520:
4517:
4515:
4514:Jacob Obrecht
4512:
4510:
4507:
4505:
4502:
4500:
4497:
4495:
4492:
4490:
4487:
4485:
4482:
4480:
4477:
4475:
4472:
4470:
4467:
4466:
4464:
4462:
4458:
4452:
4449:
4447:
4444:
4442:
4439:
4437:
4434:
4432:
4429:
4427:
4424:
4422:
4419:
4417:
4414:
4412:
4409:
4407:
4404:
4402:
4399:
4397:
4394:
4392:
4389:
4387:
4384:
4382:
4379:
4378:
4376:
4374:
4370:
4366:
4361:
4357:
4350:
4345:
4343:
4338:
4336:
4331:
4330:
4327:
4314:
4310:
4306:
4304:
4296:
4295:
4292:
4291:
4283:
4282:
4278:
4270:
4267:
4265:
4262:
4260:
4257:
4255:
4252:
4250:
4247:
4246:
4245:
4242:
4240:
4237:
4236:
4234:
4230:
4224:
4221:
4219:
4216:
4214:
4211:
4209:
4206:
4205:
4203:
4199:
4193:
4190:
4188:
4185:
4183:
4180:
4178:
4175:
4173:
4170:
4168:
4165:
4163:
4160:
4156:
4153:
4151:
4148:
4147:
4146:
4145:British Isles
4143:
4142:
4140:
4136:
4130:
4129:
4125:
4123:
4120:
4118:
4115:
4113:
4110:
4108:
4105:
4101:
4098:
4097:
4096:
4093:
4089:
4086:
4085:
4084:
4081:
4079:
4076:
4072:
4069:
4067:
4064:
4062:
4059:
4058:
4057:
4054:
4052:
4049:
4047:
4044:
4042:
4039:
4035:
4032:
4031:
4030:
4027:
4025:
4022:
4020:
4017:
4015:
4012:
4011:
4009:
4007:Musical forms
4005:
3999:
3996:
3994:
3991:
3989:
3986:
3984:
3981:
3979:
3976:
3974:
3971:
3969:
3966:
3964:
3961:
3959:
3956:
3954:
3951:
3949:
3946:
3944:
3941:
3940:
3938:
3934:
3924:
3923:W. de Wycombe
3921:
3919:
3916:
3914:
3911:
3909:
3906:
3904:
3901:
3897:
3896:
3892:
3891:
3890:
3887:
3885:
3882:
3881:
3879:
3875:
3861:
3858:
3856:
3853:
3851:
3848:
3846:
3843:
3841:
3838:
3836:
3833:
3831:
3828:
3826:
3823:
3821:
3818:
3816:
3813:
3811:
3808:
3806:
3803:
3801:
3798:
3796:
3793:
3791:
3790:Baude Cordier
3788:
3786:
3783:
3779:
3775:
3773:
3770:
3768:
3765:
3764:
3762:
3760:
3759:
3758:Ars subtilior
3754:
3750:
3732:
3729:
3727:
3724:
3722:
3719:
3717:
3714:
3712:
3709:
3707:
3704:
3702:
3699:
3696:
3693:
3691:
3688:
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3683:
3682:
3680:
3676:
3666:
3663:
3660:
3657:
3655:
3652:
3650:
3647:
3645:
3642:
3640:
3637:
3636:
3634:
3630:
3620:
3617:
3615:
3614:Maestro Piero
3612:
3610:
3607:
3605:
3602:
3601:
3599:
3595:
3585:
3582:
3581:
3579:
3575:
3572:
3570:
3566:
3562:
3547:
3543:
3541:
3538:
3536:
3535:P. des Molins
3533:
3531:
3528:
3526:
3523:
3521:
3518:
3516:
3513:
3511:
3508:
3506:
3503:
3501:
3499:
3498:
3493:
3489:
3486:
3484:
3480:
3472:
3469:
3468:
3467:
3464:
3462:
3459:
3457:
3454:
3452:
3449:
3448:
3437:
3434:
3433:
3432:
3429:
3427:
3424:
3422:
3419:
3417:
3414:
3412:
3409:
3407:
3404:
3402:
3399:
3397:
3394:
3392:
3389:
3387:
3384:
3382:
3379:
3377:
3374:
3372:
3369:
3367:
3364:
3362:
3359:
3357:
3354:
3352:
3349:
3347:
3344:
3342:
3339:
3337:
3334:
3332:
3329:
3327:
3324:
3322:
3319:
3318:
3316:
3314:
3310:
3298:
3295:
3294:
3293:
3290:
3288:
3285:
3283:
3280:
3278:
3275:
3273:
3270:
3268:
3265:
3263:
3260:
3258:
3255:
3253:
3250:
3248:
3245:
3243:
3240:
3238:
3235:
3233:
3230:
3228:
3225:
3223:
3220:
3218:
3215:
3212:
3209:
3207:
3204:
3202:
3199:
3197:
3194:
3192:
3189:
3187:
3184:
3182:
3181:Arnaut Daniel
3179:
3177:
3174:
3173:
3171:
3168:
3163:
3159:
3143:
3139:
3135:
3132:
3130:
3127:
3125:
3122:
3120:
3117:
3116:
3115:
3112:
3111:
3109:
3107:
3106:
3101:
3097:
3094:
3092:
3088:
3081:
3078:
3075:
3072:
3070:
3067:
3065:
3062:
3060:
3059:Peter Abelard
3057:
3055:
3052:
3050:
3047:
3043:
3042:Odo of Arezzo
3039:
3035:
3032:
3031:
3030:
3027:
3025:
3022:
3020:
3017:
3013:
3009:
3005:
3001:
2999:
2996:
2992:
2989:
2987:
2984:
2983:
2982:
2979:
2978:
2976:
2974:
2970:
2964:
2961:
2959:
2956:
2954:
2951:
2950:
2947:
2943:
2936:
2931:
2929:
2924:
2922:
2917:
2916:
2913:
2907:
2904:
2901:
2897:
2893:
2889:
2885:
2881:
2878:
2874:
2873:
2867:
2862:
2858:
2854:
2853:
2849:
2844:
2841:
2838:
2835:, ed. (1837)
2834:
2831:
2828:
2824:
2820:
2819:
2815:
2809:
2807:0-393-09530-4
2803:
2799:
2795:
2794:Reese, Gustav
2791:
2787:
2785:0-674-61525-5
2781:
2777:
2776:
2770:
2766:
2759:
2753:
2749:
2745:
2741:
2740:
2735:
2731:
2727:
2723:
2719:
2715:
2713:0-691-09112-9
2709:
2705:
2701:
2697:
2693:
2691:0-13-608497-4
2687:
2683:
2678:
2674:
2672:0-393-97169-4
2668:
2664:
2659:
2655:
2650:
2643:
2637:
2633:
2632:
2627:
2623:
2622:Arnold, Denis
2619:
2618:
2614:
2605:
2604:
2597:
2594:
2589:
2585:
2581:
2577:
2573:
2569:
2565:
2561:
2560:
2554:
2546:
2543:
2538:
2534:
2530:
2526:
2522:
2517:
2509:
2506:
2501:
2497:
2493:
2489:
2485:
2481:
2480:
2474:
2466:
2463:
2451:
2447:
2443:
2442:
2437:
2431:
2428:
2424:
2419:
2416:
2413:
2408:
2406:
2404:
2402:
2398:
2394:
2389:
2386:
2382:
2381:Einstein 1949
2377:
2374:
2369:
2367:9781561592630
2363:
2359:
2355:
2351:
2350:
2344:
2336:
2333:
2330:
2326:
2322:
2317:
2314:
2310:
2305:
2302:
2298:
2293:
2290:
2286:
2281:
2278:
2274:
2273:Einstein 1949
2269:
2266:
2262:
2257:
2254:
2250:
2245:
2242:
2238:
2233:
2230:
2226:
2221:
2218:
2215:, p. 463
2214:
2209:
2207:
2205:
2201:
2198:, p. 221
2197:
2192:
2190:
2186:
2182:
2177:
2174:
2169:
2161:
2157:
2156:
2150:
2143:
2140:
2137:
2132:
2130:
2128:
2126:
2124:
2122:
2120:
2118:
2116:
2114:
2112:
2110:
2108:
2106:
2104:
2102:
2100:
2098:
2096:
2094:
2092:
2090:
2086:
2083:, p. 198
2082:
2077:
2074:
2070:
2066:
2064:0-19-311306-6
2060:
2055:
2054:
2048:
2042:
2039:
2035:
2033:0-333-23111-2
2029:
2025:
2024:
2019:
2012:
2009:
2004:
1997:
1995:
1993:
1989:
1984:
1973:
1968:
1967:
1958:
1955:
1948:
1943:
1938:
1937:
1932:
1928:
1924:
1921:
1917:
1914:
1910:
1907:
1903:
1900:
1896:
1893:
1889:
1886:
1882:
1881:
1877:
1873:
1870:
1868:
1865:
1863:
1860:
1858:
1855:
1853:
1852:György Ligeti
1850:
1848:
1845:
1843:
1840:
1838:
1835:
1833:
1830:
1828:
1825:
1824:
1820:
1816:
1813:
1811:
1808:
1806:
1803:
1802:
1798:
1794:
1791:
1789:
1786:
1785:
1781:
1777:
1774:
1772:
1771:Joseph Barnby
1769:
1767:
1764:
1762:
1761:Samuel Wesley
1759:
1758:
1754:
1752:
1751:
1744:
1741:
1739:
1736:
1734:
1731:
1729:
1728:Thomas Morley
1726:
1724:
1721:
1719:
1716:
1714:
1711:
1709:
1706:
1704:
1701:
1700:
1696:
1691:
1688:
1686:
1683:
1680:
1677:
1676:
1672:
1667:
1666:Orazio Vecchi
1664:
1661:
1658:
1656:
1653:
1650:
1649:Secondo Libro
1646:
1643:
1641:
1638:
1635:
1632:
1629:
1626:
1624:
1621:
1618:
1615:
1613:
1610:
1608:
1605:
1602:
1599:
1597:
1594:
1591:
1590:Antonio Cifra
1588:
1586:
1583:
1581:
1580:Antonio Lotti
1578:
1576:
1573:
1571:
1568:
1565:
1562:
1561:
1557:
1555:
1553:
1549:
1545:
1541:
1533:
1528:
1525:
1522:
1519:
1516:
1515:Luca Marenzio
1513:
1510:
1507:
1504:
1501:
1498:
1495:
1492:
1489:
1488:
1484:
1480:
1477:
1474:
1471:
1468:
1465:
1463:
1460:
1458:
1455:
1452:
1449:
1448:
1444:
1440:
1436:
1433:
1430:
1427:
1424:
1421:
1419:
1416:
1413:
1410:
1408:
1404:
1401:
1398:
1395:
1394:
1390:
1386:
1383:
1381:
1378:
1377:
1375:
1367:
1362:
1360:
1358:
1354:
1350:
1346:
1342:
1338:
1337:Luca Marenzio
1334:
1330:
1326:
1322:
1318:
1313:
1311:
1307:
1304:(1563â1625),
1303:
1299:
1295:
1291:
1290:
1280:
1278:
1276:
1272:
1268:
1264:
1260:
1256:
1248:
1244:
1239:
1235:
1233:
1229:
1225:
1219:
1211:
1209:
1206:
1202:
1198:
1194:
1190:
1186:
1182:
1178:
1174:
1170:
1166:
1162:
1158:
1153:
1150:
1145:
1143:
1139:
1135:
1131:
1127:
1124:(1582â1643),
1123:
1119:
1118:The New Music
1115:
1111:
1107:
1103:
1102:solo continuo
1099:
1091:
1086:
1082:
1080:
1076:
1072:
1068:
1064:
1060:
1056:
1052:
1048:
1044:
1036:
1034:
1032:
1028:
1027:
1022:
1018:
1014:
1010:
1006:
1002:
998:
995:(1580â1750),
994:
993:Baroque music
990:
982:
978:
973:
966:
964:
962:
958:
954:
951:(1584â1629),
950:
949:Antonio Cifra
946:
942:
938:
934:
930:
929:
924:
919:
917:
913:
908:
905:expressed in
904:
900:
896:
891:
884:
880:
876:
869:
867:
865:
861:
857:
853:
849:
845:
844:word-painting
841:
837:
833:
829:
825:
821:
817:
813:
808:
806:
805:Luca Marenzio
802:
798:
794:
790:
786:
782:
779:(1545â1607),
778:
774:
773:
768:
764:
760:
755:
753:
749:
748:
743:
739:
730:
725:
718:
714:
713:Luca Marenzio
709:
702:
700:
698:
694:
690:
685:
679:
677:
673:
670:(1525â1603),
669:
665:
662:(1524â1557),
661:
657:
653:
649:
645:
637:
635:
633:
629:
625:
621:
617:
612:
610:
607:(1485â1545),
606:
602:
598:
594:
590:
589:word-painting
586:
585:versification
582:
578:
574:
569:
567:
563:
559:
555:
551:
546:
544:
540:
536:
532:
528:
527:
521:
519:
515:
514:Latin prosody
511:
507:
503:
499:
495:
487:
483:
479:
474:
467:
462:
460:
458:
454:
450:
446:
441:
437:
433:
432:Thomas Morley
429:
426:(1574â1638),
425:
421:
416:
414:
409:
404:
400:
396:
392:
388:
384:
380:
375:
373:
369:
365:
361:
357:
353:
349:
348:unaccompanied
345:
341:
337:
333:
330:
327:is a form of
326:
314:
309:
307:
302:
300:
295:
294:
292:
291:
285:
284:
278:
277:
272:
271:
270:
269:
261:
258:
256:
253:
251:
248:
246:
245:
241:
239:
236:
235:
228:
227:
219:
216:
214:
211:
209:
206:
204:
201:
199:
196:
194:
191:
189:
186:
184:
181:
179:
176:
174:
171:
169:
166:
164:
161:
159:
156:
155:
151:Major figures
148:
147:
139:
136:
134:
131:
129:
126:
124:
121:
119:
116:
114:
111:
109:
106:
104:
101:
100:
93:
92:
85:
81:
77:
76:
75:
74:
67:
64:
60:
56:
52:
51:
45:
34:
33:
28:
22:
5077:
5070:
5041:Architecture
4975:Jacob Bathen
4855:
4692:John Dowland
4562:William Byrd
4436:Leonel Power
4288:
4254:Architecture
4126:
4078:Geisslerlied
4056:Formes fixes
3978:Notker Labeo
3943:Anonymous IV
3918:Leonel Power
3903:Thomas Fabri
3893:
3756:
3577:Predecessors
3495:
3401:Jehan Bretel
3237:Jaufre Rudel
3103:
3012:Odo of Cluny
2870:
2836:
2826:
2797:
2772:
2737:
2703:
2681:
2662:
2653:
2629:
2602:
2596:
2563:
2557:
2545:
2520:
2508:
2483:
2477:
2465:
2453:. Retrieved
2440:
2430:
2418:
2388:
2376:
2347:
2335:
2324:
2316:
2304:
2292:
2280:
2268:
2256:
2244:
2232:
2220:
2176:
2153:
2142:
2076:
2068:
2052:
2041:
2021:
2011:
2002:
1981:– via
1975:. Retrieved
1965:
1957:
1934:
1919:
1912:
1905:
1898:
1891:
1884:
1832:George Crumb
1827:Gavin Bryars
1821:Contemporary
1747:
1713:John Dowland
1708:William Byrd
1648:
1551:
1547:
1543:
1539:
1537:
1363:Madrigalists
1356:
1348:
1340:
1314:
1287:
1284:
1252:
1230:, 1588), by
1227:
1223:
1221:
1205:solo cantata
1196:
1188:
1184:
1168:
1156:
1154:
1146:
1141:
1138:chromaticism
1117:
1113:
1101:
1095:
1089:
1066:
1058:
1054:
1042:
1040:
1024:
986:
937:chromaticism
932:
926:
920:
892:
888:
883:chromaticism
859:
855:
851:
848:madrigalisms
847:
809:
792:
788:
770:
756:
745:
734:
697:madrigalisms
696:
680:
664:Jacques Buus
641:
623:
613:
609:Maistre Jhan
592:
580:
572:
570:
547:
526:oltremontani
524:
522:
509:
502:Pietro Bembo
491:
478:Pietro Bembo
439:
417:
412:
402:
376:
374:being sung.
346:madrigal is
324:
322:
281:
274:
249:
242:
82: /
30:
5031:Renaissance
5026:Early music
4922:Netherlands
4902:Elizabethan
4757:Jacopo Peri
4727:Alonso Lobo
4687:John Cooper
4549:Late (1530)
4509:Jean Mouton
4421:Jean Japart
4411:Walter Frye
4244:Middle Ages
4239:Early music
4201:Derivations
4034:Chansonnier
3406:Jehan Erart
3351:Colin Muset
3257:Peire Vidal
3105:Ars antiqua
2880:Early Music
2769:Randel, Don
2726:Haar, James
2423:Artusi 1950
2213:Randel 1986
1901:, 1590â1611
1894:, mid-1540s
1857:Paul Mealor
1743:John Wilbye
1718:John Farmer
1271:Renaissance
1267:John Immyns
1255:catch clubs
1177:decrescendo
1152:mid-1620s.
1079:harpsichord
1057:and in the
1007:and of the
757:In Venice,
717:Baroque-era
703:1550sâ1570s
626:(1539), by
595:(1530), by
575:(1520), by
424:John Wilbye
336:Renaissance
332:vocal music
231:Major forms
40: 1600
5150:Song forms
5139:Categories
5056:Philosophy
5051:Literature
5019:Background
4885:Traditions
4861:Magnificat
4851:Intermedio
4795:Burgundian
4269:Philosophy
4264:Literature
4232:Background
4138:Traditions
3505:F. Andrieu
3361:Gace Brulé
3201:Castelloza
3167:Trobairitz
3162:Troubadour
3054:St. Godric
2823:James Haar
2626:"Madrigal"
2309:Atlas 1998
2297:Reese 1954
2285:Brown 1976
2261:Brown 1976
2249:Brown 1976
2237:Atlas 1998
2225:Atlas 1998
2196:Brown 1976
2181:Atlas 1998
2170:required.)
2149:"madrigal"
2081:Brown 1976
1944:References
1936:The Mikado
1544:concertato
1275:Palestrina
1259:glee clubs
1247:Catch Club
1169:a cappella
1043:a cappella
1017:recitative
1009:concertato
912:concertato
840:canzonetta
836:villanella
562:mascherata
558:canzonetta
539:polyphonic
440:a cappella
413:matricalis
408:matricalis
344:polyphonic
218:Monteverdi
198:Palestrina
103:Burgundian
5145:Madrigals
4871:Offertory
4800:Colorists
4662:Mannerism
4182:Lithuania
4046:Conductus
3936:Theorists
3908:Roy Henry
3835:Rodericus
3726:Sant Omer
3461:Minnesang
2580:0080-4452
2455:3 October
2450:318558558
1977:2 October
1970:(Ph.D.).
1872:Ned Rorem
1540:a capella
1173:crescendo
1140:. In the
1051:bass line
1001:polyphony
945:mannerism
846:to apply
689:chromatic
566:homophony
178:Tinctoris
80:Composers
5092:Category
5069: â
4932:Portugal
4856:Madrigal
4830:Venetian
4303:Category
4208:Bardcore
4187:Portugal
4155:Scotland
4128:Planctus
4112:Madrigal
4051:Estampie
4014:Antiphon
3569:Trecento
3497:Ars nova
3456:Goliards
3313:TrouvĂšre
3287:Sordello
3267:Perdigon
3242:Marcabru
2902:, Sweden
2863:(1911).
2796:(1954).
2773:The New
2702:(1949).
2438:(1947).
1359:(1653).
1193:oratorio
1165:continuo
1159:(1638),
1134:diatonic
1049:and the
838:and the
687:unusual
646:and the
581:madrigal
560:and the
552:and the
550:frottola
506:Petrarch
494:humanist
449:dialogue
447:and the
403:madrigal
383:frottola
360:couplets
325:madrigal
250:Madrigal
213:Victoria
168:Ockeghem
163:Binchois
128:Venetian
113:Colorist
70:Overview
55:a series
53:Part of
5082:â
4912:Germany
4892:British
4172:Germany
4150:England
4122:Organum
4100:Tydorel
4071:Virelai
4066:Rondeau
4061:Ballade
4029:Chanson
3805:Egidius
3800:Egardus
3520:Grimace
3451:Casella
3129:PĂ©rotin
3004:Hucbald
2991:Tuotilo
2894:, from
2615:Sources
2537:3686537
2020:(ed.),
1862:Moondog
1673:Germany
1289:chanson
1201:tremolo
1075:theorbo
1047:soprano
983:, 1640)
895:Ferrara
856:sospiro
828:Longing
684:sonnets
554:ballata
543:chanson
463:History
445:cantata
391:chanson
356:tercets
340:Baroque
329:secular
244:Chanson
193:Zarlino
183:Josquin
173:Busnois
5115:Portal
5102:Portal
4927:Poland
4907:France
4897:Cyprus
4876:Pavane
4670:c.1600
4313:Portal
4259:Poetry
4167:France
4162:Cyprus
3877:Others
3860:Trebor
3845:Solage
3767:Borlet
3262:Peirol
3165:&
3124:LĂ©onin
2804:
2782:
2754:
2710:
2688:
2669:
2638:
2588:765866
2586:
2578:
2535:
2500:733505
2498:
2448:
2364:
2061:
2030:
1939:(1885)
1929:comic
1915:, 1624
1908:, 1602
1887:, 1538
1349:rektor
1327:, and
1106:monody
1073:, the
1005:monody
899:Mantua
830:, and
797:Medici
556:, the
518:syntax
486:Titian
238:Anthem
188:Tallis
158:Du Fay
5046:Dance
4937:Spain
4917:Italy
4846:Carol
4825:Roman
4192:Spain
4177:Italy
4117:Motet
4041:Chant
4024:Carol
4019:Canso
2584:JSTOR
2533:JSTOR
2496:JSTOR
2164:
1983:EThOS
1949:Notes
1931:opera
1558:Italy
907:opera
832:Death
763:motet
632:motet
457:opera
395:motet
379:1520s
352:metre
260:Motet
203:Lasso
123:Roman
4866:Mass
4664:and
2890:and
2802:ISBN
2780:ISBN
2752:ISBN
2708:ISBN
2686:ISBN
2667:ISBN
2636:ISBN
2576:ISSN
2457:2022
2446:OCLC
2362:ISBN
2059:ISBN
2028:ISBN
1979:2022
1538:The
1257:and
1226:in (
1175:and
1149:aria
1071:lute
1021:aria
903:aria
897:and
852:riso
824:Love
587:and
453:aria
372:poem
255:Mass
208:Byrd
5036:Art
4249:Art
4095:Lai
2744:doi
2568:doi
2525:doi
2488:doi
2354:doi
5141::
2886:,
2882:;
2869:.
2859:;
2825::
2750:.
2742:.
2732:;
2634:.
2582:.
2574:.
2564:82
2556:.
2531:.
2519:.
2494:.
2484:60
2482:.
2476:.
2400:^
2360:.
2346:.
2323:.
2203:^
2188:^
2152:.
2088:^
2067:.
1991:^
1933:,
1081:.
1061:,
826:,
618:,
459:.
323:A
57:on
37:c.
5117::
4348:e
4341:t
4334:v
4293:â
3780:*
3697:*
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3169:*
3144:*
3082:?
3076:?
3044:*
3014:*
3006:*
2934:e
2927:t
2920:v
2810:.
2788:.
2760:.
2746::
2716:.
2694:.
2675:.
2644:.
2570::
2527::
2490::
2459:.
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2356::
2162:.
1985:.
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931:(
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312:e
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