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In the fifth book of madrigals, using the term seconda pratica (second practice) Monteverdi said that the lyrics must be "the mistress of the harmony" of a madrigal, which was his progressive response to Giovanni Artusi (1540–1613) who negatively defended the limitations of dissonance and equal voice parts of the old-style polyphonic madrigal ...
Madrigal comedy – Collection of madrigals arranged to tell a story, often comic or satirical. Madrigale spirituale – Type of Italian madrigal adapted for religious texts. Mass – Sacred musical composition of the Eucharistic liturgy. Cyclic mass – A mass where the various movements are united by a common musical theme.
On occasion, existing madrigals were merely fitted with a religious text, usually in Latin, without any other change (such adaptations are called "contrafacta"). However, some of the madrigali spirituali reached heights of expressive and emotional intensity at least equal to that of the finest madrigalists in their secular compositions.
The Renaissance motet is polyphonic, sometimes with an imitative counterpoint, for a chorus singing a Latin and usually sacred text. It is not connected to a specific liturgy, making it suitable for any service. Motets were sacred madrigals and the language of the text was decisive: Latin for a motet and the vernacular for a madrigal. [16]
The English Madrigal School was the intense flowering of the musical madrigal in England, mostly from 1588 to 1627, along with the composers who produced them. The English madrigals were a cappella, predominantly light in style, and generally began as either copies or direct translations of Italian models. Most were for three to six voices.
Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, [1] from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and is followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period.
For his texts, Arcadelt chose poets ranging from Petrarch (and his setting of a complete canzone, as a set of five interrelated madrigals, was the predecessor of the vogue for madrigal cycles), Pietro Bembo, Sannazaro, to Florentines Lorenzino de'Medici, Benedetto Varchi, Filippo Strozzi, and Michelangelo himself, to others such as Luigi ...
In 1588 Nicholas Yonge published his Musica transalpina, the collection of Italian madrigals fitted with English texts, which touched off the explosive and colourful vogue for madrigal composition in England. Morley found his compositional direction at this time, and shortly afterwards began publishing his own collections of madrigals (11 in all).