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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 – Polyphonic musical setting of poetry, usually sung without instrumental accompaniment. 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.
A madrigale spirituale (Italian; pl. madrigali spirituali) is a madrigal, or madrigal-like piece of music, with a sacred rather than a secular text.Most examples of the form date from the late Renaissance and early Baroque eras, and principally come from Italy and Germany.
Carlo Gesualdo da Venosa (between 8 March 1566 and 30 March 1566 – 8 September 1613) was an Italian nobleman and composer. Though both the Prince of Venosa and Count of Conza, he is better known for writing madrigals and pieces of sacred music that use a chromatic language not heard again until the late 19th century.
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 ...
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]
It contains words and full music for some 60 of the madrigals and songs of the English Madrigal School. When selecting works for this book, Ledger decided to represent the major composers of 16th-century English music such as William Byrd and Thomas Morley with several madrigals, alongside individual works by lesser-known composers.
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.