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However, many secular songs were sung in the vernacular language, unlike the sacred songs that followed the Latin language of the Church. These earliest types were known as the chanson de geste (song of deeds) and were popular amongst the traveling jongleurs and minstrels of the time.
Secular motets, known as "ceremonial motets", [17] typically set a Latin text to praise a monarch, music or commemorate a triumph. The theme of courtly love, often found in the medieval secular motet, was banished from the Renaissance motet. Ceremonial motets are characterised by clear articulation of formal structure and by clear diction ...
It also prohibited female singers and restricted contralto and soprano parts to boys (thus excluding castratos for good), discouraged music with secular influences, and barred the use of piano, percussion, and all other instruments aside from the organ, unless given special permission from a bishop or comparable prelate to use wind instruments.
During the Middle Ages, secular or semi-secular sequences, such as Peter of Blois' Olim sudor Herculis [3] [4] ("The labours of Hercules") were written; the Goliards, a group of Latin poets who wrote mostly satirical verse, used the form extensively. The Carmina Burana is a collection of these sequences.
The chorale originated when Martin Luther translated sacred songs into the vernacular language (German), contrary to the established practice of church music near the end of the first quarter of the 16th century. The first hymnals according to Luther's new method were published in 1524.
A cappella music was originally used in religious music, especially church music as well as anasheed and zemirot. Gregorian chant is an example of a cappella singing, as is the majority of secular vocal music from the Renaissance .
The music of ancient Rome was a part ... children's choir at the Secular Games in 17 BC. Music was ... corpus of Latin music theory written during ...
The conductus (plural: conducti) was a sacred Latin song in the Middle Ages, one whose poetry and music were newly composed. It is non-liturgical since its Latin lyric borrows little from previous chants. The conductus was northern French equivalent of the versus, which flourished in Aquitaine.