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The relationship between the forms is clearest in composers of sacred music, such as Giovanni Pierluigi da Palestrina, whose "motets" setting texts from the Canticum Canticorum are among the most lush and madrigal-like, while his madrigals using Petrarch's poems could be performed in a church.
Artistically, the madrigal was the most important form of secular music in Renaissance Italy, 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 John Wilbye (1574–1638), Thomas Weelkes (1576–1623), and Thomas Morley (1557–1602) of the English ...
Later 15th- and early 16th-century figures in the genre included Johannes Ockeghem and Josquin des Prez, whose works cease to be constrained by formes fixes and begin to feature a pervading imitation (all voices sharing material and moving at similar speeds), similar to that found in contemporary motets and liturgical music.
The motet-chanson was a specialized musical form of the Renaissance, developed in Milan during the 1470s and 1480s, which combined aspects of the contemporary motet and chanson. Many consisted of three voice parts, with the lowest voice, a tenor or a contra , singing a sacred text in Latin, drawn from chant , while the two upper voices sang a ...
The piece rose to extreme popularity in the 16th century, even appearing at the head of the first volume of motets ever printed. Its revolutionary open style featuring early imitative counterpoint and two-voice parts has added to its acclaim as one of the most influential compositions of its time.
The peak of activity in composition of frottole was the period from 1470 to 1530, after which time the form was replaced by the madrigal. While "frottola" is a generic term, several subcategories can be recognized, as would be expected of a musical form which was used for approximately a hundred years, maintaining immense popularity for more ...
The difference in pitch between two notes is called an interval. ... He lists madrigal, motet, ... Greek text edited with an English translation and notes by Henry ...
The madrigal, up until its development in the early Baroque into an instrumentally accompanied form, is also usually in a cappella form. The Psalms note that some early songs were accompanied by string instruments, though Jewish and Early Christian music was largely a cappella; [ 6 ] the use of instruments has subsequently increased within both ...