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Early chansons tended to be in one of the formes fixes—ballade, rondeau or virelai (formerly the chanson baladée)—though some composers later set popular poetry in a variety of forms. The earliest chansons were for two, three or four voices, with first three becoming the norm, expanding to four voices by the 16th century.
He composed 86 highly successful secular works and 119 sacred pieces. Secular music also was aided by the formation of literature during the reign of Charlemagne that included a collection of secular and semi-secular songs. Guillaume de Machaut was another example of a leading composer who continued the trouvere tradition. [4]
Le Jeune was the most famous composer of secular music in France in the late 16th century, and his preferred form was the chanson. After 1570, most of the chansons he wrote incorporated the ideas of musique mesurée, the musical analogue to the poetic movement known as vers mesurée, in which the music reflected the exact stress accents of the French language.
Motet-chanson – Hybrid form combining elements of the motet and the chanson. Opera – Dramatic work in one or more acts, set to music for singers and instrumentalists. Ricercar – Instrumental composition featuring imitative counterpoint. Sequence – Chant or hymn sung or recited during the liturgical celebration, typically following the ...
Dame, de qui toute ma joie (B42 or RF5), before 1342, from Le Remède de Fortune. The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres.
Bertrand published three large books of chansons between 1576 and 1578, and, two years later, two books of sacred music (a third was published posthumously, in 1582). A total of 83 chansons and one Italian madrigal have survived of his secular music, and one chanson spirituelle, in French, 10 hymns in Latin, 14 canticles, and three Latin motets, of his sacred music (Dobbins 2005).
Secular music absorbed techniques from sacred music, and vice versa. Popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists. Music also became more self-sufficient with its availability in printed form, existing for its own sake.
Three years later, in 1501, he brought out his first anthology, 96 secular songs, mostly polyphonic French chansons, for three or four voice parts, calling it the Harmonice musices odhecaton. For this work he printed two parts on the right-hand side of a page, and two parts on the left, so that four singers or instrumentalists could read from ...