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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 ...
Motet – Polyphonic choral composition based on a sacred text. 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.
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 ...
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.
Fair Phyllis (also Fair Phyllis I saw, Fair Phyllis I saw sitting all alone) is an English madrigal by John Farmer. The music is polyphonic and was published in 1599. The madrigal contains four voices and uses occasional imitation. It also alternates between triple and duple beat subdivisions of the beat in different parts of the work.
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.
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 ...