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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 ...
During his long and productive career, Arcadelt wrote music both sacred and secular, all of it vocal. He left a total of 24 motets, 125 French chansons, approximately 250 madrigals (about fifty of which are of uncertain attribution), three masses, as well as settings of the Lamentations of Jeremiah and the Magnificat.
A collection of polyphonic hymns and Magnificats by Costanzo Festa; this is the earliest surviving such collection by a single composer in the Vatican archive. Costanzo Festa (c. 1485/1490 – 10 April 1545) was an Italian composer of the Renaissance. While he is best known for his madrigals, he also wrote sacred vocal music.
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.
An outright ban on polyphonic music was debated behind the scenes, and guidelines were issued requiring that church music have clear words and a pure, uplifting style. Although the tales of Giovanni Pierluigi da Palestrina "rescuing" polyphony with the Missa Papae Marcelli are no longer accepted by scholars, Palestrina's music remains the ...
Striggio wrote both sacred and secular music, and all his surviving music is vocal, although sometimes with instrumental accompaniment. He published seven books of madrigals, in addition to two versions of his most famous composition, the madrigal comedy Il cicalamento delle donne al bucato et la caccia...
When Nicholas Yonge published Musica transalpina in 1588, it proved to be immensely popular, and the vogue for madrigal composition in England can be said to truly have started then. Musica transalpina was a collection of Italian madrigals, mostly by Ferrabosco and Marenzio, fitted with English words. They were well-loved, and several similar ...
In 1588 Nicholas Yonge published his Musica transalpina, the collection of Italian madrigals fitted with English texts, which touched off the explosive and colourful vogue for madrigal composition in England. Morley found his compositional direction at this time, and shortly afterwards began publishing his own collections of madrigals (11 in all).