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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.
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.
1.1 Book I (Madrigali libro primo), op. 1, five voices. (Ferrara, 1594) ... Print/export Download as PDF; ... Scores at the International Music Score Library Project
A madrigal is a form of secular vocal music most typical of the Renaissance (15th–16th centuries) and early Baroque (1600–1750) [citation needed] periods, although revisited by some later European composers. [1] The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but the form usually features three ...
The Unicorn, the Gorgon and the Manticore or The Three Sundays of a Poet is a "madrigal fable" for chorus, ten dancers and nine instruments with music and original libretto by Gian Carlo Menotti. Based on the 16th-century Italian madrigal comedy genre, it consists of a prologue and 12 madrigals which tell a continuous story, interspersed with ...
Bennet was born into a prosperous family and received his first exposure to music as a choirboy and advanced in music by his early twenties, he produced the Volume of 17: Madrigals for Four Voices. At around that same time, Bennet fashioned four psalm settings and a prayer for the 1599 Barley 's psalter.
A madrigale spirituale (Italian; pl. madrigali spirituali) is a madrigal, or madrigal-like piece of music, with a sacred rather than a secular text.Most examples of the form date from the late Renaissance and early Baroque eras, and principally come from Italy and Germany.
Most likely the poetic forms are descended from the fourteenth-century ballata, though the music shows a startling simplification from late fourteenth-century practice. Musically, the frottola avoids contrapuntal complexity, preferring homophonic textures, clear and repetitive rhythms, and a narrow melodic range.