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madrigal

a short poem, often pastoral, and suitable to be set to music

a song for a small number of unaccompanied voices; from 13th century Italy

{n} a kind of air or song, a pastoral song

A madrigal is a song sung by several singers without any musical instruments. Madrigals were popular in England in the sixteenth century. a song for several singers without musical instruments, popular in the 16th century (madrigale, from matricalis , from matrix; MATRIX). Form of vocal chamber music, usually polyphonic and unaccompanied, of the 16th-17th centuries. It originated and developed in Italy, under the influence of the French chanson and the Italian frottola. Usually written for three to six voices, madrigals came to be sung widely as a social activity by cultivated amateurs, male and female. The texts were almost always about love; most prominent among the poets whose works were set to music are Petrarch, Torquato Tasso, and Battista Guarini. In Italy, Orlande de Lassus, Luca Marenzio, Don Carlo Gesualdo, and Claudio Monteverdi were among the greatest of the madrigalists; Thomas Morley, Thomas Weelkes, and John Wilbye created a distinguished body of English madrigals

This is a poetic and musical form of the 14th century; also, in the 16th and 17th centuries of various types and forms of secular verse

an unaccompanied partsong for 2 or 3 voices; follows a strict poetic form sing madrigals; "The group was madrigaling beautifully

secular song introduced in Italy that became popular in England as well Polyphonic in texture and expressive in mood, madrigals are written in the vernacular

(Italian): a piece of music from the Renaissance period, written for a least three voices, with overlapping melodies, usually without accompaniment

Polyphonic song for three or more voices, with verses set to the same music and a refrain set to different music

A kind of chamber vocal genre, popular in the renaissance Madrigals, usually for four, five, or six singers, a cappella, were secular pieces, usually pastoral in character

The secular counterpart of the motet An early form of music for several voices (generally unaccompanied) to a pastoral or amorous text A characteristic example is Thomas Morley's "Now is the Month of Maying "

a 16th-century secular piece for four or more voices which emphasized the meaning of words

secular choral work flourishing in the 16th and 17th centuries; later called part song

an unaccompanied partsong for 2 or 3 voices; follows a strict poetic form

A Renaissance choral piece, usually unaccompanied

Unlike the freer glee, it is best sung with several voices on a part

{i} polyphonic song sung without musical accompaniment by four to six singers (especially popular during the Renaissance); short love poem suitable for setting to music

sing madrigals; "The group was madrigaling beautifully"

Unaccompanied and usually sounding somewhat like a hymn The proper madrigal is complicated with contrapuntal elements and variation on the melody with each new verse The air(e) is less contrapuntal and has the same melody for each verse

The name given to two different kinds of musical composition, one in the fourteenth century and one in the sixteenth century, which have nothing in common but their name Extremely popular in Italy, the fourteenth century madrigal was usually written for two or three voices in two or three three-line stanzas, resembling the pastourelles of the Troubadours in both content and structure In the sixteenth and seventeenth centuries, the madrigal meant a song for several voices arranged in complicated counterpoint and performed without musical accompaniment

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