Medieval music genres

group or solo singing without instrumental sound

form of song

thumb|250px|The first page from the manuscript of [[J. S. Bach's Baroque era motet, entitled Der Geist hilft unser Schwachheit auf (BWV226)]]

A (, ; , ) is generally any lyric-driven French song. The term is most commonly used in English to refer either to the secular polyphonic French songs of late medieval and Renaissance music or to a specific style of French pop music which emerged in the 1950s and 1960s. The genre had origins in the monophonic songs of troubadours and trouvères, though the only polyphonic precedents were 16 works by Adam de la Halle and one by Jehan de Lescurel. Not until the ars nova composer Guillaume de Machaut did any composer write a significant number of polyphonic chansons.

form of sacred musical composition that sets the Mass

The Liber responsorialis, showing on the right-hand page the antiphons for the first Matins|night office of Christmas. The associated [[psalm tones are indicated by number and ending pitch, and the pitches for the ending of the doxology are indicated by the mnemonic Euouae.|thumb]]

right|thumb|Franz Schubert's early masterpiece [[Gretchen am Spinnrade, which he wrote at age 17 to verse by Goethe, is one of the earlier of his lieder that is widely performed today.]] In the Western classical music tradition, '''''' ( , ; , ; ) is a term for setting poetry to music. The term is used for any kind of song in German, but among English speakers, is often used interchangeably with "art song" to encompass works that the tradition has inspired in other languages as well. The poems that have been made into lieder often center on pastoral themes or themes of romantic love.

Organum () is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or bourdon) may be sung on the same text, the melody may be followed in parallel motion (parallel ), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect f

chant or hymn sung or recited during the liturgical celebration of the Eucharist

A chant (from French ', from Latin ', "to sing") is the iterative speaking or singing of words or sounds, often primarily on one or two main pitches called reciting tones. Chants may range from a simple melody involving a limited set of notes to highly complex musical structures, often including a great deal of repetition of musical subphrases, such as Great Responsories and Offertories of Gregorian chant. Chant may be considered speech, music, or a heightened or stylized form of speech. In the Late Middle Ages, some religious chant evolved into song (forming one of the roots of later Western

medieval and Renaissance poetic and musical genre

A virelai is a form of medieval French verse used often in poetry and music. It is one of the three formes fixes (the others were the ballade and the rondeau) and was one of the most common verse forms set to music in Europe from the late thirteenth to the fifteenth centuries.

Literally 'song' in Italian, a canzone (; : canzoni; cognate with English to chant) is an Italian or Provençal song or ballad. It is also used to describe a type of lyric which resembles a madrigal. Sometimes a composition which is simple and songlike is designated as a canzone, especially if it is by a non-Italian; a good example is the aria "Voi che sapete" from Mozart's Marriage of Figaro.

thumbnail|Conductus Beata viscera digital facsimile of Wolfenbüttel 1099

The ballata (plural: ballate) is an Italian poetic and musical form in use from the late 13th to the 15th century. It has the musical form AbbaA, with the first and last stanzas having the same texts. It is thus most similar to the French musical 'forme fixe' virelai (and not the ballade as the name might otherwise suggest). The first and last "A" is called a ripresa, the "b" lines are piedi (feet), while the fourth line is called a "volta". Longer ballate may be found in the form AbbaAbbaA, etc. Unlike the virelai, the two "b" lines usually have exactly the same music and only in later balla

liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church

thumb|Sheet music for Jules Delhaxhe's Aubade à la Lune An aubade is a morning love song (as opposed to a serenade, intended for performance in the evening), or a song or poem about lovers separating at dawn. It has also been defined as "a song or instrumental composition concerning, accompanying, or evoking daybreak".

type of lyrical, narrative poem

theatrical genre; vernacular drama, the main action is conducted in the spoken vernacular, with songs and instrumental music, plainchant and polyphony

The estampie (, Occitan and , ) is a medieval dance and musical form which was a popular instrumental and vocal form in the 13th and 14th centuries. The name was also applied to poetry.

song style

form of vernacular sacred song in Italy in the late medieval era and Renaissance

form of medieval and Renaissance French poetry; poetic form (forme fixe); musical chanson form

liturgical plainchant repertory of the Visigothic/Mozarabic rite of the Catholic Church,

joyful song that celebrates a seasonal Christian festive, most often Christmas but also the coming of Easter and Easter, appeared an accompaniment to medieval carole dance

three fourteenth- and fifteenth-centuries French poetic forms: the ballade, rondeau and virelai

medieval school of composition

liturgical plainchant repertory of the Roman Catholic Church

A planctus ("plaint") is a lament or dirge, a song or poem expressing grief or mourning. It became a popular literary form in the Middle Ages, when they were written in Latin and in the vernacular (e.g., the planh of the troubadours). The most common planctus is to mourn the death of a famous person, but a number of other varieties have been identified by Peter Dronke. The earliest known example, the Planctus de obitu Karoli, was composed around 814, on the death of Charlemagne.

medieval society (usually guild or confraternity) to patronize music and poetry

Italian musical form of the fourteenth and early fifteenth centuries

liturgical vocal music of the Roman rite of the Early Christian Church

Welsh musical tradition of vocal improvisation over a given melody

song