Renaissance music

musical period between the 15th and 17th centuries

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

thumb|right|A gavotte in Brittany, France, 1878 The gavotte (also gavot, gavote, or gavotta) is a French dance, taking its name from a folk dance of the Gavot, the people of the Pays de Gap region of Dauphiné in the southeast of France, where the dance originated, according to one source. According to another reference, the word gavotte is a generic term for a variety of French folk dances, and most likely originated in Lower Brittany in the west, or possibly Provence in the southeast or the French Basque Country in the southwest of France. It is notated in or time and is usually of moderate t

16th- and 17th-century period of cultural and literary flourishing coinciding with the rise of the Spanish Empire

thumb|Allemande, from a dancing manual of

thumb|right|Caccini, Le nuove musiche, 1601, title page

thumb|upright=1.35|A Pavane, Edwin Austin Abbey, 1897

thumb|upright=1.35|A courante rhythm

penitential psalm, numbered 51st in the Masoretic Text but 50th in the Septuagint and the Vulgate

right|thumb|Galliard in Siena, Italy, 15th century

Group of humanists

Franco-Flemish style of vocal music

medieval and Renaissance poetic and musical genre

thumb|250px|Passepied from opera-Entr'acte|interlude [[The Shagreen Bone]]

pre-existing melody forming the basis of a polyphonic composition

250px|right The frottola (; plural frottole) was the predominant type of Italian popular secular song of the late fifteenth and early sixteenth century. It was the most important and widespread predecessor to the madrigal. 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.

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.

group of composers working in Venice during the Renaissance

Fauxbourdon (also fauxbordon, and also commonly two words: faux bourdon or faulx bourdon, and in Italian falso bordone) – French for false drone – is a technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School. Guillaume Du Fay was a prominent practitioner of the form (as was John Dunstaple), and may have been its inventor. The homophony and mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood clearly.

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.

group of music composers

The villancico (Spanish, ) or vilancete (Portuguese, ) was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Manuel de Zumaya, Juana Inés de la Cruz, Gaspar Fernandes, and Juan Gutiérrez de Padilla.

late 14th C. musical style in France and Spain

thumb|250px|''Branle d'Ossau'' by Alfred Dartiguenave, 1855–1856

In music, a villanella (; plural villanelle) is a form of light Neapolitan secular vocal music which originated in the Kingdom of Naples just before the middle of the 16th century. It first appeared in Naples, and influenced the later canzonetta, and from there also influenced the madrigal.

musical notation system used for European vocal polyphonic music

In music, a canzonetta (; pl. canzonette, canzonetti or canzonettas) is a popular Italian secular vocal composition that originated around 1560. Earlier versions were somewhat like a madrigal but lighter in style—but by the 18th century, especially as it moved outside of Italy, the term came to mean a song for voice and accompaniment, usually in a light secular style.

thumb|Left to right: replica alto, tenor and bass sackbuts, in Museu de la Música de Barcelona. thumb|Four sackbuts: two tenors, left & middle; alto, top; bass, right. A sackbut is an early form of the trombone used during the Renaissance and Baroque eras. A sackbut has the characteristic telescopic slide of a trombone, used to vary the length of the tube to change pitch, but is distinct from later trombones by its smaller, more cylindrically-proportioned bore, and its less-flared bell. Unlike the earlier slide trumpet from which it evolved, the sackbut possesses a U-shaped slide with two pa

principal court dance during the late Middle Ages and Renaissance

musical setting of the mass

musical movement

Italian/French composer and musician

renaissance European music theory term to describe pitches

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

Sinfonia (; plural sinfonie) is the Italian word for symphony, from the Latin symphonia, in turn derived from Ancient Greek συμφωνία symphōnia (agreement or concord of sound), from the prefix σύν (together) and Φωνή (sound). In English it most commonly refers to a 17th- or 18th-century orchestral piece used as an introduction, interlude, or postlude to an opera, oratorio, cantata, or suite. The word is also found in other Romance languages such as Spanish or Portuguese. In the Middle Ages down to as late as 1588, it was also the Italian name for the hurdy-gurdy.

early Baroque music style where the melody is shared between different groups

musical instrument

choir

thumb|right|300px|Racketts, from Michael Praetorius' [[Syntagma Musicum Theatrum Instrumentorum seu Sciagraphia (1619)]]

The tourdion (or tordion) (from the French verb "tordre" / to twist) is a lively dance, similar in nature to the galliard, and popular from the mid-15th to the late-16th centuries, first in the Burgundian court and then all over the French kingdom. The dance was accompanied frequently by the basse danse, due to their contrasting tempi, and were danced alongside the pavane and galliard, and the allemande and courante, also in pairs.

thumb|Setting designed by Bernardo Buontalenti for the third intermedio from the 1589 Medici wedding: Apollo defeats the monster terrorizing [[Delos.]] thumb|Another of the 1589 intermedi: number 4: the demons lament that with the coming of the Golden Age there will be no more souls to torment.

musical term from 16th centrury with several meanings: style of a cappella with chromatic progressions, or with ornamentation; music using word-painting; music designed to be performed by small groups of connoisseurs

Tiento (, ) is a musical genre originating in Spain in the mid-15th century. It is formally analogous to the fantasia (fantasy), found in England, Germany, and the Low Countries, and also the ricercare, first found in Italy. By the end of the 16th century the tiento was exclusively a keyboard form, especially of organ music. It continued to be the predominant form in the Spanish organ tradition through the time of Cabanilles, and developed many variants. Additionally, many 20th-century composers have written works entitled "tiento".

manner of musical composition

anthology of secular songs in polyphonic versions, printed in Venice

secular vocal music in France in the late Renaissance and early Baroque period

graphic symbol in musical notation

kind of town wind band

period of Italian music in the 1300s

thumb|200px|A sopranino rauschpfeife being played

In medieval and early Renaissance English polyphonic music, gymel (also gimel or gemell) is the technique of temporarily dividing up one voice part, usually an upper one, into two parts of equal range, but singing different music. Often the two voices sing a passage of intricate polyphony, beginning and finally converging on a unison, and often, but not always, the other voices drop out for a time.

thumb|Bicinium super Omnis arbor

form of programme music imitating a battle

class of musical instruments made with stick poking through a membrane stretched over a pot

musical piece

musical movement in the late 1500s and early 1600s