| Term | Definition |
|---|
| renaissance secular work originating in italy for voices, with or without instruments, set to a short, lyric love poem, also popular in england | madrigal |
| in the second quarter of 16th century. the composers chief concern was to give pleasure to performers without much thought to virtuosic display | first stage of development of italian madrigal |
| from 1550-1580, madrigal became an art form in which words and music were clearly linked | second stage of madrigal |
| from 1580-1620, stage extended into the baroque period, became direct xpression of the composers personality and feelings. certain traits were carried to an extreme: rich chromatic harmony, dramatic declamation, vocal virtuosity, vivid depiction of emotional words in music | 3rd stage of madrigal |
| use of chromatic intervals and chromatic chords, a style of composing using chromatic harmony, the composer Gesualdo, in the 16th century, used advanced chromaticism | chromaticism |
| musical pictorialization of words from the text as an expressive device, a prominent feature of the renaissance madrigal | word painting |
| the brilliance of the elizabethan age is reflected in the school of madrigalists who flourished in the late 16th century. among the most important were Thomas Morley, John Wilbye, Thomas Weelkes, and John Farmer | english madrigal |
| English cultivated the new humorous madrigal types that contained syllables such as "fa la la" | Nonsense syllables |
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