Crossword clues for madrigal
madrigal
Longman Dictionary of Contemporary English
The Collaborative International Dictionary
Madrigal \Mad"ri*gal\ (m[a^]d"r[i^]*gal), n. [It. madrigale, OIt. madriale, mandriale (cf. LL. matriale); of uncertain origin, possibly fr. It mandra flock, L. mandra stall, herd of cattle, Gr. ma`ndra fold, stable; hence, madrigal, originally, a pastoral song.]
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A little amorous poem, sometimes called a pastoral poem, containing some tender and delicate, though simple, thought.
Whose artful strains have oft delayed The huddling brook to hear his madrigal.
--Milton. (Mus.) An unaccompanied polyphonic song, in four, five, or more parts, set to secular words, but full of counterpoint and imitation, and adhering to the old church modes. Unlike the freer glee, it is best sung with several voices on a part. See Glee.
Douglas Harper's Etymology Dictionary
"short love poem," also "part-song for three or more voices," 1580s, from Italian madrigale, probably from Venetian dialect madregal "simple, ingenuous," from Late Latin matricalis "invented, original," literally "of or from the womb," from matrix (genitive matricis) "womb" (see matrix).
Wiktionary
n. 1 (context music English) a song for a small number of unaccompanied voices; from 13th century Italy 2 (context music English) a polyphonic song for about six voices, from 16th century Italy 3 a short poem, often pastoral, and suitable to be set to music
WordNet
n. an unaccompanied partsong for 2 or 3 voices; follows a strict poetic form
v. sing madrigals; "The group was madrigaling beautifully"
Wikipedia
Madrigal is a European musical form of the sixteenth and seventeenth centuries.
Madrigal may also refer to:
A madrigal is a secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six. It is quite distinct from the Italian Trecento madrigal of the late 13th and 14th centuries, with which it shares only the name.
Madrigals originated in Italy during the 1520s. Unlike many strophic forms of the time, most madrigals were through-composed. In the madrigal, the composer attempted to express the emotion contained in each line, and sometimes individual words, of a celebrated poem.
The madrigal originated in part from the frottola, in part from the resurgence in interest in vernacular Italian poetry, and also from the influence of the French chanson and polyphonic style of the motet as written by the Franco-Flemish composers who had naturalized in Italy during the period. A frottola generally would consist of music set to stanzas of text, while madrigals were through-composed. However, some of the same poems were used for both frottola and madrigals. The poetry of Petrarch in particular shows up in a wide variety of genres.
In Italy, the madrigal was the most important secular form of music of its time. The madrigal reached its formal and historical zenith by the second half of the 16th century. English and German composers, too, took up the madrigal in its heyday. After the 1630s, the madrigal began to merge with the cantata and the dialogue. With the rise of opera in the early 17th century, the aria gradually displaced the madrigal.
"Madrigal" is the second episode of the fifth season of the American television drama series Breaking Bad, and the 48th overall episode of the series. Written by series creator Vince Gilligan and directed by Michelle MacLaren, it originally aired on AMC in the United States on July 22, 2012.
The Trecento Madrigal is an Italian musical form of the 14th century. It is quite distinct from the madrigal of the Renaissance and early Baroque, with which it shares only the name. The madrigal of the Trecento flourished ca. 1300–1370 with a short revival near 1400. It was a composition for two (or rarely three) voices, sometimes on a pastoral subject. In its earliest development it was simple construction: Francesco da Barberino in 1300 called it a "raw and chaotic singalong".
The text of the madrigal is divided into three sections: two strophes called terzetti set to the same music and a concluding section called the ritornello usually in a different meter.
The Ensemble Madrigal (Moscow) is an early music group. It was formed in 1965 by the Russian composer and harpsichord player Andrey Volkonsky to perform Russian and Western sacred music of the Middle Ages, Renaissance, and Baroque eras.
Its members were featured soloists of the Moscow State Philharmonic Society. In the intervening years, the 12-member group has expanded its repertoire to include a broad range of sacred and secular vocal and instrumental works of the 16th-18th centuries from across Europe. After the emigration of Andrey Volkonsky to the West, the ensemble was directed by the organist Oleg Yanchenko, and since 1993 by the singer Lydia Davydova.
As the name suggests, the ensemble specializes in madrigals and other secular genres of Renaissance and Baroque. The group has recorded more than 30 vinyl disks and has given more than 4000 performances in Russia, Germany, Italy, Belgium, Hungary, Poland, and elsewhere. The Ensemble Madrigal enjoys a permanent relationship with the Tchaikovsky Concert Hall in Moscow.
Madrigal is the name of a form of poetry, the exact nature of which has never been decided in English.
The definition given in the New English Dictionary, "a short lyrical poem of amatory character," offers no distinctive formula; some madrigals are long, and many have nothing whatever to do with love. The most important English collection of madrigals, not set to music, was published by William Drummond of Hawthornden (1585–1649) in his Poems of 1616. Perhaps the best way of ascertaining what was looked upon in the 17th century as a madrigal is to quote one of Drummond's:
The beauty and the life Of life's and beauty's fairest paragon, O tears! O grief! hung at a feeble thread, To which pale Atropos had set her knife; The soul with many a groan Had left each outward part, And now did take his last leave of the heart; Nought else did want, save death, even to be dead; When the afflicted band about her bed, Seeing so fair him come in lips, cheeks, eyes, Cried ah! and can death enter Paradise?
This may be taken as a type of Drummond's madrigals, of which he has left us about eighty. They are serious, brief, irregular lyrics, in which neither the amatory nor the complimentary tone is by any means obligatory. Some of these pieces contain as few as six lines, one as many as fourteen, but they average from nine to eleven. In the majority of examples the little poem opens with a line of six syllables, and no line extends beyond ten syllables. The madrigal appears to be a short canzone of the Tuscan type, but less rigidly constructed. In French the madrigal has not this Italian character. It is simply a short piece of verse, ingenious in its turn and of a gallant tendency. The idea of compliment is essential. J. F. Guichard (1730–1811) writes: "Orgon, poke marital, A Venus compare sa femme; C'est pour la belle un madrigal, C'est pour Venus une epigramme."
This quatrain emphasizes the fact that in French a madrigal is a trifling piece of erotic compliment, neatly turned but not seriously meant. The credit of inventing the old French verse form of madrigal belongs to Clément Marot, and one of his may be quoted in contrast to that of Drummond:
Un doux nenni avec un doux sourire Est tant honneste, it le vous faut apprendre; Quant est de oui, si veniez a le dire, D'avoir trop dit je voudrois vous reprendre; Non que je sois ennuye d'entreprendre D'avoir le fruit dont le desir me point; Mais je voudrois qu'en ne le laissant prendre, Vous me disiez: vous ne l'aurez point.
In English, when the word first occurred — it has not been traced farther back than 1588 (in the preface to Nicholas Yonge's Musica transalpina) — it was identified with the chief form of secular vocal music in the 16th century. In 1741, John Immyns (1700–1764) founded the Madrigal Society, which met in an ale-house in Bride Lane, Fleet Street; this association still exists, and is the oldest musical society in Europe.
The word "madrigal" is frequently also used to designate a sentimental or trifling expression in a half-contemptuous sense.
is the eighth studio album by Chara, which was released on July 18, 2001. It debuted at #8 on the Japanese Oricon album charts, and charted in the top 300 for 8 weeks.
The first and most successful single from Madrigal was . While Chara wrote the song entirely herself, the arrangement was split between six people: Chara, rock musician Yasuyuki Okamura, Shinichi Igarashi (who formerly collaborated on Duca with Chara, two members of the band Great3 ( Kiyoshi Takakuwa, Ken'ichi Shirane) and the guitarist for Kiyoshi Takakuwa's solo project, Curly Giraffe, Yukio Nagoshi. It reached #32, and sold over 25,000 copies.
Skirt was released a few weeks before the album's release, and was used in a Pocari Sweat commercial. It was a collaboration between Chara and former Smashing Pumpkins guitarist James Iha. Iha also worked with Chara on an album track, Boku ni Utsushite, which was later released as a recut single in October.
The album track was used as the second ending theme for PaRappa the Rapper.
Artist Ed Tsuwaki created the cover and booklet for Madrigal, along with the singles Skirt and Boku ni Utsushite.
Usage examples of "madrigal".
He was the author also of some motets, and Luca Marenzio, who brought the madrigal style to its most beautiful development and whose influence molded the methods of the English glee and madrigal writers, is believed to have been his pupil for a short time.
In these works the choruses were set to music in the madrigal style and they were frequently of great beauty.
It was from such works that he advanced to the composition of the madrigal of which he was so famous a composer and which he raised to the dignity of an art work.
A frottola thus ennobled would become a madrigal, while a madrigal, all too scantily treated, would sink to a frottola.
At the time of the full development of the madrigal the serious and humorous elements which dwelt together in the frottola separated completely.
That her first experiments were made in the popular madrigal form was to be expected.
In the course of that century the irresistible drift of Italian art feeling, retarded as it was by the supreme vogue of musicians trained in the northern schools, moved steadily toward its destination, the solo melody, yet the end was not reached till the madrigal had worked itself to its logical conclusion, to wit, a demonstration of its own inherent weakness.
They made their march of a century on the very verge of the promised land, but they had to lose themselves in the bewitching wilderness of the madrigal drama before they found their Moses.
Doric architecture of the frottola had to be developed into the Italian Renaissance style of the madrigal by the ripening of the craft of composers in adapting the music of ecclesiastical polyphony to the communication of worldly thought.
Their endeavors to escape the contrapuntal music of the madrigal drama were the labors of men consciously confronting conditions which had been surely, if not boldly, moving toward their own rectification.
It rested first on the basis of the frottola, but when the elegant and gracious madrigal provided an art form better suited to the opulence of the decorative features of the embryonic lyric drama, the madrigal became the dominating element in the music.
Certain it is that, despite the earlier publications of Petrucci, the madrigal became dominant in Italy after the advent of Willaert.
We are therefore to understand that in the plays about to be mentioned the madrigal style prevailed in the music.
In this spectacle was heard the solo madrigal for Sileno already mentioned.
At the same time the evidence is conclusive that the madrigal was acquiring general popularity as a form of dramatic music, and the madrigal drama reached the zenith of its glory at the very moment when its fate was preparing in the experiments of Galilei and others in the new monodic style destined to become the basis of modern Italian opera.