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Canzonas (Instrumental music)

  • Instrumental music of the 16th to 17th centuries that was modeled on the style and structure of the chanson.

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  • Form

    • Canzonas (Instrumental music)
  • Variants

    • Canzones (Instrumental music)
    • Canzonettas (Instrumental music)
    • Canzoni (Instrumental music)
  • Broader Terms

  • Closely Matching Concepts from Other Schemes

  • Sources

    • found: Work cat.: Gabrieli, A. Madrigali e canzoni, 1999(includes two canzonas with title: Canzona à 4; the canzonas are for instrumental ensemble (cornett, trombones, harp, chitarrone))
    • found: Grove music online, via Oxford music online, Jan. 18, 2018(Canzona: A type of instrumental music of the 16th and 17th centuries that developed from the Netherlandish chanson; The spelling 'canzona' was fairly frequently used in Italy after 1600 and has become standard in England and not infrequent in Germany; in older Italian sources, however, 'canzone' and 'canzon' (with the plural 'canzoni') are practically universal, and 'canzone' has subsequently remained the standard Italian form. The word 'canzone' or 'canzona' in its instrumental connotation originally denoted an arrangement of a polyphonic song, usually a French chanson, since although arrangements of Italian works were quite common these were usually called 'frottola' or 'madrigale'. Although it was used at least until the end of the 16th century to mean a straightforward arrangement, there are quite early instances of new compositions based on existing chanson material, and the term eventually came to be applied to original compositions using idioms familiar through arrangements and reworkings. Since chansons of the type favoured for these purposes (i.e. the Parisian chanson as represented in the books of Attaingnant starting in 1528) frequently began with fugal imitation, the canzona came to be considered a fugal genre. A good many 16th-century keyboard canzonas are nothing more than elaborated transcriptions of chansons, for example those of Andrea Gabrieli and Sperindio Bertoldo. Often the ornamentation is very profuse, perhaps slowing down the natural speed of the plain original)
    • found: Oxford history of Western music, via Oxford music online, Jan. 18, 2018(Andrea Gabrieli issued a whole book of Canzoni alla francese per sonar sopra stromenti da tasti ("French-type songs for playing on keyboard instruments") in 1571: it contains arrangements of chansons by Janequin, Lasso, and others. By the end of the century, however, the "canzona" (for some reason turned into a feminine noun; the normal Italian word for "song" is canzone) had become an independent instrumental genre more or less modeled on the style and structure of the chanson, even taking over its typical "pseudodactylic" opening rhythm as a trademark)
    • found: Encyclopædia Britannica online, Jan. 18, 2018(Canzona, Italian canzone ("song" or "chanson"), plural canzoni, a genre of Italian instrumental music in the 16th and 17th centuries. In 18th- and 19th-century music, the term canzona refers to a lyrical song or songlike instrumental piece. In the 14th century the Italian scholar, poet, and humanist Petrarch frequently used the canzona poetic form, and in the 16th century canzoni were often used as texts by madrigal composers. In the late 16th century, the term canzona or its diminutive, canzonetta, referred to polyphonic songs whose music and text were in a lighter vein than the madrigal. These include the canzoni villanesche ("rustic songs") popular in mid-century. The instrumental canzona derived its form from the French polyphonic chanson known in Italy as canzon(a) francese; many early canzonas were instrumental arrangements of chansons, alternating between polyphonic and homophonic (based on chords) sections; In the late 16th century two varieties emerged: for keyboard and for instrumental ensemble. The keyboard canzona was more intensely polyphonic and, in its frequent treatment of a single theme, prepared the way for the fugue; in early 17th-century Germany "canzona" was in fact often synonymous with "fugue." Notable composers of keyboard canzonas include the Italians Girolamo Cavazzoni, Andrea Gabrieli, Claudio Merulo, and, especially, Girolamo Frescobaldi and the German Johann Jakob Froberger. Unlike the keyboard canzonas, which emphasized unity of musical texture, the ensemble canzonas of Giovanni Gabrieli and Frescobaldi, with their contrasting tempos, metres, and rhythms, led the way to the trio sonata, the dominant chamber genre of the Baroque era. Toward the middle of the 17th century, the multisectional canzona was systematically transformed into a four-movement instrumental composition, as a rule for two treble and two bass instruments, known as the sonata da chiesa, or church form of the trio sonata, although the term canzona was still occasionally used for a movement in fugal style)
    • found: Collins English dictionary online, Jan. 18, 2018(canzona: a type of 16th- or 17th-century contrapuntal music, usually for keyboard, lute, or instrumental ensemble)
    • found: Wiktionary, Jan. 18, 2018(canzona (plural canzonas): (music) A type of instrumental composition based on multipart vocal settings of canzoni, produced chiefly in the 16th and 17th centuries; canzone (plural canzones or canzoni): 1. An Italian or Provençal song or ballad. 2. A canzona (mediaeval Italian instrumental composition))
  • General Notes

    • Instrumental music of the 16th to 17th centuries that was modeled on the style and structure of the chanson.
  • Change Notes

    • 2018-01-18: new
    • 2018-06-15: revised
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