The frottola was the predominant type of Italian popular, secular song of the late fifteenth and early sixteenth century. Italy (Italia officially the Italian Republic, (Repubblica Italiana is located on the Italian Peninsula in Southern Europe, and on the two largest It was the most important and widespread predecessor to the madrigal. A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras 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.
While "frottola" is a generic term, several subcategories can be recognized, as would be expected of a musical form which was used for approximately a hundred years, maintaining immense popularity for more than half of that time. Most typically, a frottola is a composition for three or four voices (more towards the end of the period), with the uppermost voice containing the melody: instrumental accompaniments may have been used. The poem usually has a rhyme scheme of abba for a ripresa (reprise), and a stanza of cdcdda or cdcddeea, though there is much variation between subtypes of frottola. In Poetry, a stanza is a unit within a larger Poem. In modern poetry the term is often equivalent with Strophe; in popular vocal music a stanza is Most likely the poetic forms are descended from the fourteenth-century ballata, though the music shows a startling simplification from late fourteenth-century practice. The ballata (plural ballate) is an Italian poetic and Musical form, which was in use from the late 13th to the 15th century
Musically, the frottola avoids contrapuntal complexity, preferring homophonic textures, clear and repetitive rhythms, and a narrow melodic range. In Music, counterpoint is the relationship between two or more voices that are independent in contour and Rhythm, and interdependent in Harmony In Music, homophony (hoʊˈmɒfəni from Greek "homófonos" where ομοιο = the same and φωνή = a sound tone is a texture in which two or more It was an important predecessor not only to the madrigal, but to much later practices in the Baroque era such as monody, since it anticipates chordal accompaniment, has the melody in the highest voice, and shows an early feeling for what later developed into functional harmony. Baroque art redirects here Please disambiguate such links to Baroque painting, Baroque sculpture, etc In Poetry, the term monody has become specialized to refer to a poem in which one person laments another's death Tonality is a system of Music in which specific hierarchical pitch relationships are based on a key "center" or tonic.
Very little is known about performance practice. Contemporary editions are sometimes for multiple voices, with or without lute tablature; occasionally keyboard scores survive. Frottole may have been performed as solo voice with lute accompaniment—certainly Marchetto Cara may have performed them this way at the Gonzaga court, as is implied by his renown as lutenist, singer, and composer of frottole—and they also may have been performed by other combinations of singers and instruments as well. Lute can refer generally to any plucked string instrument with a neck (either Fretted or unfretted and a deep round back or more specifically to an instrument from Marchetto Cara (c 1470 &ndash probably 1525 was an Italian composer lutenist and singer of the Renaissance. The Gonzaga family ruled Mantua in Northern Italy from 1328 to 1708.
The most famous composers of frottola were Bartolomeo Tromboncino and Marchetto Cara, although some of the popular secular compositions of Josquin (for example Scaramella and El Grillo) are stylistically frottole, though not in name. Bartolomeo Tromboncino (c 1470 &ndash 1535 or later was an Italian composer of the middle Renaissance. Josquin des Prez (c 1450 to 1455 &ndash August 27 1521 often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance.
The frottola was a significant influence not only on the madrigal, but on the French chanson, which also tended to be a light, danceable, and popular form. Many French composers of the period went to Italy, either to work in aristocratic courts or at the papal chapel in Rome. While in Italy they encountered the frottola, and incorporated some of what they heard in their native secular compositions.
Composers
Composers of frottole include:
- Bartolomeo Tromboncino
- Marchetto Cara
- Filippo de Lurano
- Michele Pesenti
- Michele Vicentino
- Giovanni Brocco
- Antonio Caprioli
- Francesco d'Ana
- Lodovico Fogliano
- Giacomo Fogliano
- Erasmus Lapicida
Except for Tromboncino and Cara, who were extremely famous, very little is known about most of these composers; in many cases only their names survive, and those because Petrucci, the prominent Venetian publisher, included their names in collections containing their music. Bartolomeo Tromboncino (c 1470 &ndash 1535 or later was an Italian composer of the middle Renaissance. Marchetto Cara (c 1470 &ndash probably 1525 was an Italian composer lutenist and singer of the Renaissance. Filippo de Lurano (also Luprano, or Lorano) (c 1475 &ndash sometime after 1520 was an Italian composer of the Renaissance. Ottaviano Petrucci ( June 18, 1466 – May 7 1539) was an Italian printer Venice ( Italian: Venezia, Venetian: Venesia or Venexia) is a city in Northern Italy, the capital of the
References
- Gustave Reese, Music in the Renaissance. Gustave Reese ( November 29 1899, New York City – – September 7 1977, Berkeley California) was an American New York, W. W. Norton & Co. , 1954. (ISBN 0-393-09530-4)
- The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd. , 1980. (ISBN 1-56159-174-2)
- The New Harvard Dictionary of Music, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986. ISBN 0-674-61525-5
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