spent career in NE France/Belgium and Italy composing chanson (French) Ce jour de l’an- 3 vv. which was the norm, syllabic, la la la, polyphonic, strophic, short. Often chanson melodies would be source materials for masses of the time
Josquin Desprez (1455-1521)Term
Northern France, composed 70 secular works (underperformed in DR’s opinion). El Grillo- frottola, published by Petrucci Scaramella- frottola based on a popular tune, text contains double entendre, tenor contains CF structure Mille regretz (a thousand regrets)- chanson, contrapuntal, freely composed with imitation
French popular, secular song. Early tended to contain poetry of one of the formes fixes (ballade, rondeau, or virelai). 2-4 vv., sometimes accompanied by instruments, the “tenor” held the structure of the son and were very simple. Later, because more imitative. Also a predecessor of the madrigal.
Italian popular, secular song. Predecessor to the madrigal. 3-4vv., melody in top voice. Instrumental acc might have been used. Poetry sometimes has a rhyme scheme and a reprise. Avoids contrapuntal complexity, mostly homophonic, clear and repetitive rhythms, narrow melodic range. Also a predecessor to monody in the Baroque and the French chanson.
Claudin de Sermisy (1490-1562)
After Josquin, centered around Paris, developed the Parisian (not ALWAYS connected geographically to Paris) Chanson. Abandoned the formes fixes, featured 4 vv., simpler, more homophonic. Tons were written (10,000) Tant que vivray- homorhythmic, clear textures and cadences, poetry by Marot (most famous poet of the time)
Clement Janequin (1483-1560)
wrote Parisian chansons and descriptive (programmatic chansons) that depicted busy marketplace or bird calls; La Guerre