Modifications of the Canzonet and the Ode in the Books of Frottolas in the first Third of the 16th Century
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Abstract
One of the most essential aspects of the history of the frottola is the evolution of compositional types from fixed
forms to madrigal forms, which generated the genre-related and compositional modifications and compounding. The
range of irregular compositional and stylistic solutions extends from song forms to compositions which are factually
already madrigals. Especially indicative is the reevaluation of the canzonet and the ode, the overall qualities of which
make it possible not only to provide interpretations to their modifications, but also to presume their close connections
with more complexly organized forms. A sequential interpretation of the crossings of the features of the ode and the
canzonet is at times conducive to their identification. Instances when the canzonet becomes overly complex are rare;
they testify to the scope of the processes of the de-standardization of the form of this elementary type of musical genre.
The boundaries of the genre of the ode are not established on the foundation of the insistence of the chain inter-strophic
rhyme, which may be absent upon the maintenance of the length of the iambic lines and their correlation. The Italian
ode, being a composition that is rhythmically unstable, possesses an enormous potential for extrication from the chains
of fixed form, in comparison to the canzonet, albeit endeavors of such kind have been very few. The broad range of
compositional solutions in the songs with quatrain stanzas, which join together in different combinations the features
of the ode, canzonet, frottola and barzeletta, testifies to the close relation of these genres with each other and to the
“madrigalization” of the quatrain.
Keywords: frotolla, canzonetta, ode, quatrain, Ottaviano Petrucci, Renaissance, Italian music.
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