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	Frottola - Wikipedia, the free encyclopedia
		The peak of activity in composition of frottolas was the period from 1470 to 1530, at which time the form was replaced by the madrigal.
		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.
		Frottolas 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 frottolas--and they also may have been performed by other combinations of singers and instruments as well.
	en.wikipedia.org /wiki/Frottola (415 words)

	Frottola (Site not responding. Last check: 2007-10-22)
		A secular song that was popular in Italy in the late 15th and early 16th centuries and direct predecessor of the madrigal.
		The most typical frottola is a composition for three or four voices with the highest voice containing the melody.
		Although there is a wide range of variations of the frottola, a typical rhyme scheme was abba for the refrain and cdcdda or cdcddeea for the stanza.
	www.music.vt.edu /musicdictionary/textf/Frottola.html (137 words)

	Laudi e Lamentazioni
		He, together with his colleague Marchetto Cara, were responsible for a large number of the frottolas composed between the 15th and the 16th centuries, under the auspices of Isabella d'Este of Mantua, in whose service both musicians served for an extensive length of time.
		The interest on the part of musicologists in the frottola and the importance of Tromboncino's work in this genre has resulted in a focus of study on his secular compositions, considered principally in the context of stylistic evolution.
		The principal manner of performance of the frottola was with a solo voice accompanied by a lute, but this does not exclude the possibility of an entirely vocal performance nor of one with voices and chamber instruments (recorders, lutes, transverse flutes and even organ).
	www.angelfire.com /la/lesnations/englib.html (1044 words)

	Music History Resources
		Frottola flourished in the late 15th and early 16th c.
		Frottola is a historically important forerunner of the Italian madrigal C.
		Villancico as a Spanish analogue of the Italian frottola: 1.
	www.geocities.com /papandrew/outlines/grout07.html (3185 words)

	Frottola (Site not responding. Last check: 2007-10-22)
		The frottola is the predominant type of Italian popular, secular songof the fifteenth and early sixteenth century.
		While "frottola" is a generic term, several subcategories can be recognized, as would be expected of a musical form which wasused for approximately a hundred years, maintaining immense popularity for more than half of that time.
		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) arearguably frottolas.
	www.therfcc.org /frottola-89361.html (210 words)

	Non e' tempo d'Aspettare
		However, more than that, the frottola was motivated sonically largely be a desire to separate main line and accompaniment, and of course this trend was to prove extremely significant.
		She is thus seen as central to the development of the frottola.
		The frottola also was important in the early days of musical printing, as it was some of the first repertory to appear from Petrucci.
	www.medieval.org /emfaq/cds/svs33516.htm (550 words)

	THE ITALIAN MADRIGAL
		The madrigal, as well as the ballade and the "frottola", arises from Italian ars nova as a profane polyphonic musical expression usually played on occasion of young people's gatherings, in noble mansions or in open spaces.
		Love and pastoral drama were the main subject of the strophic structured texts, music was a two or three-part one, or one-part with accompaniment of instruments.
		The "frottola", a four-part music with prevailing love subjects, had been parallely developed, as the homonymous literary form, from 1400 up to first half of 1500.
	freeweb.supereva.com /qmu.freeweb/themadri.htm (611 words)

	Frottola -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-22)
		The frottola is the predominant type of (A native or inhabitant of Italy) Italian popular, secular song of the fifteenth and early sixteenth century.
		Musically, the frottola avoids (Click link for more info and facts about contrapuntal) contrapuntal complexity, preferring (Click link for more info and facts about homophonic) homophonic textures, clear and repetitive rhythms, and a narrow melodic range.
		The most famous composers of frottola were (Click link for more info and facts about Bartolomeo Tromboncino) Bartolomeo Tromboncino and Marchetto Cara, although some of the popular secular compositions of (Click link for more info and facts about Josquin) Josquin (for example Scaramella and El Grillo) are stylistically frottolas, though not in name.
	www.absoluteastronomy.com /encyclopedia/f/fr/frottola.htm (433 words)

	Medieval, Renaissance, Early Baroque Music Glossaries
		The layout was similar to that of the ballata, with a ripresa, or refrain, followed by a piedi and volta, closing with a return of the ripresa.
		Ensemble fantasias and fancies often were the equivalent of ricercars, strictly imitative pieces written in carefully constructed counterpoint; here the freedom implied in the title was that no cantus firmus was used in the composition.
		Frottola: a north Italian polyphonic three- or four-part secular song, composed during the period ca 1470-1530.
	plato.acadiau.ca /courses/musi/callon/1253/glos1500.htm (706 words)

	Frotolla (Site not responding. Last check: 2007-10-22)
		Since its formation in 1991 Frottola has performed at major venues and festivals throughout the United Kingdom and recorded for BBC Radio 3.
		Frottola’s concerts are entertaining and engaging for many types of audience.
		The members of Frottola perform internationally as soloists and with major early music groups including The King's Consort, The English Baroque Soloists, The Taverner Consort, Musica Antiqua of London, The Harp Consort, The Gabrielli Choir, Psalmody and The New London Consort.
	www.btinternet.com /~jennie.cassidy/frotolla.htm (216 words)

	HOASM: Marco Cara (Site not responding. Last check: 2007-10-22)
		He was Isabella d'Este's favorite composer, and along with Tromboncino was a master of the frottola form, writing over 100 of them, and putting Mantua on the musical map, Many of his works were published by Petrucci.
		He aimed to provide a light and airy texture appropriate to the frottola texts he set, which could also be successfully performed by voice and lute.
		His own singing to the lute was praised for its,mourning sweetness' in Castiglione's Il cortegiano, and indeed he raised the frottola to a level where it anticipated the sophistication of the early madrigal.
	www.hoasm.org /IIIG/Cara.html (122 words)

	Retrover Bazellette (Opus111: OPS 30-243) (Site not responding. Last check: 2007-10-22)
		The Frottola were vocal or instrumental pieces popular inn Italy during the 16th century.
		Both were Italian and the Frottola seems to be a distinctly Italian genre.
		Barzellette is a wonderful representation of the frottola and a welcome addition to the scant amount of Italian Renaissance material currently available.
	www.thetomb.org /musica/recommend/retrover_bazellette.htm (255 words)

	Frottola (Site not responding. Last check: 2007-10-22)
		Frottola's captivating and dynamic concerts use drama and visual art to engage a broad audience.
		Their concert 'The French Ambassadors' produced in conjunction with the National Gallery (available on CD) uses details from the painting, readings and music from the courts of Henry VIII and Francis I to animate Holbein's extraordinary masterpiece.
		As well as concerts Frottola can arrange pre-concert talks and provide outstanding workshops for both children and adults.
	www.earlymusic.org.uk /FIR%20to%20FUL/frottola.html (289 words)

	Retrover “Barzellette”
		(In fact, the Frottola is the earliest genre to be justifiably perceived in terms of chordal progressions and tonal harmony.) In addition, the poetry and music do relate closely in the coordination of verbal accentuation and rhythms.
		Hence, in order to grant the Frottola its full artistic merit, one has to introduce a parameter that is often neglected in musicological discourse: the emotions.
		In the Frottola, music and poetry convey subjective emotions without the veiled religious symbolism of the previous centuries.
	yritys.tpo.fi /tapio/Barz.notes.html (663 words)

	Thomas Tallis Complete Works Vol 1 - Index Page
		In northern Italy an educated classicist, Isabella Marchioness of Mantua, devised the frottola where text was set to a simple melody following speech rhythms, and accompanied by 2 or 3 instruments.
		The frottola is a Cinderella of Renaissance song and has suffered in comparison with the English and Italian Madrigal and the French Chanson in the 2oth century revival of interest in Renaissance music.
		On Fire and Ice we present frottole taken from a Venetian manuscript, compiled around 1520, to argue the case for a re-evaluation of this repertoire.
	www.signumrecords.com /catalogue/sigcd035 (483 words)

	Umeå Akademic Choir - Early Music Map - Early Renaissance - Frottolists with contemporaries
		The term frottola (derived from frocta --"a 'mixture' of unrelated thoughts and facts") has been used in both a generic and a specific sense, with resulting confusion.
		The general trend after 1510, as evidenced by the contents of successive frottola books, was in favor of the more serious forms, the canzone, sonnet, and oda.
		The lighter types of frottola developed into the villanesca, while the more serious forms were infused with Franco-Netherlandish style trends to bring forth the madrigal.
	www.acc.umu.se /~akadkor/early/IIIG.html (2063 words)

	Please title this page. (grout7.html) (Site not responding. Last check: 2007-10-22)
		Frottola is a historically important forerunner of the Italian madrigal
		Religious counterpart of the frottola was the polyphonic lauda: a popular
		Villancico as a Spanish analogue of the Italian frottola:
	www.nv.cc.va.us /home/jwulff/grout7.html (609 words)

	Isabella d'Este: her life in music
		During her courtly days, she was the world's foremost supporter of the "frottola"- a vocal genre that we will get into later.
		Frottola is a vocal genre in which the Soprano rules over the tenor, alto, and bass.
		Isabella liked Frottolas, because she could be the star singer and everyone else would be filler.
	people.vanderbilt.edu /~anna.m.lipowska (1335 words)

	JAMS Abstracts: Vol. 52, No. 1 (Site not responding. Last check: 2007-10-22)
		In Petrucci's sixth frottola book (1505) is a group of four pieces of unusual cast.
		They are scored for three voices (nearly all of Petrucci's frottole are four-voice compositions), their texts are not in any of the usual frottola forms, and their language is archaic.
		In this article it is argued that they are something of all of these, and yet something else: self-conscious representations (loaded with deliberate archaisms) of a tradition once known through much of the Italian peninsula and especially loved in Venice, home to Petrucci's activity as collector and publisher of music.
	www.journals.uchicago.edu /JAMS/abstracts/521haa.html (154 words)

	Thoroughbred Times: Today's News (Site not responding. Last check: 2007-10-22)
		Frottola, a stakes winner and record Italian sale purchase, delivered the first reported foal by multiple Group 1 winner Falbrav (Ire) at Fittocks Stud on January 20 in Cheveley, England.
		Her grandam is the multiple stakes-winning High Top mare Fresh, a half sister to Royal Ballerina (Ire), runner-up in the 1993 Epsom Oaks (Eng-G1) and Irish Oaks (Ire-G1), and to multiple group winner Free Guest (Ire), dam of Group 1 winner and English classic-placed Shamshir (GB).
		Frottola is a half sister to stakes winner Windy Britain.
	www.thoroughbredtimes.com /todaysnews/newsview.asp?subsec=1&recno=52474 (588 words)

	adrian levine (Site not responding. Last check: 2007-10-22)
		Frottola's dynamic concerts include elements of drama and visual art to engage a broad audience.
		Their concert 'The French Ambassadors' produced in conjunction with the National Gallery (recently released on CD) uses details from the painting, readings and music from the courts of Henry VIII and Francis I to animate Holbein's extraordinary masterpiece.
		For larger scale festivals, Frottola expands to include a virtuosic shawm and brass ensemble in their concert 'The Perfect Courtier'
	www.meridian-records.co.uk /artistsbiogs/frottola.htm (128 words)

	Shaw Cable Acceptable Use Policy (Site not responding. Last check: 2007-10-22)
		These = = = so-called Christians had not an ounce of compassion for = = = me, they only had compassion for their traditions and were = = = willing to violate God's Sixth Commandment in order to = = = shut me up.
		Again, if you people = think that you have the right to come to sk.forsale and = encourage people to abide by pagan traditions, then I = think that I have the right to use the same forum to warn = others that these traditions are in opposition to God's = Commandments.
		Again, if you people think that you have the right to come to sk.forsale and encourage people to abide by pagan traditions, then I think that I have the right to use the same forum to warn others that these traditions are in opposition to God's Commandments.
	www.urban-living.org /new-1518629-923.html (5826 words)

	Thoroughbred Times: News Archive (Site not responding. Last check: 2007-10-22)
		Frottola won the Premio Carlo Chiesa at Rome this year and placed twice in listed races but failed to step up when tested in Prix d’Astarte (Fr-G2), a race in which she finished sixth, 3 ½ lengths behind winner Bright Sky (Ire).
		Frottola has won six of 17 career starts and has earned $155,524.
		By Muhtarram, Frottola is out of the unraced Kahyasi mare For My Love, a daughter of multiple stakes winner Fresh, a half sister to multiple Irish highweight Royal Ballerina (Ire), Group 2 winner Free Guest (Ire), and stakes winner Fish ‘N’ Chips (Ire).—Franco Raimondi
	www.thoroughbredtimes.com /todaysnewsarchive/ttodaysnewsviewarchive.asp?ArchiveDate=11/17/2003 (4129 words)

	Renaissance Music Test
		The frottola and the lauda were both strophic songs set syllabically to music in four parts.
		The frottola was secular and the lauda was sacred.
		The most important secular form in France in the 16th century was the___________.
	www.patriciagray.net /Musichtmls/MHTests/ren.html (342 words)

	Sonic Glossary: Madrigal, Renaissance & Baroque
		Unlike the somewhat earlier frottola, which was a solo song with an instrumental accompaniment, the newly-minted madrigal was intended for wholly vocal performance.
		Thus all of its parts, or voices, were written to carry the words and allow for their declamation in the most natural manner possible.
		Toward the end of the 16th century, performance of the madrigal by an ensemble of voices began to give way on occasion to a single high voice with the counterpoint of the lower parts reduced to an accompaniment playable on lute or keyboard.
	www.columbia.edu /ccnmtl/draft/paul/sonic/madrb.html (2993 words)

	Bossinensis 1509: Thematic Index (Site not responding. Last check: 2007-10-22)
		lute TITLE: Sel morir mai de gloria GENRE: intabulation (frottola) ORIGINAL MODEL: Composer: Bartolomeo Tromboncino Title: Source: Pitch: (M3) FINAL: 0/4th (M3); 3rd fret of 1st course=c' METER: C INCIPIT: [vocal line in staff notation omitted] \ \ \ \ \ \.
		lute TITLE: Zephyro spira e il bel tempo rimena GENRE: intabulation (frottola) ORIGINAL MODEL: Composer: Bartolomeo Tromboncino Title: Source: Pitch: (m3) FINAL: 0/6th (m3); 3rd fret of 1st course=c' METER: C INCIPIT: [vocal line in staff notation omitted] \ \ \ \ \ \.
		lute TITLE: O despietato tempo GENRE: intabulation (frottola) ORIGINAL MODEL: Composer: P. Zanin Title: Source: Pitch: (m3) FINAL: 0/4th (m3); 5th fret of 1st course=g METER: 2/4 INCIPIT: [vocal line in staff notation omitted] \ \ \ \ \ \.
	www.library.appstate.edu /music/lute/16index/tbos09.html (4180 words)

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