Explore the vast range of titles available.

In a seminal article of some forty years ago, Don Harrán identified a style of free madrigal poetry that showed some elements of fourteenth-century forms. He called it the ballata-madrigal. In scholarship since that time, however, it has not been fully recognized that the ballata-madrigal by no means disappeared from the poetic repertoire in the second half of the century, as has commonly been believed. In fact, in the second half of the sixteenth century, the poetic and musical madrigal continued to be heavily influenced by elements of the poetic form of the fourteenth-century ballata. This article looks first at the shape of poetic madrigals in numerous literary publications of the second half of the century, in order to assert that the ballata-madrigal was recognized by many of the most important poets of the time—including Giovanni Battista Pigna, Torquato Tasso, and Giovanni Battista Guarini—as a separate and important subgenre of themadrigale libero. It then looks at musical settings of ballata-madrigals across the last four decades of the century in order to assert that many of the most important composers of the time—Giaches de Wert, Marc'Antonio Ingegneri, Luzzasco Luzzaschi, Luca Marenzio, and Claudio Monteverdi—recognized and reacted to the distinctive formal aspects of this particular poetic genre. Various hypotheses for further testing of the importance and range of this poetic and musical genre are put forward at the close of the article.

\"Intorno a Monteverdi\" edited by Maria Caraci Vela and Rodobaldo Tibaldi, \"Marc'Antonio Ingegneri e la musica a Cremona nel secondo Cinquecento\" edited by Antonio Delfino and Maria Teresa Rosa-Barezzani and \"Marc'Antonio Ingegneri, Opera omnia, II/ii: secondo libro de' madrigali a quattro voci\" edited by Maria Teresa Rosa-Barezzani and Mila De Santis are reviewed.

[...]in 2001, when the undated final issue of Schwann Opus appeared, his name was not even mentioned (although two other composers could be found, Desprez Josquin and Josquin Desprez). The Mass, based on Palestrina's motet for eight voices, recorded by James O'Donnell (23:3) and Peter Phillips (42:5), is also for double choir. [...]the Council of Trent had decreed a fitting place for church music, and the bishop since 1560, Nicolo Sfrondata, directed him to raise the standard of music.