815:
802:
1113:. This is also written on two rhymes, but in five stanzas of four lines each and one of five lines. Each of the first four lines (stanza 1) get individually repeated in turn once by becoming successively the respective fourth lines of stanzas 2, 3, 4, & 5; and the first part of the first line is repeated as a short fifth line to conclude the sixth stanza. This can be represented as - A1,B1,A2,B2 - b,a,b,A1 - a,b,a,B1 - b,a,b,A2 - a,b,a,B2 - b,a,b,a,(A1).
666:
451:
463:
of the refrain, then by a new section corresponding to the structure of the full refrain, and finally by a full restatement of the refrain. Thus, it can be schematically represented as AB aAab AB, where "A" and "B" are the repeated refrain parts, and "a" and "b" the remaining verses. If the poem has more than one stanza, it continues with further sequences of aAab AB, aAab AB, etc.
462:
as a song form between the 13th and mid-15th century begins with a full statement of its refrain, which consists of two halves. This is followed first by a section of non-refrain material that mirrors the metrical structure and rhyme of the refrain's first half, then by a repetition of the first half
673:
In the medieval manuscripts, the restatement of the refrain is usually not written out, but only indicated by giving the first words or first line of the refrain part. After the mid-15th century, this feature came to be regarded no longer as a mere scribal abbreviation, but as an actual part of the
678:
in which the first refrain interjection (lines 7â8, rhymes AB) is preserved in full, while the final restatement of the refrain is reduced to a single line (A) or again just two lines (AB), ends up with a total of 13 or 14 lines respectively. This form is usually defined as the
426:. The rondeau is believed to have originated in dance songs involving singing of the refrain by a group alternating with the other lines by a soloist. The term "Rondeau" is used both in a wider sense, covering older styles of the form which are sometimes distinguished as the
686:
Another version has the refrains shortened even further. Both restatements are reduced to just the first two or three words of the first line, which now stand as short, pithy, non-rhyming lines in the middle and at the end of the poem. These half-lines are called
1036:"). It was customarily regarded as a challenge to arrange for these refrains to contribute to the meaning of the poem in as succinct and poignant a manner as possible. Perhaps the best-known English rondeau is the World War I poem,
717:
in lines 9 and 15 (rhyme scheme aabbaâaabRâaabbaR). This 15-line form became the norm in the literary rondeau of the later
Renaissance, and is known as the "rondeau" proper today. The following is a typical example of this form:
434:, and in a narrower sense referring to a 15-line style which developed from these forms in the 15th and 16th centuries. The rondeau is unrelated to the much later instrumental dance form that shares the same name in French
816:
674:
poetry. As the form was gradually divorced from the musical structure and became a purely literary genre, it is often not entirely clear how much of the refrain material was actually meant to be repeated. A
1409:
422:, and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. It is structured around a fixed pattern of repetition of verse with a
853:
The musical rondeau is typically a two-part composition, with all the "A" sections of the poem's AB-aAab-AB structure set to one line of music, and all the "B" parts to another.
566:
In larger rondeau variants, each of the structural sections may consist of several verses, although the overall sequence of sections remains the same. Variants include the
827:
Like the other formes fixes, the
Rondeau (in its original form with full refrains) was frequently set to music. The earliest surviving polyphonic rondeaux are by the
1416:
846:
and other prominent composers were prolific in the form. Early rondeaux are usually found as interpolations in longer narrative poems, and separate
359:
850:
musical settings survive. After the 15th century, the musical form went out of fashion and the rondeau became a purely literary form.
2077:
1402:
352:
57:
1116:
The following example of the form was written from the point of view of one of the RAF officers carrying the coffin of
1846:
1744:
864:
was occasionally composed and listed among the
Italian forms of poetry for music. A single rondello appears in the
1438:
65:
2011:
1551:
345:
2072:
578:, with a refrain of five verses (and a total length of 21), which becomes the norm in the 15th century. In the
2082:
784:
183:
53:
470:, each of the structural parts is a single verse, leading to the eight-line structure known today as
1117:
20:
937:
30:
868:. In addition, several rondeaux in French appear entirely in sources originating in Italy, the
2087:
857:
136:
61:
1371:
790:
Rondeaux et refrains du XIIe siÚcle au début du XIVe: Collationnement, introduction et notes
669:
Structural plan of the literary 13-line rondel and 15-line rondeau of the later
Renaissance.
1821:
1596:
1029:
927:
The French rondeau forms have been adapted to
English at various times by different poets.
835:
805:
475:
409:
258:
208:
178:
163:
90:
8:
1025:
896:
843:
300:
173:
85:
699:, this results in a 12-line structure that is now called the "rondeau prime", with the
1038:
1028:. Later, it was reintroduced by some late 19th-century and 20th-century poets, such as
1951:
1921:
1760:
1661:
906:
783:
A large corpus of medieval French rondeaux was collected, catalogued, and studied by
398:
332:
285:
213:
203:
198:
107:
1856:
1836:
1734:
1587:
1383:
1033:
928:
831:
574:, where it consists of four (and, accordingly, the whole form of sixteen), and the
295:
218:
193:
1991:
1981:
1931:
1841:
1739:
1666:
1651:
1526:
911:
839:
383:
280:
168:
1394:
1235:
942:
where the birds are said to "synge a roundel" to a melody "imaked in
Fraunce":
900:
394:
275:
223:
38:
895:) was applied to dance movements in simple refrain form by such composers as
2066:
1971:
1926:
1861:
1801:
1625:
1506:
1466:
1446:
1230:
916:
869:
680:
435:
431:
142:
1896:
1831:
1592:
1461:
418:
290:
253:
243:
2031:
1946:
1906:
1851:
1687:
1656:
1615:
1610:
1556:
1043:
865:
808:, "Doulz viaire gracieus", a typical Rondeau setting of the 14th-century
789:
101:
1501:
828:
119:
2041:
2036:
2016:
1901:
1886:
1566:
1561:
1546:
1496:
1486:
1387:
801:
114:
188:
2021:
1996:
1941:
1806:
1697:
1536:
1516:
1451:
847:
248:
124:
2001:
1976:
1961:
1936:
1911:
1881:
1776:
1718:
1630:
1620:
1511:
1481:
809:
316:
130:
665:
450:
2051:
2046:
2026:
1986:
1876:
1826:
1781:
1646:
1604:
1571:
1531:
1476:
884:
873:
471:
427:
423:
413:
405:
310:
268:
95:
1866:
1811:
1692:
1456:
401:
2006:
1956:
1916:
1891:
1871:
1713:
1541:
1521:
1491:
1471:
1240:
439:
305:
1816:
1682:
834:
in the late 13th century. In the 14th and 15th centuries,
582:, the rhyme scheme is usually ABBA ab AB abba ABBA; in the
1299:. Copenhagen: University of Copenhagen. pp. 115â120.
1197:
In the books of remembrance they have written, "Somewhere
705:
in lines 7 and 12. If derived from the erstwhile 21-line
16:
French medieval and
Renaissance poetic and musical genre
1355:. Oxford: Oxford University Press. pp. 394, 631.
1284:. Cambridge: Cambridge University Press. p. 165.
454:
Structural plan of 14th century rondel/rondeau forms
1158:
that wraps round your coffin. I know you are there.
1018:In its classical 16th-century 15-line form with a
570:, where the refrain consists of three verses, the
1315:Französische Verslehre auf historischer Grundlage
1203:Why did you have to die? Why is death so unfair?"
2064:
1424:
1214:But deep in our hearts you will always be there,
1208:The tears that we weep will soon grow more rare,
1194:The flowers they leave like a carpet are spread,
1189:but the loss that I feel will not leave my head.
1147:Why did you have to die? Why is death so unfair?
1144:but the loss that I feel will not leave my head.
1372:"The Post-Machaut Generation of Poet-Musicians"
1186:Let others show grief like a garment they wear,
1180:As I feel the world watching I try not to care.
1166:My comrades move with me in slow, solemn tread.
766:Je donne aux vers mon corps plein de foiblesse;
1264:
1120:to the plane that was to carry it to England.
856:Although far rarer than the French usage, the
1410:
1024:(aabbaâaabRâaabbaR), the rondeau was used by
919:, each of which is a 13-line poetic rondeau.
353:
1211:the rawness of grief turn to memory instead.
1200:a star is extinguished because you are dead.
1175:The physical weight is a thing that I share.
1172:Our shoulders support you in your oaken bed.
1169:Our eyes are all fixed in an unseeing stare.
1152:I am close to you now. Yes, touching my hair
1141:The physical weight is a thing that I share,
1019:
995:Ful blissful mowe they synge when they wake:
769:Quant est du cueur, du tout je te le laisse,
712:
706:
700:
694:
688:
1297:French Music in the Early Sixteenth Century
1265:Cerquiglini-Toulet, Jacqueline. "Rondeau".
880:) may not have a purely French provenance.
748:Et si me monstre estre plein de vieillesse
1417:
1403:
1294:
1260:
1258:
1256:
1161:The burden I bear is more heavy than lead.
1155:the flag with its lions of gold and of red
1138:The burden I bear is more heavy than lead.
645:se plus vous voy prochain de ma plaisance,
360:
346:
1332:and the French song in Foreign Sources".
1308:
1306:
1183:My deepest emotions are best left unsaid.
1003:Now welcome, somer, with thy sonne softe,
976:Now welcome, somer, with thy sonne softe,
965:Saynt Valentyn, that art ful hy on-lofte,
947:Now welcome, somer, with thy sonne softe,
876:, suggesting that these works (including
642:N'y tournés plus, car, par ma conscience,
474:, as shown in "Doulz viaire gracieus" by
1327:
1095:We shall not sleep, though poppies grow
1013:And driven away the longe nyghtes blake!
1008:That hast thes wintres wedres overshake,
992:Sith ech of hem recovered hath hys make,
981:That hast thes wintres wedres overshake,
957:And driven away the longe nyghtes blake!
952:That hast thes wintres wedres overshake,
800:
711:, the result is a 15-line form with the
664:
651:que l'on dira que la main d'ung seigneur
618:d'une sans per que j'ay aymée d'enfance.
603:allés ailleurs querir vostre acointance;
558:I have served you with a sincere heart.
449:
1369:
1312:
1253:
968:Thus syngen smale foules for they sake:
763:Prendre mon ame, et sans plus enquerir,
760:Or, si je meurs, je veulx Dieu requerir
742:Auprés de l'eau me fault de soif perir;
734:Mais n'est ce pas Ă toy grande rudesse,
731:Et ne te chault de ma grefve tristesse;
627:Ou est celluy qui onc fut ne en France,
624:Fait lui avés longuement ceste offence,
546:I have served you with a sincere heart.
466:In its simplest and shortest form, the
404:, as well as the corresponding musical
2065:
1303:
1217:and I ask, will I ever be able to shed
1059:The larks, still bravely singing, fly,
989:Wel han they cause for to gladen ofte,
654:vous a bien mis a la malle meschance.
593:of the 15th century is the following:
1398:
1382:. Turnhout, Belgium: Brepols: 40â84.
1279:
1073:Loved and were loved, and now we lie
1070:We lived, felt dawn, saw sunset glow,
737:Veu que to peulx si bien me secourir?
648:devant chascun vous feray tel honneur
598:Allés, Regrez, vuidez de ma presence;
382:
1089:The torch; be yours to hold it high!
1056:That mark our place; and in the sky,
745:Je me voy jeune, et en aage fleurir,
728:Par un regard dont m'as voulu ferir,
630:qui endurast tel mortel deshonneur?
613:rempli de deuil pour estre serviteur
438:, which is more commonly called the
1104:
1050:In Flanders fields the poppies blow
608:assés avés tourmenté mon las cueur,
13:
1363:
1350:
1317:. TĂŒbingen: Niemeyer. p. 226.
1086:To you from failing hands we throw
922:
772:Ce nonobstant que me faces mourir
445:
14:
2099:
1092:If ye break faith with us who die
1083:Take up our quarrel with the foe!
1062:Scarce heard amid the guns below.
586:it is AABBA aab AAB aabba AABBA.
1295:Christoffersen, Peter Woetmann.
1053:Between the crosses, row on row,
935:form, one of them at the end of
693:. If derived from the erstwhile
683:" in modern literary compendia.
1847:Cantigas de escĂĄrnio e maldizer
1745:Cantigas de escĂĄrnio e maldizer
1067:We are the dead; short days ago
796:
416:it was considered one of three
1344:
1321:
1288:
1273:
1:
1246:
2078:Western medieval lyric forms
1425:Western medieval lyric forms
793:(Paris: Klincksieck, 1969).
548:If you will have pity on me,
458:The older French rondeau or
7:
1376:Nottingham Medieval Studies
1328:Cuthbert, Michael (2007). "
1224:
1109:A more complex form is the
10:
2104:
931:wrote two rondeaus in the
891:(or the adjectival phrase
878:Esperance, qui en mon cuer
785:Nico H.J. van den Boogaard
509:de fin cuer vous ay servi.
494:Weillies moy estre piteus,
491:de fin cuer vous ay servi.
18:
1794:
1769:
1753:
1727:
1706:
1675:
1639:
1580:
1437:
1430:
1313:Suchier, Walther (1963).
1282:French Verse-Art: A Study
442:form in classical music.
1351:Benson, Larry D. (ed.).
1267:EncyclopĂŠdia Universalis
1118:Diana, Princess of Wales
500:Se je sui un po honteus,
408:form. Together with the
1370:Wilkins, Nigel (1968).
938:The Parliament of Fowls
725:mort me fault encourir,
589:A typical example of a
552:then if I am a bit shy,
1020:
824:
713:
707:
701:
695:
689:
670:
505:Doulz viaire gracieus,
502:ne me mettes en oubli:
497:Doulz viaire gracieus,
487:Doulz viaire gracieus,
455:
2073:Medieval music genres
1795:By alphabetical order
1431:By regional tradition
1353:The Riverside Chaucer
1280:Scott, Clive (1980).
804:
668:
453:
79:Movements and schools
1030:Paul Laurence Dunbar
836:Guillaume de Machaut
787:in his dissertation
556:Sweet gracious face,
554:do not embarrass me:
550:sweet gracious face,
544:Sweet gracious face,
476:Guillaume de Machaut
19:For other uses, see
1728:Galician-Portuguese
1098:In Flanders fields.
1076:In Flanders fields.
897:Jean-Baptiste Lully
844:Hayne van Ghizeghem
333:Renaissance music â
1388:10.1484/J.NMS.3.38
1220:the burden I bear?
1039:In Flanders Fields
858:Italian equivalent
825:
671:
456:
399:Renaissance French
2083:Renaissance music
2060:
2059:
1952:Petrarchan sonnet
1790:
1789:
1662:Petrarchan sonnet
915:sets 21 poems by
907:Arnold Schoenberg
564:
563:
370:
369:
108:Notre-Dame school
2095:
1857:Chanson de toile
1837:Cantiga de amigo
1735:Cantiga de amigo
1588:Chanson de toile
1435:
1434:
1419:
1412:
1405:
1396:
1395:
1391:
1357:
1356:
1348:
1342:
1341:
1325:
1319:
1318:
1310:
1301:
1300:
1292:
1286:
1285:
1277:
1271:
1270:
1262:
1132:by Paul Hansford
1111:rondeau redoublé
1105:Rondeau redoublé
1034:We Wear the Mask
1023:
929:Geoffrey Chaucer
832:Adam de la Halle
823:
822:
821:
819:
776:Avant mes jours.
752:Avant mes jours.
716:
710:
708:rondeau cinquain
704:
698:
696:rondeau quatrain
692:
676:rondeau quatrain
658:AllĂ©s, Regrez, âŠ
634:AllĂ©s, Regrez, âŠ
591:rondeau cinquain
584:rondeau cinquain
580:rondeau quatrain
576:rondeau cinquain
572:rondeau quatrain
537:
513:
481:
480:
386:
381:
362:
355:
348:
296:Liturgical drama
194:Adam de la Halle
26:
25:
2103:
2102:
2098:
2097:
2096:
2094:
2093:
2092:
2063:
2062:
2061:
2056:
1992:Sicilian octave
1842:Cantiga de amor
1786:
1765:
1749:
1740:Cantiga de amor
1723:
1702:
1671:
1667:Sicilian octave
1635:
1576:
1426:
1423:
1366:
1364:Further reading
1361:
1360:
1349:
1345:
1326:
1322:
1311:
1304:
1293:
1289:
1278:
1274:
1263:
1254:
1249:
1227:
1126:Guard of Honour
1107:
925:
923:English rondeau
912:Pierrot Lunaire
887:era, the label
840:Guillaume Dufay
817:
814:
813:
799:
723:Avant mes jours
560:
557:
555:
553:
551:
549:
547:
545:
539:
535:
533:
531:
529:
527:
525:
523:
521:
515:
511:
507:
503:
501:
499:
495:
493:
489:
448:
446:Verse structure
393:) is a form of
384:[ÊÉÌdo]
379:
366:
324:
323:
322:
281:Gregorian chant
238:
230:
229:
228:
158:
150:
149:
148:
80:
70:
69:
24:
17:
12:
11:
5:
2101:
2091:
2090:
2085:
2080:
2075:
2058:
2057:
2055:
2054:
2049:
2044:
2039:
2034:
2029:
2024:
2019:
2014:
2009:
2004:
1999:
1994:
1989:
1984:
1979:
1974:
1969:
1964:
1959:
1954:
1949:
1944:
1939:
1934:
1929:
1924:
1919:
1914:
1909:
1904:
1899:
1894:
1889:
1884:
1879:
1874:
1869:
1864:
1859:
1854:
1849:
1844:
1839:
1834:
1829:
1824:
1819:
1814:
1809:
1804:
1798:
1796:
1792:
1791:
1788:
1787:
1785:
1784:
1779:
1773:
1771:
1767:
1766:
1764:
1763:
1757:
1755:
1751:
1750:
1748:
1747:
1742:
1737:
1731:
1729:
1725:
1724:
1722:
1721:
1716:
1710:
1708:
1704:
1703:
1701:
1700:
1695:
1690:
1685:
1679:
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1670:
1669:
1664:
1659:
1654:
1649:
1643:
1641:
1637:
1636:
1634:
1633:
1628:
1623:
1618:
1613:
1608:
1590:
1584:
1582:
1578:
1577:
1575:
1574:
1569:
1564:
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1554:
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1539:
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1529:
1524:
1519:
1514:
1509:
1504:
1499:
1494:
1489:
1484:
1479:
1474:
1469:
1464:
1459:
1454:
1449:
1443:
1441:
1432:
1428:
1427:
1422:
1421:
1414:
1407:
1399:
1393:
1392:
1365:
1362:
1359:
1358:
1343:
1334:Studi Musicali
1320:
1302:
1287:
1272:
1251:
1250:
1248:
1245:
1244:
1243:
1238:
1233:
1226:
1223:
1222:
1221:
1218:
1215:
1212:
1209:
1205:
1204:
1201:
1198:
1195:
1191:
1190:
1187:
1184:
1181:
1177:
1176:
1173:
1170:
1167:
1163:
1162:
1159:
1156:
1153:
1149:
1148:
1145:
1142:
1139:
1135:
1134:
1129:
1106:
1103:
1102:
1101:
1100:
1099:
1093:
1090:
1087:
1084:
1080:
1079:
1078:
1077:
1071:
1068:
1064:
1063:
1060:
1057:
1054:
1051:
1016:
1015:
1010:
1005:
999:
998:
997:
996:
993:
990:
984:
983:
978:
972:
971:
970:
969:
966:
960:
959:
954:
949:
933:rondeau tercet
924:
921:
901:Louis Couperin
883:Later, in the
818:MIDI rendering
798:
795:
781:
780:
779:
778:
770:
767:
764:
761:
757:
756:
755:
754:
746:
743:
739:
738:
735:
732:
729:
726:
663:
662:
661:
660:
652:
649:
646:
643:
639:
638:
637:
636:
628:
625:
621:
620:
615:
610:
605:
600:
568:rondeau tercet
562:
561:
542:
540:
518:
516:
484:
468:rondeau simple
447:
444:
368:
367:
365:
364:
357:
350:
342:
339:
338:
337:
336:
326:
325:
321:
320:
313:
308:
303:
298:
293:
288:
283:
278:
273:
272:
271:
266:
261:
251:
246:
240:
239:
236:
235:
232:
231:
227:
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71:
52:
47:
46:
42:
41:
39:Medieval music
35:
34:
15:
9:
6:
4:
3:
2:
2100:
2089:
2088:French poetry
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2070:
2068:
2053:
2050:
2048:
2045:
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2040:
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2035:
2033:
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2028:
2025:
2023:
2020:
2018:
2015:
2013:
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1927:Maldit-comiat
1925:
1923:
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1862:Cobla esparsa
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1507:Maldit-comiat
1505:
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1500:
1498:
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1490:
1488:
1485:
1483:
1480:
1478:
1475:
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1470:
1468:
1467:Cobla esparsa
1465:
1463:
1460:
1458:
1455:
1453:
1450:
1448:
1447:Alba (poetry)
1445:
1444:
1442:
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1436:
1433:
1429:
1420:
1415:
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1199:
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1128:
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918:
917:Albert Giraud
914:
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890:
886:
881:
879:
875:
871:
870:Low Countries
867:
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845:
841:
837:
833:
830:
820:
811:
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724:
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623:
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569:
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541:
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498:
492:
488:
483:
482:
479:
477:
473:
469:
464:
461:
452:
443:
441:
437:
436:baroque music
433:
429:
425:
421:
420:
415:
411:
407:
403:
400:
396:
392:
391:
385:
377:
376:
363:
358:
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279:
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210:
207:
205:
202:
200:
197:
195:
192:
190:
187:
185:
182:
180:
177:
175:
172:
170:
167:
165:
162:
161:
157:Major figures
154:
153:
145:
144:
143:Ars subtilior
140:
138:
135:
133:
132:
128:
126:
123:
121:
118:
116:
113:
109:
106:
105:
104:
103:
99:
97:
94:
92:
91:Saint Martial
89:
87:
84:
83:
76:
75:
67:
63:
59:
55:
51:
50:
49:
48:
44:
43:
40:
37:
36:
32:
28:
27:
22:
1982:Salut d'amor
1966:
1897:Formes fixes
1600:
1593:Formes fixes
1527:Salut d'amor
1379:
1375:
1352:
1346:
1337:
1333:
1329:
1323:
1314:
1296:
1290:
1281:
1275:
1266:
1131:
1125:
1124:
1115:
1110:
1108:
1042:by Canadian
1037:
1026:Thomas Wyatt
1017:
1012:
1007:
1002:
980:
975:
956:
951:
946:
936:
932:
926:
910:
905:
892:
888:
882:
877:
861:
855:
852:
826:
797:Musical form
788:
782:
775:
751:
722:
685:
675:
672:
657:
633:
617:
612:
607:
602:
597:
590:
588:
583:
579:
575:
571:
567:
565:
543:
519:
508:
504:
496:
490:
486:
485:
467:
465:
459:
457:
419:formes fixes
417:
389:
388:
374:
373:
371:
331:
315:
276:Geisslerlied
263:
254:Formes fixes
141:
129:
100:
60: /
56: /
2032:Trobar clus
1947:Pastourelle
1907:Grand chant
1852:Cerdd dafod
1688:Cerdd dafod
1657:Ottava rima
1616:Pastourelle
1611:Grand chant
1557:Trobar clus
1044:John McCrae
866:Rossi Codex
714:rentrements
702:rentrements
237:Major forms
102:Ars antiqua
58:Instruments
2067:Categories
2042:Trobar ric
2037:Trobar leu
2017:Torneyamen
1887:Ensenhamen
1567:Trobar ric
1562:Trobar leu
1547:Torneyamen
1487:Ensenhamen
1247:References
1021:rentrement
893:en rondeau
848:monophonic
690:rentrement
387:; plural:
115:Troubadour
86:Saint Gall
2022:Traethodl
1997:Sirventes
1942:Pastorela
1807:Arlabecca
1698:Traethodl
1537:Sirventes
1517:Pastorela
1452:Arlabecca
1330:Esperance
249:Conductus
224:Dunstaple
174:Hildegard
125:Minnesang
66:Theorists
54:Composers
2002:Tagelied
1977:Rondelet
1962:Reverdie
1937:Partimen
1922:Madrigal
1912:Kyrielle
1882:Devinalh
1777:Kyrielle
1761:Madrigal
1719:Tagelied
1631:Rondelet
1621:Reverdie
1512:Partimen
1502:Lo BoiĂšr
1482:Devinalh
1225:See also
862:rondello
829:trouvĂšre
810:Ars nova
412:and the
395:medieval
390:rondeaux
317:Planctus
301:Madrigal
137:Trecento
131:Ars nova
120:TrouvĂšre
45:Overview
31:a series
29:Part of
2052:Virelai
2047:Viadera
2027:Triolet
2012:Tornada
1987:Sestina
1967:Rondeau
1877:Descort
1827:Ballata
1822:Ballade
1782:Triolet
1754:English
1647:Ballata
1640:Italian
1605:Virelai
1601:Rondeau
1597:Ballade
1572:Viadera
1552:Tornada
1532:Sestina
1477:Descort
1439:Occitan
1236:Roundel
889:rondeau
885:Baroque
874:Germany
806:Machaut
472:triolet
428:triolet
424:refrain
414:virelai
410:ballade
406:chanson
380:French:
375:rondeau
311:Organum
269:Virelai
264:Rondeau
259:Ballade
219:Ciconia
214:Landini
209:Machaut
189:PĂ©rotin
184:Walther
179:Bernart
96:Goliard
21:Rondeau
1972:Rondel
1932:Octave
1867:Cywydd
1812:Aubade
1770:others
1707:German
1693:Cywydd
1652:Octave
1626:Rondel
1581:French
1457:Aubade
1231:Rondel
872:, and
860:, the
681:rondel
536:
512:
460:rondel
432:rondel
402:poetry
199:Franco
164:Notker
62:Theory
2007:Tenso
1957:Planh
1917:Leise
1892:Enuig
1872:Dansa
1832:Canso
1714:Leise
1676:Welsh
1542:Tenso
1522:Planh
1492:Enuig
1472:Dansa
1462:Canso
1241:Rondo
440:rondo
306:Motet
291:Lauda
244:Canso
204:Vitry
169:Guido
1817:Awdl
1802:Alba
1683:Awdl
1340:(2).
899:and
430:and
397:and
1902:Gab
1497:Gab
1384:doi
909:'s
286:Lai
2069::
1603:,
1599:,
1380:12
1378:.
1374:.
1338:35
1336:.
1305:^
1255:^
1046::
1032:("
903:.
842:,
838:,
812:.
478::
372:A
33:on
1607:)
1595:(
1418:e
1411:t
1404:v
1390:.
1386::
1269:.
940:,
679:"
534:B
532:A
530:b
528:a
526:A
524:a
522:B
520:A
378:(
361:e
354:t
347:v
68:)
64:(
23:.
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