826:
813:
1124:. 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).
677:
462:
474:
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.
473:
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
684:
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
689:
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
437:. 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
697:
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
1047:"). 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,
728:
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:
445:, 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
827:
685:
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
1420:
433:, 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
864:
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.
577:
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
838:
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
1427:
857:
and other prominent composers were prolific in the form. Early rondeaux are usually found as interpolations in longer narrative poems, and separate
370:
861:
musical settings survive. After the 15th century, the musical form went out of fashion and the rondeau became a purely literary form.
2088:
1413:
363:
68:
1127:
The following example of the form was written from the point of view of one of the RAF officers carrying the coffin of
1857:
1755:
875:
was occasionally composed and listed among the
Italian forms of poetry for music. A single rondello appears in the
1449:
76:
2022:
1562:
356:
2083:
589:, with a refrain of five verses (and a total length of 21), which becomes the norm in the 15th century. In the
2093:
795:
194:
64:
481:, each of the structural parts is a single verse, leading to the eight-line structure known today as
1128:
31:
17:
948:
41:
879:. In addition, several rondeaux in French appear entirely in sources originating in Italy, the
2098:
868:
147:
72:
1382:
801:
Rondeaux et refrains du XIIe siÚcle au début du XIVe: Collationnement, introduction et notes
680:
Structural plan of the literary 13-line rondel and 15-line rondeau of the later
Renaissance.
1832:
1607:
1040:
938:
The French rondeau forms have been adapted to
English at various times by different poets.
846:
816:
486:
420:
269:
219:
189:
174:
101:
8:
1036:
907:
854:
311:
184:
96:
710:, this results in a 12-line structure that is now called the "rondeau prime", with the
1049:
1039:. Later, it was reintroduced by some late 19th-century and 20th-century poets, such as
1962:
1932:
1771:
1672:
917:
794:
A large corpus of medieval French rondeaux was collected, catalogued, and studied by
409:
343:
296:
224:
214:
209:
118:
1867:
1847:
1745:
1598:
1394:
1044:
939:
842:
585:, where it consists of four (and, accordingly, the whole form of sixteen), and the
306:
229:
204:
2002:
1992:
1942:
1852:
1750:
1677:
1662:
1537:
922:
850:
394:
291:
179:
1405:
1246:
953:
where the birds are said to "synge a roundel" to a melody "imaked in
Fraunce":
911:
405:
286:
234:
49:
906:) was applied to dance movements in simple refrain form by such composers as
2077:
1982:
1937:
1872:
1812:
1636:
1517:
1477:
1457:
1241:
927:
880:
691:
446:
442:
153:
1907:
1842:
1603:
1472:
429:
301:
264:
254:
2042:
1957:
1917:
1862:
1698:
1667:
1626:
1621:
1567:
1054:
876:
819:, "Doulz viaire gracieus", a typical Rondeau setting of the 14th-century
800:
112:
1512:
839:
130:
2052:
2047:
2027:
1912:
1897:
1577:
1572:
1557:
1507:
1497:
1398:
812:
125:
199:
2032:
2007:
1952:
1817:
1708:
1547:
1527:
1462:
858:
259:
135:
2012:
1987:
1972:
1947:
1922:
1892:
1787:
1729:
1641:
1631:
1522:
1492:
820:
327:
141:
676:
461:
2062:
2057:
2037:
1997:
1887:
1837:
1792:
1657:
1615:
1582:
1542:
1487:
895:
884:
482:
438:
434:
424:
416:
321:
279:
106:
1877:
1822:
1703:
1467:
412:
2017:
1967:
1927:
1902:
1882:
1724:
1552:
1532:
1502:
1482:
1251:
450:
316:
1827:
1693:
845:
in the late 13th century. In the 14th and 15th centuries,
593:, the rhyme scheme is usually ABBA ab AB abba ABBA; in the
1310:. Copenhagen: University of Copenhagen. pp. 115â120.
1208:
In the books of remembrance they have written, "Somewhere
716:
in lines 7 and 12. If derived from the erstwhile 21-line
27:
French medieval and
Renaissance poetic and musical genre
1366:. Oxford: Oxford University Press. pp. 394, 631.
1295:. Cambridge: Cambridge University Press. p. 165.
465:
Structural plan of 14th century rondel/rondeau forms
1169:
that wraps round your coffin. I know you are there.
1029:In its classical 16th-century 15-line form with a
581:, where the refrain consists of three verses, the
1326:Französische Verslehre auf historischer Grundlage
1214:Why did you have to die? Why is death so unfair?"
2075:
1435:
1225:But deep in our hearts you will always be there,
1219:The tears that we weep will soon grow more rare,
1205:The flowers they leave like a carpet are spread,
1200:but the loss that I feel will not leave my head.
1158:Why did you have to die? Why is death so unfair?
1155:but the loss that I feel will not leave my head.
1383:"The Post-Machaut Generation of Poet-Musicians"
1197:Let others show grief like a garment they wear,
1191:As I feel the world watching I try not to care.
1177:My comrades move with me in slow, solemn tread.
777:Je donne aux vers mon corps plein de foiblesse;
1275:
1131:to the plane that was to carry it to England.
867:Although far rarer than the French usage, the
1421:
1035:(aabbaâaabRâaabbaR), the rondeau was used by
930:, each of which is a 13-line poetic rondeau.
364:
1222:the rawness of grief turn to memory instead.
1211:a star is extinguished because you are dead.
1186:The physical weight is a thing that I share.
1183:Our shoulders support you in your oaken bed.
1180:Our eyes are all fixed in an unseeing stare.
1163:I am close to you now. Yes, touching my hair
1152:The physical weight is a thing that I share,
1030:
1006:Ful blissful mowe they synge when they wake:
780:Quant est du cueur, du tout je te le laisse,
723:
717:
711:
705:
699:
1308:French Music in the Early Sixteenth Century
1276:Cerquiglini-Toulet, Jacqueline. "Rondeau".
891:) may not have a purely French provenance.
759:Et si me monstre estre plein de vieillesse
1428:
1414:
1305:
1271:
1269:
1267:
1172:The burden I bear is more heavy than lead.
1166:the flag with its lions of gold and of red
1149:The burden I bear is more heavy than lead.
656:se plus vous voy prochain de ma plaisance,
371:
357:
1343:and the French song in Foreign Sources".
1319:
1317:
1194:My deepest emotions are best left unsaid.
1014:Now welcome, somer, with thy sonne softe,
987:Now welcome, somer, with thy sonne softe,
976:Saynt Valentyn, that art ful hy on-lofte,
958:Now welcome, somer, with thy sonne softe,
887:, suggesting that these works (including
653:N'y tournés plus, car, par ma conscience,
485:, as shown in "Doulz viaire gracieus" by
1338:
1106:We shall not sleep, though poppies grow
1024:And driven away the longe nyghtes blake!
1019:That hast thes wintres wedres overshake,
1003:Sith ech of hem recovered hath hys make,
992:That hast thes wintres wedres overshake,
968:And driven away the longe nyghtes blake!
963:That hast thes wintres wedres overshake,
811:
722:, the result is a 15-line form with the
675:
662:que l'on dira que la main d'ung seigneur
629:d'une sans per que j'ay aymée d'enfance.
614:allés ailleurs querir vostre acointance;
569:I have served you with a sincere heart.
460:
1380:
1323:
1264:
979:Thus syngen smale foules for they sake:
774:Prendre mon ame, et sans plus enquerir,
771:Or, si je meurs, je veulx Dieu requerir
753:Auprés de l'eau me fault de soif perir;
745:Mais n'est ce pas Ă toy grande rudesse,
742:Et ne te chault de ma grefve tristesse;
638:Ou est celluy qui onc fut ne en France,
635:Fait lui avés longuement ceste offence,
557:I have served you with a sincere heart.
477:In its simplest and shortest form, the
415:, as well as the corresponding musical
14:
2076:
1314:
1228:and I ask, will I ever be able to shed
1070:The larks, still bravely singing, fly,
1000:Wel han they cause for to gladen ofte,
665:vous a bien mis a la malle meschance.
604:of the 15th century is the following:
1409:
1393:. Turnhout, Belgium: Brepols: 40â84.
1290:
1084:Loved and were loved, and now we lie
1081:We lived, felt dawn, saw sunset glow,
748:Veu que to peulx si bien me secourir?
659:devant chascun vous feray tel honneur
609:Allés, Regrez, vuidez de ma presence;
393:
1100:The torch; be yours to hold it high!
1067:That mark our place; and in the sky,
756:Je me voy jeune, et en aage fleurir,
739:Par un regard dont m'as voulu ferir,
641:qui endurast tel mortel deshonneur?
624:rempli de deuil pour estre serviteur
449:, which is more commonly called the
1115:
1061:In Flanders fields the poppies blow
619:assés avés tourmenté mon las cueur,
24:
1374:
1361:
1328:. TĂŒbingen: Niemeyer. p. 226.
1097:To you from failing hands we throw
933:
783:Ce nonobstant que me faces mourir
456:
25:
2110:
1103:If ye break faith with us who die
1094:Take up our quarrel with the foe!
1073:Scarce heard amid the guns below.
597:it is AABBA aab AAB aabba AABBA.
1306:Christoffersen, Peter Woetmann.
1064:Between the crosses, row on row,
946:form, one of them at the end of
704:. If derived from the erstwhile
694:" in modern literary compendia.
1858:Cantigas de escĂĄrnio e maldizer
1756:Cantigas de escĂĄrnio e maldizer
1078:We are the dead; short days ago
807:
427:it was considered one of three
1355:
1332:
1299:
1284:
13:
1:
1257:
2089:Western medieval lyric forms
1436:Western medieval lyric forms
804:(Paris: Klincksieck, 1969).
559:If you will have pity on me,
469:The older French rondeau or
7:
1387:Nottingham Medieval Studies
1339:Cuthbert, Michael (2007). "
1235:
1120:A more complex form is the
10:
2115:
942:wrote two rondeaus in the
902:(or the adjectival phrase
889:Esperance, qui en mon cuer
796:Nico H.J. van den Boogaard
520:de fin cuer vous ay servi.
505:Weillies moy estre piteus,
502:de fin cuer vous ay servi.
29:
1805:
1780:
1764:
1738:
1717:
1686:
1650:
1591:
1448:
1441:
1324:Suchier, Walther (1963).
1293:French Verse-Art: A Study
453:form in classical music.
1362:Benson, Larry D. (ed.).
1278:EncyclopĂŠdia Universalis
1129:Diana, Princess of Wales
511:Se je sui un po honteus,
419:form. Together with the
1381:Wilkins, Nigel (1968).
949:The Parliament of Fowls
736:mort me fault encourir,
600:A typical example of a
563:then if I am a bit shy,
1031:
835:
724:
718:
712:
706:
700:
681:
516:Doulz viaire gracieus,
513:ne me mettes en oubli:
508:Doulz viaire gracieus,
498:Doulz viaire gracieus,
466:
2084:Medieval music genres
1806:By alphabetical order
1442:By regional tradition
1364:The Riverside Chaucer
1291:Scott, Clive (1980).
815:
679:
464:
90:Movements and schools
1041:Paul Laurence Dunbar
847:Guillaume de Machaut
798:in his dissertation
567:Sweet gracious face,
565:do not embarrass me:
561:sweet gracious face,
555:Sweet gracious face,
487:Guillaume de Machaut
30:For other uses, see
1739:Galician-Portuguese
1109:In Flanders fields.
1087:In Flanders fields.
908:Jean-Baptiste Lully
855:Hayne van Ghizeghem
344:Renaissance music â
1399:10.1484/J.NMS.3.38
1231:the burden I bear?
1050:In Flanders Fields
869:Italian equivalent
836:
682:
467:
410:Renaissance French
2094:Renaissance music
2071:
2070:
1963:Petrarchan sonnet
1801:
1800:
1673:Petrarchan sonnet
926:sets 21 poems by
918:Arnold Schoenberg
575:
574:
381:
380:
119:Notre-Dame school
16:(Redirected from
2106:
1868:Chanson de toile
1848:Cantiga de amigo
1746:Cantiga de amigo
1599:Chanson de toile
1446:
1445:
1430:
1423:
1416:
1407:
1406:
1402:
1368:
1367:
1359:
1353:
1352:
1336:
1330:
1329:
1321:
1312:
1311:
1303:
1297:
1296:
1288:
1282:
1281:
1273:
1143:by Paul Hansford
1122:rondeau redoublé
1116:Rondeau redoublé
1045:We Wear the Mask
1034:
940:Geoffrey Chaucer
843:Adam de la Halle
834:
833:
832:
830:
787:Avant mes jours.
763:Avant mes jours.
727:
721:
719:rondeau cinquain
715:
709:
707:rondeau quatrain
703:
687:rondeau quatrain
669:AllĂ©s, Regrez, âŠ
645:AllĂ©s, Regrez, âŠ
602:rondeau cinquain
595:rondeau cinquain
591:rondeau quatrain
587:rondeau cinquain
583:rondeau quatrain
548:
524:
492:
491:
397:
392:
373:
366:
359:
307:Liturgical drama
205:Adam de la Halle
37:
36:
21:
2114:
2113:
2109:
2108:
2107:
2105:
2104:
2103:
2074:
2073:
2072:
2067:
2003:Sicilian octave
1853:Cantiga de amor
1797:
1776:
1760:
1751:Cantiga de amor
1734:
1713:
1682:
1678:Sicilian octave
1646:
1587:
1437:
1434:
1377:
1375:Further reading
1372:
1371:
1360:
1356:
1337:
1333:
1322:
1315:
1304:
1300:
1289:
1285:
1274:
1265:
1260:
1238:
1137:Guard of Honour
1118:
936:
934:English rondeau
923:Pierrot Lunaire
898:era, the label
851:Guillaume Dufay
828:
825:
824:
810:
734:Avant mes jours
571:
568:
566:
564:
562:
560:
558:
556:
550:
546:
544:
542:
540:
538:
536:
534:
532:
526:
522:
518:
514:
512:
510:
506:
504:
500:
459:
457:Verse structure
404:) is a form of
395:[ÊÉÌdo]
390:
377:
335:
334:
333:
292:Gregorian chant
249:
241:
240:
239:
169:
161:
160:
159:
91:
81:
80:
35:
28:
23:
22:
15:
12:
11:
5:
2112:
2102:
2101:
2096:
2091:
2086:
2069:
2068:
2066:
2065:
2060:
2055:
2050:
2045:
2040:
2035:
2030:
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2020:
2015:
2010:
2005:
2000:
1995:
1990:
1985:
1980:
1975:
1970:
1965:
1960:
1955:
1950:
1945:
1940:
1935:
1930:
1925:
1920:
1915:
1910:
1905:
1900:
1895:
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1875:
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1855:
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1802:
1799:
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1790:
1784:
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1768:
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1721:
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1701:
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1654:
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1601:
1595:
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1433:
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1425:
1418:
1410:
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1403:
1376:
1373:
1370:
1369:
1354:
1345:Studi Musicali
1331:
1313:
1298:
1283:
1262:
1261:
1259:
1256:
1255:
1254:
1249:
1244:
1237:
1234:
1233:
1232:
1229:
1226:
1223:
1220:
1216:
1215:
1212:
1209:
1206:
1202:
1201:
1198:
1195:
1192:
1188:
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1178:
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1167:
1164:
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1150:
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1145:
1140:
1117:
1114:
1113:
1112:
1111:
1110:
1104:
1101:
1098:
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1089:
1088:
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1079:
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1071:
1068:
1065:
1062:
1027:
1026:
1021:
1016:
1010:
1009:
1008:
1007:
1004:
1001:
995:
994:
989:
983:
982:
981:
980:
977:
971:
970:
965:
960:
944:rondeau tercet
935:
932:
912:Louis Couperin
894:Later, in the
829:MIDI rendering
809:
806:
792:
791:
790:
789:
781:
778:
775:
772:
768:
767:
766:
765:
757:
754:
750:
749:
746:
743:
740:
737:
674:
673:
672:
671:
663:
660:
657:
654:
650:
649:
648:
647:
639:
636:
632:
631:
626:
621:
616:
611:
579:rondeau tercet
573:
572:
553:
551:
529:
527:
495:
479:rondeau simple
458:
455:
379:
378:
376:
375:
368:
361:
353:
350:
349:
348:
347:
337:
336:
332:
331:
324:
319:
314:
309:
304:
299:
294:
289:
284:
283:
282:
277:
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1458:Alba (poetry)
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494:
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448:
447:baroque music
444:
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431:
426:
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418:
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396:
388:
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168:Major figures
165:
164:
156:
155:
154:Ars subtilior
151:
149:
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143:
139:
137:
134:
132:
129:
127:
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102:Saint Martial
100:
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78:
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55:
54:
51:
48:
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43:
39:
38:
33:
19:
1993:Salut d'amor
1977:
1908:Formes fixes
1611:
1604:Formes fixes
1538:Salut d'amor
1390:
1386:
1363:
1357:
1348:
1344:
1340:
1334:
1325:
1307:
1301:
1292:
1286:
1277:
1142:
1136:
1135:
1126:
1121:
1119:
1053:by Canadian
1048:
1037:Thomas Wyatt
1028:
1023:
1018:
1013:
991:
986:
967:
962:
957:
947:
943:
937:
921:
916:
903:
899:
893:
888:
872:
866:
863:
837:
808:Musical form
799:
793:
786:
762:
733:
696:
686:
683:
668:
644:
628:
623:
618:
613:
608:
601:
599:
594:
590:
586:
582:
578:
576:
554:
530:
519:
515:
507:
501:
497:
496:
478:
476:
470:
468:
430:formes fixes
428:
400:
399:
385:
384:
382:
342:
326:
287:Geisslerlied
274:
265:Formes fixes
152:
140:
111:
71: /
67: /
2043:Trobar clus
1958:Pastourelle
1918:Grand chant
1863:Cerdd dafod
1699:Cerdd dafod
1668:Ottava rima
1627:Pastourelle
1622:Grand chant
1568:Trobar clus
1055:John McCrae
877:Rossi Codex
725:rentrements
713:rentrements
248:Major forms
113:Ars antiqua
69:Instruments
2078:Categories
2053:Trobar ric
2048:Trobar leu
2028:Torneyamen
1898:Ensenhamen
1578:Trobar ric
1573:Trobar leu
1558:Torneyamen
1498:Ensenhamen
1258:References
1032:rentrement
904:en rondeau
859:monophonic
701:rentrement
398:; plural:
126:Troubadour
97:Saint Gall
2033:Traethodl
2008:Sirventes
1953:Pastorela
1818:Arlabecca
1709:Traethodl
1548:Sirventes
1528:Pastorela
1463:Arlabecca
1341:Esperance
260:Conductus
235:Dunstaple
185:Hildegard
136:Minnesang
77:Theorists
65:Composers
2013:Tagelied
1988:Rondelet
1973:Reverdie
1948:Partimen
1933:Madrigal
1923:Kyrielle
1893:Devinalh
1788:Kyrielle
1772:Madrigal
1730:Tagelied
1642:Rondelet
1632:Reverdie
1523:Partimen
1513:Lo BoiĂšr
1493:Devinalh
1236:See also
873:rondello
840:trouvĂšre
821:Ars nova
423:and the
406:medieval
401:rondeaux
328:Planctus
312:Madrigal
148:Trecento
142:Ars nova
131:TrouvĂšre
56:Overview
42:a series
40:Part of
18:Rondeaux
2063:Virelai
2058:Viadera
2038:Triolet
2023:Tornada
1998:Sestina
1978:Rondeau
1888:Descort
1838:Ballata
1833:Ballade
1793:Triolet
1765:English
1658:Ballata
1651:Italian
1616:Virelai
1612:Rondeau
1608:Ballade
1583:Viadera
1563:Tornada
1543:Sestina
1488:Descort
1450:Occitan
1247:Roundel
900:rondeau
896:Baroque
885:Germany
817:Machaut
483:triolet
439:triolet
435:refrain
425:virelai
421:ballade
417:chanson
391:French:
386:rondeau
322:Organum
280:Virelai
275:Rondeau
270:Ballade
230:Ciconia
225:Landini
220:Machaut
200:PĂ©rotin
195:Walther
190:Bernart
107:Goliard
32:Rondeau
1983:Rondel
1943:Octave
1878:Cywydd
1823:Aubade
1781:others
1718:German
1704:Cywydd
1663:Octave
1637:Rondel
1592:French
1468:Aubade
1242:Rondel
883:, and
871:, the
692:rondel
547:
523:
471:rondel
443:rondel
413:poetry
210:Franco
175:Notker
73:Theory
2018:Tenso
1968:Planh
1928:Leise
1903:Enuig
1883:Dansa
1843:Canso
1725:Leise
1687:Welsh
1553:Tenso
1533:Planh
1503:Enuig
1483:Dansa
1473:Canso
1252:Rondo
451:rondo
317:Motet
302:Lauda
255:Canso
215:Vitry
180:Guido
1828:Awdl
1813:Alba
1694:Awdl
1351:(2).
910:and
441:and
408:and
1913:Gab
1508:Gab
1395:doi
920:'s
297:Lai
2080::
1614:,
1610:,
1391:12
1389:.
1385:.
1349:35
1347:.
1316:^
1266:^
1057::
1043:("
914:.
853:,
849:,
823:.
489::
383:A
44:on
1618:)
1606:(
1429:e
1422:t
1415:v
1401:.
1397::
1280:.
951:,
690:"
545:B
543:A
541:b
539:a
537:A
535:a
533:B
531:A
389:(
372:e
365:t
358:v
79:)
75:(
34:.
20:)
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