Definitions for "Rondeau"
Related Terms:
Madrigal, Ballade, Dhrupad, Hocket, Motet, Chanson, Virelai, Trio sonata, Organum, Monophony, Sonata, Fugue, Khayal, Vamp, Homophony, Basso continuo, Conductus, Alap, Chaconne, Montuno, Canon, Counterpoint, Descant, Strophic, Passacaglia, Grand staff, Continuo, Dadra, Imitation, Bandish, Heterophony, Tarana, Sonata-allegro form, Melismatic, Sonata form, Homophonic, Riff, Treble clef, Minuet, Fugato, Obbligato, Through-composed, Swara, Taqsim, Ballata, Cantus firmus, Tenor, Alberti bass, Recapitulation, Consort
A species of lyric poetry so composed as to contain a refrain or repetition which recurs according to a fixed law, and a limited number of rhymes recurring also by rule.
See Rondo, 1.
The French term for a piece that has a recurring A section (for example, ABACA).
from the thirteenth to fifteenth centuries, one of the secular formes fixes of poetry and song composition. The musical compositions originally were dance-songs, performed with instrumental accompaniment. Adam de la Halle was the first composer of polyphonic rondeaux. The early form, found-for example-in the polyphonic rondeaux of Adam de la Halle and Guillaume de Machaut, was an eight-line poem with the first two used as a refrain: A-B-a-A-a-b-A-B (uppercase letters being the refrain). [BW, GJC
A musical style popular with the Troubadours characterised as a song with a refrain. The rondel and virelai are two types of rondeaux and are considered to have been dances.
a musical form that is often the last movement of a sonata
a French verse form of 10 or 13 lines running on two rhymes; the opening phrase is repeated as the refrain of the second and third stanzas
a baroque dance, often incorporated into a suite
a later musical form , also known as rondo
a French poem for light topics; it has 15 lines, with short refrains at lines 9 and 15, rhymed aabba, aabc, aabbac.
Medieval and Renaissance fixed poetic form and chanson type with courtly love texts.
(plural "rondeaux") the most long-lasting of the French formes-fixes, cultivated in the thirteenth, fourteenth, and fifteenth centuries; it has the form A B a A a b A B, where a capital letter designates a refrain text and lower case designates new text. Each of the two musical sections had a refrain text which came back at the end of the poem, but the two halves of the refrain had to be separable, for in the middle of the poem three statements of the opening music appeared together. Thus, the medial cadence marking the end of the first (A) section had to be able to lead forward to the contrasting B material or lead back to the beginning of the first section. Poets and musicians alike enjoyed playing with the subtle reinterpretation of material over the course of a piece generated by this elaborate structure.
The term "rondeau'' goes back to the Middle Ages, where it was an important poetic and musical form in France. More relevant to Bach and later composers, the rondeau was an instrumental form from the 17th century, which alternated a refrain (usually 8 or 16 measures in length, and sometimes repeated itself), with "couplets,'' as they were called(basically, different "verses''. Each couplet was usually in a different, though closely-related, key to the refrain. The form was common in 17th-century French harpsichord music.
A Rondeau is a form of French poetry with 15 lines written on two rhymes, as well as a corresponding musical form developed to set this characteristic verse structure. It was one of the three formes fixes (the other two were the ballade and the virelai), and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries.