French cafe music chanson
The father was one of the rhétoriciens- poets who, under the influence of the Italian humanists, had attempted to revive classical ideas in poetry while giving up the cut-and-dried rules of the formes fixes, they had nevertheless retained a certain rigidity, inimical to the kind of musical composition that was coming into favor. The change was due largely to Clément Marot, son of Jean Marot. While some of the texts employed by the Josquin generation had still adhered to strict formalism, the poetry of the first decades of the 16th century sought greater liberty.
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1500, an influence that aided in the creation of increasingly free verse forms. Of great importance, as well, was the growing influence of popular art on cultivated art, ca. Other and more specialized influences also contributed to the development of the chanson-foremost, that of the Italian Renaissance, whose propagation in France was furthered by royal inclinations these brought not only French military expeditions into Italy but Italian art into France. This group, partly from inherent natural curiosity and vigor, partly, too, from a very human desire to ape courtly tastes, had taken advantage of the cultural opportunities offered it. The 15th century had witnessed the rise of a new and wealthy bourgeoisie. Social and political conditions in France in the early 16th century were particularly favorable to the growth of secular music. But although French composers of Masses and motets in the early sixteenth century continued to write in a slightly modified version of the international style of the Netherlands, chanson composers in this period and during the long reign of François I (1515-47) developed a type of chanson that was more distinctively national in both poetry and music. Pierre de La Rue and Josquin des Prez, though of Flemish descent, were culturally French, and their very names are probably French translations of Flemish names.įrench was always the language of the chanson as Latin was of the Mass. The culture of Burgundy, as well as that of most of the Netherlands provinces, was French. In the fifteenth and early sixteenth centuries it is difficult to speak of a French musical idiom distinct from that of Burgundy or the Netherlands.