Villancico

·        similar to Italian Frottola

·        a national style

·        name comes from villano or “peasant”

·        form with refrain (text AB CCC B, music ab cc ab)

·        while frottola disappeared in print after 1531, villancico thrived beyond the end of the century

·        later in the century the term became increasing used for sacred compositions in the vernacular which were introduced into the liturgy on feast days (Counter-Reformation influence)

·        canción is a more courtly form of Spanish song

prior to 16^th c.-----

·        generally syllabic melody, of narrow range in simple contrapuntal style

·        texted only in superius

·        melody matches the rhythm of the verse

·        cadences with some ornamentation

·        duple mensuration prevails, with occasional triple

in 16^th c.-----

·        all voices share equally in text and melody

·        imitation, but homophonic style not uncommon

·        text treated with expressive repetitions

·        simple tunes, artfully treated, betray the peasant origins

·        Italian style starts to overwhelm in mid-century

Juan Vásquez raised the villancico to the stylistic level of the madrigal

Cancionero de Palacio, 463 pieces, from mid-century

Francisco Guerrero, Canciones y villanescas espirituales¸ 1589

G. also provided novel effects—4- or 5-part estribillo against a copla for solo, duo, or trio with instrumental accompaniment

JRC, December 2000

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