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47-410: The older French rondeau or rondel 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 of the refrain, then by a new section corresponding to the structure of

94-464: A Benedictine at Douai , who purportedly used them in his devotions. None of Cary's poetry was published until the late 18th century and his triolets did not achieve notice until Sir Walter Scott published them in 1820. Probably, the two earliest publications of a triolet in English were both translations of Ranchin's king of triolets , with one being published in 1728 and the other in 1806. In 1835

141-400: A flute player) without accompanying harmony or chords . Many folk songs and traditional songs are monophonic. A melody is also considered to be monophonic if a group of singers (e.g., a choir ) sings the same melody together at the unison (exactly the same pitch) or with the same melody notes duplicated at the octave (such as when men and women sing together). If an entire melody

188-477: A line ending in an amphibrachic foot was called feminine. Depending on the language and era, other meters are seen, even in French. The first, fourth and seventh lines are identical, as are the second and final lines, thereby making the initial and final couplets identical as well. In a traditional French triolet, the second and third non-repeating lines rhyme with the repeating first, fourth, and seventh lines, while

235-456: A long history, triolets, with the exception of France in the years from 1648 to 1652, have always been a relatively rare verse form. Nevertheless, the number of languages in which triolets have been written and the number of poets who have written triolets has steadily increased and it seems to be exhibiting a new vitality with the advent of the 21st century. The following five triolets were written in 1651, 1806, 1870, 1877 and 1888, respectively,

282-400: A master. 4. Love's but a dance Oh, Love's but a dance, Where Time plays the fiddle! See the couples advance,— Oh, Love's but a dance! A whisper, a glance, — Shall we twirl down the middle? Oh, Love's but a dance, Where Time plays the fiddle! Robert Fellows' piece "The first of May" derives its title from an English translation of the first line of an older triolet written by

329-495: A monophonic tune sometime between 1527 and 1529. Many of Luther's hymns were later harmonized for multiple voices by other composers, and were also used in other polyphonic music such as the cantatas of Johann Sebastian Bach . See Voicing (music)#Doubling DeLone more loosely defines monophony as "passages, movements, or sections in which notes sound alone, despite instrumental doubling" even if "such passages may involve several instruments or voices." Indian classical music

376-520: A point of developing it in new directions not seen with English and French writers. In addition to German, the triolet also appeared in Dutch, Greek, Hungarian, Polish, Portuguese, Russian, Spanish, and possibly other languages during these two centuries. Moreover, in Brazil in the late 19th century, the triolet spawned a new, somewhat abbreviated, six-line verse form known as the biolet. Though possessing

423-419: A purely literary genre, it is often not entirely clear how much of the refrain material was actually meant to be repeated. A rondeau quatrain in which the first refrain interjection (lines 7–8, 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

470-532: A rondel of Froissart was translated into English as a triolet. In 1870 Robert Bridges became the first English poet to write original triolets in English that were published and achieved recognition in England. This, though, was less through his own efforts than through the impact of an influential article written by Edmund Gosse and printed in 1877 in the Cornhill Magazine reintroducing the triolet to

517-420: A sincere heart. If you will have pity on me, sweet gracious face, then if I am a bit shy, do not embarrass me: Sweet gracious face, I have served you with a sincere heart. 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 rondeau tercet , where the refrain consists of three verses,

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564-495: Is Gregorian chant ), were monophonic. Even into the twenty-first century, songwriters still often write songs that intersperse sections using monophony, heterophony (two singers or instrumentalists doing varied versions of the same melody together), polyphony (two or more singers or instrumentalists playing independent melodic lines at the same time), homophony (a melody accompanied by chords), or monody (a single melodic line with instrumental accompaniment) elements throughout

611-401: Is ABaAabAB (capital letters represent lines repeated verbatim) and often in 19th century English triolets all lines are in iambic tetrameter , though in traditional French triolets, from the 17th century on, the second, sixth and eighth lines tend to be iambic trimeters followed by one amphibrachic foot each. In French terminology, a line ending in an iambic foot was denoted as masculine, while

658-467: Is a 13-line poetic rondeau. The French rondeau forms have been adapted to English at various times by different poets. Geoffrey Chaucer wrote two rondeaus in the rondeau tercet form, one of them at the end of The Parliament of Fowls , where the birds are said to "synge a roundel" to a melody "imaked in Fraunce": In its classical 16th-century 15-line form with a rentrement (aabba–aabR–aabbaR),

705-463: Is a single verse, leading to the eight-line structure known today as triolet , as shown in "Doulz viaire gracieus" by Guillaume de Machaut : Doulz viaire gracieus, de fin cuer vous ay servi. Weillies moy estre piteus, Doulz viaire gracieus, Se je sui un po honteus, ne me mettes en oubli: Doulz viaire gracieus, de fin cuer vous ay servi.   A B a A a b A B   Sweet gracious face, I have served you with

752-415: Is an example of a modern English triolet. "Birds At Winter" Around the house the flakes fly faster, And all the berries now are gone From holly and cotoneaster Around the house. The flakes fly! – faster Shutting indoors the crumb-outcaster We used to see upon the lawn Around the house. The Flakes fly faster And all the berries now are gone! In the last line the punctuation is altered; this

799-424: Is common although not strictly in keeping with the original form. Furthermore, the fact that the "berries now are gone" has a new relevance, the birds are going unfed, creates a new significance from the line repetition. Monophony In music , monophony is the simplest of musical textures , consisting of a melody (or "tune"), typically sung by a single singer or played by a single instrument player (e.g.,

846-470: Is now called the "rondeau prime", with the rentrements in lines 7 and 12. If derived from the erstwhile 21-line rondeau cinquain , the result is a 15-line form with the rentrements in lines 9 and 15 (rhyme scheme aabba–aabR–aabbaR). 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: A large corpus of medieval French rondeaux

893-534: Is played by two or more instruments or sung by a choir with a fixed interval, such as a perfect fifth , it is also said to be monophony (or "monophonic"). The musical texture of a song or musical piece is determined by assessing whether varying components are used, such as an accompaniment part or polyphonic melody lines (two or more independent lines). In the Early Middle Ages , the earliest Christian songs, called plainchant (a well-known example

940-514: Is the rondeau redoublé . 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). The following example of

987-683: 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. Although far rarer than the French usage, the Italian equivalent , the rondello was occasionally composed and listed among the Italian forms of poetry for music. A single rondello appears in the Rossi Codex . In addition, several rondeaux in French appear entirely in sources originating in Italy,

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1034-564: The Low Countries , and Germany , suggesting that these works (including Esperance, qui en mon cuer ) may not have a purely French provenance. Later, in the Baroque era, the label rondeau (or the adjectival phrase en rondeau ) was applied to dance movements in simple refrain form by such composers as Jean-Baptiste Lully and Louis Couperin . Arnold Schoenberg 's Pierrot Lunaire sets 21 poems by Albert Giraud , each of which

1081-409: The rondeau quatrain , where it consists of four (and, accordingly, the whole form of sixteen), and the rondeau cinquain , with a refrain of five verses (and a total length of 21), which becomes the norm in the 15th century. In the rondeau quatrain , the rhyme scheme is usually ABBA ab AB abba ABBA; in the rondeau cinquain it is AABBA aab AAB aabba AABBA. A typical example of a rondeau cinquain of

1128-422: The " rondel " in modern literary compendia. 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 rentrement . If derived from the erstwhile rondeau quatrain , this results in a 12-line structure that

1175-659: The 14th century produced many songs which can be seen as extensions of the Provençal troubador tradition, such as secular monophonic lais and virelais. Jehan de Lescurel (or Jehannot de l'Escurel), a poet and composer from northern French from the Trouvère style also wrote monophonic songs in the style of virelais, ballades, rondeaux and diz entés. Minnesänger were similar to the French style but in Middle High German. A tradition of Lauda , or sacred songs in

1222-417: The 15th century is the following: 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 poetry. As the form was gradually divorced from the musical structure and became

1269-487: The English public at large, among whom it enjoyed a brief popularity among late-nineteenth-century British poets. Not only did the triolet come to enjoy popularity in the late 19th century among English writers, but in the 18th and 19th centuries, it also came to enjoy a certain popularity among writers of other European languages. Among the various languages in which the triolet appeared, German writers of triolets, in particular, were not only numerous, but, by and large, made

1316-510: The French poet Ranchin in c. 1690. In reference to Ranchin's original French triolet, English poet and literary critic Edmund Gosse claimed that "No more typical specimen of the [early French] triolet could be found": Le premier jour du mois de mai Fut le plus heureux de ma vie: Le beau dessein que je formais, Le premier jour du mois de mai! Je vous vis et je vous aimais. Si ce dessein vous plut, Sylvie, Le premier jour du mois de mai Fut le plus heureux de ma vie. The following

1363-423: The civil uprisings of the " Fronde " when triolets were used for propaganda purposes and for character assassination. However, what remains easily accessible from this period are, basically, two poems, one by Marc-Antoine Girard, Sieur de Saint-Amant and another by Jacques de Ranchin. Saint-Amant's poem is a triolet about writing a triolet and Ranchin's, also known as the "king of triolets", is about falling in love on

1410-477: The earliest music notation to develop after the loss of the ancient Greek system . For example, Dodecachordon was published by the Swiss Renaissance composer Heinrich Glarean (also Glareanus) and included plainsong or Gregorian chant and monophony. The earliest manuscripts which contain plainsong were written in neumes , a primitive system which recorded only the outline of the melody, and it

1457-543: The end of the 15th century, the term triolet appears for the first time. It was probably first so designated by Octavien de Saint-Gelais, whose colleague André de la Vigne appears to have designated his own triolets as rondelets. In the 16th century, variously designated French and Dutch triolets continue to appear, though they largely lose favor by the end of the century. In the 17th century from 1648 to 1652, triolets designated as triolets became suddenly popular in France during

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1504-483: The first four being written by Englishmen and the last by an American. 1. Farewell all earthly joys and care Worldly designs, fears, hopes, farewell! Farewell all earthly joys and cares! On nobler thoughts my soul shall dwell, Worldly designs, fears, hopes, farewell! At quiet, in my peacefull cell, I'll think on God, free from your snares; Worldly designs, fears, hopes, farewell! Farewell all earthly joys and cares 2. The first of May The first morn in

1551-413: The first of May. Though the triolet did not recover its former popularity in 18th century France, it did, with the appearance of Théodore de Banville in the mid-19th century, experience a revival of interest with triolets being written by Arthur Rimbaud, Maurice Rollinat, Alphonse Daudet, and Stéphane Mallarmé. The earliest known triolets composed in English were written in 1651 by Patrick Cary , briefly

1598-507: The form was written from the point of view of one of the RAF officers carrying the coffin of Diana, Princess of Wales to the plane that was to carry it to England. Triolet A triolet ( UK : / ˈ t r aɪ ə l ɪ t / , US : / ˌ t r iː ə ˈ l eɪ / ) is almost always a stanza poem of eight lines, though stanzas with as few as seven lines and as many as nine or more have appeared in its history. Its rhyme scheme

1645-400: 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. In its simplest and shortest form, the rondeau simple , each of the structural parts

1692-438: The late 13th century. In the 14th and 15th centuries, Guillaume de Machaut , Guillaume Dufay , Hayne van Ghizeghem and other prominent composers were prolific in the form. Early rondeaux are usually found as interpolations in longer narrative poems, and separate monophonic musical settings survive. After the 15th century, the musical form went out of fashion and the rondeau became a purely literary form. The musical rondeau

1739-407: The late 13th century. In this century, possibly the earliest surviving triolet is from "Li Roumans dou Chastelain de Couci et de la Dame de Fayel", where it is referred to as simply a song ("chanson"). Seven more easily datable 13th century triolets (also known as songs) are to be found in "Cléomadès" by Adenet le Roi. In the early 14th century, the songwriter, Jean Lescurel, wrote many triolets under

1786-486: The melody to create different atmospheres and styles. Monophony may not have underlying rhythmic textures, and must consist of only a single melodic line. According to the modern medieval scholar Ardis Butterfield , monophony "is the dominant mode of the European vernacular genres as well as of Latin song ... in polyphonic works, it remains a central compositional principle." The earliest recorded Christian monophony

1833-601: The month of May I prize far more than all the rest; For thee I saw and told that day, The first morn of the month of May, That thou my heart had'st stolen away. If thee please what I then confessed, The first morn in the month of May I prize far more than all the rest. 3. When we first met When first we met we did not guess That Love would prove so hard a master; Of more than common friendliness When first we met we did not guess Who could foretell this sore distress, This irretrievable disaster When first we met? We did not guess That Love would prove so hard

1880-577: The non-repeating sixth line rhymes with the second and eighth repeating lines. However, especially in German triolets of the 18th and 19th centuries, one will see this pattern often violated. The triolet is a close cousin of the rondeau , the rondel , and the rondelet , other French verse forms emphasizing repetition and rhyme. The form stems from medieval French poetry and seems to have had its origin in Picardy . The earliest written examples are from

1927-579: The rondeau was used by Thomas Wyatt . Later, it was reintroduced by some late 19th-century and 20th-century poets, such as Paul Laurence Dunbar (" We Wear the Mask "). 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, In Flanders Fields by Canadian John McCrae : A more complex form

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1974-619: The style of Troubador songs, was popularized in the 13th and 14th centuries by Geisslerlieder , or Flagellant songs. These monophonic Laude spirituale songs were used in the 13th and 17th century by flagellants , as recorded in the medieval chronicle Chronicon Hugonis sacerdotis de Rutelinga (1349). Monophony was the first type of texture in the Lutheran Church . A well-known example is Martin Luther's hymn "Ein feste Burg ist unser Gott" (" A Mighty Fortress Is Our God "), written as

2021-421: The term of rondel. Lescurel was followed by Guillaume Machaut and, at the end of the century, by Jean Froissart. In the early 15th century, Christine de Pisan experimented with a slightly abbreviated seven-line variation of the triolet which she, like her predecessors, also termed a rondel. Toward the end of this century, Dutch language triolets (though designated as rondels) by Anthonis de Roovere appear. Also, at

2068-552: The texture of the melody by adding a second voice in parallel octaves or parallel fifths , which could still be considered monophonic; however, by the 11th century the organum had developed a style called "free organum" in which the voices were more independent, evolving into a polyphonic tradition. Mozarabic chant , Byzantine Chant , Armenian chant , Beneventan chant , Ambrosian chant , Gregorian chant and others were various forms of plainsong which were all monophonic. Many of these monophonic chants were written down, and contain

2115-502: Was plainchant or plainsong (of which one well-known style was called Gregorian chant ) a single unaccompanied vocal melody sung by monks . Sung by multiple voices in unison (i.e. the same pitch and rhythm), this music is still considered monophonic. Plainsong was the first and foremost musical style of Italy , Ireland, Spain, and France. In the early 9th century, the organum tradition developed by adding voices in parallel to plainchant melodies. The earliest organum merely augmented

2162-471: Was collected, catalogued, and studied by Nico H.J. van den Boogaard in his dissertation Rondeaux et refrains du XIIe siècle au début du XIVe: Collationnement, introduction et notes (Paris: Klincksieck, 1969). 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 trouvère Adam de la Halle in

2209-476: Was not until the 11th century that Guido d'Arezzo invented a more modern musical notation system that the exact notes of the melodies were preserved. Most troubadour songs were monophonic. Troubadour songs were written from 1100–1350 and they were usually poems about chivalry or courtly love with the words set to a melody. Aristocratic troubadours and trouvères typically played in courtly performances for kings, queens, and countesses. Poets and composers in

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