madrigal

American  

[mad-ri-guhl] / ˈmæd rɪ gəl /

noun

1. a secular part song without instrumental accompaniment, usually for four to six voices, making abundant use of contrapuntal imitation, popular especially in the 16th and 17th centuries.

2. a lyric poem suitable for being set to music, usually short and often of amatory character, especially fashionable in the 16th century and later, in Italy, France, England, etc.

3. any part song.

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madrigal British  

/ ˌmædrɪˈɡælɪən, ˈmædrɪɡəl, -ˈɡeɪ- /

noun

1. music a type of 16th- or 17th-century part song for unaccompanied voices with an amatory or pastoral text Compare glee

2. a 14th-century Italian song, related to a pastoral stanzaic verse form

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Other Word Forms

• madrigalesque
  adjective
• madrigalian
  adjective
• madrigalist
  noun

Etymology

Origin of madrigal

1580–90; < Italian madrigale < Medieval Latin mātricāle something simple, noun use of neuter of Late Latin mātricālis literally, of the womb. See matrix, -al ¹

Explanation

A madrigal is a specific kind of song, one that you won't often hear on the radio. The madrigal developed in 16th-century Italy and is sung in musical counterpoint, by several singers at once. You're only likely to sing a madrigal if you're in a club or musical group that has an interest in old choral music that is sung a capella (without instruments), with several intertwining voices at once and following a strict poetic form. If you enjoy going to the Renaissance Fair, you'll hear lots of madrigals, because the madrigal form was most popular during the Renaissance. Even though few people sing them today, some of the musical forms and structures from madrigals can be heard in contemporary pop songs.

Example Sentences

It was also enjoyed in chamber concerts at Queen Elizabeth I’s court, in madrigal recitals, religious gatherings and in informal settings and street performances.

From Seattle Times • Mar. 7, 2018

They make expert use of the word-painting techniques of the Renaissance madrigal and Baroque opera.

From The New Yorker • Dec. 25, 2016

Each madrigal, moreover, begins with a serene, straightforward melody but gradually becomes contrapuntally intricate and agitated and multidimensional.

From Los Angeles Times • Nov. 1, 2016

A madrigal by Monteverdi’s contemporary Antonio Cifra, charmingly sung by Lamoreaux and Smith, served as a prelude to “Il Combattimento.”

From Washington Post • Jan. 26, 2015

And now there was an acrimonious madrigal, with parts sung in all quarters of the car.

From "Slaughterhouse-Five" by Kurt Vonnegut