(redirected from canzones)
Also found in: Dictionary.


(käntsô`nā) or


(–nä), in literature, Italian term meaning lyric or song. It is used to designate such various literary forms as Provençal troubadour poems and the lyrics of Dante, Petrarch, and other Italian poets of the 13th and 14th cent. The term was revived in the 19th cent. by Italian lyric poets, among them Giosuè Carducci.




in music, a type of instrumental music in Italy in the 16th and 17th cent. The term had previously been given to strophic songs for five or six voices; usually the canzone had three sections. The instrumental canzone was written in imitation of lute or keyboard transcriptions of French chansons, whose brief imitative sections became characteristic of the genre. Frescobaldi used it in a series of fugal sections, each a rhythmic variation of the same theme. The thematic unity of his example was adopted by Froberger and other German composers, and this development led to the fugue. The canzone for instrumental ensemble became, in the hands of Giovanni Gabrieli and his followers, a structure consisting of sections of imitation in duple meter alternating with passages in triple meter.



a lyric poem of the medieval Provencal troubadours about knightly love; originally developed in Italy in the 13th to 17th centuries. The canonical canzoni had strophic construction (five or six strophes); the last strophe was short and addressed the person to whom the canzone was dedicated. The classical models of canzoni were created by Dante and Petrarch.

The canzone was always closely associated with music; polyphonic vocal canzoni were related to the frottola and villanelle. In the 16th and 17th centuries in Italy, instrumental canzoni appeared, originally as adaptations of the French chanson and later as original compositions in the chanson style. Composers of canzoni included A. Gabrieli, C. Merulo, and G. Frescobaldi in Italy and D. Buxtehude and J. S. Bach in Germany.

The 17th-century development of canzoni for instrumental ensembles led to the formation of the concerto grosso; canzoni for keyboard instruments evolved into the fugue; and canzoni for solo instrument with accompaniment became the sonata. In the 18th and 19th centuries “canzone” was sometimes used for vocal and instrumental lyrical musical pieces (“The Heart Is Stirred by Ardent Blood,” from Mozart’s The Marriage of Figaro, or the slow movement of Tchaikovsky’s Symphony No. 4). Canzoni appear as stylized pieces in the work of such 20th-century poets as V. Ia. Briusov and M. A. Kuzmin.

References in periodicals archive ?
The RVF canzones 125-129 may be understood as a sequence of five summits or sisters.
In fact, it is precisely this "dolce sereno" around which each of the five canzones unfolds.
The fundamental tension of the five canzones is consequently that of "transparency and obstacle," following the title of a famous book by Jean Starobinski (Jean-Jacques Rousseau.
The beginning of canzone 125, "Se 'l pensier che mi strugge," with its rough tonality, marks the greatest difference to "Dolci rime leggiadre.
The adjective "dolce" in this canzone is a sign for the poetic transformation of reality.
The famous beginning of canzone 126--"Chiare, fresche et dolci acque"--is, as much as "Dolci rime leggiadre," a formula for what might be the essence of poetry.
The canzone "Chiare, fresche et dolci acque" follows the poetics that canzone 125 has founded as the mode of new singing.
Line 18 of the following canzone, "Amor col rimembrar sol mi mantene," constitutes the poetic device of canzone 127.
The congedo once again insists upon the disproportion between what the canzone has said and what it should have said in order to render the thoughts that day and night obsess the poet's mind.
The temporal structure of the canzone is that of repetition and event.
Canzone 128, "Italia mia"--with its powerful line "I' vo gridando: Pace, pace, pace"--seems to interrupt, by its political subject, the series of "parole extreme" of the unhappy poet in love with Laura, but also in love with poetry.
The congedo is an exhortation for the canzone to be courteous and respectful in tone in order to gain a hearing at least amongst the "magnanimi pochi," willing to listen to his desperate crying: "I' vo gridando: Pace, pace, pace" (v.