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(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 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.
12) The dominating tense of the canzone is a present of iteration expressing the obstinate recurrence of experience.
The congedo, however, indicating in a future tense a new space beyond reality, shows the canzone its way to where there will be absolute harmony and reciprocity of communication:
And in RVF 129, finally, the poet in his congedo sends his canzone to the country "oltra quell'alpe,/ la dove il ciel e piu sereno e lieto" (vv.
For the form of canzone, see Baldelli, "Canzone"; Pelosi.
2) For canzone 70 and the following "canzoni degli occhi" (71-73), see Barolini.
Speaking of "Chiare, fresche e dolci acque," Noferi remarks: "Essa fa parte di una serie, unica nel libro, di ben cinque canzoni (dalla CXXV alla CXXIX) delle quali quattro, legate due a due da aspetti metrici e tematici (con la seconda coppia intervallata dalla canzone civile Italia mia) "dicono", variandolo, lo stesso tema centrale: quello dell'immagine, o piu precisamente del costituirsi dell'immagine fantasmatica attraverso la traccia dell'oggetto assente" (21).