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(1) Polyphonic songs of the 15th and 16th centuries. The chansons, which were preceded by the ballades, virelays, and rondeaux of Guillaume de Machaut (14th century), were developed by Franco-Flemish composers of the Netherlands school. In the 16th century they took on a strikingly national character and were often imitative and descriptive in nature; at the same time, homophony became more predominant. In this period chansons were written by C. Jannequin, the greatest composer of the French Renaissance, and by such composers as C. Sermisy, P. Moulu, P. Certon, G. Costeley, C. Le Jeune, and C. Goudimel. In the early 17th century the chanson was superseded by the homophonic art song.

(2) Songs of the French music hall of the late 19th and 20th century. The music hall singers—the chansonniers—often themselves compose, or help compose, the music and words of the chansons they perform.


Combarieu, J. Frantsuzskaia muzyka 16 v. Moscow, 1932. (Translated from French.)
Erisman, G. Frantsuzskaia pesnia. Moscow, 1974. (Translated from French.)
Tiersot, J. Istoriia narodnoi pesni vo Frantsii. Moscow, 1975. (Translated from French.)
Expert, H. Les Maitres musiciens de la Renaissance franqaise, vol. 3. Paris, 1900.
Brochón, P. La Chanson franqaise [vols. 1–2.] Paris, 1956–57.
Brown, H. M. Chanson and Madrigal, 1480–1530. Cambridge, Mass., 1964.


References in periodicals archive ?
Si le contenu des repertoires nous eclaire sur la stratification culturelle de l'espace quebecois des annees 1930-1950, il est aussi revelateur du role que tente de jouer le clerge dans la << gestion du social >>, particulierement de ses tentatives de controler les loisirs, d'influencer, voire d'imposer un modele culturel a la societe, ici par le biais du texte des chansons et plus specifiquement celles qu'on trouve dans l'ensemble des dix volumes de La Bonne Chanson, publies de 1938 a 1951.
Certainly there is nothing in the style of his musical writing that would have precluded either instrumental or vocal performance by reasonably skilled amateurs: these chansons - like Castro's other works - dwell largely within a declamatory style, but with tuneful melodic ornaments and a lightly syncopated manner that lends contrapuntal interest without being overly difficult.
For this collection, Castro chose six chansons, six odes, and ten sonnets of Ronsard; his treatment of the texts is (according to Brooks) rather irreverent, using fragments of long poems, setting only partial texts of sonnets, and inconsistently placing musical divisions in sonnets.
The 112-page critical apparatus includes a master list with sigla of all the musical, literary and theoretical source of the motets and chansons, transcriptions and English translations of the texts, lists of musical variants, and short commentaries on each piece.
Le tempo est monte crescendo avec la chanson [beaucoup moins que] Alli al keffieh [beaucoup plus grand que] que le public a chante avec lui volontiers.
Cette nouvelle chanson entre dans la cadre de l'initiative louable de cet artiste consistant a rendre un hommage artistique aux villes marocaines, notamment celles qui ont un long passe.
Vik will be singing popular 20th century chansons that have their roots in the taverns of Paris' poorer, outlying neighborhoods.
Deux particularites rendent ce livre exceptionnel : les illustrations realisees vers 1980 par le dessinateur Robert Crumb s'apparentent aux anciennes cartes de hockey ou de baseball que les enfants collectionnaient durant les annees 1950; en outre, un magnifique CD de 21 chansons choisies par Robert Crumb et datant de 1927 a 1931 servent de complement parfait.
The chansons de geste ("songs of heroic deeds") of Biblioteca Nazionale Manoscritto marciano fondo franceses XIII of Venice, Italy, is a frequently studied text in the scholarly literature concerned with early Italian and late Old French languages and literary traditions.
Le PrE[umlaut]sident de la compagnie Warner Music France, qui a lancE[umlaut] la chanson, a affirmE[umlaut] selon Reuters: " Jusqu'Ea aujourd'hui la chanson occupe la premiE re place sur les listes des chansons franE*aises, c'est un lancement extraordinaire qui a dE[umlaut]passE[umlaut] nos expectations".
Part 2, "Texts and Contexts," is composed of four chapters in which the author deals with the prehistory of the romance epic in Italy and briefly points out the seminal impact that the Chanson de Roland and the chansons de geste had on Franco-Venetian and Franco-Tuscan cantari.
The program brings together many of Maurice Ravel's greatest compositions for solo voice: Cinq melodies populaires grecques (Five Popular Greek Songs); Chants populaires (Popular Songs); Deux melodies hebraiques (Two Hebrew Melodies); Trois poemes de Stephane Mallarme (Three Poems of Stephane Mallarme); Chansons madecasses (Songs of Madegascar); and Sheherazade.