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(1) A melody, either vocal or instrumental, of a lyrical character.

(2)The lyrical quality of music or its execution; a vocalist’s ability to lyrically execute a melody.

(3) In the 13th—15th centuries in Western Europe the term for small, secular homophonic and polyphonic vocal works of a lyrical and epic cast and for dance songs.

(4) From the end of the 17th century, a song or musical piece with a lyrical melody.

References in periodicals archive ?
Dimock, Rolls Series, 21/6 (London: HMSO, 1868), 32: "Videns enim hic homines seu puellas, nunc in ecclesia, nunc in coemeterio, nunc in chorea que circa coemiterium cum cantilena circumfertur, subito in terram comere, et primo tanquam in extasim ductus et quieus, deinde tanquam in phrenesim raptus exsilientes, opera quecunque festis diebus illicite perpetrate consueverant, tam manibus quam pedibus coram populo repraesentantes.
In Faksimile herausgegeben nebst Ubertragung des Textes und Ubersetzung in Deutsehe, dazu Bericht, Literatursehau, Tabellen und Indices (Leipzig: Deutscher Verlag fur Musik, 1972), 132: "Ductia vero est cantilena levis et velox et ascensu et descensu que in choreis a iuvenibus et puellis decantatur.
And equally one should take care to be able to be joyful, to be happy, listen to cantilenas, stories and melodies.
He advises listening to (audire) cantilenas, stories and melodies; namely activities almost identical to those carried out by Boccaccio's brigata.
7:144, 85-86: "Natum ab Ulyssis cera, qua suas ac sociorum aures obturat apud Homenum adversus Sirenarum cantilenas.
Moving back to a less literal level, Odo argues that 'optima cantilena est cum quis coram sacerdote peccata sua cantat, coram Deo laudes et orationes cum deuotione resonat' (fol.
Matousek ravishingly captures its poetry and perhaps its grief too, it is a beautiful cantilena in a pleasant deeper register.
The members of the Skampa Quartet are absolutely the most convincing to the ear--both in individual performance (for example in the cantilenas of the 1st violin and viola in the 3rd movement of the Quintet in G major
Some pieces of this king may have been given sacred texts and may even have been sung in church, making them the source of Master Jan Hus's outrage when he condemned wanton cantilenas as more conducive to dance than to religion.
Yet another form became quite widespread in Bohemia; this was the cantilena song in which the main melody was placed in the upper voice while the tenor (or sometimes contratenor) bottom line in slower motion is not texted and so most often performed instrumentally as an accompaniment to the melodic line of the upper voice.
Fine cantilenas are developed suggestively underscored by the piano in the nostalgic songs of Richard Strauss (Madchenblumen), and the listener is struck by the interesting darker timbre in Dvorak's calm love poetry (Milostne pisne--Love Songs).