Morley, the most prolific English madrigalist, favoured a light-hearted style and frivolous pastoral verse, writing canzonets and strophic balletts (the latter modelled on works by Gastoldi with their ‘fa-la’ refrains) as well as true madrigals. He also edited The Triumphes of Oriana (1601), a collection of madrigals by 21 Englishmen in praise of Elizabeth I; each ends with the phrase ‘Long live fair Oriana’, although in fact both Elizabeth and Morley died soon afterwards. Other composers, such as Gibbons, Wilbye, Weelkes, and Ward, wrote in a more serious vein, expressive Italianate chromaticisms and dissonances reflecting imagery in the text. After 1600 the madrigal lost ground to the lute ayre, and many publications blur the boundary between the madrigal and other genres. Its popularity with amateur singers has continued until the present day.
"madrigals." The Oxford Companion to British History. . Encyclopedia.com. (December 11, 2018). https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/madrigals
"madrigals." The Oxford Companion to British History. . Retrieved December 11, 2018 from Encyclopedia.com: https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/madrigals
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