Editing Canzonetta (section)

== Origins in Italy ==

In its earliest form, the canzonetta was closely related to a popular [[Naples|Neapolitan]] form, the [[villanella]].  The songs were always secular, and generally involved pastoral, irreverent, or erotic subjects.  The rhyme and stanza schemes of the poems varied but always included a final "punch line."  Typically the early canzonetta was for three unaccompanied voices, moved quickly, and shunned [[counterpoint|contrapuntal]] complexity, though it often involved animated cross-rhythms.  It was fun to sing, hugely popular, and quickly caught on throughout Italy, paralleling the madrigal, with which it later began to interact.  The earliest books of canzonettas were published by [[Giovanni Ferretti]] in 1567 and [[Girolamo Conversi]] in 1572.

By the 1580s some of the major composers of secular music in Italy were writing canzonettas, including [[Luca Marenzio]] and [[Claudio Monteverdi]], who published his first set in 1584.  Monteverdi was to return to the form with his ninth and final book of madrigals (published posthumously in 1651).  Orazio Vecchi was another important composer of canzonettas in the 1580s.  His canzonettas varied widely, and included some for dancing and some that parodied the excesses of the contemporary madrigal.  Some composers, such as [[Roman School]] member [[Felice Anerio]], adapted the form for a sacred purpose. Anerio wrote a set of sacred canzonette.

By the end of the century most canzonettas were for four to six voices, and had become more similar to the madrigal. Some composers who studied in Italy carried the canzonetta back to their home countries, such as [[Hans Leo Hassler]], who brought the form to [[Germany]].