Madrigal

Definition and stakes

Edmund Gosse and Donald Tovey,  1911 Encyclopædia Britannica, Volume 17… (1911)

“ Elegiac madrigals, whether spiritual or secular, were thus as common as any other kind; so that when the Musica transalpina brought the word “madrigal” to England it brought a precedent for the poet Drummond’s melancholy type of madrigal poetry.
Italian madrigals, however, are by no means always elegiac; but the term always means a highly organized and flowing polyphonic piece, often as developed as the motet, though, in the mature classical period, distinct in style. Yet masses were often founded on the themes of madrigals, just as they were on the themes of motets (see Mass; Motet)
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Source: Wikisource

Various,  The Girl's Own Paper, Vol. VIII, No… (1880)

“ The connection of the term with a poem of a popular character certainly existed as early as the fourteenth century, and perhaps earlier.
There appear to have been three classes of secular composition, for which madrigal became the general term—viz., madrigals for one voice, with accompaniment; madrigals for several voices, in parts and unaccompanied; and, lastly, madrigals accompanied by many instruments, and sometimes described as “apt for viols and voices.” The English writers preferred the second class, and excelled in it.
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Source: Gutenberg

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