Nearly all consist of two repeated strains ( AABB) and the nonsense syllables, sometimes set contrapuntally, act as a refrain at the end of each section. In most of his ballettos Gastoldi set strophic texts in a homophonic texture, with sections of nonsense syllables (‘fa-la’, ‘na-na’, ‘li-rum’) interpolated at the ends of couplets or tercets. These works enjoyed great popularity, being reprinted many times in Italy and northern Europe up to the mid-17th century.

Gastoldi to have invented the vocal balletto as a musical genre with his publication in 1591 of the Balletti a cinque voci con li suoi versi per cantare, sonare, & ballare (ed. īoth Morley and Praetorius ( Syntagma musicum, iii, 1618, pp.18–19) considered the Mantuan composer G.G. The spoken burlesques, usually in low prose, often imitated folk characters and situations, as well as. In contrast to the serious matter of the main masque (allegory, mythology, deus ex machina) the themes of the antimasques concentrated on mundane humour and the bizarre: the low-class comedy of beggars, cripples and drunkards, housewives and shopkeepers, barmaids and chimney-sweeps, foreigners, criminals, soldiers and common labourers the pantomimed antics of dancing birds, bears, cats, apes and baboons and the fantastical capers of furies, witches, spirits, sprites, satyrs and other magical beings. Unlike the grand masquing dances, which were performed by a group of nobility from the floor of the hall, antimasques were usually danced by professional actors from the stage. There were usually more than one and they consisted of a variety of spoken dialogue, pantomime, singing and dancing. , normally preceding the terminal dances of the masquers. Membranophones (Stretched Membrane Percussion) Music Business, Institutions and Organizations

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