[1] Derived from medieval dance forms, the 15th century Spanish villancico was a type of popular song sung in the vernacular and frequently associated with rustic themes.
While the exact order and number of repetitions of the estribillo and coplas varied, the most typical form was a loose ABA framework, often in triple meter.
An enormous number of villancicos were written in the Spanish world for such feasts as the Immaculate Conception, Christmas, Epiphany, Corpus Christi, Ascension, Assumption, and other occasions of the Catholic liturgical year.
[2] In colonial Mexico, villancicos were performed before mass on special feast days as part of a theatrical spectacle that served as lighthearted, comical entertainment which drew large crowds from all sectors of society and included ornate costuming and stage effects to accompany the musical numbers and spoken dialogue.
[1] Villancico composers, who typically held positions as maestro de capilla (chapel master) at the major cathedrals in Spain and the New World, wrote in many different Renaissance and Baroque styles, including homophony, imitative polyphony, and polychoral settings.
Here is an example of a Portuguese vilancete, written by Luís de Camões: Original (Mote:) Enforquei minha Esperança; Mas Amor foi tão madraço, Que lhe cortou o baraço.
(Volta:) Foi a Esperança julgada Por setença da Ventura Que, pois me teve à pendura, Que fosse dependurada: Vem Cupido com a espada, Corta-lhe cerce o baraço.