Music from the Earliest Notations to the Sixteenth Century

CHAPTER 10 “A Pleasant Place”: Music of the Trecento ITALIAN MUSIC OF THE FOURTEENTH CENTURY VULGAR ELOQUENCE ...

concluding oneor two-line “ritornello” in a contrasting rhyme scheme or meter. (The familiar sonnet form ...

composer. (Compare the “portrait” of Bernart de Ventadorn from the Paris 12473, Fig. 4-2.) Nowhere do we g ...

FIG. 10-3 Giovanni da Cascia, from the Squarcialupi Codex. Jacopo of Bologna, universally recognized as t ...

FIG. 10-4 Francesco Landini wearing a laurel crown, from the Squarcialupi Codex. Although the piece that ...

of the budding trecento style (Ex. 10-1). The opening stanzas (tercets) enumerate a veritable shopping list ...

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(The occasional triplets were designated by special curlicues—they even look like floral fronds!—added to ...

constraints on creative freedom. All that a convention is, however, is something agreed upon in advance ...

EX. 10-2B Jacopo da Bologna, Oselleto salvagio, set as caccia, mm. 1–12 ...

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Jacopo’s poem begins as if setting the expected pastoral scene. The wild (or forest) songbird is a standa ...

depictions of the portative in fifteenth-century paintings, it was fingered 2–3–2–3, etc., which would make ...

which is to say an oral and monophonic one. The beginnings of its literate tradition can be found in a fa ...

The ten ballate inset within Boccaccio’s narrative consist of strophic stanzas with a refrain that either frame ...

Of all trecento composers Landini has by far the largest surviving body of works—though it is hard to say w ...

literati (university-trained clerics) for dynastic courts. Landini’s ballate do not so much evoke bountiful pa ...

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And yet the cadence can also be viewed as a typically trecento melodic pattern, found even in monophonic F ...