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Antonio Calvia and Maria Sofia Lannutti , eds., Musica e poesia nel Trecento italiano: verso una nuova edizione critica ‘dell’ ‘Ars Nova’, La tradizione musicale: Studi e testi 16. Florence: SISMEL, Edizioni del Galluzzo per la Fondazione Ezio Franceschini, 2015. ix + 360 pp. €62. ISBN 978 88 8450 651 1.

Published online by Cambridge University Press:  11 October 2017

MIKHAIL LOPATIN
MIKHAIL LOPATIN*
Affiliation:
lopatin.michael1983@gmail.com
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Plainsong & Medieval Music , Volume 26 , Issue 2 , October 2017 , pp. 198 - 206
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Copyright © Cambridge University Press, 2017 

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References

1 Col dolce suon che da te piove: studi su Francesco Landini e la musica del suo tempo, in memoria di Nino Pirrotta, ed. A. Delfino and M.T. Rosa-Barezzani (Florence, 1999); Un inedito trattato musicale del Medioevo (Vercelli, Biblioteca Agnesiana, cod. 11), ed. A. Cornagliotti and M. Caraci Vela (Florence, 1998); Marchetto da Padova, Lucidarium; Pomerium, ed. M. Della Sciucca, T. Sucato and C. Vivarelli (Florence, 2007).

2 The programme is available online at www.fefonlus.it/index.php?option=com_k2&view=item&layout=item&id=564&Itemid=273&lang=it (accessed 1 May 2017).

3 del Preposto, Nicolò, Opera completa. Edizione critica commentata dei testi intonati e delle musiche, ed. Calvia, A. (Florence, 2017)Google Scholar.

4 See Die mehrfach überlieferten Kompositionen des frühen Trecento: Anonyme Madrigale und Cacce sowie Kompositionen von Piero, Giovanni da Firenze und Jacopo da Bologna, ed. O. Huck and S. Dieckmann (Hildesheim, 2007).

5 Jennings, Lauren McGuire, Senza vestimenta: The Literary Tradition of Trecento Song (Farnham, 2014)Google Scholar.

6 In our later email exchange, the author cited Villon's ballade Brouez, benards, eschequez à la saulve, where the acrostic ‘V-J-L-LO-N’ is formed in letters and syllables. This ballade, not cited in the article, helps remedy, at least partly, the lacuna observed here.

7 von Fischer, Kurt, ‘Ein Versuch zur Chronologie von Landinis Werken’, Musica disciplina, 20 (1966), 31–46 Google Scholar.

8 Bent, Margaret, ‘The Grammar of Early Music: Preconditions for Analysis’, in Tonal Structures in Early Music, ed. Judd, C.C. (New York, 1998), 15–59 Google Scholar; Leach, Elizabeth Eva, ‘Counterpoint and Analysis in Fourteenth-Century Song’, Journal of Music Theory, 44 (2000), 45–79 CrossRefGoogle Scholar; eadem, ‘Interpretation and Counterpoint: The Case of Guillaume de Machaut's De toutes flours (B31)’, Music Analysis, 19 (2000), 321–51; eadem, ‘Machaut's Ballades with Four Voices’, Plainsong and Medieval Music, 10 (2001), 47–79.

9 Baumann, Dorothea, ‘Some Extraordinary Forms in the Italian Secular Trecento Repertoire’, in L'Ars Nova italiana del Trecento IV, ed. Ziino, A. (Certaldo, 1978), 45–63 Google Scholar.

10 See Fuller, Sarah, ‘Tendencies and Resolutions: The Directed Progression in “Ars Nova” Music’, Journal of Music Theory, 36 (1992), 229–58CrossRefGoogle Scholar; Bent, Margaret, ‘Ciconia, Prosdocimus, and the Workings of Musical Grammar, as Exemplified in O felix templum and O Padua ’, in Johannes Ciconia: musicien de la transition, ed. Vendrix, P. (Turnhout, 2003), 65–106 Google Scholar.