Ars nova: French and Italian Music in the Fourteenth Century

594 Pages·2009·37.79 MB·English

by  John L. Nádas

Ars nova
Music in Medieval Europe
Series Editor: Thomas Forrest Kelly
Titles in the Series:
Chant and its Origins
Thomas Forrest Kelly
Oral and Written Transmission in Chant
Thomas Forrest Kelly
Embellishing the Liturgy
Alejandro Planchart
Poets and Singers
Elizabeth Aubrey
Ars antiqua
Edward H. Roesner
Ars nova
John L. Nadas and Michael Scott Cuthbert
Instruments and their Music in the Middle Ages
Timothy J. McGee
Arsnova
French and Italian Music in the Fourteenth
Century
Edited by
John L. Nadas
University ofN orth Carolina at Chapel Hill, USA
Michael Scott Cuthbert
Massachusetts Institute ofTechnology, USA
~~ ~~~!~~n~~~up
LONDON AND NEW YORK
First published 2009 by Ashgate Publishing
Published 2016 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA
Routledge is an imprint ofth e Taylor & Francis Group, an informa business
Copyright {) John L Nadas and Michael Scott Cuthbert 2009. For copyright of indh idual articles please
refer to the AcknO\vledgements.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any
inf01mation storage or retrieval sy>tem, without permission in writing from the publishers.
Notice:
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and
explanation without intent to infringe.
Wherever possible. these reprints are made from a cop) of the original printing, but these can themselves
be of very\ ariable quality. Whilst the publisher has made every eff01i to ensure the quality of the reprint.
some variability may inevitably remain.
British Library Cataloguing in Publication Data
Ars nO\ a : French and Italian music in the folllieenth
century.-(Music in medieval Europe)
1. Music -Italy- 500-1400-History and criticism
2. Music-France- 500-1400-History and criticism
I. Nadas. John Louis II. Cuthbe1i. Michael Scott
780.9'45'09022
Library of Congress Control Number: 2008935187
ISBN 9780754627081 (hbk)
Contents
Acknowledgements ix
Series Preface xi
Introduction xiii
PART I PERIODIZATION AND BOUNDARIES
Nino Pirrotta (1984), 'Novelty and Renewal in Italy, 1300-1600', in Nino
Pirrotta, Music and Culture in Italy from the Middle Ages to the Baroque:
A Collection ofE ssays, Cambridge, Mass.: Harvard University Press, pp. 159-74;
406-8. 3
2 Nino Pirrotta (1984), 'Ars Nova and Stil Novo', in Nino Pirrotta, Music and
Culture in Italy from the Middle Ages to the Baroque: A Collection ofE ssays,
Cambridge, Mass.: Harvard Univiversity Press, pp. 26-38, 373-75. 21
3 Reinhard Strohm (1992), 'Magister Egardus and Other Italo-Fiemish Contacts',
L 'ars nova italiana del trecento, 6, pp. 41-68. 37
4 Ursula Gunther (1978), 'Problems of Dating in Ars Nova and Ars Subtilior',
L'ars nova it ali ana del trecento, 4, pp. 289-30 I. 65
PART II SOURCES
5 Reinhard Strohm (1984), 'The Ars Nova Fragments of Gent', Tijdschrift van de
Verenigingvoor Nederlandse Musiekgeschiedenis, 34, pp. 109-31. 81
PART Ill MUSIC THEORY
6 Sarah Fuller ( 1985-86), 'A Phantom Treatise of the Fourteenth Century? The Ars
nova', The Journal ofM usicology, 4, pp. 23-50. 111
PART IV COMPOSERS
7 Michael P. Long (1983), 'Francesco Landini and the Florentine Cultural Elite',
Early Music History, 3, pp. 83-99. 141
8 Anne Hallmark (1992), 'Gratiosus, Ciconia, and Other Musicians at Padua
Cathedral: Some Footnotes to Present Knowledge', L 'ars nova italiana del trecento,
6, pp. 69-84. 159
9 John Nadas (1986-1987), 'Further Notes on Magister Antonius Dictus Zacharias
deTeramo',StudiMusicali, 15,pp.167-82, 16,pp.175-76. 175
vi Ars nova
10 Andrew Wathey (1994), 'Musicology, Archives and Historiography', in
Barbara Haggh, Frank Daelemans and Andre Vanrie (eds), Musicology and Archival
Research: Colloquium Proceedings, Brussels 22-23.4.1993, Bruxelles: Bibliotheca
Regia Belgica, pp. 3-26. 193
PART V LITERARY STUDIES
11 Pierluigi Petro belli ( 1975), '"Un leggiadretto velo" ed altre cose petrarchesche',
Rivista italiana di musicologia, 10, pp. 32--45. 219
12 Lawrence Earp (1991), 'Lyrics for Reading and Lyrics for Singing in Late Medieval
France: The Development of the Dance Lyric from Adam de Ia Halle to Guillaume
de Machaut', in Rebecca A. Baltzer, Thomas Cable and James I. Wimsatt ( eds ),
The Union of Words and Music in Medieval Poetry, Austin: University ofTexas
Press, pp. 101-31. 233
13 Nino Pirrotta (1966), 'On Text Forms from Ciconia to Dufay', in Jan LaRue
( ed.), Aspects ofM edieval and Renaissance Music: A Birthday Offering to Gustave
Reese, New York: W.W. Norton, pp. 673-82. 265
14 David Fallows (1995), 'Leonardo Giustinian and Quattrocento Polyphonic Song',
in Renato Borghi and Pietro Zappala (eds), L 'edizione critica tra testa musicale e
testa letterario, Lucca: Libreria Musicale ltaliana, pp. 247-60. 275
PART VI SECULAR SONG
15 Nino Pirrotta (1984), 'New Glimpses of an Unwritten Tradition', in Nino Pirrotta,
Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of
Essays, Cambridge, Mass.: Harvard Univiversity Press, pp. 51-71,377-80. 291
16 Brooks Toliver (1992), 'Improvisation in the Madrigals of the Rossi Codex', Acta
musicologica, 64, pp. 165-76. 315
17 Michael Long ( 1987), 'Landini's Musical Patrimony: A Reassessment of Some
Compositional Conventions in Trecento Polyphony', Journal oft he American
Musicological Society, 40, pp. 31-52. 327
18 Elizabeth Eva Leach (2001), 'Machaut's Balades with Four Voices', Plainsong
and Medieval Music, 10, pp. 47-79. 349
19 Yolanda Plumley (2003), 'Playing the Citation Game in the Late 14th-Century
Chanson', Early Music, 31, pp. 20-39. 383
PART VII SACRED MUSIC
20 Kurt von Fischer (1973/1974), 'The Sacred Polyphony of the Italian Trecento',
Proceedings oft he Royal Music Association, 100, pp. 143-57. 403
21 Michael Scott Cuthbert (2004), 'Zacara' s D 'am or languire and Strategies for
Borrowing in the Early Fifteenth-Century Italian Mass', in Francesco Zimei ( ed.),
Antonio Zacara da Teramo e if suo tempo, Lucca: Libreria Musicale Italiana,
pp.338-57. 419
Ars nova vii
PART VIII MOTETS
22 Daniel Leech-Wilkinson ( 1995), 'The Emergence of ars nova', The Journal of
Musicology, 13, pp. 285-317. 443
23 Andrew Wathey (1998), 'Myth and Mythography in the Motets of Philippe de
Vi try', Musica e storia, 6, pp. 81-106. 477
24 Virginia Ervin Newes ( 1977), 'Imitation in the Ars Nova and Ars Subtilior',
Revue Belge de Musicologie, 31, pp. 38-59. 503
25 Margaret Bent (1991), 'Deception, Exegesis and Sounding Number in Machaut's
Motet 15', Early Music History, 10, pp. 15-27. 525
PART IX PERFORMANCE PRACTICE
26 Christopher Page (1977), 'Machaut's "Pupil" Deschamps on the Performance of
Music: Voices or Instruments in the 14th-century Chanson', Early Music, 5,
pp. 484-91. 541
27 Lawrence Earp (1991 ), 'Texting in 15th-Century French Chansons: A Look
Ahead from the 14th Century', Early Music, 19, pp. 194-97; 200-201; 203-7;
209-10. 549
Index 561
Taylor & Francis
Taylor & Francis Group
http:/ /taylora ndfra ncis.com
Acknowledgements
The editor and publishers wish to thank the following for permission to use copyright
material.
Accademia Nazionale di Santa Cecilia Fondazione for the essay: John Nadas (1986-1987),
'Further Notes on Magister Antonius Dictus Zacharias de Teramo', Studi Musicali, 15, pp.
167-82, 16,pp. 175-76.
Cambridge University Press for the essays: Michael P. Long (1983), 'Francesco Landini
and the Florentine Cultural Elite', Early Music History, 3, pp. 83-99; Elizabeth Eva Leach
(200 1) , 'Machaut's Balades with Four Voices', Plainsong and Medieval Music, 10, pp. 47-79:
Margaret Bent (1991), 'Deception, Exegesis and Sounding Number in Machaut's Motet 15',
Early Music History, 10, pp. 15-27.
Centro Studi sull' Ars Nova Italiana del Trecento for the essays: Reinhard Strohm (1992),
'Magister Egardus and Other Halo-Flemish Contacts', L 'ars nova italiana del trecento, 6, pp.
41--68; Ursula GUnther (1978), 'Problems of Dating in Ars Nova and Ars Subtilior', L 'ars
nova italiana del trecento, 4, pp. 289-301; Anne Hallmark (1992), 'Gratiosus, Ciconia, and
Other Musicians at Padua Cathedral: Some Footnotes to Present Knowledge', L 'ars nova
italiana del trecento, 6, pp. 69-84.
Fondazione Ugo e Olga Levi for the essay: Andrew Wathey (1998), 'Myth and Mythography
in the Motets of Philippe de Vitry', Musica e storia, 6, pp. 81-106.
Harvard University Press for the essays: Nino Pirrotta (1984), 'Novelty and Renewal in Italy,
1300-1600', in Nino Pirrotta, Music and Culture in ltalyfrom the Middle Ages to the Baroque:
A Collection ofEssays, Cambridge, Mass.: Harvard University Press, pp. 159-74, 406-8; Nino
Pirrotta (1984), 'Ars Nova and Stil Novo', in Nino Pirrotta, Music and Culture in ltalyfrom the
Middle Ages to the Baroque: A Collection ofE ssays, Cambridge, Mass.: Harvard Univiversity
Press, pp. 26-38, 373-75; originally published in Rivista italiana di musicologia, 1 (1966), pp.
3-19; Nino Pirrotta (1984), 'New Glimpses of an Unwritten Tradition', in Nino Pirrotta, Music
and Culture in Italy from the Middle Ages to the Baroque: A Collection ofE ssays, Cambridge,
MA: Harvard Univiversity Press, pp. 51-71, 377-80; originally published in Laurence Berman
(ed.), Words and Music: The Scholars View: A Medley ofP roblems and Solutions Compiled in
Honor ofA . Tillman Merritt, Cambridge, Mass.: Harvard University Press, 1972, pp. 271-91.
Copyright© 1984 by the President and Fellows of Harvard College.
Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis for the essay: Reinhard Strohm
(1984), 'The Ars Nova Fragments of Gent', Tijdschrift van de Vereniging voor Nederlandse
Musiekgeschiedenis, 34, pp. I 09-31.