Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-t5tsf Total loading time: 0 Render date: 2024-11-05T08:53:26.195Z Has data issue: false hasContentIssue false

35 - Trecento I: Secular Music

from Volume II

Published online by Cambridge University Press:  04 August 2018

Mark Everist
Affiliation:
University of Southampton
Thomas Forrest Kelly
Affiliation:
Harvard University, Massachusetts
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Brothers, Thomas. “Flats and Chansons in MS Florence, Biblioteca Nazionale, Panciatichi 26,” in A Late Medieval Songbook and Its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564), ed. Plumley, Yolanda and Stone, Anne. Turnhout: Brepols, 2009, 263–82.Google Scholar
Campagnolo, Stefano. “La tradizione delle musiche dell’Ars Nova italiana: particolarità della trasmissione,” in Problemi e metodi della filologia musicale: Tre tavole rotonde, ed. Campagnolo, Stefano. Lucca: Libreria musicale italiana, 2000, 310.Google Scholar
Cuthbert, Michael Scott. “Palimpsests, Sketches, and Extracts: The Organization and Compositions of Seville 5-2-25,” L’ars nova italiana del Trecento 7 (2009), 5779.Google Scholar
Cuthbert, Michael Scott. “Trecento Fragments and Polyphony Beyond the Codex.” Ph.D. dissertation, Harvard University, 2006.Google Scholar
D’Accone, Frank. “Giovanni Mazzuoli, a Late Representative of the Italian Ars Nova,” L’ars nova italiana del Trecento 2 (1968), 2338.Google Scholar
D’Accone, Frank. “Music and Musicians at the Florentine Monastery of Santa Trinita, 1360–1363,” Quadrivium 12 (1971), 131–51.Google Scholar
D’Accone, Frank. “Una nuova fonte dell’ars nova italiana: il codice di San Lorenzo, 2211,” Studi musicali 13 (1984), 331.Google Scholar
Fischer, Kurt von. “‘Portraits’ von Piero, Giovanni da Firenze und Jacopo da Bologna in einer Bologneser Handschrift des 14. Jahrhunderts?Musica Disciplina 27 (1973), 6164.Google Scholar
Fischer, Kurt von with Gianluca D’Agostino. “Andreas de Florentia,” in NG2.Google Scholar
Gallo, F. Alberto, ed. Il codice Squarcialupi: MS Mediceo Palatino 87, Biblioteca Laurenziana di Firenze. Florence, 1992.Google Scholar
Gherardi, Giovanni. Il Paradiso degli Alberti, ed. Lanza, Antonio. Salerno, 1975.Google Scholar
Gozzi, Marco. “The Trecento,” in The Cambridge Companion to Medieval Music, ed. Everist, Mark. Cambridge University Press, 2010, 136–60.Google Scholar
Gozzi, Marco and Ziino, Agostino. “The Mischiati Fragment: A New Source of Italian Trecetno Music at Reggio Emilia,” in Kontinuität und Transformation in der italienischen Vokalmusik zwischen Due- und Quattrocento, ed. Dieckmann, Sandra et al. Hildesheim: Olms, 2007, 281314.Google Scholar
Guerrero, Jeannie MaFrancesco’s Dream: Musical Logic in Landini’s Three-Voice Ballate,” Music Theory Online 13 (2007), http://www.mtosmt.org/issues/mto.07.13.4/mto.07.13.4.guerrero.html.Google Scholar
Günther, Ursula, Nádas, John, and Stinson, John. “Magister Dominus Paulus Abbas de Florentia: New Documentary Evidence,” Musica Disciplina 41 (1987), 203–46.Google Scholar
Huck, Oliver. Die Musik des frühen Trecento. Hildesheim: Olms, 2005.Google Scholar
Huff, Jay A. A Treatise on the Practice of Mensural Music in the Italian Manner. Rome: American Institute of Musicology, 1972.Google Scholar
Janke, Andreas. Die Kompositionen von Giovanni Mazzuoli, Piero Mazzuoli und Ugolino da Orvieto im San-Lorenzo-Palimpsest (ASL 2211) (Hildesheim: Olms, 2016).Google Scholar
Janke, Andreas. The San Lorenzo Palimpsest: Florence, Archivio del Capitolo di San Lorenzo Ms. 2211 (Lucca: Libreria Musicale Italiana, 2016).Google Scholar
Kügle, Karl. “Codex Ivrea, Bibl. cap. 115: A French Source ‘Made in Italy,’” Revista de Musicología 13 (1990), 527–61.Google Scholar
Ladis, Andrew. “Jacopo del Casentino,” in The [Grove] Dictionary of Art. New York: Grove, 1996.Google Scholar
Landino, Cristofero. Poems, ed. Chatfield, Mary P.. Cambridge, MA: Harvard University Press, 2008.Google Scholar
Long, Michael. “Landini’s Musical Patrimony: A Reassessment of Some Compositional Conventions in Trecento Polyphony,” Journal of the American Musicological Society 40 (1987), 3152.Google Scholar
Marrocco, W. Thomas, ed. Fourteenth-Century Italian Cacce, 2nd ed. Cambridge, MA: Harvard University Press, 1961.Google Scholar
Nádas, John. “The Reina Codex Revisited,” in Essays in Paper Analysis, ed. Spector, Stephen. Washington, DC: The Folger Shakespeare Library, 1987, 69114.Google Scholar
Nádas, John. “Una riflessione generale sulle nuove fonti musicali a cinquant’anni dall’inventario di Kurt von Fischer,” L’ars nova italiana del Trecento 7 (2009), 317.Google Scholar
Nádas, John. “The Transmission of Trecento Secular Polyphony: Manuscript Production and Scribal Practices in Italy at the End of the Middle Ages.” Ph.D. dissertation, New York University, 1985.Google Scholar
Nádas, John and Ziino, Agostino. The Lucca Codex (Codice Mancini). Introductory Study and Facsimile Edition. Lucca: Libreria musicale italiana, 1990.Google Scholar
Nádas, John and Ziino, Agostino. “Two Newly Discovered Leaves from the Lucca Codex,” Studi musicali 34 (2005), 323.Google Scholar
Perosa, Alessandro. “Una fonte secentesca dello Specimen del Bandini in un codice della Biblioteca Marucelliana,” La Bibliofilia 42 (1940), 229–56.Google Scholar
Pirro, André. La musique à Paris sous le règne de Charles VI, 1380–1422. Strasbourg: Heitz, 1930.Google Scholar
Poccianti, Michele. Catalogus scriptorum Florentinorum omnis generis. Florence, 1589.Google Scholar
Reaney, Gilbert. The Manuscript London, British Museum, Additional 29987, Musicological Studies and Documents 13. Rome: American Institute of Musicology, 1965.Google Scholar
Roden, Timothy J., Wright, Craig, and Simms, Bryan R.. Anthology for Music in Western Civilization. Boston: Schirmer, 2009.Google Scholar
Sartori, Claudio, La notazione italiana del trecento in una redazione inedita del “Tractatus practice cantus mensurabilis ad modum ytalicorum” di Prosdocimo de Beldemandis. Florence, 1938.Google Scholar
Seay, Albert. “Paolo Tenorista: A Trecento Theorist,” L’ars nova italiana del Trecento 1 (1962), 118–40.Google Scholar
Stoessel, Jason. “The Interpretation of Unusual Mensuration Signs in the Notation of the Ars subtilior,” in A Late Medieval Songbook and Its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564), ed. Plumley, Yolanda and Stone, Anne. Turnhout: Brepols, 2009, 179202.Google Scholar
Toliver, Brooks. “Improvisation in the Madrigals of the Rossi Codex,” Acta Musicologica 64 (1992), 165–76.CrossRefGoogle Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×