The essay represents a first attempt to study the mechanism regulating the articulation of musical space in Italian Ars Nova repertoroire – that is, the compositional strategies that structure the temporal discourse in individual works and guide the listener’s perception of musical time. For this, the analysis provides some criteria by which a work’s musical continuum can be segmented, based both on the structural relationships between text and music and on contrapuntal principles that governs Trecento theoretical thought. The madrigals and the ballate are considered separately, given that their unique formal structures create different behaviours that in turn call for partly different analytical approach. Furthermore, the essay explores the predictability/unpredictability of cadence points relative to the final somority of each work, in an attempt to determine if, and to what degree, the traditional modal categories of the octoechos tradition are active and integral to the con struction and perception of musical space in this repertoire.

L’organizzazione dello spazio sonoro nell’opera di Niccolò del Preposto

SABAINO, DANIELE
2015-01-01

Abstract

The essay represents a first attempt to study the mechanism regulating the articulation of musical space in Italian Ars Nova repertoroire – that is, the compositional strategies that structure the temporal discourse in individual works and guide the listener’s perception of musical time. For this, the analysis provides some criteria by which a work’s musical continuum can be segmented, based both on the structural relationships between text and music and on contrapuntal principles that governs Trecento theoretical thought. The madrigals and the ballate are considered separately, given that their unique formal structures create different behaviours that in turn call for partly different analytical approach. Furthermore, the essay explores the predictability/unpredictability of cadence points relative to the final somority of each work, in an attempt to determine if, and to what degree, the traditional modal categories of the octoechos tradition are active and integral to the con struction and perception of musical space in this repertoire.
2015
9788884506511
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11571/1100777
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