This dissertation study investigates Matteo da Perugia's 24 French compositions as preserved in manuscript Modena α.M.5.24, a major source for the study of polyphonic music at the turn of the fifteenth century. Chapter 1 is an introduction that summarizes the principal scholarship on the topic, pointing out the most problematic issues regarding the manuscript's dating hypotheses and the fragmentary evidence on the chronology of Matteo's activity (§1.1). Dealing with such problems, §1.2 discusses a newly found archival record concerning Beltrame Feragut, Matteo's successor as maestro di cappella of the Milan Cathedral, whereas §1.3.1 to §1.3.4 describe recently discovered codicological details of the Modena source that illuminate specific moments of the main scribe's copying process. Through a philological-intertextual approach to one of Matteo's French pieces, §1.4 elaborates a new dating hypothesis of the source and the composer's activity that challenges previous assumptions made by musicologists and reinforces scholar Anne Stone's view that the codex was not finished before the 1420s. The following section (§1.5) offers some preliminary remarks on the relationship of the scribe with the French language of the pieces that he transcribes. A comprehensive census of the regional varieties shown in the French lyrics copied throughout the codex, supported by the close examination of the scribe's attitude towards text setting indicates that Northern "Picard" forms, Italianisms, and misreadings are widespread in the older layer of the source, whereas the external gatherings present a much more homogeneous and standardized linguistic aspect. This, together with other codicological observations, implies that an appreciable amount of time must have passed between the scribe's two phases of copying, and that he must have had access to better exemplars of Matteo's music in the final stage of his activity. Chapter 2 offers a new critical edition of the whole corpus of 24 French texts. Each of the texts is complete with an Italian translation and a critical commentary that reports all editorial interventions in detail with further anaylitical considerations. The edition is preceeded by metrical, styilistic, and intertextual considerations (§2-1-2.3). Chapter 3 is devoted to the observation of the relationship between poetry and music. Three specific topics are discussed there: the musical treatment of poetic form, for which a panoramic view of vertical sonorities per section is offered (§3.1); the musical rendering of decasyllables, based on the categorization made in §2.3; textless opening melismas and word repetition as they appear on Matteo's Italian and French songs in comparison to the rest of the secular repertoire contained in the source.

This dissertation study investigates Matteo da Perugia's 24 French compositions as preserved in manuscript Modena α.M.5.24, a major source for the study of polyphonic music at the turn of the fifteenth century. Chapter 1 is an introduction that summarizes the principal scholarship on the topic, pointing out the most problematic issues regarding the manuscript's dating hypotheses and the fragmentary evidence on the chronology of Matteo's activity (§1.1). Dealing with such problems, §1.2 discusses a newly found archival record concerning Beltrame Feragut, Matteo's successor as maestro di cappella of the Milan Cathedral, whereas §1.3.1 to §1.3.4 describe recently discovered codicological details of the Modena source that illuminate specific moments of the main scribe's copying process. Through a philological-intertextual approach to one of Matteo's French pieces, §1.4 elaborates a new dating hypothesis of the source and the composer's activity that challenges previous assumptions made by musicologists and reinforces scholar Anne Stone's view that the codex was not finished before the 1420s. The following section (§1.5) offers some preliminary remarks on the relationship of the scribe with the French language of the pieces that he transcribes. A comprehensive census of the regional varieties shown in the French lyrics copied throughout the codex, supported by the close examination of the scribe's attitude towards text setting indicates that Northern "Picard" forms, Italianisms, and misreadings are widespread in the older layer of the source, whereas the external gatherings present a much more homogeneous and standardized linguistic aspect. This, together with other codicological observations, implies that an appreciable amount of time must have passed between the scribe's two phases of copying, and that he must have had access to better exemplars of Matteo's music in the final stage of his activity. Chapter 2 offers a new critical edition of the whole corpus of 24 French texts. Each of the texts is complete with an Italian translation and a critical commentary that reports all editorial interventions in detail with further anaylitical considerations. The edition is preceeded by metrical, styilistic, and intertextual considerations (§2-1-2.3). Chapter 3 is devoted to the observation of the relationship between poetry and music. Three specific topics are discussed there: the musical treatment of poetic form, for which a panoramic view of vertical sonorities per section is offered (§3.1); the musical rendering of decasyllables, based on the categorization made in §2.3; textless opening melismas and word repetition as they appear on Matteo's Italian and French songs in comparison to the rest of the secular repertoire contained in the source.

Le composizioni francesi di Matteo da Perugia e il codice Modena α.M.5.24

LOCATELLI, ANDRES GERARDO
2020-02-13

Abstract

This dissertation study investigates Matteo da Perugia's 24 French compositions as preserved in manuscript Modena α.M.5.24, a major source for the study of polyphonic music at the turn of the fifteenth century. Chapter 1 is an introduction that summarizes the principal scholarship on the topic, pointing out the most problematic issues regarding the manuscript's dating hypotheses and the fragmentary evidence on the chronology of Matteo's activity (§1.1). Dealing with such problems, §1.2 discusses a newly found archival record concerning Beltrame Feragut, Matteo's successor as maestro di cappella of the Milan Cathedral, whereas §1.3.1 to §1.3.4 describe recently discovered codicological details of the Modena source that illuminate specific moments of the main scribe's copying process. Through a philological-intertextual approach to one of Matteo's French pieces, §1.4 elaborates a new dating hypothesis of the source and the composer's activity that challenges previous assumptions made by musicologists and reinforces scholar Anne Stone's view that the codex was not finished before the 1420s. The following section (§1.5) offers some preliminary remarks on the relationship of the scribe with the French language of the pieces that he transcribes. A comprehensive census of the regional varieties shown in the French lyrics copied throughout the codex, supported by the close examination of the scribe's attitude towards text setting indicates that Northern "Picard" forms, Italianisms, and misreadings are widespread in the older layer of the source, whereas the external gatherings present a much more homogeneous and standardized linguistic aspect. This, together with other codicological observations, implies that an appreciable amount of time must have passed between the scribe's two phases of copying, and that he must have had access to better exemplars of Matteo's music in the final stage of his activity. Chapter 2 offers a new critical edition of the whole corpus of 24 French texts. Each of the texts is complete with an Italian translation and a critical commentary that reports all editorial interventions in detail with further anaylitical considerations. The edition is preceeded by metrical, styilistic, and intertextual considerations (§2-1-2.3). Chapter 3 is devoted to the observation of the relationship between poetry and music. Three specific topics are discussed there: the musical treatment of poetic form, for which a panoramic view of vertical sonorities per section is offered (§3.1); the musical rendering of decasyllables, based on the categorization made in §2.3; textless opening melismas and word repetition as they appear on Matteo's Italian and French songs in comparison to the rest of the secular repertoire contained in the source.
13-feb-2020
This dissertation study investigates Matteo da Perugia's 24 French compositions as preserved in manuscript Modena α.M.5.24, a major source for the study of polyphonic music at the turn of the fifteenth century. Chapter 1 is an introduction that summarizes the principal scholarship on the topic, pointing out the most problematic issues regarding the manuscript's dating hypotheses and the fragmentary evidence on the chronology of Matteo's activity (§1.1). Dealing with such problems, §1.2 discusses a newly found archival record concerning Beltrame Feragut, Matteo's successor as maestro di cappella of the Milan Cathedral, whereas §1.3.1 to §1.3.4 describe recently discovered codicological details of the Modena source that illuminate specific moments of the main scribe's copying process. Through a philological-intertextual approach to one of Matteo's French pieces, §1.4 elaborates a new dating hypothesis of the source and the composer's activity that challenges previous assumptions made by musicologists and reinforces scholar Anne Stone's view that the codex was not finished before the 1420s. The following section (§1.5) offers some preliminary remarks on the relationship of the scribe with the French language of the pieces that he transcribes. A comprehensive census of the regional varieties shown in the French lyrics copied throughout the codex, supported by the close examination of the scribe's attitude towards text setting indicates that Northern "Picard" forms, Italianisms, and misreadings are widespread in the older layer of the source, whereas the external gatherings present a much more homogeneous and standardized linguistic aspect. This, together with other codicological observations, implies that an appreciable amount of time must have passed between the scribe's two phases of copying, and that he must have had access to better exemplars of Matteo's music in the final stage of his activity. Chapter 2 offers a new critical edition of the whole corpus of 24 French texts. Each of the texts is complete with an Italian translation and a critical commentary that reports all editorial interventions in detail with further anaylitical considerations. The edition is preceeded by metrical, styilistic, and intertextual considerations (§2-1-2.3). Chapter 3 is devoted to the observation of the relationship between poetry and music. Three specific topics are discussed there: the musical treatment of poetic form, for which a panoramic view of vertical sonorities per section is offered (§3.1); the musical rendering of decasyllables, based on the categorization made in §2.3; textless opening melismas and word repetition as they appear on Matteo's Italian and French songs in comparison to the rest of the secular repertoire contained in the source.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11571/1318506
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