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Contents

Music from the Earliest Notations to the Sixteenth Century

LANDINI

Chapter:
CHAPTER 10 “A Pleasant Place”: Music of the Trecento
Source:
MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY
Author(s):
Richard Taruskin

Nevertheless, it is not until the next (last) generation of trecento composers that we begin to find ballate in a truly gallicized style—that is, ballate with their form adapted to the French manner by means of a “contained” refrain (or, to put it another way, with a “turnaround” or volta consisting of a new verse sung to the refrain melody), with open-and-shut cadences for the inner verses, and a three-part texture that included a contratenor. Such ballate could be called Italian virelais, and their great master—regarded by all his contemporaries as the greatest musician of the trecento—was a blind Florentine organist named Francesco Landini (1325–97).

Citation (MLA):
Richard Taruskin. "Chapter 10 “A Pleasant Place”: Music of the Trecento." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 20 Nov. 2017. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-010006.xml>.
Citation (APA):
Taruskin, R. (n.d.). Chapter 10 “A Pleasant Place”: Music of the Trecento. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 20 Nov. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-010006.xml
Citation (Chicago):
Richard Taruskin. "Chapter 10 “A Pleasant Place”: Music of the Trecento." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 20 Nov. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-010006.xml
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