MADRIGAL CULTURE

Chapter:

CHAPTER 10 “A Pleasant Place”: Music of the Trecento

Source:

MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY

Author(s):

Richard Taruskin

But unlike the troubadours these Italian composers worked as polyphonists from the beginning: indeed, the earliest definition of madrigals, from a treatise on poetry dating from the early decades of the century, calls them “texts set to several melodies, of which one is primarily of longs and is called tenor, while the other or others is primarily of minims.”³ And unlike the troubadours, but like the Parisian composers of motets going back to the thirteenth century, the madrigalists seem to have practiced their art, at the beginning, largely as an aspect of university culture.

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. 21 Sep. 2023. <https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-010002.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 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-010002.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 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-010002.xml