LATE-CENTURY FUSION

Chapter:

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

Source:

MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY

Author(s):

Richard Taruskin

Landini’s hilarious little madrigal Sy dolce non sonò con lir’ Orfeo offers an especially rich and witty merger of French and Italian genres, all most inventively adapted to one another. Its distribution of voices, with the part labeled “contratenor” sharing the range of the cantus rather than the tenor, harks back to the texture of the motet rather than the virelai. And sure enough, a motet it is, albeit one with only a single text. What makes it conceptually a motet is the fact that it is built up from a tenor that has been laid out, foundation-wise, in advance. This we can tell even though the tenor quotes no cantus firmus, because it is fully isorhythmic in the Ars Nova manner.

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 Jan. 2025. <https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-010007.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 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-010007.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 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-010007.xml