In particular, I focus on the semantic field established by some potentially metapoetic concepts, two of which are explored in the two case studies presented in this article (and drawn from the recent edition of the San Lorenzo palimpsest): “return” and “metamorphosis”. This essay forms part of a larger project on music and metapoesis in Trecento song, in which I examine the use of the poetic lexicon that might be understood as referring to the mechanics of the text or its musical setting, if there is any, and acknowledging its formal poetic and musical constitution.
D’Agostino, Music, Texts and Musical Images at the Court of Angevin Naples, Before and During the Schism. Stone, Lombard Patronage at the End of the Ars Nova: A Preliminary Panorama – G. Epifani, Remarks on Some Realistic virelais of the Reina Codex – A.
Cuthbert, Melodic Searching and the Anonymous Unica of San Lorenzo 2211 – D. Janke, On the Transmission of Donato da Firenze’s Madrigals – M. Calvia, Some Notes on the Two-voice Ballatas by Francesco Landini in the San Lorenzo Palimpsest – A. Lopatin, Musico-metapoetic Relationships in Trecento Song: Two Case Studies from the San Lorenzo Palimpsest (SL 2211) – A. Bent, The Motet Collection of San Lorenzo 2211 (SL) and the Composer Composer hubertus de Salinis – M. Nádas, New Biographical Documentation of Paolo da Firenze’s Early Career – M. Abramov-van Rijk, A Musical Sonnet by Franco Sacchetti and the Soundscape of Florence – J.
Canonics is the study of such pitch arrays and intervals and the ratios through which they are defined.Edited by Antonio Calvia, Stefano Campagnolo, Andreas Janke, Maria Sofia Lannutti, John Nádas ➡ E. The end results of such a monochord division are an array of pitches (which can be arranged in a scale) and a set of intervallic relationships between them specifically defined by numeric ratios (a tuning system). In a systematic division of the monochord, a musician defines a number of pitches successively, at each step specifying the ratio between the length of the string segment that produces one pitch and that of the string segment that produces some other. By moving the bridge he holds in his right hand, the monochordist can demonstrate that string segment DF, twice the length of BG, produces a pitch an octave ( diapason) below that of BG that CF, three times the length of BG, produces a pitch a twelfth ( diapasondiapente) below that of BG that AF, four times the length of BG, produces a pitch two octaves ( bisdiapason) below that of BG. In Plate 6.1, from Lodovico Fogliano’s Musica theorica of 1529, the monochordist has placed two movable bridges “about three fingers apart” at points marked A and B (the letters do not indicate the names of pitches, but designate points as in a geometric diagram) he has marked equal segments AC, CD, DE, EF, and BG, and placed bridges under points F and G. The “canon” is the monochord, a single-stringed instrument suited for the production of musical pitches and the comparative measurement of the lengths of the string segments that produce them.
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