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Teodolinda Barolini (1992)
The undivine Comedy
(2012)
Luchino Visconti, Jacopo da Bologna and Petrarch: Courting a Patron
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Francesco da Barberino: I documenti d'Amore (= Documenta amoris), 2 vols
Francesco Aresu (2015)
The Author as Scribe. Materiality and Textuality in the Trecento
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La recezione del Petrarca nella poesia musicale della sua epoca : alcuni esempi, 11
Francesco Aresu (2010)
Modalità iconica e istanza metatestuale nella sestina petrarchesca Mia benigna fortuna el uiuer lieto (Rvf CCCXXXII)Textual Cultures: Texts, Contexts, Interpretation, 5
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Metapoetry in Euripides
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Tsung-han Tsai (2018)
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Dante's "Canzone Montanina"Modern Language Review, 73
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Le rime di Alesso di Guido Donati
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Parlar cantando: the Practice of Reciting Verses in Italy from 1300 to 1600
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Un nuovo frammento trentino di polifonia del primo Quattrocento
Francesco Marco Aresu (2010)
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Tipping the Iceberg: Missing Italian Polyphony from the Age of Schism
M. Lopatin, S. Doherty, Erinn Knyt, J. Dunsby, M. Ennis, Jonathan Kregor, Paul Watt, J. Irving, Andreas Loewe, N. Marston, J. Samson, H. White, W. Clark, Giles Hooper, L. Langley, Leah Stuttard, M. Pottinger, Kirill Zikanov (2018)
Metapoesis in Trecento Song: 'Divisio' at the Intersection of Love, Poetic Form, and MusicMusic and Letters, 99
J. Henkel (2014)
Metrical Feet on the Road of Poetry: Foot Puns and Literary Polemic in TibullusClassical World, 107
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Elena Lombardi (2007)
The syntax of desire
Dante's explanation of the final part of the canzone, which he calls ‘tornata’ (Convivio, II, xi, paras. 2–3), as a formal return that includes metrical and musical components casts fresh light on the poetic motive of return used in some of those tornatas and reveals a potential for metapoetic links between metrics and poetry. This article extrapolates this metapoetic reading of the word tornata to the ‘ritornello’ of the trecento madrigal and shows how poets and musicians emphasized the return in the madrigal (meta)poetically and musically. Poetically, the topos of return normally occupies centre stage in the ritornello's narrative, for it responds to the earlier impetus for wandering in the preceding strophic section and ends the amorous exile created by this wandering. The centrality of poetic return helps compensate, at least partly, for the lack of return in terms of verse structure and rhyme pattern. In three case studies, I show how text and music act symbiotically – either concordantly or in an ironically discordant manner – to close the song with an expressive structural and semantic gesture. This formal articulation that occurs on at least three different levels – metrical, poetic and musical – sheds new light on a complicated issue of musico‐textual (or, rather, musico‐metatextual) relationships in the trecento. Viewed through a metapoetic lens, the resulting relationships show that trecento musical settings do not passively sonify and ornament the body of the poem, as is sometimes implied, but generate further layers of meaning that both the practitioners of this musico‐poetic culture and their audience could well have appreciated throughout the trecento.
Music Analysis – Wiley
Published: Mar 1, 2019
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