TRECENTO FRAMMENTI, TRECENTO PROBLEMI IL PUNTO SUL REPERTORIO POLIFONICO TRECENTESCO ALLA LUCE DELLE NUOVE ACQUISIZIONI – TAVOLA ROTONDA (Cremona, 26 maggio 2022) TERZO SEMINARIO DEL PROGETTO «EUROPEAN ARS NOVA» La tavola rotonda fa... more
TRECENTO FRAMMENTI, TRECENTO PROBLEMI
IL PUNTO SUL REPERTORIO POLIFONICO TRECENTESCO ALLA LUCE DELLE NUOVE ACQUISIZIONI – TAVOLA ROTONDA
(Cremona, 26 maggio 2022)
TERZO SEMINARIO DEL PROGETTO «EUROPEAN ARS NOVA»
La tavola rotonda fa parte del convegno internazionale:
"Tesori di riuso: Nuove scoperte e ricerche intorno ai frammenti del codice San Fedele-Belgioioso" (Pavia – Cremona, 24–26 maggio 2022)
Discussions of ‘Boccaccio and music’ are usually confined to the description of musical activities in the Decameron, and only rarely treat the poetic legacy of the fa-mous writer. Boccaccio's critical attitude to his own poetry is well... more
Discussions of ‘Boccaccio and music’ are usually confined to the description of musical activities in the Decameron, and only rarely treat the poetic legacy of the fa-mous writer. Boccaccio's critical attitude to his own poetry is well known, but that it ex-tended to the point where he refused to let it be popularized by reciters and singers of poetry has so far escaped attention. We know this from a letter by Petrarch, which con-tains a lively and humoristic description of such performers. The letter not only eluci-dates Boccaccio's motives in not dealing with these people, but also casts new light on the presupposed ideology of Florentine composers, above all Francesco Landini and Lo-renzo da Firenze, regarding the sonic ideal they sought in their music.
