{"id":2864,"date":"2024-06-04T12:06:12","date_gmt":"2024-06-04T10:06:12","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=2864"},"modified":"2025-07-09T14:26:58","modified_gmt":"2025-07-09T12:26:58","slug":"mdwp003-performance-practice-antico","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-performance-practice-antico\/","title":{"rendered":"On the Performance Practice of Andrea Antico\u2019s Frottole intabulate da sonare organi, libro primo (Rome, 1517)"},"content":{"rendered":"<h3 class=\"author\"><em>Fabio Antonio Falcone<\/em> <a href=\"https:\/\/orcid.org\/0000-0001-6310-4024\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        blockquote.tsquotation p em 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id=\"zp-ID-2864-4511395-JDNEKEB2\" data-zp-author-date='Falcone-2024' data-zp-date-author='2024-Falcone' data-zp-date='2024' data-zp-year='2024' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Falcone, Fabio Antonio. 2024. \u201cOn the Performance Practice of Andrea Antico\u2019s <i>Frottole Intabulate Da Sonare Organi, Libro Primo<\/i> (Rome, 1517).\u201d In <i>\u2018Universum Rei Harmonicae Concentum Absolvunt\u2019. The Harpsichord in the Sixteenth Century<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-07'>https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-07<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=JDNEKEB2' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nAndrea Antico\u2019s 1517 print of keyboard intabulations of frottolas is rather well known to modern scholars, mostly because it is the first print of keyboard repertoire in Italy. Frottolas were a codified genre where a strophic text often predated the music and followed strict literary rules. Since Antico published instrumental arrangements, the texts are not immediately visible, yet they were very well known to the reader of those days. How was the music then performed when no text was heard? How was this monodic repertoire understood by the contemporaries? Did the player infer the correct accentuation of the music from an implicit text? If so, a correct understanding of the meter and of poetical conventions would be an essential element for an adequate performance of Antico\u2019s arrangements of this vocal repertoire.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">About the Author<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">About the Author<\/span><\/h4><div class=\"toggle-content\"><p>\n<strong>Fabio Antonio Falcone<\/strong> is a performer specialized in Renaissance and early Baroque repertoire. He is especially interested in 16th-century Italian keyboard music, as well as vocal and instrumental repertoire of the Baroque period. He performs as a soloist and continuo player at international venues and festivals such as MITO Festival, Early Music Festival Bad Arolsen, Maison de la Radio France, Fondazione Giorgio Cini Venice. He studied in the Netherlands with Bob van Asperen, in Italy with Maria Luisa Baldassari and Jesper B\u00f8je Christensen, and in Switzerland with Francis Biggi. He devotes himself to research in music didactics, in particular to the reconstruction of teaching practices from the analysis of historical sources. He is currently a member of the research group in didactics of arts (DAM) and lecturer in didactics of music at the University of Geneva.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">1. The Interconnection between Text and Music in the frottola Genre<\/a><br \/>\n<a href=\"#2\">2. Analysis of the Repertoire: Two Examples<\/a><br \/>\n&nbsp; <a href=\"#2.1\">2.1. Hor che\u2019l ciel et la terra<\/a><br \/>\n&nbsp; <a href=\"#2.2\">2.2. O che dirala mo<\/a><br \/>\n<a href=\"#3\">3. Conclusions<\/a><br \/>\n<a href=\"#4\">Bibliography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/pub.mdw.ac.at\/pubmdw\/publication\/f04dd9cb-de03-4516-9a18-b79f3408d103\" target=\"_blank\" rel=\"nofollow\" style=\"color:#000000 !important;\">Chapter PDF<\/a><\/span>\n<p>This article proposes a hypothetical way to conceive the interconnection between music and text in specific cases where the text is missing, such as in Andrea Antico\u2019s <em>Frottole intabulate da sonare organi, libro primo<\/em> (1517). First, I will present the subject and the research questions. Second, I will illustrate the methodology employed for the analysis of the repertoire. Finally, I will discuss the conclusions of this investigation. Special attention will be given to the specific aspects of performance practice that are involved.<\/p>\n<div id=\"1\">\n<h4>1. The Interconnection between Text and Music in the\u00a0<em>frottola\u00a0<\/em>Genre<\/h4>\n<\/div>\n<p>In 1517 Andrea Antico published a set of keyboard arrangements of vocal pieces.<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a> This publication is well known to modern scholars because it is the first example of printed keyboard repertoire in Italy.<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/p>\n<p>The pieces arranged in the collections are frottolas. The generic term <em>frottola<\/em> designates a set of fixed-form poems set to music in a significant variety of poetic structures. Though frottolas were most often composed in four separate parts, many historical records show that they were mostly performed by one singer accompanying himself or herself on the lute.<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> In this repertoire, the\u00a0same\u00a0music is frequently set to different texts, as in the case of other poetic forms like <em>strambotti<\/em> where often only the music for the first two verses is provided. Furthermore, in his <em>Libro quarto<\/em> (1505) (RISM 1505<sup>5<\/sup>) Petrucci includes the music of an <em>aer da cantar versi latini<\/em> (air to sing Latin verses) and a <em>modo de cantar sonetti<\/em> (air to sing sonetti) without providing any text, which indicates that in this repertoire the music is a neutral medium for declamation of different texts.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/p>\n<p>As stated by Coelho and Polk, there can be several motivations behind the composition of an intabulation which determine its function and essence. Drawing a parallel with the practice of translation, the authors state that intabulations can cover a wide range of approaches: from faithful rendition of the original model to simple quotation of main themes. The motivations of the composer\/arranger and the ensuing features of the intabulation are closely determined by the recipient or dedicatee of the work.<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/p>\n<p>In the case of Andrea Antico\u2019s collection, it is plausible to assume that the main recipients were the highest-ranking members of the courts of the Italian peninsula. The keyboard instruments represented in the wooden inlays in the <em>studiolo<\/em> of Federico da Montefeltro and Isabella d\u2019Este show the growing interest in these instruments by the most discerning musical patrons of the 16th century.<\/p>\n<p>Giovanni de\u2019 Medici, who later became Pope Leo\u00a0X, also commissioned inlays. He owned several keyboard instruments and was himself a skilled instrumentalist and seems to have had a talent for singing.<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a> As a young man he was initiated into music by the Flemish composer Heinrich Isaac.<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> During his\u00a0years\u00a0of musical training at the court of his father Lorenzo the Magnificent, the young Giovanni de\u2019 Medici had the opportunity to listen to the greatest improvisers of the time, who used to recite poems accompanied by the lyre or lute. Baggio Ugolini (the main actor in the Mantuan performance of Poliziano\u2019s <em>Orfeo<\/em>), Aurelio Brandolini (improviser of vernacular and Latin verses), and Cardiere (known for his talent as an improviser of verses on the lyre) were all received on several occasions at the court of Lorenzo il Magnifico during Giovanni\u2019s years of training.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/p>\n<p>Antico published an instrumental version of twenty-six frottolas, wherein no text was included. Most likely these pieces were well-known as vocal works to his public, since the collection contains tablatures of frottolas that had been circulating since 1507 in collections published by Petrucci and Antico himself.<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/p>\n<p>Contemporary sources confirm that singers of frottolas were supposed to base their performances on the content of the lyrics.<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a> Singers were expected to be aware of the poetic content and the literal meaning of the text. They had also to be aware of the form and structure, which includes the metre of the lyrics.<\/p>\n<p>Brunetto Latini (1220\u20131294) distinguished \u2018the speaking in prose\u2019 from \u2018the speaking in verses\u2019 in his <em>Li livres dou Tresor<\/em>. He states that speaking in verses is governed by three parameters: weight, number and measure. Whoever whishes to speak in rhyme must count out all the syllables with his fingers in order to be sure that the verse has the right number. He must measure the last two syllables of each verse, in order to make the rhyme work properly. Finally, and most importantly, he must respect the correct accentuation of the words in order to make the rhymes and the rhythm of the verse work properly.<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a> Thus, Brunetto Latini tells us that the right accentuation of syllables was strictly respected while reading verses, as early as the 1260s.<\/p>\n<p>Modern Italian poetry is based on the quality of the syllables, which can be strong or weak, rather than their quantity, as in the case of Latin poetry.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a> In Latin poetry the length of the syllable was the building block of the metre and the accent had no structural importance. In Italian poetry the rhythm is the product of the arrangement of arsis and thesis \u2013 that is, tonic (stressed) syllables and unstressed syllables.<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a> The quantity of syllables was not perceived anymore, and the tonic accent was the only important element.<\/p>\n<p>Stefano La Via states that when we set an Italian text to music, the syllable automatically becomes quantitative: longer notes for accented syllables.<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a> From 1550 onward, accented syllables were set to music chiefly with long notes and on downbeats. This is the case for most madrigals from the second half of the 16th century onward. However, frottolas are very different. We often\u00a0note\u00a0discrepancies between the metric structure (the accents of the verse) and the music. For instance, we find strong tonic accents set to weak parts of the measure, often on upbeats. An example is the first <em>endecasillabo<\/em><a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a> of Petrarch\u2019s <em>Hor che\u2019el ciel<\/em> <em>et la terra<\/em> set to music by Monteverdi and then the version by Tromboncino. The metrical reading of the verse is:<\/p>\n<p>Hor che \u2019l ciel et la terra e \u2019l vento tace (-u,-uu,-u,-u,-u).<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-1.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 1:<\/b> Claudio Monteverdi, \u2018Hor che\u2019l ciel et la terra\u2019 (SV\u00a0147), in: <em>Madrigali guerrieri, et amorosa [\u2026] Libro ottavo<\/em> (Venice: Alessandro Vincenti, 1638) mm.  1\u20136.<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-2.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 2:<\/b> Bartolomeo Tromboncino, \u2018Hor che\u2019l ciel et la terra\u2019, in: <em>Frottole libro secondo<\/em> (Rome: Andrea Antico?, c.\u00a01516) (RISM [c.\u00a01516]<sup>10<\/sup>), mm.\u00a01\u20136.<\/span><\/p>\n<p>In the Monteverdi example, the music respects the metrical structure of the verse. The same is not the case in the frottola of Tromboncino. In the <em>seconda prattica<\/em>, the music was at the service of the text, amplifying the metrical structure and the meaning of the lyrics. But in the case of frottolas the music often seems to be nothing more than a neutral medium for reading the text out loud, in a sort of declamation. It is particularly interesting that Vincenzo Calmeta, a follower and biographer of Serafino dall\u2019Aquila, encourages young lovers who want to conquer ladies through their singing to choose <em>frottole<\/em>, <em>stanze<\/em> or <em>barzellette<\/em> over genres with skilfully crafted diminutions, in order to better understand the text.<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a> Calmeta suggests following the example of Cariteo or Serafino: to imitate \u2018the judgement of a discerning jeweller, who, having to show the finest and whitest pearl, will place it not on a golden cloth, but on some black silk, that it might show up better\u2019.<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/p>\n<p>Therefore, in frottola repertoire the music seems to have been a blank canvas for performing any text; the music was conceived as a generic structure over which different texts could be sung. This would also explain why different texts are often set in music with the same or very similar musical material. In the next examples, the first two verses from Petrarch\u2019s sonetto \u2018Hor che\u2019l ciel et la terra\u2019 and from the anonymous <em>strambotto<\/em> \u2018Zephyro spira\u2019, are both set to music by Tromboncino: they show almost identical musical material despite the different texts.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-3.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 3:<\/b> Bartolomeo Tromboncino, \u2018Hor che\u2019l ciel et la terra\u2019, in: <em>Frottole libro secondo<\/em> (Rome: Andrea Antico\u00a0?, c.\u00a01516) (RISM [c.\u00a01516]<sup>10<\/sup>), mm.\u00a01\u201310.<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-4.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 4:<\/b> Ex.\u00a04: Bartolomeo Tromboncino, \u2018Zephyro spira\u2019, in: <em>Frottole libro octavo<\/em> (Venice: Ottaviano Petrucci, 1507) (RISM 1507<sup>4<\/sup>), mm.\u00a01\u201310.<\/span><\/p>\n<p>A similar kind of melodic line can be found in other guises, such as the first verse of Petrarch\u2019s canzona <em>Che debbio far<\/em>, set to music by Tromboncino.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-5.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 5:<\/b> Bartolomeo Tromboncino, \u2018Che debb\u2019io far\u2019, in: <em>Canzoni novi con alcune scelte di vari libri di canto<\/em> (Rome: Andrea Antico, 1510) (RISM 1510<sup>1<\/sup>), mm.\u00a01\u20136.<\/span><\/p>\n<p>We find a number of melodic formulas in the frottola repertoire, called <em>aere<\/em> or <em>modi<\/em><a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a>, and each of these formulas fits a different kind of metre. This allows us to find musical formulas for almost any kind of verse.<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/p>\n<p>Similar relationships exist between text and music in the <em>ottava rima<\/em>, where stereotyped melodic formulas reflect its improvisatory origin. The sung <em>ottava rima<\/em> is a popular practice still surviving in Tuscany, with the improvisation of Italian <em>endecasillabi<\/em> while singing standard musical patterns. The performers are familiar enough with the musical patterns that they can use them to sing different texts. As we can still hear in Tuscany today, the sung <em>ottava rima<\/em> has always been improvised in a way that lies between folk and literary tradition.<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a> The lyrics are improvised on a musical formula called <em>aere<\/em>, which works as a fixed musical structure to help the poet to compose the texts with the right number of syllables and without the need to count them out.<\/p>\n<p>Renaissance frottolas, as we have seen, are similar: Pirrotta already pointed out that frottolas owe their form to a folkloric oral tradition, though they are a nobler and more refined version of this tradition. Frottolas were equally a product of the cultivated North Italian Courts and a creation for their use.<a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a><\/p>\n<p>Like the <em>ottava rima<\/em>, frottolas are based on the <em>aere<\/em> musical formulas. Frottola repertoire is mainly monodic; the use of polyphony is limited. A prominent upper voice often sings syllabically, and melismas are scarce; as in the <em>ottava rima<\/em>, they are present only at cadenzas. Records survive of the preference for solo performances over polyphonic renditions during the Renaissance. These highlight the interconnection between music and text as well as the central role played by the intelligibility of the text. Baldassarre Castiglione praises the \u2018declamation on the viola\u2019 over polyphonic singing not only because we can better understand the melody but because it allows a better recitation of the lyrics:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">[\u2026] but as even far more beautiful, to sing to the accompaniment of the\u00a0viol<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a>,\u00a0because nearly all the sweetness lies in the solo part, and we note and observe the fine manner and the melody with much greater attention when our ears are not occupied with more than a single voice, and moreover every little fault I more clearly discerned, \u2013 which is not the case when several sing together, because each singer helps his neighbour. But above all, singing to the viol by way of recitative seems to me most delightful, which adds to the words a charm and grace that are very admirable.<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Another similarity with the <em>ottava rima<\/em> is the frottola\u2019s roots in oral tradition. This is particularly evident in the case of the <em>strambotto<\/em>, the most widespread poetic form of the genre, as used by the improviser Serafino dall\u2019Aquila. In his <em>Apologia<\/em>, Angelo Colotio describes the way Serafino dall\u2019Aquila performed his <em>strambotti<\/em>. The description highlights the close relationship between text and music in these improvisations, and the attention Serafino paid to the pronunciation of the words:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">They will say that the pronunciation gave him grace; we will confess that in this he surpassed himself. They will say that he spoke in a singular way, but that he tried to match the words to the lute in order to stamp them more deeply on people\u2019s minds, to inflame them and calm them down, as Gracchus adapted his style in the Senate. I say that just as Terpander will always be praised for having added his voice to music and Dardanus to his flute, so Seraphin will always be praised for having given a way to express the passions of love in rhyme, more than anyone else ever before.<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/p>\n<\/blockquote>\n<p>In his essay <em>Qual stile tra\u2019 volgari poeti sia da imitare<\/em> (What style to imitate among Italian vernacular poets), Calmeta legitimises accompanied monody as a genre of poetry. He invites the reader to imitate<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">those [poems] accompanied with the instrument, in order to better impress upon not only amorous but also learned hearts. [\u2026] Likewise, those who, in singing, put all their effort into expressing the words well when they are of substance, and make the music accompany them in the way that masters are accompanied by servants, are to be held in high esteem.<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Calmeta\u2019s passage clearly illustrates the subordination of music to poetry: poetry, with the help of music, better reaches not only the amorous but also \u2013 most importantly \u2013 the erudite hearts. It highlights the need to express the words and declaim the text well.<\/p>\n<p>In a letter to Pico della\u00a0Mirandola, Angelo Poliziano describes a banquet in the Orsini palace.<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a> During the dinner, Fabio, the son of Paolo Orsini, sings polyphony with friends for the guests. Poliziano points out that the piece was performed from notation; the musicians were reading the music from part books. However, Poliziano is notably more enthusiastic when Fabio sings some verses by Piero dei Medici alone, accompanying himself on a lute:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">No sooner were we seated at the table than [Fabio] was ordered to sing,\u00a0together\u00a0with some other experts, certain of those songs which are put into writing with those little signs of music [it is difficult to render the sense of contemptuous diffidence conveyed by that \u2018quaedam \u2026 notata Musicis accentiunculis carmina\u2019], and immediately he filled our ears, or rather our\u00a0hearts\u00a0[\u2018immo vero in praecordia\u2019], with a voice so sweet that (I do not know about the others) as for myself, I was almost transported out of my senses, and was touched beyond doubt by the unspoken feeling of an altogether divine pleasure. He then performed an heroic song which he had himself recently composed in praise of our own Piero dei Medici \u2026 his voice was not entirely that of someone reading, nor entirely that of someone singing:\u00a0both\u00a0could be heard, and yet neither separated one from the other; it was, in any case, even or modulated, and changed as required by the passage. Now it was varied, now sustained, now exalted and now restrained, now calm and now vehement, now slowing down and now quickening its pace, but always it was precise, always clear and always pleasant; and his gestures were not indifferent or sluggish, but not posturing or affected either [\u2026].<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/p>\n<\/blockquote>\n<p>In this account Poliziano explains that Fabio\u2019s voice, singing the monody, was neither that of a reader nor that of a singer; the listener could have perceived it as both, without being able to distinguish whether he was singing or reading. These contemporary testimonies emphasise certain recurring elements: first and foremost, the preference for an accompanied monody rather than a polyphonic rendition, through which the singer could better interpret the meaning of the text; and the extreme flexibility of the sung rendition of the text, in which the sung voice was not easily distinguishable from the spoken voice.<\/p>\n<p>If this is how this monodic repertoire was understood by the contemporaries, we should ask ourselves how this was mirrored in the performance practice of instrumental intabulations of the same music and period. Did the player infer the correct accentuation of the music from an implicit text? If so, a correct understanding of the meter and of poetical conventions would be an essential element for a correct performance of Antico\u2019s arrangements of this vocal repertoire.<\/p>\n<div id=\"2\">\n<h4>Analysis of the Repertoire: Two Examples<\/h4>\n<\/div>\n<p>In this part, after describing the methodology used, the analysis of two frottolas will be presented in more detail. In order to perform this instrumental repertoire whilst respecting the original vocal model as much as possible, a metrical and semantic analysis of the texts is necessary.<\/p>\n<p>The poetic material can be analysed on the basis of two criteria: first, a metric\/prosodic criterium, which defines the subdivision of the verse into metric unities \u2013 syllables, feet, stanzas and so on \u2013 regardless of the meaning of the text; second, a syntactic\/semantic criterium, which divides the text into unities of logically complete meaning.<a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a> These two unities may or may not coincide, although it is often the case in much Italian Renaissance poetry that the two do overlap.<\/p>\n<p>In this study, the lyrics have first been transcribed from the vocal score, trying to respect the correct placement of the text on the keyboard intabulation as much as possible. The lyrics have then been analysed according to the two criteria mentioned above. Tonic syllables of the text are circled directly on the score. The colour red is used for the first text and blue for the repeat if present. On top of the metrical analysis, a set of signs to indicate a semantic analysis is superimposed: for instance, whenever a comma or a breath is needed for the understanding of the text, this has been indicated on the score. Punctuation marking on the lyrics have also been preserved.<\/p>\n<p>The corpus of frottolas can be divided into two groups: those based on <em>endecasillabi<\/em> and <em>settenari<\/em>, and those based on <em>ottonari<\/em> or <em>settenari tronchi<\/em>. Since <em>endecassilabi<\/em> and <em>settenari<\/em> allow for freer accentuation patterns, the combination between music and text is often conflicting and generates unusual patterns, as we saw in the example previously with the two versions of \u2018Hor che\u2019l ciel et la terra\u2019. We find several different metric feet in the structure of the verses in these frottolas, such as iambs, trochees, dactyls, resulting at times in a structure close to spoken language. Tonic syllables of the text are placed both on downbeats as well as upbeats of the music. Conversely, we find much clearer accentuation patterns in the second group of frottolas. Here the metrical accents of the verse mainly coincide with the strong accents of the measure, since the <em>ottonario<\/em> or the <em>settenario tronco<\/em> is made mostly of iambic feet that gives a very regular rhythm to the verse.<\/p>\n<div id=\"2.1\">\n<h4>2.1. Hor che\u2019l ciel et la terra<\/h4>\n<\/div>\n<p>The text comes from Petrarca\u2019s <em>Canzoniere<\/em>; it is a sonnet built on Italian <em>endecasillabi<\/em>.<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\"><strong>Hor<\/strong> che \u2019l <strong>ciel<\/strong> et la <strong>ter<\/strong>ra e \u2019l <strong>ven<\/strong>to <strong>ta<\/strong>ce<br \/>\net le <strong>fe<\/strong>re e gli au<strong>gel<\/strong>li il <strong>son<\/strong>no af<strong>fre<\/strong>na,<br \/>\n<strong>Not<\/strong>te il <strong>car<\/strong>ro stel<strong>la<\/strong>to in <strong>gi<\/strong>ro <strong>me<\/strong>na<br \/>\net <strong>nel<\/strong> suo <strong>let<\/strong>to il <strong>mar<\/strong> senz\u2019<strong>on<\/strong>da <strong>gia<\/strong>ce,<br \/>\n&nbsp;<br \/>\n<strong>veg<\/strong>ghio, <strong>pen<\/strong>so, <strong>ar<\/strong>do, <strong>pian<\/strong>go; et chi mi <strong>sfa<\/strong>ce<br \/>\n<strong>sem<\/strong>pre m\u2019\u00e8 i<strong>nan<\/strong>zi per mia <strong>dol<\/strong>ce <strong>pe<\/strong>na:<br \/>\n<strong>guer<\/strong>ra \u00e8 \u2019l mio <strong>sta<\/strong>to, d\u2019<strong>ir<\/strong>a et di duol <strong>pie<\/strong>na,<br \/>\net <strong>sol<\/strong> di <strong>lei<\/strong> pen<strong>san<\/strong>do \u00f2 <strong>qual<\/strong>che <strong>pa<\/strong>ce.<br \/>\n&nbsp;<br \/>\nCos\u00ed <strong>sol<\/strong> d\u2019una <strong>chia<\/strong>ra <strong>fon<\/strong>te <strong>vi<\/strong>va<br \/>\n<strong>mo<\/strong>ve \u2019l <strong>dol<\/strong>ce et l\u2019a<strong>ma<\/strong>ro ond\u2019<strong>io<\/strong> mi <strong>pas<\/strong>co;<br \/>\nuna man <strong>so<\/strong>la mi ri<strong>sa<\/strong>na et <strong>pun<\/strong>ge;<br \/>\n&nbsp;<br \/>\ne per<strong>ch\u00e9<\/strong> \u2019l mio mar<strong>tir<\/strong> non <strong>giun<\/strong>ga a <strong>ri<\/strong>va,<br \/>\n<strong>mil<\/strong>le <strong>vol<\/strong>te il d\u00ed <strong>mo<\/strong>ro et <strong>mil<\/strong>le <strong>na<\/strong>sco,<br \/>\n<strong>tan<\/strong>to da la sa<strong>lu<\/strong>te <strong>mia<\/strong> son <strong>lun<\/strong>ge.<\/p>\n<\/blockquote>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-6.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 6:<\/b> Bartolomeo Tromboncino, \u2018Hor che\u2019l ciel et la terra\u2019, cantus, in: <em>Frottole libro secondo<\/em> (Rome: Andrea Antico\u00a0?, c.\u00a01516) (RISM [c.\u00a01516]<sup>10<\/sup>).<\/span><\/p>\n<p>Before proceeding to the analysis of the frottola intabulated by Andrea Antico, an analysis of the original frottola is proposed in the following example. Accented metrical syllables have been circled in red and blue depending on whether they refer to the first or second text. Similarly, indications concerning semantic analysis have been marked in red when referring to the first text and in blue when referring to the second.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-7.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 7:<\/b> Bartolomeo Tromboncino, \u2018Hor che\u2019l ciel et la terra\u2019, cantus, in: <em>Frottole libro secondo<\/em> (Rome: Andrea Antico\u00a0?, c.\u00a01516) (RISM [c.\u00a01516]<sup>10<\/sup>).<\/span><\/p>\n<p>The music follows the structure AA\u2019BB\u2019CC\u2019D, and is based on a common <em>aere<\/em>, as mentioned above. The piece begins with shifted accents: we have an upbeat on the syllable \u2018Hor\u2019, that according to the meter of the verse should be on a downbeat, followed by an accented syllable on \u2018che\u2019, which on the contrary should be weak. The second verse of the sonnet starts with an anapest (uu-) with the tonic accent on \u2018fe-re\u2019 falling here on the weak beat of the bar.<\/p>\n<p>In the instrumental version (see Ex. 8) the note <em>c<sup>2<\/sup><\/em> in the cantus on the syllable \u2018fe\u2019 (the word &#8216;fere&#8217;, b.\u00a06) is notated as a single long note, probably from imagining a performance on the organ, whereas in the vocal version the note <em>c<sup>2<\/sup><\/em> is syllabically repeated for the two syllables (\u2018fe\u2019 and \u2018re\u2019). In order to underline this accentuated syllable, we would repeat the C, breaking the single long note.<\/p>\n<p>The third verse of the sonnet presents the same structure of the first line: a trochee, a dactyl, and other three trochees (-u,-uu,-u,-u,-u). The first tonic accent on the syllable \u2018noc\u2019 (the word \u2018nocte\u2019, b.\u00a09) falls here on an upbeat, and the second strong accent of the syllable \u2018car\u2019 (the word \u2018carro\u2019, b.\u00a010) on a weak beat of the bar. Once again, we have only one long note in the instrumental version. But since the text continues semantically, between A and A\u2019, we should in this case not stop the flow of the cadence.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-8.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 8:<\/b> Andrea Antico, \u2018Hor che\u2019l ciel et la terra\u2019, in: <em>Frottole intabulate 1517<\/em>, mm.\u00a01\u201313.<\/span><\/p>\n<p>In the section A\u2019, the metrical structure is more regular, and the tonic accents of the lyrics generally coincide with the strong beats of the bar. Yet, in the fifth verse of the sonnet the syllable \u2018veg\u2019 (the word \u2018veggio\u2019, b.\u00a05) falls on an upbeat instead of a downbeat, and later on in the same line, the syllable \u2018pen\u2019 (the word \u2018penso\u2019, b.\u00a06) is also placed on a weak beat. The same happens in the sixth verse of the sonnet with the syllables \u2018sem\u2019 (\u2018sempre\u2019, b.\u00a09) and \u2018pe\u2019 (\u2018pena\u2019, b.\u00a012).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-9.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 9:<\/b> Andrea Antico, \u2018Hor che\u2019l ciel et la terra\u2019, in: <em>Frottole intabulate 1517<\/em>, mm.\u00a01\u201313.<\/span><\/p>\n<p>The sections B and B\u2019 contain only one discrepancy between text and music: the tonic accent of the word \u2018guer-ra\u2019 falls here on an upbeat rather than the downbeat which is prescribed according with metre of the verse.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-10a.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-10b-1.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 10:<\/b> Andrea Antico, \u2018Hor che\u2019l ciel et la terra\u2019, in: <em>Frottole intabulate 1517<\/em>, mm.\u00a013\u201317.<\/span><\/p>\n<p>In section C, music and text are not in agreement in line nine of the sonnet: on the anapest \u2018cos\u00ec sol\u2019 (uu-), the accented syllable \u2018sol\u2019 (b.\u00a018) falls on a weak beat of the measure instead of a strong one; the same happens in verse ten on the syllables \u2018mo\u2019 (\u2018move\u2019, b.\u00a021) and \u2018dol\u2019 (\u2019dolce\u2019, b.\u00a022), and again in line eleven with the syllable \u2018man\u2019.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-11.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 11:<\/b> Andrea Antico, \u2018Hor che\u2019l ciel et la terra\u2019, in: <em>Frottole intabulate 1517<\/em>, mm.\u00a017\u201328.<\/span><\/p>\n<p>Section C\u2019 contains the same accented patterns found in section C, excepting line\u00a014 of the sonnet where the syllable \u2018dal\u2019 (\u2018dalla\u2019, b.\u00a026) falls on a weak part of the measure instead of a strong one. The same happens in section D, in which the last verse of the sonnet is repeated exactly in the same way.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-12.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 12:<\/b> Andrea Antico, \u2018Hor che\u2019l ciel et la terra\u2019, in: <em>Frottole intabulate 1517<\/em>, mm.\u00a017\u201334.<\/span><\/p>\n<p>The following video contains the author\u2019s version of this frottola. For clarity, the second text has been notated on the lowest staff:<\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/4mLYX2W1KV4?si=7YS5d-ir8N5ri-VR\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<div id=\"2.2\">\n<h4>2.2. O che dirala mo<\/h4>\n<\/div>\n<p>This frottola is made of regular <em>settenari<\/em> <em>tronchi<\/em> and uses exclusively iambic feet (u-).<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">O <strong>che<\/strong> di<strong>ra<\/strong>la <strong>mo<br \/>\n<\/strong>Mia <strong>vi<\/strong>ta fini<strong>ro<br \/>\n<\/strong>Se <strong>dan<\/strong>no ne <strong>ha<\/strong>ve<strong>ro<br \/>\n<\/strong>L\u2019er<strong>ror<\/strong> se<strong>ra<\/strong> pur <strong>so<\/strong><br \/>\n&nbsp;<br \/>\nO <strong>che<\/strong> di<strong>ra<\/strong>la <strong>mo<\/strong> \u2026<br \/>\n&nbsp;<br \/>\nPiu <strong>non<\/strong> di<strong>ra<\/strong> co<strong>s\u00ec<br \/>\n<\/strong>A<strong>man<\/strong>te a<strong>spec<\/strong>ta el <strong>di<br \/>\n<\/strong>Che l <strong>gior<\/strong>no e l <strong>mo<\/strong>do e <strong>qui<br \/>\n<\/strong>Che <strong>pa<\/strong>ce <strong>tro<\/strong>va<strong>ro<\/strong><br \/>\n&nbsp;<br \/>\nO <strong>che<\/strong> di<strong>ra<\/strong>la <strong>mo<\/strong> \u2026<\/p>\n<\/blockquote>\n<p>In the following example, an analysis of the original frottola is proposed. The metrical accents in the text of the first stanza are circled in red. Main caesuras in the text are marked in red, while secondary caesuras are marked in blue (for example to indicate the commas).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-13.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 13:<\/b> Bartolomeo Tromboncino, \u2018O che dirala mo\u2019, cantus, in: <em>Canzoni Sonetti Strambotti et Frottole libro tertio<\/em> (Rome: Andrea Antico\u00a0?, c.\u00a01518) (RISM [1518<sup>1<\/sup>]).<\/span><\/p>\n<p>The accentuation pattern in these lyrics is very clear, with a perfect match between metrical accents and musical accents. But in the instrumental adaptation we find some surprises. From a semantic point of view, the end of a musical sentence consistently overlaps the following one. This is emphasised by the quarter note passages systematically employed by Antico at these semantic caesuras, which makes breathing between semantic periods challenging. Given the regularity of the metrical accentuation, in the following example we show only the analysis of the first stanza. This analysis can also be applied to the other texts.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-14-1.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/falcone-exemple-14-2.png\" alt=\"\"><br \/>\n<span class=\"caption-text\"><b>Ex. 14:<\/b> Ex.\u00a014: Andrea Antico, \u2018O che dirala mo\u2019, in: <em>Frottole intabulate 1517<\/em>.<\/span><\/p>\n<p>Other examples of this group are \u2018Per dolor mi bagno il viso\u2019, \u2018Animoso mio desire\u2019 and \u2018Non pi\u00f9 morte ha il mio morire\u2019.<\/p>\n<p>The following video contains the author\u2019s version of the previously analysed frottola:<\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/bpL1Bir9sCs?si=S5C5QBFGi4YhawN2\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<div id=\"3\">\n<h4>Conclusions<\/h4>\n<\/div>\n<p>The frottola was a codified genre in which the text often dictated the structure of the music, since it followed strict literary rules. In vocal repertoire, the metrical structure of the verse, by its own nature, leads the performer to pre-defined accented patterns that (in the specific case of frottolas) are often different from the musical ones. Conflicting accentuation patterns could ideally be solved in a sung performance: a singer can easily stress any tonic syllable, keeping the right accentuation of the verse, and can counterbalance a wrong accentuation with a correct stress in the performance. The singer can articulate the text, stressing tonic syllables and giving weight to the meaning of the text, and can modulate intonation, slowing down or quickening, to again quote Poliziano.<a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/p>\n<p>In the case of the instrumental version of the same repertoire, the same approach would be challenging or could even appear unnatural since no words are present. The literary conventions of the time demand that the instrumentalist rethink the music and opt for what may be some unusual choices. In this article, the author attempts to propose a reading of instrumental repertoire that respects the constraints dictated by the literary conventions underlying the texts of the vocal models.<\/p>\n<p>The solutions in the two frottolas above are practical realisations of what is suggested in this article; many other solutions are possible. Nothing would prevent a performance of these pieces ignoring all literary conventions, just as instrumental pieces on their own. However, if we make the assumption that the audience was familiar with the vocal models, it is fascinating to imagine that our rendition could be close to the practice of the time.<\/p>\n<h4>Endnotes<\/h4>\n<aside id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p>RISM 1517<sup>3<\/sup>. The collection is preserved in only two sources. One copy in the former Josef Dobrovsk\u00fd Library (Knihovna Josefa Dobrovsk\u00e9ho) in Prague, now part of the National Library, with the signature gg 19(1); the other copy \u2013 without\u00a0page\u00a037 and currently untraceable \u2013 was in the possession of the Marquis Polesini of Porec and passed to Milan after the family moved there. See Gloria Filocamo and Maria Luisa Baldassari, \u2018Le \u201cFrottole intabulate da sonare organi\u201d (Roma, Andrea Antico, 1517): testo musicale e contesto sociale della prima intavolatura italiana per tastiera a stampa\u2019, in: <em>Fonti musicali italiane<\/em> 23 (2018), 7\u201326. For a description of the two extant specimens, see Dragan Plamenac, \u2018The recently discovered complete copy of A.\u00a0Antico\u2019s <em>Frottole intabulate (1517)\u2019<\/em>, in: <em>Aspects of medieval and Renaissance music. A birthday offering to Gustave Reese<\/em>, ed. Jan La Rue (New York, 1966), 683\u201392, at 684. The Prague copy is reproduced in the facsimile edition published by Forni, with an introduction by Giuseppe Radole: Andrea Antico, <em>Frottole intabulate per sonare organi<\/em>, facs. ed., Bibliotheca Musica Bononiensis IV\/42 (Bologna, 1984).<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>The earliest known keyboard print is Arnolt Schlick\u2019s German tablature, <em>Tabulaturen etlicher Lobgesang und Lidlein uff die Orgeln und Lauten<\/em> [\u2026] (Mainz: Peter Sch\u00f6ffer \u2018the younger\u2019, 1512) (vdm: 12), with alphabetical indications. Antico\u2019s <em>Frottole intabulate<\/em> is, according to Filocamo, the first printed collection for keyboard instruments in mensural notation. Filocamo and Baldassari, \u2018Le \u201cFrottole intabulate da sonare organi\u201d\u2019, 7.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Alfred Einstein, <em>The Italian Madrigal<\/em>, 3\u00a0vols., trans. Alexander H. Krappe, Roger H. Sessions and Oliver Strunk (Princeton, 1971), i, 77. See also William F. Prizer, \u2018The frottola and the unwritten tradition\u2019, in: <em>Studi musicali<\/em> 15 (1986), 3\u201337; repr. in: <em>Secular Renaissance Music. Forms and Functions<\/em>, ed. Sean Gallagher (Farnham, 2013), 181\u2013215, at 186. William F. Prizer, \u2018Performance practices in the frottola. An introduction to the repertoire of early 16th-century Italian solo secular song with suggestions for the use of instruments on the other lines\u2019, in: <em>EM<\/em> 3 (1975), 227\u201335, at 227. Concerning the performance practice of frottolas see also: Everett B. Helm, \u2018Heralds of the Italian Madrigal\u2019, in: <em>MQ<\/em> 27 (1941), 306\u201318, at 313; Francesco Luisi, \u2018La frottola nella esecuzione coeva\u2019, in: <em>Il flauto dolce<\/em> 4 (1974), 1\u20136, at 4; Andr\u00e9 Pirro, \u2018Les \u201cFrottole\u201d et la musique instrumentale\u2019, in: <em>RMl<\/em> 3 (1922), 3\u201312, at 5.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Petrucci\u2019s books of frottolas contain a dozen of these <em>aer<\/em>s or <em>modi di cantar<\/em> presented without poetic text, thus intended to be sung using any text within a given metrical structure. See Stefano La Via, <em>Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte<\/em> (Rome, <sup>2<\/sup>2020), 168. Although there are no known \u2018aeri\u2019 intended for singing <em>strambotti<\/em>, Francesco Saggio identifies two possible \u2018modi di cantar strambotti\u2019 in Petrucci\u2019s fifth book (Venice, 1505) (RISM 1505<sup>6<\/sup>), \u2018Si come fede se depinge biancha\u2019 and \u2018Non d\u00ea\u2019 tardar chi \u00e0 piacer vol darsi\u2019. See Francesco Saggio, \u2018Improvvisazione e scrittura nel tardo-quattrocento cortese: lo strambotto al tempo di Leonardo Giustinian e Serafino Aquilano\u2019, in: <em>Cantar ottave. Per una storia culturale dell\u2019intonazione cantata in ottava rima<\/em>, ed. Maurizio Agamennone (Lucca, 2017), 25\u201345, at 29.<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Victor Coelho and Keith Polk, <em>Instrumentalists and Renaissance Culture, 1420\u20131600: Players of Function and Fantasy<\/em> (Cambridge, 2016), 215.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>Filocamo and Baldassari, \u2018Le \u201cFrottole intabulate da sonare organi\u201d\u2019 (see n.\u00a01), 16.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Andr\u00e9 Pirro and Gustave Reese, \u2018Leo\u00a0X and Music\u2019, in: <em>MQ<\/em> 21 (1935), 1\u201316, at 1.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Ibid., 2.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Filocamo and Baldassari, \u2018Le \u201cFrottole intabulate da sonare organi\u201d\u2019 (see n.\u00a01), 10.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Pirrotta, \u2018Before the Madrigal\u2019, in: <em>JM<\/em> 12 (1994), 237\u201352, at 239\u201342; Francis Biggi, \u2018La <em>Fabula di Orpheo<\/em> d\u2019Ange Politien ou comment rendre une \u0153uvre \u00e0 l\u2019espace de l\u2019interpr\u00e9tation?\u2019, in: <em>La Musique ancienne entre historiens et musiciens<\/em>, ed. R\u00e9my Campos and Xavier Bisaro (Geneva, 2014), 491\u2013512, at 498.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>Brunetto Latini, <em>Li livres dou Tresor, publi\u00e9 pour la premi\u00e8re fois d\u2019apr\u00e8s les manuscrits de la Biblioth\u00e8que imp\u00e9riale, de la Biblioth\u00e8que de l\u2019Arsenal, et plusieurs manuscrits des d\u00e9partements et de l\u2019\u00e9tranger<\/em>, ed. Polycarpe Chabaille (Paris, 1863), 481.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Francesco Bausi and Mario Martelli, <em>La metrica italiana. Teoria e storia<\/em> (Florence, <sup>1<\/sup>1993, 2021), 11.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Ibid., 9.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>La Via, <em>Poesia per musica e musica per poesia<\/em> (see n.\u00a04), 91.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>The structure of Italian <em>endecasillabo<\/em> is essential to mention here. In the Italian <em>endecasillabo<\/em>, compulsory accents must fall on the tenth syllable, but they must fall also on the fourth or the sixth syllable, according to the type of verse. All the other accents of the verse are free. They can fall on the first, second, third, eighth and ninth syllable. Very rarely a tonic accent falls on the fifth syllable. This means that several rhythmical patterns are possible in one verse: a verse can contain iambic rhythm, trochaic, dactylic, etc., and the <em>endecasillabo<\/em> usually mixes them together. Pietro G. Beltrami, <em>Piccolo dizionario di metrica<\/em> (Bologna, 2015), 50. Concerning rhythmic variety of the <em>endecasillabo<\/em> see Aldo Menichetti, <em>Prima lezione di metrica<\/em> (Rome\/Bari, 2013), 63.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>A more correct representation of the qualitative accentuation of the verse should employ the following symbols \/x\/xx\/x\/x\/x. The use of classical symbology (\u2018-\u2018 for accented syllables and \u2018u\u2019 for unaccented syllables), due to its quantitative nature, facilitates the comparison between the metric structure of the text and the corresponding durations of the musical rhythm. See La Via, <em>Poesia per musica e musica per poesia<\/em> (see n.\u00a04), 57.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Vincenzo Calmeta, <em>Prose e lettere inedite<\/em>, ed. Cecil Grayson (Bologna, 1959), 21.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Cit. by Pirrotta, \u2018Before the Madrigal\u2019 (see n.\u00a010), 242.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>Filocamo and Baldassari, \u2018Le \u201cFrottole intabulate da sonare organi\u201d\u2019 (see n.\u00a01), 16.<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>Pirrotta, \u2018Before the Madrigal\u2019 (see n.\u00a010), 244. According to Pirrotta, no \u2018arie per cantar strambotti\u2019 have ever been written, as each <em>strambotto<\/em> seems to have a specific music composed particularly for its text. The author mentions this to support his hypothesis that the madrigal had its roots in the <em>strambotto<\/em>.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>See Biggi, \u2018La <em>Fabula di Orpheo<\/em>\u2019 (see n.\u00a010), 502.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>Pirrotta, \u2018Before the Madrigal\u2019 (see n.\u00a010), 238 and 246.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>It is not clear from Castiglione\u2019s text whether the instrument in question is a viola da gamba (bowed strings) or a viola da mano (plucked strings). Since this is not an essential point of discussion, I leave the question open. Since there are no studies on the subject today, it is hoped that future articles will clarify the issue. I would like to take this opportunity to thank Prof. Francis Biggi for his advice on this point.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>\u2018[\u2026] ma ancor molto pi\u00f9 il cantare alla viola perch\u00e9 tutta la dolcezza consiste quasi in un solo, e con molto maggior attenzion si nota ed intende il bel modo e l\u2019aria non essendo occupate le orecchie in pi\u00f9 che in una sol voce, e meglio ancora vi si discerne ogni piccolo errore; il che non accade cantando in compagnia perch\u00e9 l\u2019uno aiuta l\u2019altro. Ma sopra tutto parmi gratissimo il cantare alla viola per recitare; il che tanto di venust\u00e0 ed efficacia aggiunge alle parole, che \u00e8 gran maraviglia\u2019. Baldassare Castiglione, <em>Il libro del Cortegiano<\/em>, ed. Amedeo Quondam and Nicola Longo (Milan, 2009), 137. English translation in Baldassare Castiglione, <em>The book of the courtier by count Baldesar Castiglione<\/em>, ed. Leonard Eckstein Opdycke (London, 1901), 194.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>\u2018Li concedeno el proferir singulare, ma che cercava concordare le parole al leuto per pi\u00f9 imprimerle nello animo delle genti &amp; per hor inflamare hora remectere, come Gracco ne\u2019 senati la sua lyra adaptava. Dico che come non senza laude sempre sar\u00e0 Terpandro che agiunse la voce alla musica &amp; Dardano alla tibia, cos\u00ec el Seraphin per haver dato modo &amp; da imprimere e da exprimere in rime le passione d\u2019amore, pi\u00f9 ch\u2019alcuno altro mai per adietro sar\u00e0 da esser celebrato\u2019. <em>Apologia di Angelo Colotio nell\u2019opere de Seraphino, al Magnifico Sylvio Piccolhomini S. et benefactore<\/em>, in: Serafino di Ciminelli, <em>Le rime di Serafino de\u2019 Ciminelli dall\u2019Aquila<\/em>, vol.\u00a01, ed. Mario Menghini (Bologna, 1894), 27. See also Pirrotta, <em>Li due Orfei. Da Poliziano a Monteverdi<\/em> (Turin, 1975), 44.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>\u2018[\u2026] quelle con lo instrumento compagnando, per poterle meglio non solo negli amorosi ma ancora negli eruditi cuori imprimere. [\u2026] Cosi medesimamente sono da essere essistimati di sommo giudicio coloro che cantando mettono tutto lo sforzo in esprimer bene le parole quando sono di sustanza, e fanno che la musica le accompagna con quel modo che sono i padroni da\u2019 servidori accompagnati\u2019. Calmeta quoted by Kolsky in Stephen D. Kolsky, \u2018The Courtier as Critic: Vincenzo Calmeta\u2019s <em>Vita del facondo poeta vulgare Serafino Aquilano<\/em>\u2019, in: <em>Italica<\/em> 67 (1990), 161\u201372, at 164.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>The extract is taken from a letter contained in Book\u00a0xii of Angelo Poliziano\u2019s letters. According to Pirrotta, the episode refers to Poliziano\u2019s trip to Rome in 1488 on the occasion of Piero de\u2019 Medici&#8217;s wedding with Alfonsina Orsini. Nino Pirrotta, <em>Li due Orfei<\/em> (see n.\u00a025), 44.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>\u2018Ut ergo discubuimus, canere quaedam iussus notata Musicis accentiunculis carmina, simul cum peritis aliis, statim suavissima quadam voce sic in aures nostras illapsus, immo vero in praecordia est, ut me quidem (ceteros nescio) pene extra me rapuerit, certe sensu tacito divinae prorsus cuiusdam voluptatis affecerit. Pronunciavit heroicum deinde carmen, quod ipsemet nuper in Petri Medicis nostri laudem composuerat [\u2026] Vox ipsa nec quasi legentis, nec quasi canentis, sed in qua tamen utrumque; sentires, neutrum discerneres: varie tamen prout locus posceret aut aequalis, aut inflexa, nunc distincta, nunc perpetua, nunc sublata, nunc deducta, nunc remissa, nunc contenta, nunc lenta, nunc incitata, semper emendata, semper clara, semper dulcis, gestus non ociosus, non somniculosus, sed nec vultuosus tamen, ac molestus [\u2026]\u2019. Angelo Poliziano, <em>Angeli Politiani<\/em> [\u2026] <em>et aliorum eius temporis illustrium virorum epistolae\u00a0xii. libris contentae<\/em> (Basel: Andreas Cratander, Erben: 1542) (VD16 ZV\u00a026479), 447\u20138. The English translation of this excerpt is taken from Nino Pirrotta, <em>Music and Theatre from Poliziano to Monteverdi<\/em> (Cambridge, 1982), 36. The Italian translation of this excerpt is quoted in Nino Pirrotta, <em>Li due Orfei<\/em> (see n.\u00a025), 35\u20136. See also Biggi, \u2018La <em>Fabula di Orpheo<\/em>\u2019 (see n.\u00a010), 499.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>La Via, <em>Poesia per musica e musica per poesia<\/em> (see n.\u00a04), 87.<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>See n.\u00a028.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<\/aside>\n<div id=\"4\">\n<h4>Bibliography<\/h4>\n<\/div>\n<p><\/p>\n<p class=\"bibliography\">Andrea Antico, <em>Frottole intabulate da sonare organi<\/em>, <em>libro primo<\/em> (Rome: Andrea Antico, 1517) (RISM 1517<sup>3<\/sup>)<\/p>\n<p class=\"bibliography\">Andrea Antico, <em>Frottole intabulate per sonare organi<\/em>, facs. ed., Bibliotheca Musica Bononiensis IV\/42 (Bologna, 1984)<\/p>\n<p class=\"bibliography\">Andrea Antico, <em>Frottole intabulate da sonare organi, 1517: Twenty-Six Keyboard Pieces for Organ, Harpsichord or Clavichord<\/em>, ed. Christopher Hogwood (Tokyo, 1984)<\/p>\n<p class=\"bibliography\">Andrea Antico, <em>Frottole intabulate da sonare organi (Roma, 1517)<\/em>, ed. Maria Luisa Baldassari (Bologna, 2016)<\/p>\n<p class=\"bibliography\"><em>Apologia di Angelo Colotio nell\u2019opere de Seraphino, al Magnifico Sylvio Piccolhomini S. et benefactore<\/em>, in: Serafino di Ciminelli, <em>Le rime di Serafino de\u2019 Ciminelli dall\u2019Aquila<\/em>, vol.\u00a01, ed. Mario Menghini (Bologna, 1894)<\/p>\n<p class=\"bibliography\">Francesco Bausi and Mario Martelli, <em>La metrica italiana. Teoria e storia<\/em> (Florence, <sup>1<\/sup>1993, 2021)<\/p>\n<p class=\"bibliography\">Pietro G. Beltrami, <em>Piccolo dizionario di metrica<\/em>, (Bologna, 2015)<\/p>\n<p class=\"bibliography\">Francis Biggi, \u2018La <em>Fabula di Orpheo<\/em> d\u2019Ange Politien ou comment rendre une \u0153uvre \u00e0 l\u2019espace de l\u2019interpr\u00e9tation?\u2019, in: <em>La Musique ancienne entre historiens et musiciens<\/em>, ed. R\u00e9my Campos and Xavier Bisaro (Geneva, 2014), 491\u2013512<\/p>\n<p class=\"bibliography\">Vincenzo Calmeta, <em>Prose e lettere inedite<\/em>, ed. Cecil Grayson (Bologna, 1959)<\/p>\n<p class=\"bibliography\"><em>Canzoni novi con alcune scelte di vari libri di canto<\/em> (Rome: Andrea Antico, 1510) (RISM 1510<sup>1<\/sup>)<\/p>\n<p class=\"bibliography\"><em>Canzoni Sonetti Strambotti et Frottole libro tertio<\/em> (Rome: Andrea Antico\u00a0?, c.\u00a01518) (RISM [1518<sup>1<\/sup>])<\/p>\n<p class=\"bibliography\">Baldassare Castiglione, <em>Il libro del Cortegiano<\/em>, ed. Amedeo Quondam and Nicola Longo (Milan, 2009)<\/p>\n<p class=\"bibliography\">Baldassare Castiglione, <em>The book of the courtier by count Baldesar Castiglione<\/em>, ed. Leonard Eckstein Opdycke (London, 1901)<\/p>\n<p class=\"bibliography\">Victor Coelho and Keith Polk, <em>Instrumentalists and Renaissance Culture, 1420-1600: Players of Function and Fantasy<\/em> (Cambridge, 2016)<\/p>\n<p class=\"bibliography\">Alfred Einstein, <em>The Italian Madrigal<\/em>, 3\u00a0vols., trans. Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk (Princeton, 1971)<\/p>\n<p class=\"bibliography\">Gloria Filocamo and Maria Luisa Baldassari, \u2018Le \u201cFrottole intabulate da sonare organi\u201d (Roma, Andrea Antico, 1517): testo musicale e contesto sociale della prima intavolatura italiana per tastiera a stampa\u2019, in: <em>Fonti musicali italiane<\/em> 23 (2018), 7\u201326<\/p>\n<p class=\"bibliography\"><em>Frottole libro secondo<\/em> (Rome: Andrea Antico?, c.\u00a01516) (RISM [c.\u00a01516]<sup>10<\/sup>)<\/p>\n<p class=\"bibliography\"><em>Frottole libro octavo<\/em> (Venice: Ottaviano Petrucci, 1507) (RISM 1507<sup>4<\/sup>)<\/p>\n<p class=\"bibliography\">Everett B. Helm, \u2018Heralds of the Italian Madrigal\u2019, in: <em>MQ<\/em> 27 (1941), 306\u201318<\/p>\n<p class=\"bibliography\">Stephen D. Kolsky, \u2018The Courtier as Critic: Vincenzo Calmeta\u2019s <em>Vita del facondo poeta vulgare Serafino Aquilano<\/em>\u2019, in: <em>Italica<\/em> 67 (1990), 161\u201372<\/p>\n<p class=\"bibliography\">Brunetto Latini, <em>Li livres dou Tresor, publi\u00e9 pour la premi\u00e8re fois d\u2019apr\u00e8s les manuscrits de la Biblioth\u00e8que imp\u00e9riale, de la Biblioth\u00e8que de l\u2019Arsenal, et plusieurs manuscrits des d\u00e9partements et de l\u2019\u00e9tranger<\/em>, ed. Polycarpe Chabaille (Paris, 1863)<\/p>\n<p class=\"bibliography\">Stefano La Via, <em>Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte<\/em>, 2nd edition (Rome, <sup>2<\/sup>2020)<\/p>\n<p class=\"bibliography\">Francesco Luisi, \u2018La frottola nella esecuzione coeva\u2019, in: <em>Il flauto dolce<\/em> 4 (1974)<\/p>\n<p class=\"bibliography\">Aldo Menichetti, <em>Prima lezione di metrica<\/em> (Rome\/Bari, 2013)<\/p>\n<p class=\"bibliography\">Andr\u00e9 Pirro, \u2018Les \u201cFrottole\u201d et la musique instrumentale\u2019, in: <em>RMl<\/em> 3 (1922), 3\u201312<\/p>\n<p class=\"bibliography\">Andr\u00e9 Pirro and Gustave Reese, \u2018Leo\u00a0X and Music\u2019, in: <em>MQ<\/em> 21 (1935), 1\u201316<\/p>\n<p class=\"bibliography\">Nino Pirrotta, <em>Li due Orfei. Da Poliziano a Monteverdi<\/em> (Turin, 1975)<\/p>\n<p class=\"bibliography\">Nino Pirrotta, <em>Music and Theatre from Poliziano to Monteverdi<\/em> (Cambridge, 1982)<\/p>\n<p class=\"bibliography\">Nino Pirrotta, \u2018Before the Madrigal\u2019, in: <em>JM<\/em> 12 (1994), 237\u201352<\/p>\n<p class=\"bibliography\">Dragan Plamenac, \u2018The recently discovered complete copy of A.\u00a0Antico\u2019s <em>Frottole intabulate (1517)\u2019<\/em>, in: <em>Aspects of medieval and Renaissance music. A birthday offering to Gustave Reese<\/em>, ed. Jan La Rue (New York, 1966), 683\u201392<\/p>\n<p class=\"bibliography\">William F. Prizer, \u2018Performance practices in the frottola. An introduction to the repertoire of early 16th-century Italian solo secular song with suggestions for the use of instruments on the other lines\u2019, in: <em>EM<\/em> 3 (1975), 227\u201335<\/p>\n<p class=\"bibliography\">William F. Prizer, \u2018The frottola and the unwritten tradition\u2019, in: <em>Studi musicali<\/em> 15 (1986), 3\u201337; repr. in: <em>Secular Renaissance Music. Forms and Functions<\/em>, ed. Sean Gallagher (Farnham, 2013), 181\u2013215<\/p>\n<p class=\"bibliography\">Francesco Saggio, \u2018Improvvisazione e scrittura nel tardo-quattrocento cortese: lo strambotto al tempo di Leonardo Giustinian e Serafino Aquilano\u2019, in: <em>Cantar ottave. Per una storia culturale dell\u2019intonazione cantata in ottava rima<\/em>, ed. Maurizio Agamennone (Lucca, 2017), 25\u201345<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Fabio Antonio Falcone This article proposes a hypothetical way to conceive the interconnection between music and text in specific cases where the text is missing, such as in Andrea Antico\u2019s Frottole intabulate da sonare organi, libro primo (1517). First, I will present the subject and the research questions. Second, I will illustrate the methodology employed &hellip;<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[114],"tags":[],"class_list":["post-2864","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>On the Performance Practice of Andrea Antico\u2019s Frottole intabulate da sonare organi, libro primo (Rome, 1517) &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-performance-practice-antico\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On the Performance Practice of Andrea Antico\u2019s Frottole intabulate da sonare organi, libro primo (Rome, 1517) &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Fabio Antonio Falcone This article proposes a hypothetical way to conceive the interconnection between music and text in specific cases where the text is missing, such as in Andrea Antico\u2019s Frottole intabulate da sonare organi, libro primo (1517). 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