2262:
859:
2272:
399:
Journal of
Croatian studies: Volumes 36-37; Volumes 36-37 Croatian Academy of America, Croatian Academy of America - 1997 The oldest works of an encyclopaedic nature were the so-called lucidaria, which also appeared in the Croatian Glagolitic literature and were written based on foreign models of the
253:
in the 1320s, or whether the influence went the other way. Most likely
Marchetto's work was first, although he was well aware of the French practice – which, like most innovations in music before the 20th century, was only discussed in writing years after the actual musical innovation took place.
349:. He set a distinct hierarchy, defining the "musician" or composer as the artist making judgements in accordance with his learned knowledge, while describing the singer as the instrument on which the musician performs, and likening their relationship to that of the judge and the crier.
304:
was by this time evolving into the method known today where an individual symbol represented a specific time-value, and
Marchetto contributed to this trend by developing a method of compound time division, and by assigning specific note shapes to specific time values.
356:, which is the earliest surviving source of secular Italian polyphony and which contains music written between 1325 and 1355, shows obvious influence of Marchetto, especially in its use of his notational improvements.
520:
Karol Berger: "Musica Ficta. Theories of accidental inflexions in vocal polyphony from
Marchetto da Padova to Gioseffo Zarlino", Cambridge University Press, 1987, especially pp. 22–9, 86-87, 141-3.
261:
Marchetto's innovations are in three areas: tuning, chromaticism, and notation of time-values. He was the first medieval writer to propose dividing the whole tone into more than two parts. A
318:, and added four "imperfect" modes to the existing five "perfect" modes, thus allowing for the contemporary Italian practice of mixed, flexible and expressive rhythmic performance.
133:. There are no other reliable records of his life, although his fame was evidently widespread, and his work became hugely influential later in the 14th century.
206:
505:
768:
545:
2297:
895:
352:
Marchetto's treatises were hugely influential in the 14th and early 15th centuries, and were widely copied and disseminated. The
1433:
281:
semitone. Marchetto preferred to widen major intervals and narrow minor ones for melodic effect, the opposite of what the later
1925:
125:(c. 1322), which gave its name to the music of the age. Marchetto indicated in the treatises themselves that he wrote them at
516:
925:
538:
1767:
1259:
482:
468:
442:
2149:
2327:
2302:
2134:
2107:
920:
103:. Little is known about his life, but he is recorded as being music teacher for the choirboys at the cathedral in
2129:
2139:
1388:
285:
does. The exact size of the major sixth he described is the subject of some disagreement, but was considered by
1445:
1053:
935:
531:
510:
Margo
Schulter: "Xenharmonic Excursion to Padua, 1318:Marchettus, the cadential diesis, and neo-Gothic tunings"
2312:
1254:
2322:
2317:
1373:
1288:
888:
2307:
862:
2252:
2117:
915:
265:
could consist of one, two, three, or four of these parts, depending on whether it was, respectively, a
2112:
1787:
1782:
1428:
163:). Based on another acrostic in the same motet, it seems it was composed for the dedication of the
487:
Jan
Herlinger: "Marchetto da Padova", Grove Music Online ed. L. Macy (Accessed February 28, 2005),
2265:
1413:
1343:
881:
2124:
502:
2275:
2154:
1960:
1616:
1303:
645:
996:
497:
Music Theory Online: The Online
Journal of the Society for Music Theory. vol. 4, no. 6, 1998.
434:
428:
75:
era. His innovations in notation of time-values were fundamental to the music of the
Italian
2216:
1531:
1383:
1239:
1234:
1096:
554:
376:
360:
1678:
1308:
707:
2028:
2023:
1930:
1747:
1734:
1683:
1652:
1601:
1492:
1338:
1153:
1138:
1081:
1031:
991:
948:
712:
681:
630:
381:
290:
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241:
because of the controversy over whether he was influenced by the innovations of the French
115:. His two major treatises seem to have been written between 1317 and 1319, shortly before
1398:
1168:
8:
2231:
2226:
2074:
1857:
1647:
1477:
1353:
1348:
1293:
1209:
1179:
1036:
1026:
981:
943:
763:
676:
1318:
960:
145:
have been reliably attributed to
Marchetto, one of them due to his name appearing as an
2185:
2175:
2144:
1955:
1935:
1777:
1673:
1621:
1581:
1566:
1482:
1333:
1244:
1016:
773:
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650:
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595:
511:
2271:
2057:
1945:
1915:
1875:
1822:
1757:
1668:
1663:
1611:
1571:
1508:
1487:
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1328:
1189:
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986:
837:
697:
692:
640:
600:
498:
478:
464:
438:
364:
297:
246:
213:, who was lord of the city from 1321 to 1326, however most scholars believe that the
116:
2069:
1817:
1740:
1693:
1657:
1627:
1606:
1298:
1283:
1042:
722:
686:
656:
635:
164:
2221:
2045:
1950:
1910:
1846:
1802:
1194:
1173:
1158:
1104:
1011:
808:
803:
2180:
2050:
2040:
1920:
1851:
1812:
1792:
1772:
1502:
1472:
1358:
1214:
1184:
904:
832:
301:
84:
72:
2291:
1986:
1885:
1752:
1720:
1576:
1497:
1143:
1021:
1004:
821:
605:
309:
255:
250:
1323:
327:
also included one of the earliest texts addressing the relationship between
2211:
2018:
1981:
1940:
1905:
1880:
1865:
1363:
1199:
974:
286:
278:
107:
in 1305 and 1306, and he left Padua in 1308 to work in other cities in the
88:
80:
68:
2206:
2201:
1996:
1368:
1313:
1219:
1067:
827:
747:
463:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.
410:
353:
346:
314:
1275:
1797:
1467:
1163:
1129:
1124:
270:
238:
1091:
254:
All of the treatises except for the abridged version are in a heavily
2008:
1870:
1688:
1423:
717:
1086:
258:
framework, and were almost certainly collections of oral teachings.
2170:
2090:
2013:
1976:
1459:
1249:
1229:
1204:
814:
336:
328:
274:
262:
230:
146:
121:
76:
515:
Joseph L.monzo: "Speculations on
Marchetto of Padua's fifth-Tones"
2084:
2062:
2033:
1991:
1762:
1418:
966:
953:
873:
781:
523:
112:
1807:
1729:
1224:
411:"The 17-tone Puzzle — And the Neo-medieval Key That Unlocks It"
266:
210:
187:(probably 1318). He also published an abridged version of the
130:
126:
108:
2079:
2003:
787:
167:(also known as the Arena Chapel) in Padua on March 25, 1305.
142:
104:
100:
488:
87:. In addition, he was the first music theorist to discuss
296:
In the area of time values, Marchetto improved on the old
199:, though the date of this is not known. He stated in the
312:, an old rhythmic notation method from the 13th-century
234:, the verge or enclosure around the orchard of Rome.
400:
12th century. Interesting Croatian almanacs were ...
454:
433:. Boston: Northeastern University press. p.
237:Precise dating of his work has been important to
2289:
430:Composers on Music - Eight Centuries of Writings
461:The New Grove Dictionary of Music and Musicians
205:that he wrote it while staying at the house of
889:
539:
175:Marchetto published two major treatises, the
1539:
568:
477:. New York, W.W. Norton & Co., 1978.
340:
322:
223:
214:
200:
194:
188:
182:
176:
158:
150:
896:
882:
546:
532:
359:Without the innovations of Marchetto, the
170:
67:; fl. 1305 – 1319) was an Italian
495:Practical Aspects of Marchetto's Tuning.
1530:
1434:List of Galician-Portuguese troubadours
181:(probably in 1317–1318), and the
2290:
308:Additionally, Marchetto discussed the
877:
527:
228:, an encyclopaedic clarification and
426:
403:
342:De institutione musica libri quinque
222:The meanings of the two titles are:
1260:Other troubadours and trobairitz...
363:– for example the secular music of
54:music theorist, composer and writer
16:Italian music theorist and composer
13:
903:
553:
149:in the text for one of the parts (
79:, as was his work on defining the
14:
2339:
184:Pomerium in arte musice mensurate
2298:Italian male classical composers
2270:
2261:
2260:
858:
857:
367:– would not have been possible.
178:Lucidarium in arte musice plane
455:References and further reading
420:
393:
1:
1255:William IX, Duke of Aquitaine
361:music of the Italian Trecento
387:
7:
926:List of musical instruments
370:
331:– Marchetto used the word
99:Most likely he was born in
10:
2344:
506:(Accessed January 3, 2006)
2242:
2194:
2163:
2100:
1969:
1898:
1839:
1788:Matheus de Sancto Johanne
1783:Johannes Symonis Hasprois
1718:
1714:
1640:
1594:
1559:
1526:
1457:
1453:
1444:
1429:Galician-Portuguese lyric
1374:Jehan le Cuvelier d'Arras
1289:Andrieu Contredit d'Arras
1274:
1123:
1065:
1061:
1052:
934:
911:
848:
796:
756:
735:
669:
623:
588:
561:
71:and composer of the late
50:
42:
28:
21:
1818:Antonio Zacara da Teramo
136:
2328:Medieval male composers
2303:Italian music theorists
1344:Gillebert de Berneville
921:List of music theorists
94:
1617:Gherardello da Firenze
1304:Le Chastelain de Couci
1097:Philippe le Chancelier
646:Gherardello da Firenze
341:
323:
224:
215:
201:
195:
189:
183:
177:
171:Writings and influence
159:
151:
1926:Johannes de Garlandia
1240:Raimbaut de Vaqueiras
489:(subscription access)
427:Fisk, Josiah (1997).
377:Music of the Trecento
219:was written in 1318.
2313:Musicians from Padua
2247:Also music theorist*
1931:Johannes de Grocheio
1748:Conradus de Pistoria
1735:Philippus de Caserta
1684:Philippus de Caserta
1653:Antonello da Caserta
1602:Andreas de Florentia
1493:Guillaume de Machaut
1154:Bernart de Ventadorn
1139:Aimeric de Peguilhan
1082:Albertus Parisiensis
1032:Adam of Saint Victor
992:Saint Martial school
949:Notker the Stammerer
852:Also music theorist*
713:Philippus de Caserta
682:Antonello da Caserta
631:Andreas de Florentia
382:58 equal temperament
300:system of notation;
283:meantone temperament
2323:14th-century deaths
2318:13th-century births
1858:Contenance angloise
1648:Bartolino da Padova
1547:Marchetto da Padova
1478:Magister Franciscus
1354:Guillaume le Vinier
1349:Gontier de Soignies
1294:Audefroi le Bastart
1180:Folquet de Marselha
1037:Wulfstan the Cantor
1027:Hildegard of Bingen
997:Adémar de Chabannes
982:Fulbert of Chartres
944:Abbey of Saint Gall
936:Early (before 1150)
677:Bartolino da Padova
576:Marchetto da Padova
473:Richard H. Hoppin,
207:Raynaldus de Cintis
65:Marchettus of Padua
61:Marchetto da Padova
33:Marchettus of Padua
23:Marchetto da Padova
2308:Trecento composers
2186:Neo-Medieval music
2176:Medieval folk rock
1956:Berno of Reichenau
1936:Iacobus de Ispania
1778:Petrus de Goscalch
1679:Niccolò da Perugia
1674:Grazioso da Padova
1622:Lorenzo da Firenze
1582:Vincenzo da Rimini
1567:Giovanni da Cascia
1399:Other trouvères...
1384:Perrin d'Angicourt
1334:Gautier de Dargies
1309:Chrétien de Troyes
1245:Raimon de Miravalh
1235:Raimbaut d'Aurenga
743:Squarcialupi Codex
708:Niccolò da Perugia
703:Grazioso da Padova
651:Lorenzo da Firenze
611:Vincenzo da Rimini
596:Giovanni da Cascia
152:Ave regina celorum
2285:
2284:
2253:Renaissance music
1961:Aurelian of RĂ©Ă´me
1946:Johannes de Muris
1916:Franco of Cologne
1894:
1893:
1876:Arnold de Lantins
1835:
1834:
1831:
1830:
1758:Johannes Cuvelier
1710:
1709:
1706:
1705:
1702:
1701:
1669:Giovanni Mazzuoli
1664:Matteo da Perugia
1636:
1635:
1612:Francesco Landini
1590:
1589:
1572:Jacopo da Bologna
1555:
1554:
1522:
1521:
1518:
1517:
1509:Philippe de Vitry
1488:Jehan de Lescurel
1409:
1408:
1394:Raoul de Soissons
1339:Gautier d'Espinal
1329:Gautier de Coincy
1270:
1269:
1190:Giraut de Bornelh
1169:CerverĂ de Girona
1149:Arnaut de Mareuil
1119:
1118:
1115:
1114:
1077:Notre-Dame school
987:Heriger of Lobbes
916:List of composers
871:
870:
838:Renaissance music
731:
730:
698:Giovanni Mazzuoli
693:Matteo da Perugia
665:
664:
641:Francesco Landini
619:
618:
601:Jacopo da Bologna
584:
583:
339:'s definition in
335:, borrowing from
247:Philippe de Vitry
196:Brevis compilatio
117:Philippe de Vitry
58:
57:
2335:
2274:
2264:
2263:
2070:Liturgical drama
1837:
1836:
1744:
1741:Johannes Ciconia
1716:
1715:
1712:
1711:
1694:Zacara da Teramo
1658:Johannes Ciconia
1638:
1637:
1628:Paolo da Firenze
1607:Donato da Cascia
1592:
1591:
1557:
1556:
1537:
1536:
1528:
1527:
1524:
1523:
1512:
1455:
1454:
1451:
1450:
1446:Late (1300–1400)
1389:Philippe de RĂ©mi
1319:Conon de BĂ©thune
1299:Blondel de Nesle
1284:Adam de la Halle
1272:
1271:
1210:Peire d'Alvernha
1121:
1120:
1108:
1063:
1062:
1059:
1058:
1054:High (1150–1300)
1043:Wipo of Burgundy
1008:
978:
970:
961:Stephen of Liège
898:
891:
884:
875:
874:
861:
860:
777:
723:Zacara da Teramo
687:Johannes Ciconia
667:
666:
657:Paolo da Firenze
636:Donato da Cascia
621:
620:
586:
585:
566:
565:
548:
541:
534:
525:
524:
449:
448:
424:
418:
417:
415:
407:
401:
397:
344:
326:
245:, as written by
227:
218:
204:
198:
192:
186:
180:
165:Scrovegni Chapel
162:
160:Mater innocencie
154:
19:
18:
2343:
2342:
2338:
2337:
2336:
2334:
2333:
2332:
2288:
2287:
2286:
2281:
2280:
2257:
2238:
2190:
2159:
2096:
2046:Gregorian chant
1965:
1951:Walter Odington
1911:Guido of Arezzo
1890:
1847:Johannes Alanus
1827:
1803:Jacob Senleches
1739:
1698:
1632:
1586:
1551:
1514:
1507:
1440:
1405:
1266:
1195:Guiraut Riquier
1174:Comtessa de Dia
1159:Bertran de Born
1127:
1111:
1105:Petrus de Cruce
1103:
1048:
1012:Notker Physicus
1003:
973:
965:
930:
907:
902:
872:
867:
844:
809:Portative organ
804:Landini cadence
792:
771:
769:Caccia (musica)
752:
727:
661:
615:
580:
557:
552:
457:
452:
445:
425:
421:
413:
409:
408:
404:
398:
394:
390:
373:
277:semitone, or a
173:
139:
97:
38:
35:
34:
24:
17:
12:
11:
5:
2341:
2331:
2330:
2325:
2320:
2315:
2310:
2305:
2300:
2283:
2282:
2279:
2278:
2268:
2250:
2249:
2248:
2244:
2243:
2240:
2239:
2237:
2236:
2235:
2234:
2229:
2224:
2219:
2214:
2204:
2198:
2196:
2192:
2191:
2189:
2188:
2183:
2181:Medieval metal
2178:
2173:
2167:
2165:
2161:
2160:
2158:
2157:
2152:
2147:
2142:
2137:
2132:
2127:
2122:
2121:
2120:
2115:
2104:
2102:
2098:
2097:
2095:
2094:
2087:
2082:
2077:
2072:
2067:
2066:
2065:
2055:
2054:
2053:
2051:Pope Gregory I
2043:
2038:
2037:
2036:
2031:
2026:
2016:
2011:
2006:
2001:
2000:
1999:
1989:
1984:
1979:
1973:
1971:
1967:
1966:
1964:
1963:
1958:
1953:
1948:
1943:
1938:
1933:
1928:
1923:
1921:Johannes Cotto
1918:
1913:
1908:
1902:
1900:
1896:
1895:
1892:
1891:
1889:
1888:
1883:
1878:
1873:
1868:
1863:
1862:
1861:
1852:John Dunstaple
1849:
1843:
1841:
1833:
1832:
1829:
1828:
1826:
1825:
1820:
1815:
1813:Johannes Susay
1810:
1805:
1800:
1795:
1793:Gacian Reyneau
1790:
1785:
1780:
1775:
1773:Martinus Fabri
1770:
1765:
1760:
1755:
1750:
1745:
1737:
1732:
1726:
1724:
1708:
1707:
1704:
1703:
1700:
1699:
1697:
1696:
1691:
1686:
1681:
1676:
1671:
1666:
1661:
1655:
1650:
1644:
1642:
1641:3rd generation
1634:
1633:
1631:
1630:
1625:
1619:
1614:
1609:
1604:
1598:
1596:
1595:2nd generation
1588:
1587:
1585:
1584:
1579:
1574:
1569:
1563:
1561:
1560:1st generation
1553:
1552:
1550:
1549:
1543:
1541:
1534:
1520:
1519:
1516:
1515:
1513:
1505:
1503:Jehan Vaillant
1500:
1495:
1490:
1485:
1480:
1475:
1473:Denis Le Grant
1470:
1465:
1463:
1448:
1442:
1441:
1439:
1438:
1437:
1436:
1426:
1421:
1416:
1410:
1407:
1406:
1404:
1403:
1402:
1401:
1391:
1386:
1381:
1379:Moniot d'Arras
1376:
1371:
1366:
1361:
1359:Guiot de Dijon
1356:
1351:
1346:
1341:
1336:
1331:
1326:
1321:
1316:
1311:
1306:
1301:
1296:
1291:
1286:
1280:
1278:
1268:
1267:
1265:
1264:
1263:
1262:
1252:
1247:
1242:
1237:
1232:
1227:
1222:
1217:
1215:Peire Cardenal
1212:
1207:
1202:
1197:
1192:
1187:
1185:Gaucelm Faidit
1182:
1177:
1171:
1166:
1161:
1156:
1151:
1146:
1141:
1135:
1133:
1117:
1116:
1113:
1112:
1110:
1109:
1101:
1100:
1099:
1094:
1089:
1084:
1073:
1071:
1056:
1050:
1049:
1047:
1046:
1040:
1034:
1029:
1024:
1019:
1014:
1009:
1001:
1000:
999:
989:
984:
979:
971:
963:
958:
957:
956:
951:
940:
938:
932:
931:
929:
928:
923:
918:
912:
909:
908:
905:Medieval music
901:
900:
893:
886:
878:
869:
868:
866:
865:
854:
853:
849:
846:
845:
843:
842:
841:
840:
835:
833:Medieval music
825:
818:
811:
806:
800:
798:
794:
793:
791:
790:
785:
778:
766:
760:
758:
754:
753:
751:
750:
745:
739:
737:
733:
732:
729:
728:
726:
725:
720:
715:
710:
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673:
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670:3rd generation
663:
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627:
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624:2nd generation
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589:1st generation
582:
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579:
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555:Trecento Music
551:
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543:
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491:
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475:Medieval Music
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310:rhythmic modes
302:music notation
172:
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69:music theorist
56:
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2012:
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1998:
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1970:Musical forms
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1886:W. de Wycombe
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1753:Baude Cordier
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1721:Ars subtilior
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1577:Maestro Piero
1575:
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1498:P. des Molins
1496:
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1397:
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1377:
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1357:
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1198:
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1191:
1188:
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1167:
1165:
1162:
1160:
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1147:
1145:
1144:Arnaut Daniel
1142:
1140:
1137:
1136:
1134:
1131:
1126:
1122:
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1098:
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1044:
1041:
1038:
1035:
1033:
1030:
1028:
1025:
1023:
1022:Peter Abelard
1020:
1018:
1015:
1013:
1010:
1006:
1005:Odo of Arezzo
1002:
998:
995:
994:
993:
990:
988:
985:
983:
980:
976:
972:
968:
964:
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947:
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937:
933:
927:
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914:
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906:
899:
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864:
856:
855:
851:
850:
847:
839:
836:
834:
831:
830:
829:
826:
824:
823:
822:Ars subtilior
819:
817:
816:
812:
810:
807:
805:
802:
801:
799:
795:
789:
786:
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762:
761:
759:
755:
749:
746:
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741:
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734:
724:
721:
719:
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714:
711:
709:
706:
704:
701:
699:
696:
694:
691:
688:
685:
683:
680:
678:
675:
674:
672:
668:
658:
655:
652:
649:
647:
644:
642:
639:
637:
634:
632:
629:
628:
626:
622:
612:
609:
607:
606:Maestro Piero
604:
602:
599:
597:
594:
593:
591:
587:
577:
574:
573:
571:
567:
564:
560:
556:
549:
544:
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537:
535:
530:
529:
526:
519:
517:
514:
512:
509:
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504:
500:
496:
492:
490:
486:
484:
483:0-393-09090-6
480:
476:
472:
470:
469:1-56159-174-2
466:
462:
459:
458:
446:
444:1-55553-279-9
440:
436:
432:
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423:
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406:
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383:
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368:
366:
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348:
343:
338:
334:
330:
325:
319:
317:
316:
311:
306:
303:
299:
294:
293:(933 cents).
292:
288:
284:
280:
276:
272:
268:
264:
259:
257:
252:
251:Jean de Muris
248:
244:
240:
235:
233:
232:
226:
220:
217:
212:
208:
203:
197:
191:
185:
179:
168:
166:
161:
157:
153:
148:
144:
134:
132:
128:
124:
123:
119:produced his
118:
114:
110:
106:
102:
92:
90:
86:
83:and refining
82:
78:
74:
70:
66:
62:
53:
51:Occupation(s)
49:
45:
41:
31:
27:
20:
2251:
2217:Architecture
2089:
2041:Geisslerlied
2019:Formes fixes
1941:Notker Labeo
1906:Anonymous IV
1881:Leonel Power
1866:Thomas Fabri
1856:
1719:
1546:
1540:Predecessors
1458:
1364:Jehan Bretel
1200:Jaufre Rudel
1066:
975:Odo of Cluny
820:
813:
780:
575:
569:Predecessors
494:
474:
460:
429:
422:
405:
395:
358:
351:
332:
320:
313:
307:
295:
287:George Secor
273:semitone, a
260:
242:
236:
229:
221:
174:
155:
140:
120:
98:
89:chromaticism
64:
60:
59:
2207:Middle Ages
2202:Early music
2164:Derivations
1997:Chansonnier
1369:Jehan Erart
1314:Colin Muset
1220:Peire Vidal
1068:Ars antiqua
828:Early music
772: [
748:Rossi Codex
736:Manuscripts
354:Rossi Codex
315:ars antiqua
141:Only three
43:Nationality
2292:Categories
2232:Philosophy
2227:Literature
2195:Background
2101:Traditions
1468:F. Andrieu
1324:Gace Brulé
1164:Castelloza
1130:Trobairitz
1125:Troubadour
1017:St. Godric
493:Jay Rahn:
324:Lucidarium
298:Franconian
271:enharmonic
256:scholastic
239:musicology
225:lucidarium
2145:Lithuania
2009:Conductus
1899:Theorists
1871:Roy Henry
1798:Rodericus
1689:Sant Omer
1424:Minnesang
718:Sant Omer
562:Composers
503:1067-3040
388:Footnotes
347:performer
279:chromatic
2266:Category
2171:Bardcore
2150:Portugal
2118:Scotland
2091:Planctus
2075:Madrigal
2014:Estampie
1977:Antiphon
1532:Trecento
1460:Ars nova
1419:Goliards
1276:Trouvère
1250:Sordello
1230:Perdigon
1205:Marcabru
863:Category
815:Ars nova
797:See also
764:Madrigal
371:See also
337:Boethius
333:musician
329:composer
275:diatonic
263:semitone
243:ars nova
231:pomerium
216:Pomerium
202:Pomerium
190:Pomerium
147:acrostic
122:Ars nova
111:and the
77:ars nova
73:medieval
2135:Germany
2113:England
2085:Organum
2063:Tydorel
2034:Virelai
2029:Rondeau
2024:Ballade
1992:Chanson
1768:Egidius
1763:Egardus
1483:Grimace
1414:Casella
1092:PĂ©rotin
967:Hucbald
954:Tuotilo
782:Ballata
365:Landini
345:– and
193:as the
113:Romagna
46:Italian
2276:Portal
2222:Poetry
2130:France
2125:Cyprus
1840:Others
1823:Trebor
1808:Solage
1730:Borlet
1225:Peirol
1128:&
1087:LĂ©onin
757:Genres
501:
481:
467:
441:
289:to be
267:diesis
211:Cesena
143:motets
131:Verona
127:Cesena
109:Veneto
85:tuning
2155:Spain
2140:Italy
2080:Motet
2004:Chant
1987:Carol
1982:Canso
788:Motet
776:]
414:(PDF)
269:, an
137:Music
105:Padua
101:Padua
81:modes
37:Padua
499:ISSN
479:ISBN
465:ISBN
439:ISBN
321:The
291:12:7
249:and
129:and
95:Life
29:Born
2212:Art
2058:Lai
209:in
2294::
774:it
437:.
91:.
2256:→
1743:*
1660:*
1624:*
1511:*
1176:*
1132:*
1107:*
1045:?
1039:?
1007:*
977:*
969:*
897:e
890:t
883:v
689:*
653:*
547:e
540:t
533:v
447:.
435:3
416:.
156:/
63:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.