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Xerox University Micrcfiims 75 - 11.371 INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.T he sign or "target" for page: apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing piage(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. 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Xerox University Micrcfiims 75 - 11.371 KELLY, Stephen K evin ,J944- THE WORKS OF NICCOLO DA PERUGIA. (VOLUMES I AND I I ) The Ohio State University, Ph.D., 1974 Music XGFOX Univorsïty Microfilms, Ann Arbor, Michigan 48106 © 1975 STEPHEN KEVIN KELLY ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. TIS WORKS C? InTCCCLC DA ?£=ljGIA DISSSRTATICr: Presented in P a r tia l F u J fllla en t of the Ryquire.-’&nts fo r the Dograo Doctor of Philosophy in the Graduate School of The Onio State U n iversity Stephen Kevin Kelly, B.S., K.A. The On.' o State U niveroity 19?4 Reading CoruaitteeJ Approved By Prof, }l3?:'c:ert Div.ingr.ton Prof, h'or^aar. .Pholpo Adviser Proi . .hi:.-hard Hoypi:.., id viser School of PREFACE AND ACKNOWLEDGMENTS The past two decades have witnessed a tremendous growth in a ll fields of musical scholarship. Studies in Italian trecento music have dealt with the origins of poetic and musical forms, the notation, the history of the MSS, and the available biographical information about th e com posers. More im p o rtan tly , two e d itio n s of th e music began to the series Polyphonic Music of the Fourteenth Century, edited by Schzade, Karrocco, et a l.^ When these editions arc completed, all the music of the trecento will have been made available in modern transcriptions. The advent of these two editions makes this an ideal time to begin a rigorous examination and analysis of the music itself. An evaluation of the stylistic aspects of an individual composer should lead to greater appreciation of the entire repertory. The aim of this study, then, is to present a detailed anaj.ycds of the compositional style of Niccolo da Perugia, i'he choice of Niccolo was not fortuitous but resulted from both the nuziber of his compositions and his cl'ironological position. With forty-one works preserved, Niccolo is the next most prolific composer after Landini. Nino Pirropta , ed., The Music of Fourteenth-Century Italy, 5 v o ls. Corpus M e n su ra tllis Musicae 8 (Rome; American I n s t i tu t e of Musicology, ^Polyphonic Music of the Fourteenth Century, 8 vols, to date (Monaco: Editions de L'Ciseau Lyre, 195b'-). Moreover, he stands near the end of the development of the madrigal and caccia hut at the beginning of the development of the polyphonic ballata, and his works preserve the most typically Italian features of trecento style. In the later works of landini, French influence is strongly manifested, and therefore these works are less characteristi­ cally Italian, Thus, Niccolo's central position in the development of trecento music makes him an ideal subject for a systematic analysis of the Italian style. Although a complete edition of the works of Niccolo edited by Marrocco^ appeared as this study was nearing completion, the author's transcriptions are Included in Volume II. This is done as a con­ venience for the reader and also because Marrocco's edition contains more than a few errors, some of which even involve misinterpretation of the poetic and musical forms. It is hoped that this study will be but the first of other detailed examinations of trecento composers and their works. Now that scholars such as Nino Pirrotta and Kurt von Fischer have laid the groundwork, the music itself must become the chief subject for further stu d y . In any project of this sort, the help of numerous people must be acknowledged. I would first like to thank my adviser. Prof. Richard -'W. Thomas Marrocco, ed,, Italian Secular Music, vol. 8 of Polyphonic Music of the Fourteenth Century. 8 vols. (Monaco: Editions de L'Oiseau Lyre, 1972). H. Hoppin, whose wise guidance and criticism coupled with much en­ couragement brought this dissertation to completion. To my reading committee, Professors Herbert Livingston and Norman Phelps of the School of Music and P ro f, Hans K e lle r from Romance Languages, I would like to express my gratitude for their careful reading of the text and their many helpful suggestions, I owe a great debt of gratitude to the adrainsitrators of the Fulbright-Hays program who provided me with a grant for study in Italy, This grant enabled me to examine the musical codices first-hand and to search for biographical documents pertaining to Niccolo. To Professors Nino Pirrotta of Rome and Federico Ghisi of Florence, who assisted me with my research during my stay in Italy, I would like to give sincere thanks. My thanks also go to Prof, Kurt von Fischer for sending me a microfilm of the Lucca Codex. I would also like to thank the staffs of the following libraries: The Biblioteca Nazionale and Biblioteca Medicea laurenziana in Florence; The Arcliivio di State in Florence, Perugia, and Lucca; The Biblioteca Palatina in Parma; The Bibliothèque Nationale in Paris; and the British Museum. To Miss Olga Buth, head of the Music Library of The Ohio State University, go my sincere thanks for assistance in obtaining both microfilms and secondary souroe materials needed for this project. Finally, I owe the greatest debt to Peggy, my wife, who typed numerous drafts of the dissertation as well as the final copy. Without her help and understanding this project would never have been completed. It is to her that it is dedicated. i v Hay 14, 1944 . 3 o m - Je rse y C ity , New Je rse y 1966 . B.S., Spring Hill College, Mobile Alabama 1969 ........................... M.A., Music History and Theory, Rutgers, The State University, New Brunswick, New Jersey 1969-71 • . Teaching Associate, Music Department and Center for Medieval and Renaissance Studies, The Ohio State University, Columbus, Ohio 1971-72 ..... N.D.E.A. Fellow, The Ohio State University, Columbus, Ohio 1972-73 ..... Fulbright-Hays Grant, Florence, Italy 1973 - 7 ^ .................. Teaching Associate, Center for Medieval and Renaissance Studies, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music History Professors Richard Hoppin, Herbert Livingston, Keith Mixter, and Norman Phelps TABLE OP CONTENTS PREFACE AND ACKNO'rfLEDGMENTS........................................................................ i i VITA .......................................................................................................................... V LIST OF TABLES....................................................................................................... v i i i C hapter I . BIOGRAPHY AND SOURCES.............................................................. 1 I I . THE MADRIGAL ................................................................................ 21 The Madrigals of N iccolo .........................................« . 31 I I I . THE CACCIA ............................................................................. 42 The Caccias of Niccolo ......................................... 49 IV. THE BALLATA.................................................................................... 5^^ The Baliatas of Niccolo ............. 64 V. HARMONIC STYLE................................................................................ 77 Consonance in Two-Part Counterpoint ....... 79 Consonance in Three-Part Counterpoint ....................... 91 Dissonance ........ ..... 97 The Passing Tons ........ ....................... 105 The Neighbor or Auxiliary T one ..................... 107 The Appoggiatura ...................... 108 The Escape Tone ........................... 110 The Cambiata ............................... 112 The 7-5 Dissonance ............. 112 The A n ticip a tio n . ...................... 113 Changing Tones ...... ........................... 114 The Suspension ........ ....................... I l6 Parallel and Consecutive Dissonances
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