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Conferencia: "Domenico da Piacenza and Fifteenth-Century Dance Music Theory: A New Musicological Approach». Basel. 5 de julio de 2019, 11:00h.

domingo, 30 de junio de 2019

Conferencia: "Domenico da Piacenza and Fifteenth-Century Dance Music Theory: A New Musicological Approach». Basel. 5 de julio de 2019, 11:00h.
Cecilia Nocilli dictará una conferencia en la 47th Medieval and Renaissance Music Conference en Basilea (Suiza) del 3 al 6 de julio de 2019.

Cecilia Nocilli

Conferencia: Domenico da Piacenza and Fifteenth-Century Dance Music Theory: A New Musicological Approach. Basel (Suiza), Universität Basel, Musikwissenschaftliches, 5 de julio de 2019, 11:00h.

Chair: Véronique Daniels.

47th Medieval and Renaissance Music Conference by Universität Basel and Schola Cantorum Basiliensis.

Basel, 3-6 de julio 2019

My paper at the Prague 45th International Medieval and Renaissance Music Conference 2017 was based on the relationship between the proportion in sixths of the four misure or tempos of Quattrocento dance (bassadanza, quaternaria, saltarello and piva) theorised by Italian dance masters, and the musical theories of Franchino Gaffurio (1451-1512) and Johannes Tinctoris (ca. 1435-1511), together with the mediaeval Pythagorean musical-theoretical postulates of Fifteenth-century treatises. Here, I wish to present some of the results obtained from my research during my 2017-2018 fellowship at The Harvard University Center for Italian Renaissance Studies at Villa I Tatti (Florence) included in the monograph Domenico da Piacenza -cavaliere, musico e ballerino-. «El subtille del subtille» nella musica per danza del Quattrocento, soon to be published by Libreria Musicale Italiana (LIM) of Lucca.

The latest archival discoveries on the figure of Domenico da Piacenza show that it was his humanistic and musical training that led him to compose the music for his treatise De arte saltandi et choreas ducendi (1454-1455). These findings overturns the doubtless unfounded consideration that dance masters had no musical preparation, whether theoretical or practical. Domenico sought to adapt the contemporary mensural music theory to the innovative and uncodified movement of the body in dancing. His thought has left clear traces relating to his difficulties in transforming theoretical musical speculations to the requirements of dance practice, even in his illustrious disciples Antonio Cornazano and Guglielmo/Ambrosio, albeit with some differences.

The process of adapting mensural theory to corporal movement is exemplified in Domenico's five chapters devoted to the meticulous elucidation of how natural dance steps should be performed in accidental dance tempos and vice-versa. Domenico da Piacenza provides a fairly detailed explanation for each dance tempo, specifying for each every possible combination and the difficulties of a typology of ornamentation that relates the nature of the music and dance tempo to their accidentia. To clarify my point of view, I will analyse each dance tempos -bassadanza, quaternaria, saltarello and piva- indicated in the tenores of the balli of Domenico da Piacenza, through a collatio of the music sources of Antonio Cornazano, Guglielmo Ebreo and Giovanni Ambrosio.

Programa 47th Medieval and Renaissance Music Conference 

 

 

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