Polyphonic Voices. Poetic and Musical Dialogues in the European Ars Nova (original) (raw)

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Press, 1994). According to Crook, the word "intertextuality" responds to the "need for a purely descriptive term devoid of previous meaning in music-historical writings" (ibid., 155). 12. Milsom provides two suggestive lists of opposite keywords, representing the two polar tendencies of the term's potential meaning; see Milsom, "'Imitatio', 'Intertextuality', and Early Music", 144. 13. Even though Crook uses the concept of intertextuality in the specific sense-that is to indicate an intentional, directional, recognisable and meaningful quotation-his paper generated con-XIII PREFACE 18. Cf. Gérard Genette, Palimpsestes: La littérature au second degré (Paris: Seuil, 1982); Italian transl. Palinsesti (Turin: Einaudi, 1997; quoted), 3-10. 19. It is worth mentioning, at least, the examples pertaining to the late Middle Ages, such as the numerous cases of hypertextuality (composition on a tenor, enture, combinative chanson) and architextuality, intended as an "allusion to the formal generic status" (for "generic status", Italian "statuto di genere", see also Caraci Vela's chapter in this volume; concerning the latter, see the discussion on Landini's madrigal Sì dolce non sonò and its relationship to the motet genre); see Caraci Vela, La filologia musicale, Vol. 2: Approfondimenti, 138. 20. Ibid., 140. 21. ArsNova is the siglum of the project European Ars Nova. Multilingual Poetry and Polyphonic Song in the Late Middle Ages, funded by the European Research Council (ERC-AdG-2017), and based at the University of Florence. See www.europeanarsnova.eu (last accessed February 17, 2021). 22. Gérard Genette, Introduction à l'architexte (Paris: Le Seuil, 1979); Id., Palimpsestes. 23. MiMus is the acronym of the research project Ioculator seu Mimus. Performing Music and Poetry in Medieval Iberia, funded by the European Research Council (ERC-CoG-2017), and based at the Universitat de Barcelona. See http://mimus.ub.edu (last accessed January 29, 2021). XV PREFACE 24. Aside from the fundamental studies by M. Gómez Muntané, not much research has been conducted on the presence and the diffusion of musical repertoires in the Crown of Aragon territories. Recently, David Catalunya has undertaken a survey of the fragments of fourteenth-century polyphonic manuscripts preserved in Catalan collections: