Adapting the Concept of Proportio to Rhythm in the Ars subtilior: Ugolino da Orvieto’s Compositions and his Statements on Proportion Signs in Codex Casanatense 2151

Elizabeth Hufnagel
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Abstract

Music manuscripts as well as music treatises from the early fifteenth century bear witness to major adaptations in music notation. The compositions of the so-called Ars subtilior feature notational innovations (e.g. new note shapes, notes in differently coloured ink, and proportion signs) which enable the depiction of complex rhythms. Simultaneously, discussions of notational innovations appear in music treatises, which were used in contexts of teaching and learning. This paper aims to investigate to what extent the adaptations in music treatises and compositions are interrelated, focusing on the manuscript Rome, Biblioteca Casanatense, 2151, which transmits three songs as well as the music treatise Declaratio musicae disciplinae. Both songs and treatise are attributed to the Italian music theorist and composer Ugolino da Orvieto (c. 1380–1452). A comparison of proportion signs contained in Ugolino’s songs and his statements on music notation will allow us to explore the question whether teachings on music reflect actual notational practice and vice versa.
在微妙的艺术中使比例概念与节奏相适应:乌戈利诺·达·奥维多的作品及其对《卡萨纳登法典》中比例符号的陈述
音乐手稿以及15世纪早期的音乐论文见证了音乐记谱法的重大改编。所谓的Ars subtilior作品以符号创新(例如,新的音符形状,不同颜色的墨水音符和比例符号)为特征,使其能够描绘复杂的节奏。与此同时,音乐论文中出现了关于符号创新的讨论,这些讨论被用于教学背景。本文以《罗马文献》(Biblioteca Casanatense, 2151)和《音乐专著宣言》(Declaratio musicae disciplinae)为研究对象,探讨了音乐专著中的改编在多大程度上与谱曲之间存在关联。歌曲和论文都是由意大利音乐理论家和作曲家乌戈利诺·达·奥维多(约1380-1452)创作的。将乌戈利诺歌曲中的比例符号与他关于乐谱的陈述进行比较,可以让我们探索音乐教学是否反映了实际的乐谱实践,反之亦然。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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