Transmission and origins of Mensural music in thirteenth century Italy before Marchettus de Padua Pomerium

The presence of polyphonic music in Italy before the affirmation of the so called Italian Ars nova of the Trecento and the theorisation of the notational system perpetuated by Marchettus de Padua in his Pomerium in arte musicae mensuratae (circa 1320) (Pirrotta 1955, Harlinger 1985) has been commonly circumscribed to the practice of cantus planus binatim, a simple form of two-voice polyphony, which seemed to be widely known within convents, monasteries and cathedrals starting from the thirteenth century towards the Renaissance, in certain case still attested during the eighteenth century, for example, in the franciscan convent of Trento (Dessi 2011). A significant aspect of the importance of such repertoire is represented by the codex Bologna, Civico Museo Bibliografico Musicale Q 11 and a large number of other manuscripts, which share simplified non-mensural versions of the repertoire transmitted by the Las Huelgas manuscript (Ciliberti 1990). However, recent research has shown how interest towards the polyphony of Notre Dame and mensuralism was cultivated in the milieu of aristocratic chapels of cardinals, popes and kings. What is still awaiting answers is whether this interest was bore by retrospective purposes only or the Notre Dame polyphony and mensural music was performed and composed. My research will focus on this and the following topics in order to trace a broad picture of mensural music situation in the Italian peninsula, since its rise until the affirmation of the first generation of Trecento composer present in the manuscripts Vatican City, Biblioteca Apostolica Vaticana, Fondo Rossiano 215, Ostiglia, Biblioteca della Fondazione Opera Pia Greggiati, rari 35 (Rossi codex) and Reggio Emilia, Archivio di Stato, Misc. storico letteraria, Appendice 11 (Mischiati fragment). For this purpose, I will approach the questions from different angles: historical background, archival research, analysis of theoretical works and music manuscripts as well as indirect sources will all be necessary tools for research. On the practical side of the question of practice and original composition, scholars have to face the lack of consistent sources for local production of mensural music. Therefore, it is my purpose, whenever is possible, to reconsider and to formulate new hypothesis on the survival repertoire. One significant case is represented by the early fourteenth century processional offices for the Cathedral of Padua (circa 1300), preserved in two manuscripts: Padua, Biblioteca Capitolare, ms. C. 55, Padua, Biblioteca Capitolare, ms. C. 56. However, as Cuthbert himself admitted, his interpretative transcription of Quis es iste is not satisfactory, showing the evidence that the notation of Padua repertoire, as well as other problematic notational systems of the early Trecento, still need further investigation. Furthermore, Nino Pirrotta has observed stylistic features concerning chromaticism later described by Marchetto in his Lucidarium (circa 1317) (Pirrotta 1955). Thus, a comparative study of sources together with a stylistic analysis of the Paduan processionals would advance our knowledge of mensural notation and Trecento style of the origin. In conclusion, this research will concern different musicological aspects, from the study of historical evidences to the analysis of music and codicological work conducted directly from the sources. I also hope that my contribute would be able not only to advance the knowledge of the scientific community, but also to improve the picture of a Middle Ages far from the negative label that is yet too often in use by a non-academic audience, a Middle Ages characterised by the curiosity towards advancement under every aspect of life, music included, in order to underline the importance of this last one to the creation of a shared European cultural heritage.