| This dissertation is an examination of the popular arrangements in the three anthologies of polyphonic song published by Ottaviano Petrucci: Harmonice musices odhecaton A (1501), Canti B numero cinquanta (1502), and Canti C numero cento cinquanta (1504). The popular songs that served as models for these arrangements are located in two manuscripts, Paris Bibliotheque Nationale, fonds fr. 12744 and fonds fr. 9346. These manuscripts are unique in that they are the only sources to preserve a large number of popular song melodies, which were usually transmitted orally.;A significant problem in previous research has been a lack of clear distinction between popular arrangements that have an extant popular song model, and compositions that are written in the same style as popular arrangements but for which no popular song model exists. This study seeks to address this problem by isolating a core repertory of popular arrangements from the Petrucci chansonniers, consisting of only those popular arrangements for which a popular song model could be located. The musical style features of this core repertory are closely analysed with respect to (a) how the popular tune has been arranged; (b) formal structures; and (c) modal and tonal characteristics. From these analyses, a revised and more precise set of style characteristics for the popular arrangement is developed and then applied to other compositions in Canti C that resemble popular arrangements but for which no popular song model survives.;A secondary focus of this dissertation is on the popular songs that served as models for popular arrangements. These songs are shown to have more features in common with the courtly polyphonic song tradition than has previously been acknowledged. In particular, the popular songs make use of the same formes fixes that are usually equated with courtly polyphonic song. The popular songs in the two Paris manuscripts may likely be a written precipitation of a continuous oral tradition that extends back to the popular origins of the formes fixes. |
