Abstract
ABSTRACTThe changes in time perception that emerged in the late Middle Ages have not only left their mark on musical notation or the isorhythmic motet, but also on the composition of polyphonic songs. This article proposes an analytical approach to late Trecento songs that takes these changes into account. A case study of Andrea da Firenze's ballataNon più doglie ebbe Didoreveals how the temporal structures of the text and the music interact.
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