Abstract

The article examines the critical problem of the music that originally accompanied Leonardo Giustinian’s “canzonetteµ. Through a series of examples it shows how the tradition we have in our possession today displays the typical phenomenology of a written and textual transmission, especially in the ways in which failures and errors were produced. Therefore, even if text restoration work often leads to the resetting of elements that have relation to the original musical destination, such as oxytonic verses in fixed positions of the stanza, calling upon music to explain the variants and in particular the metrical irregularities, does not seem appropriate.