The form of the monostrophic ballata as a frame for a logical demonstration

ABSTRACT The later Trecento repertoire contains many short, monostrophic ballatas with philosophical or moralising texts. Why should the poets and composers, mostly Florentine, have preferred the ballata over the madrigal when exploring serious subjects, and why did they employ the monostrophic form? It turns out that the text structure of the monostrophic ballata is, in its essentials, comparable to the pattern of the geometric demonstration from Euclid's Elements, comprising premise, argumentation and return to the enhanced, proved premise (quod erat demonstrandum). Considered in light of Florentine Humanism's engagement with philosophy, including Ockham methods of demonstration, this article examines the possibility that Francesco Landini and other composers were sufficiently influenced by philosophy to view the structure of the monostrophic ballata as a means of logical demonstrations of refined arguments.