The manifestation of musical time in Italian ballatas around 1400: the case of Andrea da Firenze’s Non piu doglie ebbe Dido

The 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 ballata Non piu doglie ebbe Dido reveals how the temporal structures of the text and the music interact.