Petrarch’s description of his ascent of Mont Ventoux in 1336 provides a point of departure for exploring the dynamic between the old and new, logic and rhetoric, absolute and relative knowledge, and scholasticism and humanism in writings on music from early fifteenth-century Padua. Early fifteenth-century Padua was a city of contrasts in which two intellectual traditions – one condemned by Petrarch and the other his legacy – ran alongside, and often entangled with, each other: scholasticism and early humanism. The writings (...) on music of Paduan citizens Johannes Ciconia and Prosdocimo de’ Beldomandi afford insights into the reception of these intellectual traditions. Ciconia’s Nova musica embraces the spirit of early humanism by proposing a revolutionary understanding of music as grammar and rhetoric, largely from the perspective of some of the oldest authors of Latin music theory. Prosdocimo’s scholastic approach to musical knowledge nonetheless demonstrates an interest in the aesthetics of listening that emphasises the role of emotion, especially pleasure, in musical experience. Yet, Ciconia alone provides the most forceful exposition of an emotional theory of musical expression that ultimately manifests itself in the music that he composed during the last decade or so of his life in Padua. (shrink)