10/31/2022 0 Comments Type de strophes![]() O’Neill, Courtly Love Songs of Medieval France: Transmission and Style in the Trouvère Repertoire (Oxford, 2006), pp. Wathey (eds.), Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS Français 146 (Oxford, 1998), pp. 146: The Background to the Ballades’, in M. Page, ‘Tradition and Innovation in BN fr. On the penetration of motet mensural notation into a number of trouvère songs preserved in chansonniers, see C. #Type de strophes plus#Aubry in 1905 ( Les plus anciens monuments de la musique française (Paris, 1905), pp. The sharing of sources and the occasional convergence of notational practices were notably highlighted by P. Page, The Owl and the Nightingale: Musical Life and Ideas in France 1100–1300 (London, 1989), pp. Everist, French Motets in the Thirteenth Century: Music, Poetry and Genre (Cambridge, 1994), pp. ![]() Stevens, Words and Music in the Middle Ages (Cambridge, 1986), pp. The penetration of choreographic topoi of the rondet de carole is discussed in J. ![]() Christopher Page’s analysis of the poetic language of the motet, built on the remains of low-register songs with penetration of high registers in Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France 1100–1300 (Berkeley, 1986), pp. The investigation has important outcomes for the reconstruction of the genetic map of the motet, revealing works playing havoc with the vectors of transmission customarily established in the interplay of motet, chanson and clausula, and revealing early trouvère involvement in the repertoire as an essential key to the comprehension of cross-over activity between song and polyphony.ġ For a detailed narrative and a bibliography of the dispute on modal rhythm in the chanson, see Haines, J., ‘ The Footnote Quarrels of the Modal Theory: A Remarkable Episode in the Reception of Medieval Music’, Early Music History, 20 ( 2001), pp. ![]() This case therefore touches on the issues of generic borders and mixing, on trouvère involvement in this generic interplay, and on the relationships between attribution and authorship in the Middle Ages. These works are found as anonymous motets and clausulae in polyphonic gatherings, but their upper voices are also copied as multi-strophic songs in songbooks, where they are attributed to the trouvère Robert de Reims. This article presents a textbook case for the examination of generic interplay in the thirteenth century, investigating four works that offer transgeneric reworkings relating polyphony to trouvère song. ![]()
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