A Companion to Guillaume de Machaut

Erscheinungsjahr 2012
ISBN: 978-90-04-22581-7
Verlag: Brill

Buch, Englisch, Band 33, 414 Seiten, Format (B × H): 163 mm x 241 mm, Gewicht: 680 g

Reihe: Brill's Companions to the Christian Tradition

Guillaume de Machaut, Medieval music, Medieval history, Medieval poetry, music history, book culture, manuscript studies

Zielgruppe

Medievalists interested in Guillaume de Machaut, late medieval literature, music, culture, manuscript studies, and medieval through modern reception of medieval texts and music.

Autoren/Hrsg.

McGrady, Deborah

Bain, Jennifer

Weitere Mitwirkende

Patterson, Jeanette

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Einzelne Komponisten und Musiker
• Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Mittelalter & Renaissance

Inhaltsverzeichnis

Acknowledgements

List of Contributors

List of tables, figures and examples

Introduction, Deborah McGrady and Jennifer Bain

SECTION I: MACHAUT IN PERSPECTIVE

1. The Poetic I, Helen J. Swift

2. Guillaume de Machaut and the Forms of Pre-Humanism in Fourteenth-Century France, Anne-Hélène Miller

3. Poet as Musician, Elizabeth Eva Leach

SECTION II: SELECT WORKS IN DISCIPLINARY DIALOGUE

4. Ma fin est mon commencement:The Essence of Poetry and Song in Guillaume de Machaut, Jacqueline Cerquiglini-Toulet (Translated by Jeanette Patterson (Department of French and Italian, Princeton University)

5. “et mon commencement ma fin”: Genre and Machaut’s Musical Language in His Secular Songs, Jennifer Bain

6. Machaut and Debate Poetry, Emma Cayley

7. Moving across Media: Machaut’s Lais and the Judgment Tradition, Benjamin Albritton

SECTION III: CONTEXTUALIZING MACHAUT’S MUSIC

8. Machaut’s Musical Heritage, Mark Everist

9. Self-Citation and Compositional Process in Guillaume de Machaut’s Lyrics with and without Music: The Case of “Dame, se vous n’avez aperceü” (Rondeau 13), Yolanda Plumley

10. The Motets Read and Heard, Alice V. Clark

11. Declamation as Expression in Machaut’s Music, Lawrence Earp

SECTION IV: CONTEXTUALIZING MACHAUT’S LITERATURE

12. Guillaume de Machaut and the Classical Tradition: Individual Talent and (Un)Communal Tradition, R. Barton Palmer

13. ‘Laissier le mal, le bien eslire’: History, Allegory, and Ethical Reading in the Works of Guillaume de Machaut, Daisy Delogu

14. History's Fixers: Informants, Mediators, and Writers in the Prise d’Alixandre, Zrinka Stahuljak

15. Instrumental Comparisons: Machaut’s Shorter Dits, Julie Singer

SECTION V: TRADITION AND RECEPTION

16. Guillaume de Machaut’s Lyric Poetry, Barbara K. Altmann

17. Performing Machaut’s Messe de Notre Dame: from Modernist Allegiances to the Postmodern Hinterland, Kirsten Yri

18. Machaut and his Material Legacy, Deborah McGrady

Bibliography

Index

Leseproben

Acknowledgements………………………………………………………………………

List of Contributors…………………………………………………………………………

List of tables, figures and examples………………………………………………………

Introduction, Deborah McGrady and Jennifer Bain……………………………………

Section I: Machaut in Perspective
1. The Poetic I, Helen J. Swift ……………………………………………………………

2. Guillaume de Machaut and the Forms of Pre-Humanism in Fourteenth-Century France, Anne-Hélène Miller………………………………………………………………………

3. Poet as Musician, Elizabeth Eva Leach …………………………………………….……

Section II: Select Works in Disciplinary Dialogue
4. Ma fin est mon commencement:The Essence of Poetry and Song in Guillaume de Machaut, Jacqueline Cerquiglini-Toulet……………………………………….

5. “…et mon commencement ma fin”: Genre and Machaut’s Musical Language in His Secular Songs, Jennifer Bain………………………………………………………

6. Machaut and Debate Poetry, Emma Cayley.

7. Moving across Media: Machaut’s Lais and the Judgment Tradition, Benjamin Albritton…………………………………………….

Section III: Contextualizing Machaut’s Music
8. Machaut’s Musical Heritage, Mark Everist………………………………………………

9. Self-Citation and Compositional Process in Guillaume de Machaut’s Lyrics with and without Music: The Case of “Dame, se vous n’avez aperceü” (Rondeau 13), Yolanda Plumley ……………………………………….

10. The Motets Read and Heard, Alice V. Clark……………………………………………

11. Declamation as Expression in Machaut’s Music, Lawrence Earp……………………

Section IV: Contextualizing Machaut’s Literature
12. Guillaume de Machaut and the Classical Tradition: Individual Talent and (Un)Communal Tradition, R. Barton Palmer………………………………………………

13. ‘Laissier le mal, le bien eslire’: History, Allegory, and Ethical Reading in the Works of Guillaume de Machaut, Daisy Delogu……………………………………………………

14. History's Fixers: Informants, Mediators, and Writers in the Prise d’Alixandre, Zrinka Stahuljak………………………………………………………………………

15. Instrumental Comparisons: Machaut’s Shorter Dits, Julie Singer……………………

Section V: Tradition and Reception
16. Guillaume de Machaut’s Lyric Poetry, Barbara K. Altmann…………………………

17. Performing Machaut’s Messe de Notre Dame: from Modernist Allegiances to the Postmodern Hinterland, Kirsten Yri………………………………………………………

18. Machaut and his Material Legacy, Deborah McGrady…………………………………

Bibliography…………………………………………………………………………………

Über Autor(innen)

Jennifer Bain, Ph.D. (2001) in Music Theory, Stony Brook University, is Chair of the Department of Music at Dalhousie University. She has published widely on medieval music, recently editing a special issue of the Journal of Music Theory.

Deborah McGrady, Ph.D. (1997) in French, University of California, Santa Barbara, is Chair of the Department of French at the University of Virginia. She is the author of Controlling Readers: Guillaume de Machaut and His Late Medieval Audience (Toronto, 2006).