Danish Yearbook of Musicology 41 • 2017 © 2017 by the Authors
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Danish Yearbook of Musicology 41 • 2017 © 2017 by the authors Danish Yearbook of Musicology · Volume 41 · 2017 Dansk Årbog for Musikforskning Editors Michael Fjeldsøe · [email protected] Peter Hauge · [email protected] Guest editors of the Carl Nielsen articles Daniel M. Grimley · [email protected] Christopher Tarrant · [email protected] Editorial Board Lars Ole Bonde, University of Aalborg; Peter Woetmann Christoffersen, University of Copenhagen; Bengt Edlund, Lund University; Daniel M. Grimley, University of Oxford; Lars Lilliestam, Göteborg University; Morten Michelsen, University of Copenhagen; Steen Kaargaard Nielsen, University of Aarhus; Siegfried Oechsle, Christian-Albrechts- Universität, Kiel; Nils Holger Petersen, University of Copenhagen; Søren Møller Sørensen, University of Copenhagen Production Hans Mathiasen Address c/o Department of Arts and Cultural Studies, Section of Musicology, University of Copenhagen, Karen Blixens Vej 1, DK-2300 København S Each volume of Danish Yearbook of Musicology is published continously in sections: 1 · Articles 2 · Reviews 3 · Bibliography 4 · Reports · Editorial Published with support from the Danish Council for Independent Research | Humanities. ISBN 978-87-88328-32-5 (volume 41); ISSN 2245-4969 (online edition) Danish Yearbook of Musicology is a peer-reviewed journal published by the Danish Musicological Society on http://www.dym.dk/ Contents Section 1 · Articles (volume 41:1), pp. 1-117 Peter Woetmann Christoffersen, ‘Music, competition and the Art de seconde rhétorique: The youthful chansons of Gilles Mureau and Philippe Basiron’, pp. 3–31 Christopher Tarrant, ‘Breakthrough and Collapse in Carl Nielsen’s Sinfonia semplice’, pp. 32-49 Marie-Louise Zervides, ‘Carl Nielsen, Saul and David and the Symbolist Movement: Cultural-Historical Perspectives’, pp. 50–72 Paolo Muntoni, ‘Nielsen’s Saul and David and Italian opera’, pp. 73–100 Regitze Ida Tetzlaff, ‘The Nielsen Project. North American Reception of Carl Nielsen’s Symphonies’, pp. 101–117 Section 2 · Reviews (volume 41:2), pp. 1-31 Märta Ramsten, Kungl. Musikaliska akademien och folkmusiken. En musiketnologisk undersökning. Möklinta, Gidlunds förlag 2016. Reviewed by Lene Halskov Hansen, pp. 3-4 Lene Halskov Hansen, Balladesang og kædedans. To aspekter af dansk folkevisekultur. Museum Tusculanums forlag. København 2015. Reviewed by Märta Ramsten, pp. 5-7 Bernhard R. Appel und Reinmar Emans (eds.), Musikphilologie. Grundlagen – Methoden – Praxis (Kompendien Musik, 3) Laaber, Laaber-Verlag 2017. Reviewed by Axel Teich Geertinger, pp. 8–11 Melanie Wald-Fuhrmann and Christiane Wiesenfeldt (eds.), Der Komponist Friedrich Ludwig Æmilius Kunzen (1761–1817). Gattungen. Werke. Kontexte. Köln, Böhlau Verlag, 2015. Reviewed by Bjarke Moe, pp. 12–14 John Bergsagel, David Hiley & Thomas Riis (eds.), Of Chronicles and Kings, National Saints and the Emergence of Nation States in the High Middle Ages. Copenhagen, Museum Tusculanum Press, 2016. Reviewed by Peter Woetmann Christoffersen, pp. 15–18 Claus Røllum-Larsen, Knudåge Riisager. Komponist og skribent. København: Museum Tusculanums Forlag & Det Kongelige Bibliotek, 2015. Reviewed by Thomas Holme, pp. 19–24 Danish Yearbook of Musicology · 41 (2017) Jens Brincker, Ib Nørholm: komponisten, musikken, tiden. Århus: Aarhus Universitets- forlag, 2017. Reviewed by Jens Hesselager, pp. 15–27 Michael Matter, Niels W. Gade und der ‘nordische Ton’. Ein musikalischer Präzedenzfall. Kassel: Bärenreiter, 2015. Reviewed by Michael Fjeldsøe, pp. 28–31 Section 3 · Bibliography (volume 41:3), pp. 1-46 Anne Ørbæk Jensen, ‘Bibliography of Danish musicology 2015-2016’, pp. 3–46 Section 4 · Reports and Editorial (volume 41:4), pp. 1-18 Conference Thomas Jul Kirkegaard-Larsen and Thomas Holme, ‘The Ninth European Music Analy- sis Conference, Strasbourg, June–July 2017’, pp. 3-9 Research projects Simon Høffding, ‘A Phenomenology of Expert Musicianship’, p. 10 Anders Aktor Liljedahl, ‘Robots in Music Videos: A Study of the Non-Human as Political Statement in African-American Popular Music Videos’, p. 11 Rasmus Rex Pedersen, ‘Ad Hoc Entrepreneurs: Middle-Layer Musicians and the Contem- porary Media Landscape’, pp. 12-13 Anders Reuter, ‘Pop as Minimalism: Objectivity, Repetition, and Spatial Staging in Pop Music’s New Software’, pp. 14-15 Editorial by Michael Fjeldsøe & Peter Hauge, p. 16 Publications recieved, p. 17 Danish Mucological Society, p. 18 Danish Yearbook of Musicology · 41 (2017) 1 Articles Music, competition and the Art de seconde rhétorique: The youthful chansons of Gilles Mureau and Philippe Basiron Peter Woetmann Christoffersen xcellency in creating and understanding poetry – or at least some skill – was highly Eregarded in fifteenth-century France. The cultivation of poetry in aristocratic and royal circles has been interpreted by modern research as a sort of pastime or courtly parlour games, which occasionally involved virtual or staged cours d’Amour. Lately these activities and the production of poems in formes fixes have come to be regarded more as vital and competitive elements in the participants’ social interaction, as vehicles of meanings derived from rich literary traditions and contexts, and as dialogues on esthetical and social convictions; in short, poetic endeavours were tools for securing positions in a closed cultural field, where everyone were guarding their cultural investments. Poems are preserved in prestigious presentation manuscripts containing works by single authors, and they appear in miscellaneous collections, where the most diverse texts interact and invite the informed reader to explore his expertise of literary canons and traditions in order to participate in this poetic universe. The two well-known poets from the middle of the century, Charles d’Orléans and François Villon, may stand as representatives of opposite poles within this culture. Charles d’Orléans, a duke, father of the future king Louis XII, ranked third in the king- dom, and he was the most accomplished aristocratic poet, a self-assured and demanding primus inter pares in his circle of peers and servants. Villon was a professional poet, a clerk of unknown origins, and just as virtuosic in exploring the play with traditions and genres, but far more provoking and subversive in his stimulation of the reader’s imagina- tion. In spite of the near total obscurity of his life, art made him a guest and occasional participant in the duke’s poetic circle.1 The dynamic of this cultural field spilled over into the slightly less elevated social circles of rich merchants and well-educated groups of lawyers and clerks who were poised to achieve noble status by purchase or through the offices as royal notaries and secretaries. For these people shouldering much of the responsibilities of running the economy and the administration it was important to be able to participate in this field and gain the resultant prestige. 1 This interpretation of French poetry is based on a recent book by Jane H.M. Taylor, The Making of Poetry. Late-Medieval French Poetic Anthologies (Turnhout, 2007), in which the author convincingly (and quite discreetly) adopts the terminology of Pierre Bourdieu to describe the interactions of poets and poetry; and as regards Villon, see the same author’s readings of his works in the book The Poetry of François Villon. Text and Context (Cambridge, 2001). Danish Yearbook of Musicology · 41:1 (2017) Christoffersen · The chansons of Mureau and Basiron 4 In addition to an institutional education and private teachers an upcoming versifier could get help from manuals of writing poetry. Such books circulated throughout the century under titles like Rhétorique, or more precisely, L’Art de seconde rhétorique – the first art being the art of writing prose.2 Inspiration could also be found in less ambitious anthologies of poems, where the reader furthermore could gather information on the behaviour and vocabulary expected in courtly circles. Many of these collections included texts that had become widely known through musical settings, which to some degree made them stand out as memorable.3 Music for poems in formes fixes is preserved in a group of small format polyphonic song collections known as the ‘Loire Valley’ chan- sonniers, which were produced in Central France in the years around 1470.4 Owners and purchasers of such luxury items, in which poems, music, careful layout and nice illuminations seem to create an imaginary world of noble living, were indeed, as demonstrated by Jane Alden, to be found among the new nobility, among secretaries and notaries amassing wealth and influence.5 That the fascination with formal poetry was not just a short-lived trend can be ascertained by the successful commercial venture of the Parisian publisher, Antoine Vérard, who in 1501 printed and marketed the enormous anthology of the then quite old-fashioned poems in Le Jardin de plaisance et fleur de Rhetoricque.6 The editor of the collection supplied as a preamble a versified treatise titled L’Instructif de seconde rhétorique, a manual of the making and discussion of poems. Jane H.M. Taylor points out that this arrangement fulfils an ‘... important role as a guide to reception, to the decoding which provides an upwardly mobile audience with a set of cognitive rules which 2 The main fifteenth-century manuals of the craft of poetry were published by Ernest Langlois in Recueil d’arts de seconde rhétorique (Paris, 1902). 3 Three such manuscripts and a print, Vérard’s Le Jardin de plaisance of 1501, are carefully