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Ars Antiqua-Arsanova

Lloyd, Catherine Ann

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Download date: 10. Oct. 2021 KING'S COLLEGE,LONDON

ARS ANTIQUA - ARS NOVA

In Two Volumes: Volume Two

by Catherine Ann Lloyd

Submitted for the Degree of Doctor of Philosophy in the Department of Music April, 2002

i Contents

PARTI- Motet

EXAMPLES PAGENo

I Mo. 314: Motetus melody - Vo vair oel 2 2 Illustration of four or more sernibrevesin PetronianMotets 3 3 Mo. 254: Triplurn phrasesincorporating five or more sernibreves; 4 4 Mo. 254: Prolongationof I sonorities 5 5 Mo. 332: Function of motetus and triplurn in prolongation ofsonority 6 6 Mo. 332 - Je CuidoielSeXailSoleni in ars nova notation 7 7 Contrapuntalmovement between motetus and triplurn 9 (a) Nulla/Plange (b) Mo. 253 (c) Mo. 332 (d) Mo. 314

PHRASE CHARTS

Pi Mo. 253 - SAniourslAit renotivelerlEcce 10 P2 Mo. 254 - AucunlLonc tanslAnnun[tiates] II P3 Mo. 264 -AucunslAniorlKyrie 12 P4 Mo. 317 - AticunlItire tuisl[Virgo] Afaria 13 P5 Mo. 332 -A citidoielSeJailSolem 14 P6 Mo. 330 - VirginalelDescendilAlnia 15 P7 Mo. 311 - Seje cliantelBienlEt spera[bit] 16 P8 Mo. 275 - IanzdamlSolem 17

ii P9 Mo. 300 - SalvelSalve-10nines 18 PIO Mo. 314 - DieuslVo vair oell[tenor] 19 Pil Mo. 318 - Tout solaslBoneAmourlNe me blasmes 20 P12 NtillalPlangelVergente 21 P13 DetractorlQuilVerbum 22 P14 OrbislVoslFur non venit 23 P15 ServantIOPhilippelRex 24

ANALYSES

Prefacc 25

Al Mo. 56 -Ave ha hintinuntlSalvevirgolNeunra (a) Tenor 26 (b) ContrapuntalFramework 26 (c) Reduction 27

A2 Mo. 88 - Lonc tanslAziconimencenientlHec Dies (a) Tenor 28 (b) ContrapuntalFramework 28 (c) Reduction 29

A3 Mo. 254 -AucunlLon tans1,4nnun[Iiatesj (a) Tenor 30 (b) ContrapuntalFramework 30 (c) Reduction 31

XailSoleni A4 Mo. 332 -A cuidoielSe (a) Tenor 32 (b) ContrapuntalFramework 32 (c) Reduction 33

A5 DetractorlQuilVerbuni (a) Tenor 34 (b) ContrapuntalFramework 34 (c) Reduction 35

A6 OrbislVoslFur non venit (a) Tenor 36 (b) ContrapuntalFramework 36 (c) Reduction 37

A7 ServantIOPhilippelRex (a) Tenor 38 (b) ContrapuntalFramework 38 (c) Reduction 39

A8 NullalPlangelVergente (a) Tenor 40 (b) ContrapuntalFramework 40 (c) Reduction 41

EDMONS

Preface 42

Ml Mo. 56 -Ave htx luniinunilSalvevirgolNeunia 44 Dies M2 Mo. 88 - Lonc tanslAit conintencementlHec 45 M3 Mo. 254- AucunlLontanslAnnun[tiates] 46 M4 Mo. 332-A cuidoiel& XailSoleni 49 M5 DetractorlQuilVerbum 52 M6 OrbislVoslFurnon venit 54 M7 ServantIOPhilippelRex 56 M8 NullalPlangelVergente 59

IV PART11 - Song

TExTs

Preface 64

TI Auria aligement (Balette 12) 65 n Dante a cui motroie (Balette 54) 66 T3 Baixies moi belle (Balette 50) 67 T4 Tres dous a mis (Balette 32) 68 T5 E dame iolie (Balette 29/Mo. 290) 69 T6 Or la Imix trop durete voir (Balette 36/Mo. 295) 70 T7 Ne nd bateis nzies(Balette 16) 71 T8 Dehors conpigneslautrie (Pastourelle30/Mo. 309 & 321) 72 T9 Bele Ysabelos(Mo. 256) 73 TIO Enind deus vrais (Balette 83) 74 T11 En mi dus urais (Pastourelle27) 75 T12 Amors ne se donne (Balette 18) 76 T13 Lai blondette (Balctte 129) 77 T14 Por coi mi bait mesmaris laisette (Pastourelle6) 78 T15 On dit ke trop (Balette 120) 79 T16 Amors montfait mon vivant (Balctte 5) 80 T17 Pres dun boix (Balettc 173) 81 T18 Lautrier en Lundi matin (Pastourelle10) 82 T19 Amors mejait espireir (Balette 15) 83 T20 Cousundersix de chantier (Balette 40) 84 T21 Chansonete mestuetfaire (Balette 149) 85 ANALYSES

Preface 86

Al Reduction:Jolietentent (Tenor, Mo. 260) 87 A2 Reduction: Hj, damejolie (Tenor, Mo. 290) 88 A3 Reduction: Les tin pin verdbiant (JeanBodel) 89 A4 Reduction: D'unjoli dart (Tenor, Mo. 309) 90 A5 Reduction: Bele Doette (Anon) 91 A6 Reduction: Bele Yolanz(Anon) 92 A7 Reduction: En tin vergier (Anon) 93 A8 Reduction: Pour koy seplaint (Adam de la Halle) 94 A9 Reduction:Je ne cant (Adam de la Halle) 95 AIO Reduction: Daniourous cuer voel canter (Adam de la Halle) 96 All Reduction: Ma douce danie et aniours (Adam de la Halle) 97 A12 Reduction: Aferville est quel talent Jai (Adam de la Halle) 98 A13 Reduction: La SecondeEstanipie Royal (Anon) 99 A14 Reduction: Bien se lace (Jehannotde Lescurel) 100 A15 Reduction:Amours aus vrais (Ballade) 101 A16 Comparison:Bien se lace andAinours aus vrais 102 A17 Comparison:Je ne cantpas, Bien se lace and En un vergier 103 A18 Reduction: Distansplus (Jehannotde Lescurel) 104 A19 Reduction: Enchantant (Anon (Fauvel)) 105 A20 Melody: 4inours ne nie wet oir (Adam de la Halle) 106 A21 Reduction:Aniour voulis vous accorder (Jehannotde Lescurel) 107 A22 Comparison:Daniourous cuer andAinour voulis vous 108 A23 Reduction:Aniour que vous (Jehannotde Lescurel) 109 A24 Reduction: De la grant (Jehannotde Lescurel) 110 A25 Reduction: Sejonques (Anon (Fauvel)) III A26 Reduction: Providence la senee(Anon (Fauvel)) 112

vi TRANsCRIPTIONS AND EDMONS

Preface 113

S1 Hj, datnejolie (Tenor, Mo. 290) 115 S2 Je la truis (Tenor, Mo. 295) 116 S3 D'unjoli dart (Tenor, Mo. 309) 117 S4 Defors compiegne(Tenor, Mo. 321) 118 S5 Bele Ysabelos(Tenor, Mo. 256) 119 S6 Gaite de la tor (Anon, Aube) 120 S7 4nds,amis (Anon, ChansonPieuse) 121 S8 Li debonnaires(Anon, ChansonPieuse) 122 S9 Por coi nzebait njes inaris (Anon, Pastourelle) 123 SIO Les unpin verdoiant (JehanBodel, Pastourelle) 124 Sli Je chevauchai(Richart de Semilli, Pastourelle) 125 S12 Enmi la rousee (Anon, Pastourelle) 126 S13 De nioi dolereus (Gillebert de Berneville, Rotrouenge) 127 S14 En un vergier (Anon, Chansonde Toile) 128 S15 Bele Doette (Anon, Chansonde Toile) 129 S16 Bele Yolanz(Anon, Chansonde Toile) 130 S17 Jolietenient (Tenor, Mo. 260) 131 S18 Nus niertjajolis (Tenor, Mo. 271) 132 S19 Hj, resvelle toi (Tenor, Mo. 269) 133 S20 Jaijait tout nouveletenient(Tenor, Mo. 312) 134 S21 Hj, nii enfant (Tenor, Mo. 325) 135 S22 Ne nie hlasniesmie (Tenor, Mo. 318) 136 S23 Riens tie vous vaut (Tenor, Mo. 333) 137 S24 Villain, lieve sits o (Tenor, Mo. 313) 138 S25 Non veul niari (Tenor, Mo. 323) 139 S26 Chose Tassin(Tenor, Mo. 270) 140 S27 Chose Tassin(Tenor, Mo. 292) 141 S28 Chose Tassin(Tenor, Mo. 294) 142 S29 ChoseLoyset (Tenor, Mo. 297) 143 S30 Pour koy seplaint (Adam de la Halle, Grand Chant) 144 S31 Je tie cantpas reveleus(Adam de la Halle, Grand Chant) 145 S32 Damourous cuer voel canter (Adam de la Halle, Grand Chant) 146

vii S33 Afa douce danie et Anzours(Adam de la Halle, Grand Chant) 147 S34 Merveille est quel talent (Adam de la Halle, Grand Chant) 148 S35 La SecondeEstanipie Royal (Anon) 149 S36 Bien se lace (Jehannotde Leseurel,Virelai) 150 S37 Antours aus vrais (Jeharinotde Lescurel, Ballade) 151 S38 Distans plus (Jehannotde Lescurel, Virelai) 152 S39 Enchantant nie vetil (Anon (Fauvel), Ballade) 153 S40 Anzour vozilgsvous accorder (Jehannotde Lescurel, Ballade) 154 S41 Anzoursque vous ai nieffait (Jehannotde Lescurel,Ballade) 155 S42 De la grantjoie danjours (Jehannotde Lescurel, Ballade) 156 S43 Sejonques a nion vivant (Anon (Fauvel), Ballade) 157 S44 Providence la senee(Anon (Fauvel), Virelai) 158

ALPHABETICAL LIST OF PIECES

Title Edition Analysis Text

Ands, (Anon, ChansonPieuse) S7 ands - Aniors (Balette 15) inefait espireir - T19 Aniors (Balette 5) niontfait nion vivant - T16 Antors donne (Balette 18) tie se - T12 Aniour voidis (Jehannotde Lescurel, Ballade) S40 A2 1; A22 vous accorder - Aniours (Jehannotde Lescurel, Ballade) S37 A15, A16 aus vrais - Aniours (Adam de la Halle) A20 tie ine wet oir - Aniours (Jehannotde Lescurel, Ballade) S41 A23 que vous ai ineffait - Auria aligenient (Balette 12) TI Baixies inoi belle (Balette 50) T3 Bele Doette (Anon, Chansonde Toile) S15 A5 Bele Yolanz (Anon, Chansonde Toile) S16 A6 Bele Ysabelos(Tenor, Mo. 256) S5 T9 Bien se lace (Jehannotde Lescurcl, Virelai) S36 A14, A16, A17 - Chansonetemestuetfaire (Balette 149) - T21 ChoseLopet (Tenor, Mo. 297) S29 - ChoseYassin (Tenor, Mo. 270) S26 - Chose Tassin (Tenor, Mo. 292) S27 - Chose Tassin (Tenor, Mo. 294) S28 CousumiersLr de chantier (Balette 40) 170 D'aniourous cuer voel canter (Adam de la Halle, Grand Chant) S32 AlO, A22 - D'unjoli dart S3 A4 T8 Dame a cui niotroie (Balette 54) T2 De la grantjoie d'aniours (Jehannotde Lescurel, Ballade) S42 A24 De inoi dolereus (Gillebert de Berneville, Rotrouenge) S13 Dehors conpigneslautrie (Pastourelle30/Mo. 309 & 32 1) S4 A4 T8 Distans plus (Jehannotde Lescurel, Virelai) S38 A18 E danie iolie (Balette 29/Mo. 290) S1 A2 T5 Enind deus vrais (Balette 83) TIO En nd dus urais (Pastourelle27) TlI En un vergier (Anon, Chansonde Toile) S14 A7, A17 Enchantant ine veul (Anon (Fauvcl), Ballade) S39 A19 Enmi la (Anon, Pastourelle) S12 rousee -- Gaile de la (Anon, Aube) S6 tor -- Hý, (Tenor, Mo. 325) S21 mi enfant -- Hj, (Tenor, Mo. 269) S19 resvelle toi -- J'aijait (Tenor, Mo. 312) S20 tout nouveletenient -- Je chevauchai (Richart de Semilli, Pastourelle) Sli Je ne cantpas reveleus(Adam de la Halle, Grand Chant) S31 A9, A17 Jolietement (Tenor, Mo. 260) S17 Al La SecondeEstampie Royal (Anon) S35 A13 Lai blondette (Balette 129) T13 Lautrier en Lundi inatin (Pastourelle 10) T18 Les un pin verdoiant (JehanBodel, Pastourelle) SIO A3 Li debonnaires(Anon, ChansonPicuse) S8 Afa douce danzeetAniours (Adam de la Halle, Grand Chant) S33 All Merveille est quel talent (Adam de la Halle, Grand Chant) S34 A12 Ne blasines (Tenor, Mo. 318) S22 ine nde - bateis 16) Ne nd inies (Balette - T7 Non (Tenor, Mo. 323) S25 veul inari - Nus (Tenor, Mo. 271) S18 niertjajolis - On dit ke 120) trop (Balettc - T15 Or la durete (Balette 36/Mo. 295) S2 tuix trop voir - T6 Por bait (Anon, Pastourelle6) S9 coi nie ines inaris - T14 Pour koy seplaint (Adam de la Halle, Grand Chant) S30 A8 Pres dun boix (Balette 173) T17 Ix Providence la senee(Anon (Fauvel), Virelai) S44 A26 Riens ne vous vaut (Tenor, Mo. 333) S23 Sejonques a mon vivant (Anon (Fauvel), Ballade) S43 A25 Tres dous a mis (Balette 32) T4 Villain, lieve sus o (Tenor, Mo. 313) S24

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2-t Preface

Analyses

TENOR ANALYSIS Only the first color statement of a tenor is given unless a subsequent statement is rhythmically altered.

CONTRAPUNTAL FRAMEWORK

Tle sonorities shown are those formed as the tenor changespitch. Unfilled indicate is held for the duration long, filled noteheads that the tenor pitch of a noteheadsindicate that the tenor is held for the duration breve. ofa

REDUMONS

Bar numbershave been addedperiodically to facilitate referenceto the edition. Where beneficial, the tenor's has been marked underneaththe staveto which it relates. Occasionally Y is phrasing an marked along this line, in which casethe line indicates the isoperiodic structure of anotherpart. Where been is possible, color statementshave placed one per stave,otherwise each visibly separatedfrom the next to aid comparison.

AnalyficNotation: Glossary The graphic notation used is drawn from Felix Salzcr, Stnictural Hearing. Structural pitches are conveyedby meansof stemmednoteheads. Prolongationsand retained pitches are shown by dotted beamsor dotted slurs. Pitch relationships are representedby meansof solid slurs. it be Solid lines are used to indicate the path of an individual part where may unclear.

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If! Preface

Editions

Sourcesfor indicated below. Where I have doubled that the discussed each edition are necessary, note-valuesso all motets here are transcribed at the level ficta is does in same of note reduction. The editorial my own and not always agreewith that the editions on which they are based. Inflections above the brackets those that have been likely. Those brackets less but stave without are would with are certain still possible, and therefore worth considering. Inflections brackets the in the with within stave are used when an accidental manuscript seemsto retain its effect for the rest stave on which it appears.

MO. 56, Mo. 88 The editionsare based on thoseof HansTischler, 7be Montpellier Codex. I havedoubled Tischler's note values.

Mo. 254 ANDMo. 332 have been 1. Tischler's Theseeditions are basedon those of Tischler. The following alterations made: note values have been doubled. 2. Where two Tischler's interpretation two the semibrevesper breve occur I have replaced of equal- semibreves with short/long rhythm prescribed by Franco of breve is I have followed Cologne and echoedby Jacobusde Li&ge. 3. Where the plicated the rules governing paired semibrevesto give the Franconian ligature has been I have the three short/long rhythm. 4. Where a two-semibreve plicated given resulting semibrevesequal duration. 5. Where four or have this (a) them identifiable, (b) more semibrevesper breve occur I usedstemless noteheads, since makes easily showstheir equality in relation to one beyond Franco's another,and (c) is a graphic reminder that they are a step mensural system.

DETRACTOR/QUI,ORBis/Vos, NULLA/PLANGE 'The Ronian de Fauvel, The Works Philippe de Vitry, These motets are based on the editions of Leo Schrade, of French Cycles of the Ordinarium The following have been (1) Stock Missae', PoIjphonic Music of the Fourteenth Century. alterations made: ars nova rhythms for tempusimperfectun, In the has been interpreted have been given to sernibrevesin Detractor/Qui. (2) all three motets conjunctura as BSS after NatashaCoplestone-Crow, Early Fourteenth-Century Motet, 40-48. (3) In three I have Philippe de Vitry and the Development of the all motets applied ars nova rhythms to been doubled. Plicated notes. (4) Note values in all motets have

aI SERVANT/O PHELIPPE follow those Schrade, have been doubled, Ile edition given here is that of Coplestone-Crow. Her note values, which of and plicated notes have been interpreted within the context of ars nova rhythm-

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42- PART11 - Song

(015 Preface

Texts

Unless from George Steffens, 'Die altfranz6sischeLiederhandschrift der Bodlejana in Oxford. Douce stated otherwise, the texts provided are taken is that of the scribe followed by Steffens. The syllable 308'. Ile layout the the repetition of rhyme and not necessarily counts and of stanzasreflects layout, lyrics, and are my own. Policies regarding rhyme-schemeand syllable count are rhyme schemesare provided in addition to the Steffens discussedmore fully in Chapter 4.

L 94- BALETTE 12 TI

6 Ada oligement R 7 plaixans et debonaire R 6 de merd desirant R 7 fais uer uousPion repaire R

6 Ic suixdc hauteamor a 6 csprisnouclicnicnt b 6 deda= dc vallor a b 6 a cui mcsccurs se vant b 6 maisic nc saicomant 7 ic li puixemucs plain: C b 6 par smir loiahncnt 7 poraisamour atraire C

6 Jenai mal nedolor a b 6 cantic voix rmirant 6 soncleir vis sacolor a b 6 sabouchcte riant b 6 ke deusmenumient 7 la fist bicnla sotfaire c b 6 nunsnc voit sonsarnblant 7 dameirse puist rctraire C 6 Cum donor a Scntisplain b 6 ne vousvoist anuant 6 CCUkc ic sansfollor a 6 b vousain voix recairant b 6 mercitdamc vaillant 7 doit dcsplaire c cil neums b 6 cantmerci voix priant. 7 ou tuit li biensa paire C

65 BALE= 54 T2

5 Dame a cul motroie R 7 Je nepuix cuers dous a vous R 5 Mon chant vous an voie R

7 Mandei ne vos ai ozei a 7 car cil nestoit bien cellei a 5 blamcir vos feroie b 8 et sansicstoit cuersamorous c 5 por tant i morroie b

7 Siensne vos an ai moustrei a 7 cui samblantan amorei a 5 can leis vos passoic b 8 car li cn vious parloicnt de vous c 5 formentmen doutoic b

7 Prions deu de maistei a 7 ke nousdont pcrseucrer b 5 nos dons doucean-ýe c 8 kc les anviouspu: xiens trestous d 5 mettre en bonevoic c

£6 BALbi 1 50 T3

12 Baixies moi belle plaixans et graciouse R 12 de vostre belle bouchetegradouse R

8 Boneamor me fait chanter a 8 cui iai loiaulmentserui b 8 Jainloialmcnt sans faucer a 8 liesfu canprcmýicrs la vi b 12 nulebiautei an ver li Sairene monte c 12 ccstla plusbelle qui soitan tout lou monde c

8 Damccui ic nonomcr a 8 ameismoi ic vosan pri b 8 si vousporeis Wen vanicr a 8 ke vosaurcis boin amin C 12 medixanssoient honis deus Ic confonde d 12 carnuns ne Ics doit amcirqui doutchonte d

8 A machanson dcfmcir a 8 por deuvos rek-jer et pri b 8 ke vosvoillies conforteir a 8 dundous baixier vostre amin c 12 vosni pcrdericsniant amie douce d 12 Janvarroic muez asscz ce nest pas dote d

67 BALETTE 32 T4

17 Tres dous a mis ie lou vos di medixantsont nostre anemin R

8 Or ccusi ic suixbrunette a 8 no fai ie pas a ranfuseir b 8 ic suix ione damoixcllc a 8 si an fais moult mucs a amcr b 8 li mcsixantnous ont grcuei c 7 con parleit do moi do ti d

8 Mes maris si me manaicct a 8 et se dist kal me baterait b 8 mais por chosequil me faicct a 8 mcs cuersne vous oblierait c 8 mais lealmentvous amerai d 8 con bonedame son arnin d

S3 BAL= 29/Mo. 290 (S 1; A2) T5

10 E dame Jolie mon cuer sansfauceir. R 11 met en vostre baihe ke ne sai vopeir. R

7 Souantme voix conplaignant. a 7 ct an mon cucr dolosant. a 5 dunemalaidic. b 7 dont tous li monsan amanL a 7 doit avoir le cucr ioiant. a 5 cui tcilz malz maistric. b 10 si formant magric h dousmalz dameir. c II kc par sa signoric me couicnt chanteir. c

7 lain de cucr an desiranL a 7 dou mondela muesvaillanL a 5 ct la plusprixice. b 7 plussaige ne mucs parlant. a 7 na honormues antandant. 1 a 5 on montnc cuit mics. c 10 ncsai ke iandie mais a droit loweir d II Cest]a muczen saignice con pu: xe trouer. e

7 Biensai ke felloncimant. a 7 montestci souvant nimant. a 5 vcr vostrcpartic. b 7 trcsdoucc dame a corsSent. a 7 por dcuncs croicz pas tant. a 5 ccsgcns plain danvic. b 10 lai si cortevie lor puistdcus doncir. c II kil neme piment mics ver vous plus greuer. d

E dameiohe moncuersanfaucer. metan vostrebailie quene sal vospeir.

In Stcffcns'cdition inadvertent above an additionalline appears(na honormuesparlant). lhaveviewedthis as a caseof scribalrepetition due to thefact that it takesits text fromboth andbelow iL theline

6? BALEM 36/N40.295 (S2) T6

8 Or la truix trop durete voir. R 8 voir a ceu kelle est simplete. R

8 Trop por outre cuidiesme tains. a 8 cant ic cudoic estreccrtains. a 8 de ccu ke naucraides mois. b 9 oix oix cestceu ke plus me blesce. c

8 Dame ne vous ain pais an vain. a 8 car cucr ct cors an vostre main. a 8 met si vous plait vos mocirois. b 9 oix oix cc ne vous truix doucete. c

7 Tres doucedamc cui tant ain. a 8 kal man souientet soir et main. a 7 faits moi lies ou vos morois. b 8 oix oix dire an ma chansonete. c

2JL BALETTE 16 T7

6 Ne ml hateis mies 5 maleuroz marls R 7 vos ne maueispas norrie R

7 Lautricr par une aniornee a 7 chivachoicmon chamin b 7 novelettemarice a 7 trovai Icis une galfbilli b 6 batuc dc son mari b 7 si enot lou ccurdoulant c 7 et par ccualoit dixant c 7 cestmotet par anradic d

I He distvillains donee a 7 suix a vousse poice mi b 7 maispar Is virgehonoree a 7 pucske me destraigftics ci b 7 ic fcrainovel ami b 7 a cui qui voista nuant c 7 moi et 11irons iaunt C 7 si doublcraitIs folie d

7 Li villainscu pasnagree a 7 Is ranponnesi Ii dit b 7 paceavant grande parnec a 7 Ii donaitpues Is saixit 7 par Is main et se Ii dit b 7 or rancomanceton chant c 7 et dcusme dont dolor grant c 7 ce ic bien ne te chastie d

71 PASTOURELLE301MO. 309 AND 321 (S3; S4; M) T8

7 Dchors conpigneslautricr 7 sousper moi desdurealai. 7 en un trcs iolit vcrgicr. 7 unetouscte trouai. b 7 chantantct mclodianL c 7 et dunsi saucroustalant c 7 dist ke moultbicn lai cscoutcc. d

4 Dunjoh dairt 5 Jamourssuis navree. 4 par sonregairt. R 8 puij queil li plaitforment mogree. R

7 Siremcntire ncl vosquicr. a 7 neiai ic nouvos cclIcrai. b 7 jain deloial cucrct danticr. a 7 por ccuke ie muezan varrai. b 7 ccli ke si trcsdoucemcnt. c 7 sotroicawn comandemenL c 7 ct an li suisbien ascnee. d

72- Mo. 256 (S5) T9

12 Bek Ysabelosmamort beleYsabelos R

9 QuantYsabelos fu nce, a 7 Amoursfurcnt en esmai. b 8 Elc cstplus encoulourcc, a 7 quene soit la roseen mai. b 7 HdDicus, dous Deus, quc ferai? b 7 Poursa grant biautei morrai! b 12 Elc mi hct etje I'ains trop bele Ysabelot. c

12 Bek YsabelosWamort, bele Ysabelos! R

(Source:Hans Middle Ages Early Tischler, ed., AeAfontpelfierCodex RecentResearches in theMusic ofthe and Renaissance,Vol IV (Madison:A-R Editions, 1978), 83.)

-2li BALEYM 83 TIO

8 Emml deusvrais dex queferai R 7 mors suis se le mecil nai R

5 Si trcs aiprement a 7 me ticnt li malz ke ic sant a 7 dont formcnt suis an esmai b 5 se piteit nan prent a 7 cclic a cui mcs ccurs se rant a 7 bien voi iai nan garrai b

5 E belle au cors gent a 7 aligiezmoi boncmcnt a 7 Icspoinnes ke por vosai b 5 ou iai autrcmcnt a 7 nc puisvivrc longement a 7 saucwisconfbrt de vous nai b

5 Toutanticrement a 7 vodraiWen et loiaImcnt a 7 scrvirtant conje vivrai b 5 kamorsme consant a 7 qui medcstrent si formcnt a 7 ke demoi consoilne sai b

W PASTOURELIE 27 Tll 5 En mJdezitvrais deussire dexkefervt marotmalt bien dit con briez tens de 11cousseraf

8 Lautreiour moi chivarhoie a 4 Sipansoic a 7 damoursqui montan prison b 8 ct trovaian mi mavoic a 4 gardaritproic a 7 marionct robesson b

6 Ansi conpwwic a 6 a robinmaroic a 6 dist anreproichon b 6 amcifte souloic a 6 maisor va ta voic a 6 nai soingde garson. b

7 E marotpar cortoisic a 3 ic te pric a 7 mon meffait pardonemoi b I ic ferai une estampic a 5 Si iolic balle c 6 un pctit ic tan proi b

6 Oz kcil d=cric a 5 ciz musairsme Pric a b 6 site vangicz moi 5 mains ni soit tochic a 7 doupict lou mepillc c b 5 ic merant a toi

II le boutairobin arricre pcr manicre a b 7 si qucpoint nc foublesai II Iciz la bagicreen lai bruicrc a puismacis b 7 ct de samourla priai 5 tantfix parpri= a 7 kainzke fustpraignicre a b 4 tresfois la baixai

-7 9ý BAL= 18 T12

10 Amors ne se donne mais elle se vant R 10 il nest nuns b soit ameissl nait argent R

10 CHest vicIlars pansustcziz devant a 10 ct kil ait estci truanstot son vivant a 10 cil ait aikesa doncron i antant a 10 et lautre lait on aler qui point ni tant a

10 Ccu puct on moult bien proucr ccrtainnement a 10 Car il nestnuns ke tant ainmeloialment a 10 cil nati pooir de doncir ki puist niant a 10 anamor monteplicr de sontalant a

10 Lcaultcisest tote mortc simpicincnt a 10 anfeme son li aporteelle fou prant a 10 Quinait ricns voist a laporte a vuclzlou vant a 10 cn si desoivcntles femcs bone gent a

7A BAL= 129 T13

7 Lai blondette saigette R 7 que iain me fient an ioie R

7 Orcndroit plus conk-csmais a 7 scrai iolics et &s a 7 ke dou dairt clamorssuis trais a 5 ke me maistroie b

7 Damesans visccs mauais a 7 an vous sont tuit mi retrais a 7 vos cors de biauteit par fais a 5 men met an voie b

7 Tresbone cn dis et anfais 7 devos servir suis entais 7 confmsamans Icaulz vrais 5a vosmotroic

17 PASTOURELLE6 (S9) T14

10 Por cot me bait mesmaris lalsette

7 Je ne 5 ai rienz meffait a 7 ne riens ne fi ai mesdit a 10 fors cacoHeirmon amin soulete b

[Por coi mebait mesmaris laisettel

7 Et cil nemi lait dureir a 7 nebone vie mcricir a 10 ic lou feraicous clameir acertes b

[Por coi me bail mesmaris laisette]

7 Or sai bien que ic fcrai a 7 et comentman vangerai a 10 avecmon amin Seirainucte b

10 Por cvi mebait mesmarls flaisette] R BALETTE 120 T15

11 On dit ke trop suis ione sepoize mi R 11 mats asseissuis saigetteporfair amin R

8 Pancisdamour au tenspaiscour a 7 latre ior chaminoic, b 8 ct truix pastorean un dcstour a 7 ki de moinnegrant ioic b II ver Ii tornai ma voic cantje loy C 8 dire cestechanson ansi c

8 Moult fu ipyouscan teil cstour a 7 trovaila simpleet coic b 7 je b dix damcmes ccurs a 8 touscst vostre ou ke ie soic b II elledist ic anai joic soiczvos ci C 8 ct vosjuweiz avec:mi c

8 Quant dh plait par sai dousour a 7 quc ic dclciz h soic b 8 je h ai dit sansIons scior a 7 cc vostrearnor avoic b II plus iolis anscroie ic lou vosdi c 9 maisplus nc poutrain: de h c BALEnE 5 T16

7 Amorsmont fait monvivant a 5 dc cucamcir b 7 damedc si doussamblant a 5 cui ic no nomcr c 7 ct sauciske fait enait d 7 La tres saigette blondete mait D 7 MI.s en toi.e ou moddrait D

7 Cantla proi si naitdixant a 5 laixiesmoi cstcir b 7 li gcnssont si malparlant a 5 ic manvoil gardeir b 7 a prcsecst mot nc parlait c 7 La tressaigette blondete mait c 7 mis en ioie ou moddrait c

7 Seli fellonme dixant a 5 la voicntiurcit b 7 samcraiic voircmcnt a 5 conporai dureir c 7 Carbone amor madcrait d 7 La tres saigette blondete mait D 7 mis en ioig ou moddrait D BALETTE173 T17

7 Presdun boix ct Ions de Sent a 7 I'autricil jucir man a lai b 7 san troy un pairlcmcnt a 7 dc damoiselleau cors gai b 5 qui baicctparloit c 7 ct a sonparicr dixoit c 7 et cc rccordoitAsseiz d 7 vos41 lou boin tensaveiz D 7 uneamone men doneiz D

7 le nc savoiccoment a 7 ic puissesavoir dc %Tai b 7 conbicnnc con faitcmcnt a 7 por ceude Ii maprochai b 5 de cil Ii plairoit c 7 celleme conistroit c 7 por coi fut ciz mosdis teis d 7 vosb lou boin tensaveiz D 7 uneamone men doneiz D

7 Cclicqui sotsaigcment a 7 parIcirne fut ancsmai b 7 dist muzairsalciz vos an a 7 a voska ficrt kc dit ai b 5 jc voi lai androit c 7 dcusamans vivrc cn lour droit c 7 Porccu di cstcest mcs grciz d 7 vosqui lou boin tensaveiz D 7 uneamone me doneis D

2.. L'autrIer'dOeS not appearin StcffcnsEdition. its inclusionhere follows the version in WilliamPaden, Ihe MedievalPastourelle, Vol I (NewYork& London:Garland, 198 7), 278. PASTOUREUX 10 T18

7 Lautricren lundi matin a 7 manaloic ambaniant b 7 santraien un biaujardin a 6 trovainonette scant b 10 ccstechansonctte dixoit lai nonette c 10 longuedemoree faites frans moinncs loialz d 5 seplussuis nonette C 13 oinske soft li vespresie morraides iolis malz D

7 Cant]a nonctteantendi a 7 quesi saloitSaimentant b 7 maintenantme dexcndi a 6 sorIcrbette vcrdoiant b 10 et cUc cescric ic mOlTal denuic c 10 por la demorccke faitesmoinncs Icaulz d i seplus suisnonetle E 13 ainske soit li vespresle morraides iolis malz D

7 La nonainse Saimentoit a 7 resgardeitaval un prcit b 7 vit lou moinncqui venoit a 7 qui avoitson frot osteit b 15 droit vcrsfai nonettelmaintcnant sadresse /si lait escolee c 17 Et cHcccscric /an hautduez tant bucr /fu ncecant scrai amcc c 6 devos frans moinnes loialz d i seplussuis nonelte E 13 ainske soit li vespresie morraides iolis molz D BALETTE 15 T19

7 Amorsme fait espireir a 7 par sondous acointement b 7 mercitsan follor blameir a 7 neman doient nul amant b 3 carcil nainmemic c 5 nonnel doit clameir a 7 amin qui plusvuelt roucir a 5 lain damean voixie C 5 keje nolznomeir A 7 11me semont de chanteir A

7 Nunsne porroit de viscir a 7 coniai moncucr hatemcnt b 7 mis cantie puisrcmircr a 7 aafason de son cors Sent b 5 nai malke noblie c 5 par lou dous-'penceir 7 ke me vicnt dou recorder 5 lain damean voixie C 5 I-eje nolz nomeir A 7 1! me semontde chanleir A

7 Mucs ne me pot asencir a 7 por avoir son paicinent b 7 a mors qu? me fait ouNTeir a 7 dun mcsticr dous ct plaixant b 5 nc nunsne doit mic C 5 teil labourvecir a 7 )d vuelta honormontcr a 5 lain damean voixie C S kejenolz nomeir A 7 ki mesemont de chanteir A

4DOUS'"ýACOWinSteMns. I have read this as scribal rqxtition sinceincreases an othemise regularsyDable count. &"3 duPlicated. also Lik-misc, anothercase of scribal repetition.

Im- 83 i3ALEm 40 T20

7 Coustunticrsuix. dc chanteir a 7 por Is ioic capcrer b I ux fait au dwv &nbien ama b 2 Ctil boln C 10 Quejefaiceswu demorerchanson D

7 lai doceli de scurer 7 nc kicr awn cua ke doubicr 8 vie fait ms ioic an bicamucr 2 Cru &Wn B C 10 QtejefdjCr jaw A-morerchanson 7 Or im dont dcus iu ourer 7 ke ic pme rcca= 3 Joicdimor et rmorder a 2 Cril holm B 10 C Orjefaice jani-jemortr chanson

a- BALME 149 T21

7 Chansonctemestuct fairc a 7 dc vos simple dcbonaire a 7 vospoicis vostre amin faire a 5 si vosplait demi b

7 failes onstse Well B 3 faftes anst B

7 Nestnuns que scust ke dire a 7 anfai bellebicn apprise b 7 ncsmesdixans plains clan vie c 5 clientbicn de li d

7 fmies ansi se vireh B 3 faftes anst B

7 Baichclcis que welt amic a 7 ne doit panccir vilonic a 7 mais amersanz trichcric a b 5 de fin cucr ioli

B 7 faites ansi se vireft B 3 faftes anst

15 Preface

Analyses

RMUCTIONS

I have indicated the repetition of a song's section with repeat signs. Except where there is melodic variation or different ouvert and clos endings,

Analytic Notation: Glossary Stnictural Hearing. The graphic notation used is drawn from Felix Salzer, Structural pitches are shown by meansof stemmednotcheads. dotted beams dotted Prolongationsand retained pitches are shown by or slurs. Pitchrelationships are indicated by solid slurs. may otherwisebe unclearon the reduction. Solid linesare used to indicatethe pathof an individualpart whereit

t6 TENOR: Mo. 260 (ANON) Au CUERMA NE WEN REPENTIRAI D'AMER/JOLIETEMENT (S 17) Al

S7 TENOR: Mo. 290 (ANON) A2 DAMEJOLIE (S 1; T5) NOUVELE/tIAUTE ANIORAIýI,

I 3:

J --I-., JEI IAN BODEL LF-s UN PIN VERDOIANT (S 10) A3

I- it

tw) TENOR: Mo. 309 (ANON) PAR UNE NIATINEE/O CLEXIENCIE/D'UN JOLI DART (S3; S4; T8) A4

1 TT

-- 'S \... . __ I -- ____. .'- ', "_

%I.- qo CIIANSON DE Toii-. r (ANON) BELE DOETTE (S 15) A5

"I .-----

NOTES

Thercpcat of I varicsSlightly so hasbccn mrium out in full.

bbb- qt CHANSONDE TOILE (ANON) BELE YOLANZ (S 16) A6

I a_

02- CHANSON DE TOILE (ANON) ENUNVERGIER(S14-, A17) A7

______- -. - (n)

NoTEs

SlctiOn I is rcpcatedtwicc ADAM DE LA I IALLE J)OuR KOY SE PLAINT (S30) AS

Ib I--«- L_L

1. b) lb Iý

L*, 4, S. i , to - It C.i S:.I

W ADAM DE LA I IALLE JE NE CANT PASREVELEUS (S3 1; A 17) A9

ja I --I ____ I ______LLLJ

lp &; I-V d ct j,;,I IL;3 -, t L7,5.

75 ADAM Dr, LA I IALLF D'AMOUROUS CUER VOEL CANTER (S32; A22) AIO

.- 1T T Coo -i:, ý

L95

f6 ADAM DE LA 1IALLE All (S33) NIA DOUCE-DAME ET AN1OURS

.. ---. of -.

LLI-7 L; f, 3-040.1 C, 9 1;

97 ADAM DE LA 1 [ALLE- MERVILLE EST QUEL TALENT YAI (S34) A12

2 X-

.. SI. "

4; 1. t Lo*I -t' r

IIIIIT TI. £4 1I ESTAMPIE (ANON) A13 LA SECONDEESTAMPIE ROYALE (S35)

I,.

q 0. ra-:-

I \11:1

ri--- rz7- b

i 90 .0,

?7 JEHANNOT DE LESCUREL BIEN SE LACE (VIRELAI) (S36, A 16; Al 7) A14

IP 9

Lo lei

loo JEHANNOT Di.: LESCUREL ANIOURS AUS VRAIS (BALLADE) (S37; Al 6) A15

3- 't

/of JEHANNOT DE LESCUREL COMPARISONS OF BIEN SE LACE (S36; A 14; A17) A16 ANDAmOURSAUS VRAIS(S37; A 15)

A b

JL; I- A"Ows k; +-8; 4.%

GI-8; t. % L; 1. - 1ý'%Osjvs c

Atý,-OvrS L, 3- ai'tv%

101- COMPARISONOF JE NE CANT PAS(ADAM DELA IIALLE) (S31; A9), BIEN SELACE (LESCUREL)(S36; A 14; A 16) A17 AND EN EN VERGIER(ANON) (S 14; A7)

V% I

04'611%

k4l tW Cl (&t-% A. t*tA)

vt(&t)

103 JEHANNOT DE LESCUREL DISTANS PLUS (VIRELAI) (S38) A18

w ;ý*-= i=p :=%. . L; 1--t

"', Lis WE -T-

4 el OIL - Ib I'&-+ Of. IL

I O'f ANON (LE ROMAN DE FAUVEL) A19 ENCI IANTANT (BA LLA DE) (S3 9)

x r

11 6

L; 3. %% 4'01.1. rL .

Vr 404 L; I

105 ADAM DE LA HALLE AmOURS NE ME WET OR A20

2. F-, * Fq:. Fc 3--c bw V; row joj*" ft4 Iva a pw Fft, %-4r I-OL C-v o 1# -. L tv 64 -vv-

NOTES

Sourcc 'Ofniclody ficndrik vandcr %Vcrr,Me 1.3-ricsandMehxIies ofAdain dela Halle (Nov York:Garland, 1985), Song 24.

/06 JEHANNOT DE LESCUREL ANIOUR VOULÜS VOUS ACORDER (BALLADE) (S40; A22) A21

L3 La'. .S

/07 COMPARISON OF D'AMOUROUS CUER VOEL CANTER (ADAM DE LA I IALLE) (S32, A 10) A22 AND AMOUR VOULtS VOUS ACORDER (LESCUREL) (S40; A2 1)

(LUO-lett) ýý 3- ArAwr D'o.-%oveous (Ad&ft%) Lý 5 Youtb

to$ JEHANNOT DE LESCUREL AMOURS QUE VOUS Al NfEFFAIT (BALLADE) (S4 1) A23

r bp

L: S

109 JEHANNOT DE LESCUREL DE LA GRANT JOIE D'AMOURS (BALLADE) (S42) A24

K±= rg7,r

F E--m --- --a-

Ito ANON (LE ROMAN DE FAUVEL) A25 Sr, JONQUES A MON VIVANT (BALLADE) (S43)

""" .. -. -. ' --.. ". __.::

UL L; 4

III ANON (LE ROMAN DE FAUVEL) PROVIDENCE LA SENEE (VIRELAI) (S44) A26

I b b b

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liz Preface

Editions

Each first Any edition/transcription of melody is provided with the text of the stanza. subsequentstanzas are not included. The songspresented here are diverse in terms It has been therefore, to transcriptions from of chronology and genre. necessary, prepare and use editions many sources. Where a reliable information in edition exists for a song or repertory (in the sensethat the encoded the original notation has been reliably transmitted) then this has been have I do used. Where no suitable edition exists I provided transcriptions, although not claim these to be definitive editions. Since the rhythmic interpretation is based for of individual songs necessarily on what seemsmost appropriate the particular genre and/or repertory to which it belongs, Two is Except for the notation used throughout Volume not, therefore, consistent. the estampie,all repetitions of melody are written out in full. Ile in based. editorial ficta is my own and does not always agree with that the editions on which they are Inflections above the stave without brackets likely. Those brackets less but are those that would have been with are certain still possible,and therefore worth considering. Inflections with brackets in to its for within the stave are used when an accidental the manuscript seems retain effect the rest stave on which it appears. Where a song includes a refrain, the refrain has beenunderlined for easy identification.

THIRTEENTH-CENTURY REFRAIN SONGS

Refrain-songs Codexhave been preservedin the tenorparts of motetsin Fascicles7 and8 of Montpellier adaptedfrom the editionsof HansTischler, layout 77zeAfontpellier Codex. While the melodiesand texts reflect those given by Tischler,their hasbeen altered to reflectthe musical and poetic form of the song. Editions HansTischler, Chanter of manyother refrain-songs are provided by SamuelRosenberg and eds., ni'esluet:Songs of the Trouvires. Wherea it is Tischler'sdurations measuredtranscription seems appropriate this edition has beenused, although recognisedthat are highly speculativeand discussion do depend durations.The of thesesongs has therefore been restricted to featurethat not uponparticular notevalues given by Tischlerhave been doubledto maintainconsistency across the thirteenth-centuryrepertories. In These the in Michel Zink, Belle:Essai the caseof the chansonsde toile unmeasurednotation has been preferred. reflect editions sur les chansonsde de GerardLe Vot. toile suivi dune idition et dune traduction, transcriptionsmusicales Ile New Music, Notions Genre, the Wanuscrit du Roi'circa measuredtranscription of the cstampiereflects that of Judith Periano, of and 1300.

Il ADAxi DE LA HALLE

'nie have been chansonmelodies of Adam de la Halle are presentedusing unmeasurednotation and copied from Hendrik van der Werf Deborah Hubbard and Nelson, The Lyrics andUelodies ofAdam de la Halle.

TIIE VIRELAIS AND BALLADES INLEROMANDEFAUVEL

I have by Edward Roesnerin provided transcriptions that use the principles of ars nova notation as set out Roesner,E. H., F. Avril and N. F. Regalado., Le Roman Chaillou de Pestain. This isjustified the that is de Fauvel in the edition ofAfesire on grounds song positively included in ars nova treatises.

THE VHMLAI AND BALLADES OF JETUN DE LESCUREL

Transcriptions in Fauvel, follows areprovided, and, like the virelaisand balladcs thenotation theprinciples of ars novaset out by Roesner.

Ile in to decisionwhether to provide a measuredor an unmeasuredtranscription relation eachof the aboverepertories is more fully consideredin VolumeOne.

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