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Xerox University Microfilms 76-3446 HEHRER, Karen Fox, 1944- A HISTORY OF THE VIRELAI FROM ITS ORIGIN TO THE MID-FIFTEENTH CENTURY. The Ohio State University, Ph.D., 1975 Music XorOX UniVGVSity Microfilms,Ann Arbor, Michigan 48106 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. A HISTORY OF THE VIRELAI FROM ITS ORIGIN TO THE MID-FIFTEENTH CENTURY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Karen Fox H ehrer, B.I The Ohio S ta te U n iv e rsity 1975 Reading Committee: Approved By R ichard H. Hoppin Keith Mixter Norman Phelps A dviser Department of Music Around the beginning of the fourteenth century musicians began to focus a great deal of attention on the French refrain forms: the ballade, rondeau, and virelai. These short strophic songs used for courtly entertainment were in strict poetic and musical forms known as "formes fixes." A large number of secular songs from the fourteenth and early fifteenth centuries have been preserved in numerous manuscripts, and much of this music has been transcribed and published within the last twenty-five years. The more important manuscripts have already been investigated and bio­ graphical data has been gathered for some composers. Tb.e music itself, however, has not been thoroughly studied, and to date most of the information is scattered in various journal articles. The purpose of this dissertation is to study in detail one of the French song forms, the virelai. It appeared near the begin­ ning of the fourteenth century as a monophonic song and toward the middle of the century as a polyphonic song. Some consideration has been given to the origin of the form and an attempt has been made to point out possible connections between the virelai and other musical forms. The major portion of the study, however, is devoted to the 156 extant virelais from the fourteenth and early fifteenth centuries. In addition to textual considerations, the various musical aspects of the virelai which have been investigated are form, texture, i i i l l performance practice, melody, rhythm and meter, tonal structure, cadences, harmony, and integrative devices. An exact chronology of the music cannot be established; however, an attempt has been made to detect chronological changes in regard to a ll musical elements. Modern transcriptions have been used as sources, for the most pa.'t, rather than the manuscripts. The most important manuscript sources were available on film, however, so that notational prac­ tices and questionable points in the transcriptions could be checked. In cases where two transcriptions of the same piece were available, a comparison was made and discrepancies were checked against the manuscript. One virelai from the period. Je suy si las, is unpub­ lished and has therefore been included in the Musical Supplement. The two other pieces in the Musical Supplement are monophonic vire­ lais from the Roman de Fauvel and are otherwise available only in an unpublished dissertation. All extant virelais from the period have been listed in Appen­ dix B and each has been assigned a number which is used in all references to it. At the end of Appendix B are eight additional virelais without numbers which are not legible enough for tran­ scription. Headings of examples within the dissertation give the following information; text incipit, composer, appendix number, measure numbers, and manuscript source or sources. When the entire texture is not presented in the example, the part or parts included are specified. The only examples not identified in this manner are those taken from sources other than the 156 virelais listed in Appendix B. In some short examples illustrating purely musical techniques, text has been omitted. ACKNOWLEDGEMENTS With the completion of this dissertation I wish to express my appreciation to all those who have made it possible. I am particularly indebted to my adviser, Dr. Bichard H. Hoppin, for his inspiration and guidance in the preparation of this study. Thanks are also in order for Dr. Keith Mixter and Dr. Norman Phelps, whose constructive criticism in the final stages was appreciated. I am grateful to Steven Kelly and Kurt von Fischer for providing copies of manuscripts which would otherwise not have been available. A p ril 2 9 , 1 9 4 4 ..................... Born - Fostoria, Ohio 1 9 6 6 ........................................ B.M., Heidelberg College, Tiffin, Ohio 1 9 7 0 ........................................ M.A., The Ohio S ta te U n iv e rsity , Columbus, Ohio 1969-1972 Teaching Associate, Department of Music H isto ry , The Ohio S ta te U n iv ersity , Columbus, Ohio TABLE OF CONTENTS PREFACE.......................................................................................................i i ACKNOWLEDGEMENTS................................................................................ iv VITA ........................................................................................................... V LIST OF TABLES ................................................................................ v i i Chapter I . SOURCES AND COMPOSEES..............................................1 I I . THE ORIGIN OF THE VIRELAI ' . 44 I I I . POETRY...................................................................... 80 IV. FORM, TEXTURE, AND PERFORMANCE PRACTICE . 119 V. MELODY, RHYTHM AND METER...........................................102 VI. TONAL STRUCTURE, CADENCES, AND HARMONY .... 253 V II. INTEGRATIVE DEVICES............................................. B40 V III. SUMMARY AND CONCLUSIONS.....................................366 APPENDIX A: MANUSCRIPT SOURCES AND THEIR SIGNATURES . 374 B: LIST OF VIRELAIS....................................................... .. .3 7 9 BIBLIOGRAPHY.............................................................................................. 397 MUSICAL SUPPLEMENT............................................................................4 l l LIST OF TABLES Table Page 1 . Unique Virelais in Priiaary Sources. .........................23 2. French Refrain Forms in Seven Major Sources ..................... 2h 3. Alphabetical List of Composers ..................... .... .......................26 4. Primary Sources and Composers .................................................... 30 5. Realistic V irelais ...............................................................................85 6 . P o etic S tru c tu re s in Mod, TuB,and 0 .......................................... 99 7 . Virelais with Contrafacta .................................................................. 112 8 . T ex tless V i r e l a i s ....................................................................................l lh 9 . Virelais with Same Text in More than OneVoice ..................... 115 10. Virelais with Multiple Texts ...........................................................117 11. Chantilly Manuscript--Length of Sections, Number of Text Lines per Section .....................................................................................121 12. Length of Virelais . ....................................................................124 1 3 . Text Setting in Selected V irelais ................................................126 14. Virelais with Musical Rhyme ............................................................. l 4 l 1 5 . Number o f P a rts in Polyphonic V ire la is o f Primary M anuscripts ......................................................................... l44 1 6 . Total Range of Virelais in Primary Manuscripts ................

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