The Chansonnier D'arras: a Critical Edition the Chansonnier D'arras
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Universität Institut Für Musikwissenschaft Th
Abschlussarbeit zur Erlangung der Magistra Artium im Fachbereich 9 der Goethe - Universität Institut für Musikwissenschaft Thema: Das Frauenlied im Mittelalter – Homogene Gattung oder unpräziser Überbegriff 1. Gutachterin: Dr. phil. Dipl.-Ing. Britta Schulmeyer 2. Gutachter: Dr. René Michaelsen vorgelegt von: Ann Becker aus: Mainz Einreichungsdatum: 25.10.2016 Inhaltsverzeichnis 1. Einleitung 1.1. Fragestellung………………………………………………………………………1 1.2. Voraussetzungen und Problematiken……………………………………………...2 1.3. Vorgehensweise…………………………………………………………………...5 2. Hauptteil 2.1. Okzitanische Chansons de femme 2.1.1. Geographische und zeitliche Einordnung………………………………….6 2.1.2. Ausgewählte Quellen der Lieder 2.1.2.1. Die Handschrift N – New York, Pierpont Morgan Library, 819……...9 2.1.2.2. Die Handschrift K – Paris, BN, fr. 12473……………………………10 2.1.3. Gattungsanalyse 2.1.3.1. Der Canso……………………………………………………………10 2.1.3.2. Die Planh…………………………………………………………….13 2.1.3.3. Das Chanson de malmariée…………………………………………..15 2.1.3.4. Die Balada…………………………………………………………...16 2.1.3.5. Das Chanson de croisade…………………………………………….18 2.1.3.6. Die Tenso…………………………………………………………….19 2.1.3.7. Sonderfall – Altas undas que venez………………………………….22 2.1.4. Literarischer Vergleich…………………………………………………...23 2.1.5. Musikalische Analyse…………………………………………………….24 2.2.Altfranzösische Chansons de femme 2.2.1. Geographische und zeitliche Einordnung………………………………...28 2.2.2. Ausgewählte Quellen der Lieder 2.2.2.1. Der Chansonnier Francais de Saint-Germain-Des-Pres……………...29 2.2.2.2. Der Chansonnier du Roi……………………………………………..29 2.2.3. Gattungsanalyse 2.2.3.1. Das Chanson d’amour………………………………………………..30 2.2.3.2. Das Chanson d’ami…………………………………………………..31 2.2.3.3. Die Plainte……………………………………………………………33 2.2.3.4. -
Vieux Chansonnier De L'immersion
Vieux Chansonnier de l'Immersion http://www.utm.edu/staff/globeg/atelmusique.shtml 1. "Vent frais" rondel 6. "Bateau sur l'eau" rondel Vent frais, vent du matin Bateau sur l'eau Vent qui souffle au sommet des grands pins La rivière, la rivière Joie du vent qui passe Bateau sur l'eau Allons dans le grand La rivière il tombe dans l'eau Vent frais, vent du matin... 7. "Au clair de la lune" 2. "Maudit sois-tu carillonneur" rondel Au clair de la lune, Maudit sois-tu carillonneur Mon ami Pierrot, Que Dieu créa pour mon malheur Prête-moi ta plume Dès le point du jour à la cloche il s'accroche Pour écrire un mot. Et le soir encore carillonne plus fort Ma chandelle est morte, Quand sonnera-t-on la mort du sonneur ? Je n'ai plus de feu : Ouvre-moi ta porte 3. "Dans la forêt lointaine" rondel Pour l'amour de Dieu" Dans la forêt lointaine Au clair de la lune, On entend le coucou Pierrot répondit : Du haut de son grand chêne "Je n'ai pas de plume, Il répond au hibou Je suis dans mon lit. Coucou hibou Va chez la voisine, Coucou coucou coucou (bis) Je crois qu'elle y est, Car dans sa cuisine, 4 "Les Cloches" rondel On bat le briquet." Orléans, Beaugency Notre Dame de Cléry Au clair de la lune, Vendôme, Vendôme (bis) L'aimable Lubin Frappe chez la brune 5. "L'escargot" Qui répond soudain : Un escargot s'en allait à la foire "Qui frappe de la sorte ?" Pour s'acheter une paire de souliers, Il dit à son tour : Quand il arriva, il faisait déjà nuit noire "Ouvrez votre porte Il s'en retourna * * nu pieds. -
02 Chapter 1 Stoessel
Prologue La harpe de melodie faite saunz mirancholie par plaisir doit bien cescun resjorr pour l'armonie orr, sonner et vei'r. J With the prior verses begins one of the most fascinating musical works in the ars subtilior style, composed by the master musician Jacob de Senleches. This composer, as his name suggests, was a native of northern France whose scant biographical details indicate he was a valued musician at courts in the south at Castile, Navarre and possibly Avignon.2 La harpe de melodie typifies several aspects of the present study. Firstly, its presence in a n1anuscripe copied in the city of Pavia in Lombardy indicates the cultivation of ostensibly French music in the ars subtilior style in northern Italy. Secondly, its musical notation contains novel, experimental notational devices and note shapes that parallel intellectual developments in other fields of culture in this period. I "The melodious harp made without melancholy to please, well may each person rejoice to hear, sing and hear its harmony." (All translations are mine, unless otherwise specified.) 2 The conclusion that Jacob de Senleches was a native of northern France is made on the premise that Senleches is the near-homophone of Senlecques, a village just south of Calais in the County of Artois. The only surviving archival evidence concerning Jacob de Senleches consists of a dispensation made at the Court of Navarre by Charles II of Navarre on 21 sl August, 1383 which speCifies: ... 100 libras a Jacomill de Sen/aches, juglar de harpe, para regresar a donde se encontraba el cardenal de Aragon, su maestro (" 100 libras for Jacob de Senleches, player of the harp, to return to where he was to meet the Cardinal of Aragon, his master."), Jlid. -
I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
Guillaume IX, Le Gap Et La Psychologie Évolutionniste
Guillaume IX, le Gap et la Psychologie évolutionniste Si l’on s’accorde pour attribuer le titre de premier troubadour à Guillaume de Poitiers (1071-1126), septième comte de ce nom et neuvième duc d’Aquitaine, ce n’est pas seulement à cause de l’igno- rance où nous sommes de tout ce qui a pu le précéder; cela reflète aus- si l’exceptionnelle diversité de la mince œuvre qu’il nous a léguée, indice d’un tâtonnement typique des débuts. A une exception près, contestée d’ailleurs, les pièces conservées sont toutes désignées par l’appellation passe-partout vers (autre signe d’un art qui se cherche), et pourtant le prince-poète n’a jamais cessé d’explorer les diverses possibilités métriques et thématiques qu’offrait cette forme. Dès avant la fameuse étiquette «trovatore bifronte» dont Pio Rajna a doté Guillaume, Friedrich Diez, qui ne connaissait que neuf sur onze de ses poésies, avait partagé son œuvre en trois catégories en fonction de leur contenu sensuel (sinnlich), tendre (zärtlich) ou sérieux (ernst), réparti- tion reprise dans l’édition Jeanroy 1. Les recherches les plus récentes raffinent encore l’analyse, distinguant non moins de cinq «registres» (Bec), voire six groupes ou sous-groupes (Lafont) dans l’œuvre de notre poète 2. L’hétérogénéité de la production poétique de Guillaume, sur- tout son ‘bifrontisme’, l’écart entre ses poèmes ‘courtois’ et ‘non-cour- tois’, a toujours posé un problème pour les études occitanes, susci- tant de nombreuses tentatives d’explication, dont on ne peut citer que quelques-unes des plus saillantes. -
Why Do Singers Sing in the Way They
Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor. -
Vestiges of Midsummer Ritual in Motets for John the Baptist
Early Music History (2011) Volume 30. Cambridge University Press doi:10.1017/S0261127911000027 M A A Email: [email protected] FIRE, FOLIAGE AND FURY: VESTIGES OF MIDSUMMER RITUAL IN MOTETS FOR JOHN THE BAPTIST The thirteenth-century motet repertory has been understood on a wide spectrum, with recent scholarship amplifying the relationship between the liturgical tenors and the commentary in the upper voices. This study examines a family of motets based on the tenors IOHANNE and MULIERUM from the feast of the Nativity of John the Baptist (24 June). Several texts within this motet family make references to well-known traditions associated with the pagan festival of Midsummer, the celebration of the summer solstice. Allusions to popular solstitial practices including the lighting of bonfires and the public criticism of authority, in addition to the cultural awareness of the sun’s power on this day, conspicuously surface in these motets, particularly when viewed through the lens of the tenor. The study suggests the further obfuscation of sacred and secular poles in the motet through attentiveness to images of popular, pre-Christian rituals that survive in these polyphonic works. In the northern French village of Jumièges from the late Middle Ages to the middle of the nineteenth century, a peculiar fraternal ritual took place. Each year on the evening of the twenty-third of June, the Brotherhood of the Green Wolf chose its new chief. Arrayed in a brimless green hat in the shape of a cone, the elected master led the men to a priest and choir; Portions of this study were read at the Medieval and Renaissance Conference at the Institut für Musikwissenschaft, University of Vienna, 8–11 August 2007 and at the University of Chicago’s Medieval Workshop on 19 May 2006. -
Tracklist P. 4 English P. 5 Français P. 16 Deutsch P
MENU — TRACKLIST P. 4 ENGLISH P. 5 FRANÇAIS P. 16 DEUTSCH P. 27 SUNG TEXTS & TRANSLATIONS P. 38 A coproduction of the Ensemble Céladon, the Université Paul Valéry – Montpellier, the Centre d’Études médiévales de Montpellier and the Centre international de Musique médiévale de Montpellier (CIMM . Du ciel aux marges.), with support from SPEDIDAM and ADAMI. Recording: church Notre-Dame de Centeilles, September 2015 Artistic direction, recording & editing: Jérôme Lejeune Illustrations: Cover: René Ier le Bon, Le livre du cœur d’amour épris, 1457 (enluminure) Paris, Bibliothèque nationale, ms français 24399 / © AKG images / Jérôme da Cunha Booklet, page 1: Paris, Bibliothèque nationale, ms. fr. 146, fol 57 r. / © BnF 2 English translations: Peter Lockwood Deutsche Übersetzungen: Silvia Berutti-Ronelt Research associate: Christelle Chaillou-Amadieu Th e Céladon Ensemble receives fi nancial support from the Région Rhône-Alpes, from the Ville de Lyon and the Super U Les Deux Roches in Prissé. Its projects are generally supported by the DRAC Rhône-Alpes, Spedidam and ADAMI. Th e Céladon Ensemble is resident at the Centre scolaire Saint-Louis - Saint-Bruno in Lyon and is a member of Fevis. JEHAN DE LESCUREL fl. 1320 Dame, Jehan de Lescurel vous salue — 3 ENSEMBLE CÉLADON Paulin Bündgen: artistic direction Anne Delafosse: soprano (AD) Clara Coutouly: soprano (CC) Paulin Bündgen: countertenor Nolwenn Le Guern: vielles Angélique Mauillon: harp Florent Marie: lute Gwénaël Bihan: recorders & fl ute Ludwin Bernaténé: percussions www.ensemble-celadon.net 01. Amour, voulés vous acorder (CC) 2'56 26. Dame, si vous vient a gré 1'57 02. A vous douce debonnaire 2'45 27. -
Chapter 2: Secular and Cathedral Music in the High Middle Ages I
Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example. -
Key Colour Author(S): Franz Grœnings Source: the Musical Times and Singing Class Circular, Vol
Key Colour Author(s): Franz Grœnings Source: The Musical Times and Singing Class Circular, Vol. 27, No. 525 (Nov. 1, 1886), pp. 651-653 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3363186 Accessed: 04-11-2015 14:37 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 146.201.208.22 on Wed, 04 Nov 2015 14:37:19 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-NOVEMBER I, 1886. 651 figurationwhich, in commonwith other things,was on keycolour generally go in a circleand leave things due to easternexample and influences. But theyare as they were before, because opponents argue from the moreremarkable when we considerhow scanty and differentinstruments or combinations (voices included) limitedwere the means at thedisposal of the trouvbres, without sometimes even mentioning their respective and thatthey were composedat a timewhen music, basis or ignoring their difference,and then they both no less than poetry,had just emerged from six generalise the observations or impressions received centuriesof utterdarkness; nay,it maybe doubted froma certainsound producer. -
The Medieval Culture of Disputation
The Medieval Culture of Disputation Unauthenticated Download Date | 5/6/16 12:15 PM ................. 18418$ $$FM 07-24-13 14:54:07 PS PAGE i THE MIDDLE AGES SERIES Ruth Mazo Karras, Series Editor Edward Peters, Founding Editor A complete list of books in the series is available from the publisher. Unauthenticated Download Date | 5/6/16 12:15 PM ................. 18418$ $$FM 07-24-13 14:54:08 PS PAGE ii The Medieval Culture of DISPUTATION Pedagogy, Practice, and Performance Alex J. Novikoff university of pennsylvania press philadelphia Unauthenticated Download Date | 5/6/16 12:15 PM ................. 18418$ $$FM 07-24-13 14:54:08 PS PAGE iii Copyright ᭧ 2013 University of Pennsylvania Press All rights reserved. Except for brief quotations used for purposes of review or scholarly citation, none of this book may be reproduced in any form by any means without written permission from the publisher. Published by University of Pennsylvania Press Philadelphia, Pennsylvania 19104-4112 www.upenn.edu/pennpress Printed in the United States of America on acid-free paper 10987654321 Library of Congress Cataloging-in-Publication Data Novikoff, Alex J. The medieval culture of disputation : pedagogy, practice, and performance / Alex J. Novikoff. — 1st ed. pages cm — (The Middle Ages series) Includes bibliographical references and index. ISBN 978-0-8122-4538-7 (hardcover : alk. paper) 1. Civilization, Medieval—12th century. 2. Civilization, Medieval—13th century. 3. Learning and scholarship—Europe—History—Medieval, 500–1500. 4. Scholasticism—Europe—History—To 1500. 5. Academic disputations—Europe—History—To 1500. 6. Religious disputations—Europe—History—To 1500. 7. Debates and debating—Europe—History—To 1500. -
Freedom from Violence and Lies Essays on Russian Poetry and Music by Simon Karlinsky
Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky simon Karlinsky, early 1970s Photograph by Joseph Zimbrolt Ars Rossica Series Editor — David M. Bethea (University of Wisconsin-Madison) Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky edited by robert P. Hughes, Thomas a. Koster, richard Taruskin Boston 2013 Library of Congress Cataloging-in-Publication Data: A catalog record for this book as available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved ISBN 978-1-61811-158-6 On the cover: Heinrich Campendonk (1889–1957), Bayerische Landschaft mit Fuhrwerk (ca. 1918). Oil on panel. In Simon Karlinsky’s collection, 1946–2009. © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Published by Academic Studies Press in 2013. 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open.