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Home , Antoine Busnois, Burgundian School, Chanson, Charles the Bold, Gilles Binchois, John the Fearless

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Graduate Student Theses, Dissertations, & Professional Papers Graduate School

1968

Study of the as a source of material for the high school vocal ensemble

Franklin Paul Halpin The University of Montana

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Recommended Citation Halpin, Franklin Paul, "Study of the Burgundian chanson as a source of material for the high school vocal ensemble" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3737. https://scholarworks.umt.edu/etd/3737

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A STUDY OP THE BUHGUHDIAN CHANSON AS A SOURCE OP MATERIAU POR THE HIGH SCEOCU VOCAU ENSEMBLE

by

P. EAUU HAEPIN

B. A, Idaho State University, 1953

■resented in partial fulfillment of the requirements for the degree of Master of Music Education 1968

Approved by:

September 13, 1 9 ^ 8 Date UMI Number: EP35336

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The author is indebted to University of Montana ,TOfessor Laurence Perry and Dr. J. A, Mussulman for uheir advice, criticism, and guidance in making this study. TABLE OF CONTENTS

PACE INTRODUCTION...... Iv

I, The Problem...... Iv II, Definitions of Terras Used,,...... ,,,,,,v

CHAPTER I. THE ...... 1

CHAPTER II. BURGUNDIAN ..... 5

CHAPTER III. ANALYSIS OF BURGUNDIAN ...... 10

CHAPTER IV. CHANSON LITERATURE IN MODERN PRINT...... 1|.6

CONCLUSION...... 53

BIBLIOGRAPHY...... 55 I. THE PROBLEM

One of the most rewarding experiences a singer can have is that of particioating in a voca] ensemble. There is a great wealth of literature in print for small groups of singers to enjoy, whether the groups be accomplished vocalists or novices. Vocal ensemble music offers more than simply an enjoyable experience; it is a tool to be used for the development of musicianship, and it is an aid in the cul­ tural progress of each individual involved. The small ensemble also has flexibility in that its members can rehearse and perform much more often than is possible for the larger organizations. The problem confronting the ensemble is not the quan­ tity of music available, but the quality of such music. Directors of public school vocal ensembles are constant­ ly on the lookout for music that will serve the dual role of being both an educational and an aesthetically satis­ fying experience, A composition that will serve both of these functions is a welcome addition to any school direct­ or's repertoire. In the director's search for satisfactory music for his ensembles there are ample collections from which to choose, dating from pre-sixteenth century to contemporary music, and many of these collections are enjoying wide­ spread popularity in the public schools throughout the nation. The chanson of the fifteenth century, however, has received little attention, and it is the opinion of the writer that this neglect is not entirely justified, rhe strong, syncopated rhythms, the use of various modes, the treatment of , and other characteristics could make the chanson an effective tool for use in the schools, as well as a popular form of music with the singers. There­ fore it is the purpose of this study to (1) supply infor- V matlon concerning the history and style of the Burgimdlan chanson, and offer biographical Information covering its chief composers; (2) provide samples of some of the var­

ious forms of the chansons with a stylistic analysis of each form; and (3) include a list of scources where more music of the type contained in this study may be found*

It is the aim of this study to provide the school choral director with a guide to a form of music which will add variety to his groups» repertoires, and will meet the re­ quirements of educational and aesthetic significance,

II. DEFINITIONS OP TERMS USED

Burgundian School. The group of composers from the duchy of , a part of the kingdom of that became a political state. It included the (now and ) and eastern France, Burgundy was the center of intellectual and artistic activity in the early fifteenth century, especially at , with the courts of Phillip the Good (reigned 1^19-1^67) and irengned 1)4.67-ll|77 ) • Most of the Burgundian com­ posers were connected with one or both of these courts,^

^Harold Gleason, Music Literature Outlines, Series One, Rochester; Levi»s Music Stores, 196u, p. 83» VI Chanson, The terra "chanson" is generic and includes , , , and bergerette. The rondeau and ballade were the forms which were used most frequent­ ly, The chanson was the most popular type of secular music during the first half of the fifteenth century; the rhy­ thms are strong, the music not complex, and they are pleas­ ing to the ear. In the following discussion of the various chanson forms, capital letters indicate a ; cor­ responding small letters indicate the same music but a different text, A. Rondeau, 1. music. A varying number of lines to the stan­ dard form: AB aA ab AB (music in two sections, A, B); the second stanza is always sung to A music only, 2, texts, a, four stanzas of four lines each b, four stanzas of five lines each (three lines to A music, two to B music) ex­ cept the second stanza, which has six lines sung to B music, c, four stanzas of six lines each (three to A music, three to ^ music), B. caliade. ab ab cd BF C. Virelai, A bba A bba A bba A D. Bergerette. A bba A (This form is similar to the virelai, but contains only one stanza. This form was originated by the Burgundians,) E. Chanson. Occasionally the term "chanson" is used as a specific form, and indicates aab,^

^Ibid., pp. «5,oT. vil Vocal Ensemble. In this study the term vocal de­ notes singular, meaning a solo, or no more than one sing­ er on a part in an ensemble. In the event that ensem­ bles containing two or more singers per part are mentioned they will be referred to as choral ensembles."'* Imitation. The restatement in close succession of a melody (subject, motive) in different parts of a contra­ puntal texture,^ Sequence. The repetition of a phrase at a higher or lower pitch than the original. If the intervals within it are slightly altered so as to avoid moving out of key it is a tonal sequence ; if they are unaltered it is a real se­ quence.^ Rocket. The truncation of a melodic line into frag­ ments (frequently single notes) which are given to two parts in alternation.^ Burgundian . A special kind of cadence in the music of the fourteenth and fifteenth centuries, also cal­ led the Landini Sixth. Unlike the most common cadential formulae it does not proceed melodically from the leading tone to the tonic, but first descends by a whole step from the leading tone to the sixth, then up to the tonic.

X Arthur Jacobs, Choral Music, Baltimore: Penguin Books, 1965, p. 59. ^Willi Apel, Harvard Dictionary of Music, Cambridge, Mass. : Harvard University t’ress, 1955, p.5^9» ^Arthur Jacobs, A New Dictionary of Music, Chicago: Aldine Publishing Company, 1961, p. 537

^Willi Apel, 0£. cit., p. 539. 7 'Groves Dictionary of Music and Musicians, London: MacMillan, 1954, vo. " 4, p. 4'1. vill

Chaplain, The term chaplain as used In this study re­ fers to a private clerical assistant to a secular nobleman,

A musician's appointment to the position of chaplain usually meant that he was placed In charge of the musical activity of the court. CHAPTER I

TEE BURGUEDIAR 8CH0UE

The dukedom of Burgundy was founded in when John II of France gave it with hereditary rignts, to his son rhillip (1342-1404), surnamed the Bold. Little did John suspect the trouble he was creating for France, Burgundy attained to the height of her power under her third ruler, Phillip the Good (1596-1419). The territory was soon exten­ ded by marriages, inheritance, purchases, and conquest. The count ships of , Antois, Mechlin, ilevers, Bethel, and Antwerp thus came to urgundy in 1369. The annexation of Hainault, Holland, and Zeeland was provided for by a mar­ riage in 1385 and actually took place in 1428, Phillip the good further added the duchies of , Brabant, and Limburg, By the treaty of (1455) Charles VII even re­ lieved Phillip of all homage and ceded him to the count- ship of Macon. All this accretion of power and influence touk place while the great neighbors had problems of their own. France was in­ volved in the hundred years war with England, and Emperor Sigismund of was engaged in a war against the Hus­ sites, In 1420 Phillip made an alliance with England, and recognized. as successor to Charles V of France. Phillip fought on the English side, and the Burgundians were instrumental in the capture of . When Phillip's successor, Charles the Bold, died in 1477 France was governed by Louis XI, a clever and capable ruler, who took Burgundy back into the French State. 2 Under her fourth sovereign, while independent of the king of France, Burgundy became a center of spiritual life and culture. The musicians of the chapel of the Duke of Bur­ gundy and the who played at his court formed the musical circles in this era. Some of the chaplains are known as composers, I'he most famous of them was Guillaume Dufay, Others were , who taught Dufay, Gilles Bincliois, Pierre de Fontaine, Jacques Vide, , Bayne von Ghezeghem, Phillipe Caron, , and Richard de Bellengues, Also the great cathedrals. in the first place, were in the center of musical activi­ ties, which as a matter of course included composition as well as performance. They served also as colleges and choir schools for the young musicians, among whom was Dufay, Music was closely interwoven with daily life in times of peace and war, and was used at marriages, birthdays, ban­ quets, and ceremonies. Chaplains, instrumentalists and min­ strels accompanied the sovereigns on their campaigns, sang and played at the signing of a treaty, and took part in funeral services. As the was continually on the move, and as his love and understanding of the arts and music were well known, other princes sent for their most capable musicians to celebrate his state visits. Thus his musicians came into close contact with the best music makers in Europe and had the opportunity of widening their experience. Minstrels and chaplains formed two definite groups at the court, distinct as to their music and social standing. Minstrels and instrumentalists belonged to the same social category as heralds and standard bearers. They were of modest origin, skilled in playing instruments or , but probably not able to read or write music. They per- for med chansons in the traditional literary forms of the ballade, virelai, rondeau, and bergerette. The chaplains were nearly all grand personages, canons provided with a 3 rich living. They not only sang chnrch music - masses, , and hymns - but also composed both secular and church music. Their administration was in the hands of the first chaplain, who received a round sum yearly for their salary, clothing, and food.® The court and chapel of Phillip the Good, Duke of Burgundy from 1419 to 1457, were the most resplendent in Europe, and his influence as a patron of music was so ex­ tensive that the name Burgundian has been given both to the style of music and the school of composers that flour­ ished during his reign. The term does not connote a par­ ticular region or nationality. The Dukes of Burgundy in the fifteenth century had no fixed principal residence, but sojourned at various places in their dominions. Their chapel, numbering fifteen to twenty-seven musicians, was recruited chiefly from in the early part of the cen­ tury; later the musicians were predominantly Netherlanders. In addition to his chapel Phillip the Good maintained a band of minstrels - lutenists, trumpeters, violists, ­ ists, and organists - which included Frenchmen, , Germans, and Portugese. The cosmopolitan atmosphere of such a fifteenth century court was accentuated by numerous visits from foreign musicians and by the fact that the members of the chapel themselves were continually on the move, migrating from one service to another in response to "better offers." Under such circumstances musical style could not be other than international; the prestige of the Burgundian court was such that the kind of music cultivated influenced other musical centers, such as the chapels of the at , the Emperor in Germany, the Kings of France

2 Groves Dictionary of Music and Musicians, vol.I, p.1020, ^Donald J. Grout, A History of Western Music, New York: W. W. Norton and Company, Inc., I960, pp. 141-5, 4- and England, and the various Italian courts, as well as cathedral choirs - the more so because many of the music­ ians in these other places either had been at one time, or hoped some day to be, in the service of the Duke of Bur­ gundy himself. CHAPTER II

THE COMPOSERS OF THE BURGUNDIAN SCHOOL

The following information concerning the Biirgundian school of composers was taken from Groves Dictionary of Husic and Musicians, and includes all of the composers whose works appear in this study.A list of their works available in modern notation is contained in chap­ ter IV of this work, Philippe Caron. Caron was a pupil of either Binchois or Dufay. A four part mass of Caron's is in the Biblioteca Estense at Modena; another in the Sistine Chapel in Rome. Eight of his chansons are in the Bib. Nat. in Paris (MS 15» 125) and two for three voices at Dijon (51?). Reprints of works of Caron are to be found in D.T.O. VII (Trienter Cod­ ices), Guillaume Dufay. (1400-1474) Dufay was a choirboy in the Cambrai Cathedral, probably from 1409 onwards. Two of his teachers, Loqueville and Grenon, are known as composers. Both had first hand knowledge of French music. In 1428-37 he served in the Papal Choir in Rome, which contained a number of musicians. Afterwards he held canonries at Cambrai and et the . He took his de­ gree at the Corbonne, Paris about 1442 and acted as a music teacher to the Duke of Burgundy's son. He is a leading rep­ resentative of the early Netherlands polyphonic school and is especially noted for his three part chansons, of which a large number are extant.

^^Groves, op. cit., vol.I,pp. 605, 709-10, 1040-1; vol. II,' pp. 89, 793=5; vol. III, pp. 422-3 , 625, 702; vol. V, p. 904; vol. VIII, p. 777» 6 . (1400-14-60) Binchois grew up in the artistic atmosphere of the court at Mons, where he heard the Burgundian minstrels in 141?* Binchois's en­ try into the court of Phillip the Good must have taken place in or before 1450, when he composed the 'Nave Cantum Melodie' in celebration of the birth of Phillip the Good's son on September 30. Prom then on Binchois remains at the court until his death, ranking as fifth, fourth, third, and finally second chaplain. Antoine Busnois. (died 1492) Busnois was enrolled in the Burgundian court chapel in December, 1467. For the next twenty years he is periodically mentioned in the court records, so he obviously remained attached to the chapel under and, after her death in 1482, under Louis XI of Prance, under whose reign the duchy became absorbed. About forty chansons by Busnois in three and four parts are preserved in various libraries. Many of his secular pieces are contained in the Dijon MS. 517 in God. Magliabech. Fifty-nine are at the National Library at Florence and in Rome, MS. Casanatense 0.V.108. Hayne von Ghizeghem. Hayne entered the service of Charles the Bold as a young boy in 1457. Ten years later he appears in the accounts as a singer and valet de cham­ bre , and the last reference to him is in 1472. Judging from practical references to him he was an accomplished lutenist as well as a singer and . Some of his , particularly the very lovely 'De tous biens pleine' appear in many of the of the late fifteenth century, and they were still well-known during the first thirty years of the sixteenth century. His music is of fine quality and his choice of texts avoids the more stil­ ted cliches of so many contemporary poets. Nineteen of his chansons are known. 7 Nicolas Grenon, Grenon appeared at the court of Phillip the Bold after 1585. Being a clerk at Notre Dame in Paris at the time when his brother Jean died in 1399» he became a canon at Saint Sepulcre in Paris. Due to the excellent reputation of the Paris schools Grenon obtained posts in the most famous chapels. At Cambrai, where he taught grammar, Dufay was a pupil from 14-09 to 14-12, At the court of Burgundy (14-12-14-19) en­ trusted Grenon with the charge of the choirboys in the 's chapel, Grenon's music, a Gloria from the Ordinary of the Mass, four motets, and five chansons, is preserved in manuscript at Trent (87-92), Oxford (Bodl, Can, misc. 215), Modena Bat. 568), Paris (Bibl, Nat. nouv. acq, fr. 6771), and Bal- ogna (Liceo mus, 57). Some of Grenon'S- music must have been composed at a time when Dufay was already a musician of great influence. The chansons have many modern features, some of them re­ sulting from contact with the Italians: accentuated rhy­ thms, harmonic awareness, and tonality stressed by the cantus and tenor, with the contratenor added as a last part to effect a full chord, Pierre de Fontaine, Fontaine was probably a boy sing­ er at Cathedral and became a member of the chapel of Phillip the Bold in 14-04-, He probably stayed with that chapel until 14-20, his name appearing in 14-15, 14-18, and 1419, and then travelled to Rome together with Richard de Bellengues and Nicolas Grenon, In the same year he joined the papal choir, at that time in Florence, then returned in 1428 to Burgundy, where he probably stayed with the chapel of Phillip the Good until 1447. 8 Seven chansons by Fontaine are preserved at Oxford (Bodl, Can. misc. 215), Balogna (Bices Musicale 57), Paris, (Bibl, Nat. nouv. acq. fr, 4579), Escurial V (iii, 24), Parma (City Archives), and (Bibl, Royale 9085), Jhey are published in the works of Marix, Wolf, and Aubry, Richard de Bellengues, (1580-1470) Bellengues was probably a boy chorister at Toul Cathedral. From 1415 on he was a member of the chapel of John the Fearless. When Phillip the Good succeeded his father as duke he took over Bellengues, who together with other singers in Phillip's service travelled to Rome in 1420 to join the Papal Choir, Bellengues stayed there until 1426, except for some temp­ orary interruptions. In that year he probably returned to Burgundy, At any rate he appeared in the lists of Phil­ lip the Good's musicians in 1450, along with Binchois and Fontaine, and was on his payroll from 1454 until 1464, A chanson by Bellengues is preserved at Oxford (Bodl. Can, misc. 512). Jacques Vide, Vide's name first appears as that of a holder of a prebend at in 1410; in 1425 he en­ tered the service of Phillip the Good as , became secretary in 1428, and is last mentioned in the ac­ counts for 1455. Vide was never among the singers of Phillip's chapel, but seems to have been in charge of the choirboys. His eight chansons were all printed, Robert Morton, died 1475) Morton, an English com­ poser, was first heard of in 1457 when he was paid seven­ ty-two livres on entering the chapel of Phillip the Good as a singer. Foe some time he seems to have been attached to the service of Phillip's son, the Count of Charolais, In 1470 he was promoted to the position of chaplain to Charles the Bold, His contemporaries, Molinet and de la Chesnaye mention him in their poetic lists of eminent com­ posers. His chansons appear frequently in late fifteenth century chansonniers. CHAPTER III

AN AP\TYSIS OP THE STYLE OF THE BURGUNDIAN CHANSON

The information concerning the general analysis of the chanson in this chapter is cited from G3s ason,^^ and contains discussions of various musical characteristics, such as modality, voice ranges, rhythms, cadences, and treatment of texts. Also included in this chapter are suggestions for the performance of the music in both an authentic and a modern vein. The remainder of the chap­ ter will be devoted to examples of chansons and will in­ clude an analysis of each individual composition.

General Characteristics

Modality. The dorian, ionian, mixolydian and aeol- ian modes are most frequently used. The principal mel­ odic line is in the upper voice (discantus or superious) with flowing diatonic movement; melodies are often orn­ amented triads with the third being the orincipal inter­ val. The tenor and contratenor are often disjunct, and their note values are usually longer than those in the upper voice. Parts frequently cross. Range of Voices. Before 1450 the range of the voice was usually within an octave, but in the high register of the male voice. The tenor part makes a good foil to the upper voice and acts as a bass line. The contratenor rarely functions with either the tenor or the upper voice alone; it was possibly added to complete the other two parts harmonically. After 1450, in four part writing, the contratenor was divided into contratenor altus (high)

^^Gleason, 0£. cit., pp. 84-5. 10 and contratenor bassus (low). Pour normal parts of mixed chorus then appeared. Voice parts gradually became more homogenous, duple time signatures became more frequent, and imitation became increasingly important. Rhythm. The rhythms are strong with some syncopation used, but the rhythmic complexity of the earlier chansons is much simpler than those written after 14$0. Cadences, An ornamental VII 6 - 1 with a "Landini sixth" (also called the Burgundian cadence) is very com­ mon, This cadence has two leading tones; one to the fifth and the other to the octave. The V - I cadence is also common, with parts crossing to avoid parallel fifths. Many other types of cadences are used, some of which are ex­ perimental. Consonance and Dissonance. The fifth, octave, and uni­ son occur on important beats with triads occurring very rarely at the beginning and end. The third is very common in the middle sections and is often used in such cadences. Non-harmonic devices include accented and unaccented pas­ sing tones, cambists, figures, anticipations, suspensions, and neighboring tones (usually the upper neighbor). Use of Textual Material. Musical settings correspond to che sentiment of the poem as a whole, but within a nar­ row range of emotional expression. The subject generally deals with love, and is of a somewhat melancholy nature.

Authentic formance Aids

Accompanied vocal music was standard practice during the fifteenth century. Paintings, drawings, and sculptures of the period show singers together with instrumentalists, A varying number of voices was set with the same text; there­ fore, the number of singers in the ensemble was flexible. The text is usually in the upper voice, less common in the tenor, and rar* In the contratenor, Textless passages for instruments may occur at the beginning, middle, and end of 11 a chanson. The usual method of performance was with instru­ ments in all three parts with the upper voice and possibly one other part being sung. The chanson might also be played as an instrumental piece. Instruments used at the Burgund­ ian court include the harp, recorder, , , , port­ ative organ, and (trombone). Combinations of dif­ ferent instruments were preferred rather than the use of the same type on all parts. gSRPORMAKGE SUGgSSTIOITS

Use of contrasting tone colors with a variety of combi­ nations is best. The , recorder, oboe, or English horn can be used for the upper voice; the brass for the tenor; and the bassoon, lute, or trombone for contratenor. The vocal style should be impersonal with a steady tone, and the voice should be treated as one of the instruments. Bars in modern notation show note divisions and not accents; the metrical text determines the points of stress. 12 12 Quant J'ay Au Cuer Ballade Antoine Busnois ----- j-- p ------Ou!-- £------4-- U-J ---:y-- 1--- r f

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re. 16 ANALYSIS Quant J'ay Au Cuer.....Busnois

Modality I'he dorian mode is consistent throughout the chanson with the principal melodic line in the upper voice. The two lower voices appear to be more instrumental than vocal, however they could be sung with instrumental doubling. The melody in the upper voice moves stepwise, having few skips. The two lower parts have wider skips and are less melodic, with parts frequently crossing.

Voice Range The range of all three voices is easily within the reach of high school performers. The top note is "F" (top line, treble clef), and the bottom is "D" (third line, bass clef).

Rhythm The rhythm is strong, syncopated, with the text de­ termining the accents.

Cadences Cadences are unisons and octaves, approached by a fifth, a half step below, and a stepsbove.

Harmony The upper voice dominates; the major function of the two lower voices is to complete the harmony. This chan­ son uses triads except at the cadences, which are unisons and octaves.

Performance Suggestions A male trio may do an effective performance of this 17 chanson; however, it is important that the two lower voices be doubled with instruments, The top could be doubled with a light instrument, such as a flute or re­ corder, with good effect. 1 8 Mon Chier Amy 13 Ballade Guillaume Dufay

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/r\ 22 ANALYSIS Mon Chier Amy Dufay

M o d a l i t y The principal melodic line is in the upper voice; the two lower voices can either he sung, played on an instrument, or both. The most often used interval is the third.

Lange of Voices The upper voice ranges from "A" below middle "C" to "C" above middle "G", The two lower voices are within the range of an octave, and frequently cross.

Rhythm The rhythm is not complex, but strong; easy to sing.

Cadences Cadences are usually approached from a whole step above in the top part, from a half step below in the mid­ dle part, and from dominant to tonic in the bottom part (the V -1 cadence).

Harmony The most used harmonic interval is the third, fol­ lowed closely by the fifth, a few fourths can be found. The two major cadences are resolved with octaves, but one internal cadence is plagal, and it consists of a major triad.

Performanee Suggestions Instruments should play a vital role in the perform­ ance of this chanson. The use of three equal voices and three different instruments would probably be ideal. 2 3 Instruments should probably double the two lower voices and alternate on the vocal, instrumental passages in the upper voice. 2 4 Adieu M*amour 14 Roudeau Guillaume Dufay

p., 1 4 , - j g J A -- dieu mia mour, a dieu

-4-4»-'--— - rjr.f::^-e:-r±.,..—. ziëzL:----- 1L4-

A dieu ma mour,a dieu ma

.

. -rji -j j - r i" - ÿ--)-■"

- ma ioy dieu le so las

ioy A dieu le 'i. T rr r. ■it-'-*— f

1 ) j,

que ia vay - r r m y

30 las que ia vay S É

^4%bld. r. 66 25

A dieu ma - le a le mais très - #Ê A dieu ma le a le mais

4/ f - f r:f$! m i

se. Le di re-a die

se. Le di re-a dieu tanttrès 3Z

tant - fort me bles - se

.«fi:,: f t .------

...... J — j e - P .. fort me bles se

E Ê m m . 26

"T" 'iff— \ "V".V""" — t . \ ' ' 'A' ‘ ■p:„j, .:r—

quil me sai 1 ble que mo- rir doy

.. — ,— — ■l.u>:.- l- .. m ...... :----

Quil me sam ble q je mor rlr day -

V- - -. ^ : : - r £ E ^ £ f ” Æ . .yX.,-j— ,i. ;

r~t f • r-'-f—-■ f f ~f f f f— —-... T,:.,... T. "ry — kj-: V..Lzf:zjz—:

-..

r

ï 1 """f ""* "i ' = ----- fl

e.

'■"T' [VJA ( 4 :b -----

e. Ife ----- r - ...... ------: 27 ANALYSIS Adieu r4‘amour Dufay

Modality The melody is in the upper voice; although all three parts are melodic, the upper voice moves more diatonic- ally and is more decorative. The texture is chordal, al­ though the two lower voices are quite melodic. Use of 'partial signature" is practiced; the two upper voices being in a different key than the lower.

Range The voice ranges consist of about an octave in each part with occasional crossed voices.

Rhythm The rhythm is strong; somewhat syncopated, with the text governing the accents. Rhythm is interesting and lively in all three voices instead of just the upper voice, as is often the case. The rhythm is in four, in­ stead of the more common three.

Cadences Common use of the Burgundian cadence is found through­ out this selection; especially at the end of each section, with double leading tones.

Harmony Thirds and open fifths constitute most of the har­ monic structure, with cadences exhibiting perfect fourths. The texture tends toward homophony at the beginning, grad­ ually becoming more contrapuntal toward the end of section "A". Section "B" begins with points of imitation. 28 Performance SuKKestions Although this example would he more effective if an instrument were doubling each part, it could be done without accompaniment. 29 De Plus en Plus 15

Rondeau G illes Binchois

- î - r ------1— \ """, ‘ \ ------rc— :— — ——T— Sp----T----- ^ ------25------j g - T T ? 'u ^ v e rs e s 1 7 plus en plus se re . - Ÿ S ï i i ? f . f ------TTFÇf:': y

■Rv-rjy-r-ÿ ' ' 7"„ ■"■- ' 1 ■1,7 ,, . : a : : __z _ _ : z , ------= W = = j =

. i

nou vel l e , ma

i

#

y . i l . ^ :.:.L.

dou - ce da - me gen te - et bel — ^ ------y . ^ ...... T:':":':,_.:::2Z: :: ,"i.:— ------

k'i::.:-.::' . lu t : : I : ;

15 Ibld, p. 70 30

Â-j—\ ) r i X.—jl

------L --- \—2 ^ ------t -t1-.. . T. ^ ——1=...^

"S'n ~z.~"z. ■.'.: ' , _q

) r\.' r r r p : fi : T " ^ — p — y ; _ 1% / T ^ V—— 1 —1 ------\... y___

Ma-vo-lan te de vous ve -

.y f..T f _ & = TÆ."— "T- .. ... ' - _ . ------

-- >" ;P— t— ^ ^ — n— ■ ■)..) .y ) „.-è-zr. ir, ( vei ses 2,8)Ce ma fait l€ ( vei se 6) très

"A4— ^ ------pa------= ------f ... f.. ti' — :---- Ui_:--- LlJc. ^ .L r —f - ....

------i------k.------c_ 51

grant - de sir. Quay jay devoustftf f ou

ir nou vel

b

le. 3 2 ANALYSIS De Plu en Plu Binchois

(verses not included in proceeding example)

Verse Three

Ne qui des pas-que je re cel-le Corn me-a tou jours vous es te cell-le Que je vueil-le tout ob-e-rir.

Verse Pive

He las se vous m'es tes cru-el-le J'au roi'e au cuer an Quipi-sse tel-le Que ja vou droi e bien mo-rir.

Verse Six

Mais ce se-roit sans des-ser vir Bn sous-te-nant vos-tre que rel-le.

Modality The melodic movement is confined to the upper voice during verses 1,3,4,5, and 7, or the first section. In the second section (verses 2,6,8) the melody is more even­ ly distributed among the three voices, giving the chan­ son a contrapuntal texture. The upper voice is consistent­ ly diatonic, containing few leaps of over a third, while the two lower voices contain frequent wide skips in the first section with fewer in the second. Crossed voices occur often among all three voices. 33 Range All three parts are contained within the range of two octaves, from "G" helow middle "G" to two octaves above, putting this chanson within easy range of almost any adult, male voice. Sopranos would probably have trouble with the range.

Rhythm Textual rhythm dominates the music, with runs oc­ curring on a single vowell sound, sometimes as long as two measures. In the first section the duration of notes are longer in the two lower voices than in the upper; in the second section all three voices are more closely re­ lated rhythmically to each other.

Gadences Use of the Burgundian cadence is applied through­ out the entire chanson.

Harmony The beginning of the music seems to consist of a melody in the upper voice with two lower voices added merely to supply a triad. As the music progresses, however, the lower voices become melodically more im­ portant. The harmonic structure consists mainly of thirds and fifths.

Performance Suggestions An effective method to perform this number might be to use a soloist during the first section and a trio for the second, For the accompaniment a flute doubling the up­ per voice is suggested. For the middle a cello, playing the first section alone and doubling the vocalist during the second section, is recommended. A trombone on the third voice serving the same function as the cello would probably be effective. 34 Files A Marier16

Chanson Gilles Binchois ' T - j r : .

Fi les a ma re er,ne vous ma ri ez

------— (» ."'"f" ~W ' f ' r" _ ____ :__ZJ - f ----- 4 - f — î— { - Fi las a m& ri

______JO. . ..:f'' f — " J -J-4--- :------

..r f ■ ,.f f” ~ f — f— '— '— f— ------—- y.:: : 4 [ J i i1.LL U \ =d r ' — ~ - = = i

> i y , - g n : n--n:-Tï.:i

ja ne vous ma ri ez ja,ne vous ma ri ez .1...... — ^--- 4j3. . ,#.A ■■!*. ■ r., J, ------1---- l U W .

er,ne vous ma gi ja ne vous ma ri ez

.-.. --fj- ... &.. . ' . ... JL, 4 ----- ^ —

\ î ...1 — 4 " 4

16 Ibtd. p,68 55

ja,ne vous ma ri ez Car se ja- lou - sie-

ne vous ma ri

......

a ja-lou-sie “ a ja

"T • •— 1— 1— , y .. — y---- _Jÿ------i_i=L-- 1------— ■}. -J— l ----- 1---- X r A .. T

Car se ja-lou-si »-a ja-lou-sie-a

- :.....: % _ ...... L

-Prt-4---- — z--- —- 1_JBL____ L -"-M 3 6

,— :— r— t— ir— t------T— -- -

mslis ne vous ne lui ja mais,ja mais ne vous ne

(* r * r f- s _ ---- y ------ÿ-- A ---— i— :— éz:^— i_z- t " ■? '' --- *- "'* " "— ■"— _X^!—

L - mais ne vou 3 lul.ja mg&ugea, js lui,______S“ ---- •H k.. i . 0=..=:==.=:=== -ftt— -r--- jp-— P---

------

,4— , — T------—— -P ------)---- # ...... <.. ■ .■■■■--

lui au cuer joy e n'a ra

~x'~"r— \— Vi' —

cuer joy e n'a ra au cuer joy e n'a

^ ...... -J------:------14—:

«— fSf-t------BTl - -- . . _étl------f-- 37

■ j-'— r —

joy e n*a ra, au

JÙ---- i---- s------j^I^a------—X ------—-

ra joy e n'a ra

^ = — = -J---- —------

- — i b = = = = ^ = d

# .' -i— ^ ----

cuer- joy a na ra,

j .~1 • T 1 M — -p— f— f.y---f = - ' " 'P' T------^ #_____dL-j__ A. " f— y _ J

au cuer joy e n’s ra, au cuer joy e n’a ra. g g g l * : . - .r — ■— V ---- f--- -Jt------— u : J L ---- .. L___ A.. ' _ J ..

- ■ÊB#e:iîr-: ) 8 ANALYSIS Files A Marier Binchois

(English translation of French text)

Girls, don't marry I For if jealousy enter in, neither you nor he will ever have joy in your heart.

Modality All parts are melodic, but instruments should ac­ company the two lower voices. All voices move diatonic- ally, with wider skips occurring in the two bottom voices than in the upper two.

Range The range offers no problems. The entire four parts are within the range of two octaves.

Rhythm This chanson is of a light, lively nature, and should be sung at a quick tempo. The overall note values are of shorter duration than most examples found, and the text governs the rhythmic movement. Long runs on a sustained vowell are less common in this example; they are entirely absent in the two upper voices,

Gadences Cadences sre open fifths throughout; the final cadence is prepared by a VII 6,

Harmony Contrapuntal with considerable imitation. Use of thirds and fifths dominate the harmony, with thirds omit­ ted at the cadences. ) 9 Performance Siip;g:estions Sopranos for the two upper parts and tenors for the two lower parts are suggested, with instruments doubling tenor parts. 4 0 Adieu M* amour et ma Maistressel?

Ballade Gilles Binchois

A dieu m'a mour et ma mai strais- se,

dieu mon sou ve

17 Cari Parrish and John P, Ohl, Masterpieces of ilusic Before 1750» New York, W. W. N or t on and Comp any Tnc., pp. I18-9. 4 1

I — ' i ' ~ r" ' V. -T---- >---^---1 t------

rain de - - *sir,

A'. , •- %W ' ^ - : --- ;------— 4------— — f-— ------—

^ .'iA;ru"'— T — "f------— t — . . f = J p : ,Q'I______ei: ,, ------i

^ ' \ - - l - p = ^ — :— — T-- 1— f --- ^

2. %-A- dieu cel le a

4 f ^ H — z—

-f " - “ y j II I ...... L ...... 1 .III . ■ O ' ^

4^...\--- 1--- r------— -----e — — ------, ------]

.....^ — - A ....

qui - veul - ser vir,

L P rs------V— -----y ------¥------4-2 i .. A-

a t.

... i

^ J j ...... i .- W f : —

dieu mon con - fort et 11 - es

» r T ' ".t.

r,...; _ I := f .:'z=" ■ ^ - ...... 1 '

se. 45 ANALYSIS Adieu M'amour et ma Maistresse Binchois

(French text for verses three, six, and five)

3» J'ay grant de sir de prendre adresse Pour quor vous pui se-re-ve-rir.

5. En vo-lan-te de re-ve-nir Pen-sant a vo bel-le jou nes-se.

5. Sou ven-gne vous, bel-le de-es-se De may qui sui-vo sans fail-lir.

(English translation of French Text)

1,4,7. Farewell my love and my dear lady Farewell my sovereign desire.

2,8. Farewell to her whom I would serve Farewell my solace and my heart's joy.

3. Longing shall help me plan in secret How I shall see you yet again.

6. And in the thought of that return Doth think upon your lovely beauty,

5. Do not forget, o lovely Goddess Your slave who serves you without fail. 44- Modality The melody is in the upper voice; the two lower voices serving mainly as accompaniment throughout the entire chanson. The tone is intimate; melancholy. The two lower parts cross often, and the lower part begins and ends above the middle part. The two lower voices differ in key from that of the upper part; an example of partial sig- nature.

Ran^e Range presents no problem; the lowest note in the up­ per voice is "A" below middle "C" and the highest is the octave above middle ”0'*, The two lower voices present no problem in this respect since they were meant to be played rather than sung.

Rhythm The rhythm is very strong. Some syncopation is pres­ ent, but it is not complicated.

Cadences The Burgundian cadence is used freely throughout the chanson at every cadence point.

Harmony No contrapuntal devices are present in this chanson. The harmony is supplied by instrumental accompaniment in the two lower parts, in a chordal style. Major and minor triads and open fifths are predominant, with some dis­ sonances on weak beats. 45 Performance Suggestions A good soloist, tenor or baritone, should perform this chanson. A feeling of melancholy should be present in the interpretation. Instruments are a necessity; even more important than the vocalist. Instrumentation should be carefully selected in order to insure an inter­ esting combination. The instrument playing the upper part can either double the vocal part or alternate with the vocalist, since there are alternating instrumental, vocal sections throughout the entire selection. CHAPTER IV

CHANSON LITERATURE AVAILABLE IN MODERN PRINT

This chapter contains a list of chansons in modern print that are available to anyone wishing to obtain them. Each scource is listed alphabetically according to its author or editor, and annotations have been provided when possible.

I, Abraham, Gerald, (ed,) The in Sound. vol. 3, " and the ", c. 1500- 14 5 0, New York: , 1955» pp. 45-6 .

A. Binchois. "Pilles a Marier", four part, imitat­ ive; equal voice parts; 6/4 time, French text for each part with English translation. B. Dufay. "Pour L'amour de na Douce Amye". three parts, equal melodic emphasis on each part; con­ trapuntal; partial key signature; 3/2 time..

II. Adler, Guido. Denkmaler Per Tonkunst in Osterreich. Jahrg. Xl/l-band 22, Trienter Codices II. Graz, Akademische Druck-U. Verlagsanstalt, 1959, pp. 71-4-7-8,80-2-3-4-3-7, 9 4 .

A. Binchois. "Je Me Recommande", three part; text written for all three parts; 3/2 time signature; upper part melody more decorative and of shorter note values than two lower parts. B. Busnois. "Mon Seul et Sangle Souvenir", three parts; cut time; note values equal in all three parts; all parts share equal vocal emphasis. 4 7 c, Caron. ''Accoueillie M'a la Belle", four part imitation; ail parts equally melodic;; 3/1 time signature; frequent use of hocket. D. Dufay. "Adieu Quitte le Demeurant", three part ; equal emphasis on all voices; contrapuntal; 3/1 time signature. E. Dufay. "Belle que Vous'.' three part; 3/1 time signature; alternating instrumental-vocal pas­ sages; partial key signature; all voices receive equal melodic emphasis. E. Dufay. "Bien Doy Servir", three part; 3/1 time signature; short vocal passages with long instru­ mental sections, G. Dufay. "Ci Languis en Piteux Martire". three part; 3/1 time signature; upper voice more mel­ odic than lower two; alternating vocal-instru­ mental passages. H. Dufay. "Donnez L'Assault", three part imitation; partial signature; all parts of equal melodic em­ phasis; 3/1 time signature; dependent upon in­ strumental accompaniment, I. Dufay. "Franc Oueur Gentilx". 3/1 time sig­ nature; partial key signature; upper voice mel­ odic, two lower voices instrumental; instrument doubles upper voice. J . Dufay. "Je N'ai Doubte". three part; 5/1 time signature; upper voice more melodic, decorative than lower two; alternating vocal-instrumental passages. K. Dufay. "Le Jour S'endort'.' three part; 3/1 time signature; partial key signature; five verses of text, written for all three voices; all three voices singable; longer note durations in two lower voices than in upper. 4 8 Ij. Dufay. "Mon Bien M'amour", partial key signature; 5/1 time signature; three part, two upper voices more decorative than lower voice; contrapuntal tex­ ture. M. Dufay. "Bisque Celle", partial key signature; 5/1 time signature; text written for all voices; dependent upon instrumental accompaniment, N, Vide, "«^ilui Son Oueur Met a Dame Trop Amour", 5/1 time signature; partial key signature; vocal passages alternate in different voices with in­ struments on other two parts; top voice more dec­ orative and melodic than the other two,

III, Blume, Prederich (ed,). Das Chorwerk, Wolfenbutel: Hoseler Verlag, Heft 19,

Guillaume Dufay

A, "Je Languis en Piteus Martire", pp. 14-15, three part; partial key signature; melody in upper voice; triple meter; instrumental interludes alternating with text; frequent use of Burgundian cadence; French text with German translation, B, "Bon Jour, Bon Mois", pp. 16-17, three part; contrapuntal texture, with upper and lower voices vocal, middle voice instrumental; triple meter; use of Burgundian cadence; instrumental interludes oc­ curring before cadences; French text with German translation, G,. "Craindre Vous Vueil", p, 18, three part; melody in the upper voice; two lower voices instrumental; instrumental interlude at the final cadence; French text with German translation; triple meter; Bur­ gundian cadences. 4 9 D. "Franc Cueur Gentil", p. 19. three part, imitative; upper and lower voices more melodic than middle; partial key signature; Burgundian cadences; triple meter; instrumental section in last five bars; French text with German translation. E. "Malheureux Cueur". pp. 20-22. three part ; upper voice more melodic than two lower voices; a sec­ tion of triple meter followed by a section of duple meter; Burgundian cadences; five verses of text with a five bar instrumental conclusion; French text with German translation. F. "Adieu M'amour, Adieu Ma Joie", pp.22-25. three part; alternating duple-triple meter passages; top and bottom parts more melodic than middle; partial key signature; Burgundian cadences; French text with German translation. G. "Je Ne Vis Oncques La Pareille", pp. 24-25. three part; triple meter; lower part less florid than two upper parts; top part decorative with florid passages on a sustained vowell; Burgundian cadences; French text with German translation. H. "Vostre Bruit", pp. 26-27. three part ; imitation between top and bottom voices, middle voice in­ strumental; instrumental interludes alternate with vocal passages in top and bottom parts; duple meter with Burgundian cadences; French text with German translation.

IV. Davison, Archibald T. and Willi Apel. Historical Anthology of Music. Cambridge, Mass., Harvard University Press, 1946, pp. 65-72. 50 A. Dufay. "Mon Ghier Amy", three part; triple meter; upper voice more decorative than lower two; no text written for bottom voice; alter­ nating vocal-instrumental passages. B. Dufay., "Adieu M'amour", duple time signature; three parts; contrapuntal texture with all parts having decorative characteristics, C. Binchois. "DE Plus en Plus", three voices; triple meter; all voices melodic with top voice being more decorative than other two; eight verses of text. D. Binchois. "Filles a Marier", four parts, each part melodic; instrumental doubling of each voice effective, but not necessary; 5/4- time signature,

V, Mason, Daniel Gregory (ed.). The Art of Music. New York: The National Society of Music, 1916, pp. 16-19.

A. Binchois. "De Plus en Plus se Renouvelle", three part; 5/1 time àgnature; melody in upper voice with instrumental accompaniment in lower two, B. Dufay, "He Compaignons Resvelous Nous", triple meter; four parts; strong melody in upper voice, weaker in middle two, instrumental accompaniment in bottom, alternating vocal-instrumental pas­ sages throughout, 0, Dufay. "Ge Jour L'an". lively tempo; 6/4 time signature; imitative; three voices, each of equal importance; five bar instrumental introduction, five bar concluding passage. 51 VI*. Parrish, Carl, and John P. OhI. Masterpieces of Music Before 1750, New York: W.W. Norton and Company Inc., pp. 48-9.

A, Binchois. "Adieu M ’amour en Ma Maistresse". triple meter; three parts, top part written for voice, lower two for instruments; alter­ nating vocal-instrumental passages in upper part; French text with interlinear English translation.

VII. Sobering, Arnold. Geschichte Per Musik in Beispielen, Leipzig: Breitkopf and Hartel, 1951, pp. 55-6.

A. Dufay. "Le Jour S'endort". 3/4 time signature; partial key signature; vocal line in upper voice with instrumental accompaniment in lower two ; aab form; two verses of text in a, one in b. B. Binchois. "De Plus en Plus se Renouvelle", three part; triple meter; top part written to be sung, two lower parts meant for accompaniment. 52 A LIST OF COMPOSITIONS INCLUDED IN THE MELLON THAT ARE AVAILABLE IN MODERN PRINT^®

Polio No. Title Composer Printer* lv-2 1 Bel Accueil Busnois T.C. 3v-4 5 Accueillez Mai la Belle Caron DTOe 5v-6v. 5 A Une Dame J'ai Fait Veu Busnois G.O.. 17v-18v 14 Jaqueline Se Attende Busnois K.O. 19V-20 15 Pour Entretenir Busnois G.S. 20V-22 15 Quand ce Viendra Busnois > T.C. 22V-25 17 Vostre Bruit Dufay DTOe 29V-50 24 IT'aray je Jamais Morton K.C. 52V-35 27 Comme Femme Desconfortee Binchois T.C. 56V-38 29 Joye me Fuit Busnois T'C, 42V-43 32 De Tous Bien Plaine Ghizeghem T.C. 51V-52 39 Au Povre Par Nedessite Busnois G.S. 55V-56 42 A Vous Sans Autre Busnois T.C. 71V-75 50 Donnes L'assault Dufay DTOe

Index Of Abbreviations

DTOe...... Denkmaler der Tonkunst in Osterreich G.O...... Gambosi, Otto J* , 1925 G.S,...... Glogau Book, published in Aeichsdenkmale, volumes IV, VIII, K.G...... Per Kopenhagener Chansonnier. K. Jeppesori, ed., 1927. T.C...... Droz, Eugenie, and Genevieve Thi­ bault, Trois Chansonniers Français du XVe ^lêcTe'," ------

18 Manfred Bukofzer, "An Unknown Chansonnier of the ". The Musical Quarterly, Jan. 1942, vol. XXVIII, no. 1, pp. 17-18: CONCLUSION

This study is an attempt to provide historical and stylistic information concerning the Burgundian chanson and its composers, and to supply examples of this form of music for performance purposes. The Burgundian chan­ son was selected as a subject for study because the wri­ ter feels that it could be useful as high school vocal ensemble material. It is also an attempt to support the contention made in the introduction by the writer that this music could, with justification, receive more attention by performers than it currently does. There are many interesting char­ acteristics, both musical and historical, to be found in these chansons, and performing them could provide worth­ while educational experiences for students of music. The understanding of the musical, historical, and aesthetic characteristics of the chanson that has been gained by the writer has made this undertaking a very worthwhile experience. If any other school choral dir­ ector happens to benefit because of his contact with this study it will add to its significance. BIBLIOGRAPHY BIBLIOGRAPHY

A. BOOKS

Abraham, Gerald (ed,). The History oY Musio in Sound, vol. Ill, "Ars Nova and the RenaTssande"• WiwTork: Oxford University Press, 1955» Adler, Guido, Denkmaler Der Tonkunst in Osterreich, Jarg, XI/1^, ^Bahd 22, Trienter Co^ees ÏÏ . Graz ; Akademische Druek U, Verlagsansalt, 1959. Bukofzer, Manfred, Studies in Medieval and . New York: Norton, 1950. Das Chorwerk, Herausgegeben von Priederich Blume, Wolfenbutel: Moseler Verlag, Heft 19. Davison, Archibald T. and Willi Apel, Historical Anthology of Music, Cambridge, Mass.; Harvard tfniver’sity Press,

Gleason, Harold, Music Literature Outlines, Series One, Rochester New York: 'Levies Music Stores, 19^4, Grout, Donald J, A History of Western Music, New York: Norton, I960.” Grove * s Dictionary of Music and Musicians, (fifth ed.) 'Eric Blo»,ed, ,"1Tew York: £>t, Martin’s Press, inc., 1959. Haar, James, ed. Chanson and 1480-1530, Cambridge, Mass, ffarvard University Press,1951• Reyer, Anna Harriet, Historical Sets, Collected Editions, and Monuments of Music ; A Guide to Their Content's, Chicago: American Library AssbciaWioh, 195?. Jacobs, Arthur. Choral Music. Baltimore: Penguin Books, 1965. ^ A New Dictionary of Music, Chicago: Aldine

Lang, Paul H, Music in Western Civilization, New York; Norton, 194Ï, Mason, Daniel Gregory (ed,). The Art of Music, Vol. 15, "Music Examples Book One"l l?ew York: The National Society of Music, 1916, 56 The New Oxford History Of Music, (second edition) London; Oxford University Press, Parrish, Carl, and John F, Ohl, Masterpieces of Music Before 1750. New York:* V/.W, Norton and Company,Inc. Prunieres, Henry. A New History of Music. Middle A^es to Mozart. New York': MacMillan, 1 ^ ? 3 7 * Heese, Gustave, Music in the . New York : Norton, 194-0. . Music in the Renaissance, New York : Norton, -— ------Smijers, Prof. Dr. A. (ed.) Van Ockeghem Tot Sweelinck. Amsterdam: Zesde Aflevering, vol. VI, 1951* Spiess, Lincoln B, Historical Musicology, A Reference Manual-For Research in Music. Brooklyn, Institute of Mediaeval' Music, T 0 6 3 1

B. PERIODICALS

Manfred Bukofzer. "An Unknown Chansonnier of the 15th Century". The Musical Quarterly. Jan. 194-2, vol. XXVIII, no. 1, p p . iy-18%