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Masterarbeit / Master's Thesis MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis „Die Stimme der Frau in der Chanson des 15. Jahrhunderts“ verfasst von / submitted by Johanna Kohler, BA angestrebter akademischer Grad / in partial fulfillment of the requirements for the degree of Master of Arts (MA) Wien/ Vienna, 2016 Studienkennzahl lt. Studienblatt / A 066 836 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Musikwissenschaft degree programme as it appears on the student record sheet: Betreut von / Supervisor: PD Dr. Wolfgang Fuhrmann Danksagung Ein großes Dankeschön gilt dem Betreuer dieser Arbeit für alle Ratschläge und Gespräche, welche die Arbeit mit ermöglicht und unterstützt haben. Ein weiteres großes Dankeschön an Herrn Dr. Vincenzo Borghetti, der mir netterweise seinen noch unpublizierten Vortrag, „Trauer, Hoffnung der Frauen: Tod, Macht und Margarete von Österreichs Chansonnier Brüssel, BR 228“ für die Recherchen zu dieser Arbeit zur Verfügung gestellt hat. Danke auch an alle Personen, die mir während des Arbeitsprozesses zur Seite gestanden haben. Inhaltsverzeichnis 1. Einleitung……………………………………………………………………………….. 1 2. Der Diskurs der Geschlechter im 15. Jahrhundert…………………………..……… 6 2.1. Stilisierung der Liebe…………………………………………………………………… 9 2.2. Die „weibliche Stimme“ in poetischen Äußerungen des Spätmittelalters…………….. 14 2.2.1. Die Trobairitz…………………………………………………………………… 14 2.2.2. Christine de Pizan (1365–1429)………………………………………………… 19 2.2.3. Margarete von Österreich (1480–1530)………………………………………… 24 3. Die Chanson im 15. Jahrhundert ……………………………………………………... 31 3.1. Musikalisch-poetische Formen innerhalb der Gattung Chanson………………………. 33 3.2. Komponisten-Generationen und Veränderungen des Chanson-Stils………………….. 35 3.3. Die Texte der Chansons und deren Topoi ……………………………………………… 40 3.4. Die Quellen……………………………………………………………………………… 41 4. Analysen………………………………………………………………………………… 45 4.1. Definitionen zentraler Begriffe für die Analysen………………………………………. 45 4.1.1. Klauseln und Kadenzen…………………………………………………………. 45 4.1.2. Die Modi………………………………………………………………………... 48 4.2. Ausgewählte Beispiele …………………………………………………………………. 51 4.2.1. Gilles Binchois, “Comme femme desconfortée”………………………………... 51 4.2.1.1. Anonym, “Comme ung homme desconforté”…………………………... 64 4.2.2. Johannes Ockeghem, „Fors seulement l’actente que je meure”………………... 72 4.2.3. Antoine Busnoys, „Joie me fuit”………………………………………………... 85 4.2.4. Johannes Ockeghem, „Je n‘ay dueil que je ne suis morte“…………………….. 98 5. Conclusio………………………………………………………………………………. 112 I 6. Anhang………………………………………………………………………………….120 6.1. Zur Analyse herangezogene Noteneditionen…………………………………………..120 6.2. Tabelle 2: Die Chansons mit weiblichem lyrischen Ich aus dem Katalog von David Fallows ………………………………………………………………………………….129 6.3. Quellenverzeichnis……………………………………………………………………...133 6.4. Abstract…………………………………………………………………………………140 II Abbildungsverzeichnis Abbildung 1: Schema zur Unterscheidung der Modi: Finalis (ganze Note), Repercussa (rhombische Note), Ambitus der Modi (aus: Meier, Bernhard: Die Tonarten der klassischen Vokalpolyphonie, Utrecht: Oosthoek, Scheltema&Holkema 1974, S.30) Abbildung 2: Die Wertigkeit der Kadenzen (hier: 1. bis 8. Modus) (Ceulemans, Anne- Emmanuelle: „Die Modi in der Musik der Renaissance“, in: Michele Calella, Lothar Schmidt (Hrsg.), Komponieren in der Renaissance. Lehre und Praxis, Laaber: Laaber-Verlag 2013, S.126 (Handbuch der Musik der Renaissance, hrsgg. von Andrea Lindmayr-Brandl, Elisabeth Schmierer, Joshua Rifkin Bd.2), S.181). Notenbeispielverzeichnis Notenbeispiel 1: „Comme femme desconfortée“, Beginn (Takt 1–3) (aus: Thibault G., Fallows, David: Chansonnier de Jean de Montchenu (Bibliothèque nationale, Rothschild 2973 [I.5.13]), Paris: Publications de la Société Francaisede Musicologie 1991, S.58.) Notenbeispiel 2: „Comme ung homme desconforté“, Beginn (Takt 1–6) (aus: Thibault G., Fallows, David: Chansonnier de Jean de Montchenu (Bibliothèque nationale, Rothschild 2973 [I.5.13]), Paris: Publications de la Société Francaise de Musicologie 1991, S.28.) Notenbeispiel 3: Anonymes Rondeau, Takt 33 (aus: Thibault G., Fallows, David: Chansonnier de Jean de Montchenu (Bibliothèque nationale, Rothschild 2973 [I.5.13]), Paris: Publications de la Société Francaise de Musicologie 1991, S.29.) Notenbeispiel 4: Rondeau von Binchois, Takt 15 (aus: Thibault G., Fallows, David: Chansonnier de Jean de Montchenu (Bibliothèque nationale, Rothschild 2973 [I.5.13]), Paris: Publications de la Société Francaise de Musicologie 1991, S.58.) Notenbeispiel 5: „Comme ung homme desconforté”, Takt 30–32 (aus: Thibault G., Fallows, David: Chansonnier de Jean de Montchenu (Bibliothèque nationale, Rothschild 2973 [I.5.13]), Paris: Publications de la Société Francaise de Musicologie 1991, S.28.) Notenbeispiel 6: „Comme femme desconfortée“, Takt 25 (aus: Thibault G., Fallows, David: Chansonnier de Jean de Montchenu (Bibliothèque nationale, Rothschild 2973 [I.5.13]), Paris: Publications de la Société Francaise de Musicologie 1991, S.59.) Notenbeispiel 7: Die letzten 4 Takte der letzten Phrase von „Comme femme desconfortée“ , Takt 28–31 (aus: Thibault G., Fallows, David: Chansonnier de Jean de Montchenu (Bibliothèque nationale, Rothschild 2973 [I.5.13]), Paris: Publications de la Société Francaise de Musicologie 1991, S.59.) III Notenbeispiel 8: Die letzten 8 Takte der letzten Phrase von „Comme ung homme desconforté“, Takt 49–56 (aus: Thibault G., Fallows, David: Chansonnier de Jean de Montchenu (Bibliothèque nationale, Rothschild 2973 [I.5.13]), Paris: Publications de la Société Francaise de Musicologie 1991, S.29.) Tabellenverzeichnis Tabelle 1: Übersicht über die 12 Modi nach Heinrich Glarean (angelehnt an: Ceulemans, Anne-Emmanuelle: „Die Modi in der Musik der Renaissance“, in: Calella, Michele, Schmidt, Lothar (Hrsg.), Komponieren in der Renaissance. Lehre und Praxis, Laaber: Laaber-Verlag 2013 (Handbuch der Musik der Renaissance.2), S.126. Tabelle 2: Die Chansons mit weiblichem lyrischen Ich aus dem Katalog von David Fallows (angelehnt an: Fallows, David: A Catalogue of Polyphonic Songs 1415–1480, Oxford: Oxford University Press 1999.) IV 1. Einleitung Das 15. Jahrhundert konnte bereits auf eine lange Diskurstradition über die Geschlechterrollen- bzw. Identitäten von Frau und Mann, sowohl in der geistlichen bzw. kirchlichen, als auch in der weltlichen Literatur zurückblicken (z.B. in Erziehungsschriften, in der Deutung und Interpretation von Bibelpassagen etc.). Konkrete Vorstellungen, einerseits über die Beziehung bzw. die Umgangsformen zwischen Mann und Frau, über männliche und weibliche Verhaltensweisen sowie die damit verbundenen Geschlechterrollen wurden insbesondere auch im Bereich der Lyrik vermittelt: Beispielsweise hatte die Stilisierung der Liebe zwischen der noblen Dame und ihrem scheinbar unterworfenen Verehrer in der Tradition der Minne bzw. der höfischen Liebe in den Dichtungen der Troubadour und Trouvères ihren Ursprung und bereits einen ersten Höhepunkt. Der Diskurs der Geschlechter, sei es auf literarischer Ebene oder im alltäglichen Leben selbst, hatte in jedem Fall auch Auswirkungen auf die Identität eines männlichen oder weiblichen lyrischen Ichs, sprich, er wirkte sich auf die „Stimme“ des jeweiligen lyrischen Ichs aus. In diesem Zusammenhang spielt für den Inhalt der vorliegenden Arbeit insbesondere jener Umstand eine wichtige Rolle, dass der Topos des „Verlassen werdens“ in der europäischen Dichtkunst bereits seit der Antike ein „weibliches Genre“ gewesen ist. Das literarische Sujet der „verlassenen Frau“ stellte bereits das zentrale Thema in Ovids „Heroides“ bzw. „Epistulae Heroidum“ dar, einer Sammlung von Briefen verlassener bzw. im Stich gelassener Frauen: „Through the heroines of mythology Ovid encompasses a vast case history of sorrowful situations which have abandoned women as their protagonists – for various reasons and with various outcomes. His heroines weep alone as they wait for death (Arianna), they opt for suicide (Phyllis, Dido), they wish misfortune on their faithless lover (Hypsipyle), they are bent on horrific revenge (Medea) and so on.”1 Dabei, so Vincenzo Borghetti, kehren bestimmte Themen im Großteil der Briefe besonders häufig wieder, und zwar insbesondere die Einsamkeit der verlassenen Frau, die Anklage des männlichen Treuebruchs sowie die Unfähigkeit, eine Begründung für diesen Bruch zu finden, wobei die Frau diesen nicht als Folge des Verhaltens ihrerseits betrachtet, sondern diesen als unerklärlich empfindet und der Schuldige dafür ganz allein der Mann ist.2 Borghetti zieht in seinem Aufsatz “Fors seulement l’actente que je meure: Ockeghem’s Rondeau and the gendered rhetoric of grief”, davon ausgehend eine Parallele zum Text-Inhalt und der Diktion 1 Borghetti, Vincenzo: “Fors seulement l‟actente que je meure: Ockeghem‟s Rondeau and the gendered rhetoric of grief”, in: Early Music History 31/1 (2012), S.57. 2 Ebda. S.57–58. 1 des weiblichen lyrischen Ichs im Rondeau „Fors seulement l’actente que je meure“ von Johannes Ockeghem aus dem 15. Jahrhundert, einem Text, in dem ebenfalls eine verlassene Frau ihr Leid beklagt und den Tod als die letzte Hoffnung auf die Befreiung aus ihrem Leid betrachtet. Dieses im 15. Jahrhundert äußerst populäre Rondeau weist nämlich in Bezug auf gewisse kompositorische Maßnahmen einige Besonderheiten auf: Durch die auffällige Disposition von Superius und Tenor bzw. durch den Umstand, dass diese beiden Stimmen das gesamte Rondeau hindurch überaus eng aneinander liegen und sich außerdem
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