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Pagination: vii + 106 pp.
xx + 99 pages
This long overdue new edition of Guillaume de Machaut's twenty-three motets, the largest surviving collection of such works by a single composer in this period, is based on the most authoritative of the surviving manuscripts and is designed to meet the needs both of advanced scholars and musicians as well as students and performers. This user-friendly format indicates variants on the scores and has a layout that makes each work's structure clearly visible; the lyrics, with full English translation, are presented at the end of each work.
Pagination: xvi + 140 pp.
Known as "La Chièvre de Reims," Robert de Reims was among the earliest trouvères--poet-composers who were contemporaries of the troubadours, but who wrote their works in the northern dialects of France. This critical edition provides new translations into English and Modern French of all the songs and motets attributed to him, along with the original texts, the extant melodies, and a substantive introduction. Active sometime between 1190 and 1220, Robert de Reims was an influential figure in the literary circles of Arras. There are thirteen compositions set to music attributed to him, including nine chansons (songs) and four polyphonic motets that show broad dissemination in the thirteenth century and beyond. Robert's work is exceptional on a number of fronts. His poetry is known for acoustic luxuriance and expertise in rhyming, grounded in the play of echoes and variations. He is the earliest trouvère known to have composed a sotte chanson contre Amours (silly song against Love), and his lyrics feature the first specimens of intensive echo rhyming. Located clearly at the nexus of monophonic song and polyphony, Robert's corpus also poses the intriguing question of trouvère participation in the development of the polyphonic repertory. The case of Robert de Reims jostles and tempers the standard history of the chanson and the motet. Accessible and instructive, this trilingual critical edition of his complete works makes the oeuvre of this innovative and consequential trouvère available in one volume for the first time.
This volume presents a series of important essays on some of the problems involved in attempting to perform music of the late Middle Ages.
This book deals with music from the later sixteenth century, the period on which Ignace Bossuyt, a professor at the Musicology Department of the University of Leuven who retured in 2007 and an internationally recognized leader in the field of later-sixteenth-century music, focused his research. Subjects discussed include newly discovered music by Philippe de Monte and Heinrich Isaac, humor in the motets of Orlando di Lasso, the beginnings of music history, compositional procedures in Renaissance music, and Tinctoris's art of listening. This book offers a wide range of methods including historiography, reception studies, source studies, music analysis, music theory, style studies, and aesthetics of music.
"The book ranges widely over French, English and Italian motets, mostly between the 1310s and the 1420s. About half the chapters are previously unpublished, the remainder revised to varying degrees from previous publications and now organised into Parts devoted to compositional techniques, Fauvel and Vitry, Machaut, the Musician motets, English motets, Italian motets, music for popes and courts. Transcriptions of entire motets complement the musical analyses, many downloadable from the companion website. Chapters vary in their technical demands, allowing readers to select as appropriate. The five Musician motets of Part IV (chs. 15-21) praise over sixty musicians and range over many decades, each playing off its predecessors with citation, allusion and modelling. Motets of this period are individual conceptions, virtuosic creations of multi-layered words and music as tightly constructed as Chinese puzzles. Many chapters are devoted to individual motets, drawing on a multitude of new analytic directions and giving close attention to the detailed fit and juxtapositions of words and music. Verbal texts borrow musical techniques of repetition and recapitulation, words which may then be underlined musically by melodic or rhythmic 'leitmotives'. Alliteration and onomatopoeia abound, and there is a wider range of ingenious word painting than has usually been recognised, including puns on number and structural joins. Segments of chant are often chosen for their musical characteristics (number, symmetries, cadencing opportunities, melodic qualities) as well as their textual suitability to the pre-compositional materia"--