Burgundian Court Song in the Time of Binchois: The Anonymous Chansons of El Escorial, MS V.III.24
The Court of the Dukes of Burgundy saw the greatest flowering of the chanson during the first half of the fifteenth century. While maintaining medieval forms and functions, the chanson of this period acquired an eloquence and creative scope which are manifest in the works of the leadingcomposers, resulting in a genre which the author describes as the musical voice of Burgundian melancholy. Professor Kemp considers in this book the polyphonic chanson within the literary, aesthetic, and social context of court culture during the reign of Philip the Good. He explores its role in creating the atmosphere and sustaining the fantasy of that pseudo-courtoisie which coloured Philip'schivalric humanism. The author's particular study is of the anonymous songs collected in the manuscript Escorial, Biblioteca del monasterio MS V.III.24. Through analysis of the cadences, melodies, mensuration, textures, and rhythmic figures, he has been able to establish stylistic criteria for the ascription of thesesongs to the masters of the period, Dufay and Binchois. Over a dozen chansons are added to the catalogue of Binchois' acknowledged works, and the book is a significant contribution to the appreciation of his repertoire and style.
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Adieu amoureux amours anon anonymous pieces anonymous rondeaux ballade Bel Acueil Besseler Bien viengnant Binchois Binchois's Bon jour bonne Burgundian Burgundian chanson Burgundian court cadential Cantus century Chansonnier chansons Charles d’Orléans chivalric humanism Christine de Pisan CMMI composers Contratenor Court of Burgundy courtly cuer dame Dangier Deschamps discant dissonance Ducs de Bourgogne Dueil angoisseus Dufay Dufay's Duke Dunstable EscA EscA 34 EscB Escorial Escorial collection Escorial MS V.III.24 Fauxbourdon fifteenth-century final cadence fleur de valeur France French Group Guillaume de Lorris Histoire Huizinga ibid idiom imitation John the Fearless joye L’onneur lady leading-tone Liesse literary Loez soit Dieu Love lyric manuscript Margaret Marix medieval melody mensuration Middle Ages minstrels Music musicians pattern Philip the Bold phrase poet poille castaingnes polyphony Rehm Renaissance Renaissance Music repertoire rondeaux Scribe secular siècle Soyés loyal style Tenor textless texture tradition trans triadic Valois Vaughan voices Walter Frye