Machaut's Music: New Interpretations
Elizabeth Eva Leach
Boydell & Brewer Ltd, 2003 - Music - 296 pages
Guillaume de Machaut (1300-1377) is regarded as the greatest French poet-composer of the middle ages, as he was during his lifetime. A trained secretary, with a passion for collecting, copying and ordering his own work, the number of surviving notated musical works attributed to him far exceeds that of any of his contemporaries. All the main genres of song - lais, virelais, balades, and rondeaux - together with Machaut's motets, and his famous Mass cycle are considered here from a variety of perspectives. These incorporate the latest scholarly understanding of both Machaut's poetry and music, and the material form they take when notated in the surviving manuscripts. The book thus presents a detailed picture of the current range of interpretative approaches to Machaut's music, focusing variously on counterpoint, musica ficta, text setting, musico-poetic meanings, citation and intertextuality, tonality, and compositional method. Several of Machaut's works are discussed by a pair of contributors, who reach conclusions at times mutually reinforcing or complementary, at times contradictory and mutually exclusive. That Machaut's music thrives on such constructive debate and disagreement is a tribute to his scope as an artist, and his musico-poetic achievement. Contributors: JENNIFER BAIN, MARGARET BENT, CHRISTIAN BERGER, JACQUES BOOGAART, THOMAS BROWN, ALICE V. CLARK, JANE E. FLYNN, JEHOASH HIRSHBERG, KARL KUEGLE, ELIZABETH EVA LEACH, DANIEL LEECH-WILKINSON, ETER M. LEFFERTS, WILLIAM PETER MAHRT, KEVIN N. MOLL, VIRGINIA NEWES, YOLANDA PLUMLEY, OWEN REES, ANNE STONE. ELIZABETH EVA LEACH lectures in music at Royal Holloway, University of London.
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Symmetry and Dissymmetry in the Music of the Lay de Bonne Esperance L1813
Speculum mortis Form and Signification in Machauts Motet He Mors Fine Amour Quare non sum mortuus M3
Observations on Machauts Motet He Mors com tu es haie Fine Amour qui me vint navrer Quare non sum mortuus M3
FlosCelsa and Machauts Motets Emulation and Error?
Texture and Counterpoint in the FourVoice Mass Settings of Machaut and his Contemporaries
The Harmony of the Machaut Mass
Machauts Mass and Sounding Number
Singing More About Singing Less Machauts Pour ce que tous B12
The Intabulation of De toutes flours B31 in the Codex Faenza as Analytical Model1
Machauts Balade Ploures dames B32 in the Light of Real Modality
Balades 32 and 33 and the res dalemangne
Male and Female Voice in Two Virelais of Guillaume de Machaut
The Marriage of Words and Music Musique Naturele and Musique Artificiele in Machauts Sans cuer dolens R4
Rose lis Revisited
Some Observations Regarding MusicoTextual Interrelationships in Late Rondeaux by Machaut
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Agnus anon balade breves bWBl cadence cadential cantus century chansons chant clos Codex composer composition contrapuntal contratenor Corpus Mensurabilis Musicae counterpoint Credo cuer cuer dolens dame Daniel Leech-Wilkinson directed progression discantus dissonance Early Music Earp edited Faenza ficta Figure Flos/Celsa four-voice fourteenth fourteenth-century French Garland Gloria Guillaume de Machaut harmonic hexachord Honte intabulation isorhythmic Kyrie Lefferts Livre dou Voir lover lyric Machaut's balade Machaut's Mass Machaut's Motets Machaut's music manuscript mass settings Medieval Music melisma melody Mensurabilis modal musical setting Musicology Nen fait nen notation octave ouvert paour parallel performance phrase piece pitch Plumley PMFC poem poet poetic poetry polyphonic Reaney refrain relationship rhyme rhythmic rondeaux semibreves sing less song sound stanza Subtilior suggests syllables talea tenor tenor and contratenor texture tonal Tonal Structures tonal type triplum two-voice upper voices virelais vowel words York & London