French Ars nova motets and their manuscripts : citational play and material context

The discussion of citation and allusion has become an important area of research in Medieval Studies. The application of postmodern intertextual theories has brought scholars to a deeper understanding of the reuse of borrowed material, shedding new light on a culture of music and literature that was once dismissed as dully repetitive. This thesis builds on this work by examining in depth the manner in which citation and allusion was deployed in the fourteenth-century motet. Motets are a particularly fertile ground for discussion of the reuse of material, drawing as they do on a range of citational techniques such as borrowed liturgical tenors, modelling of rhyme schemes on existing works, and quotation of refrains and authorities. The polyphonic and polytextual nature of the motet enabled composers to juxtapose different registers, languages and genres, and thus to create an array of competing possible interpretations. This study is situated against several strands of recent scholarship. It draws on critical theory, as well as discussions of refrain definition, memory, manuscript compilation, and notions of voice, authority and authorship. Each chapter examines a particular body of work: the interpolated Roman de Fauvel, the works of Guillaume de Machaut, the motets of the Ivrea and Chantilly manuscripts, and finally those of Manuscript Torino J.II.9. In each case, looking at the use of citation and allusion connects to other concerns. In the Roman de Fauvel, citation in the motets can be seen as functioning alongside use of the vernacular, manuscript layout and illuminations to elucidate the narrative. In the works of Guillaume de Machaut citation is linked to his ambiguous self-presentation and authorial presence, and connects individual pieces in his complete works’ manuscripts. The Ivrea and Chantilly motets, while not linked by the same strength of context, demonstrate continuing use of thirteenth-century tradition. In this case, studying compilation choices may help us to understand how scribes interpreted citational material. Finally, I argue that understanding the internal use of symmetry in MS J.II.9 and its motets, and the reuse of material between the motets and the chansons of that repertory, vindicates the view that the music and poetry was composed by a single author well versed in mainstream tradition. I have been able to propose some previously unnoted allusions in the major works, and draw out the benefits of a holistic approach to understanding these motet and manuscripts. All this points to motets both continuing the writing traditions of the thirteenth century throughout the fourteenth and early fifteenth centuries, but also shows individual writers and compilers choosing to cite in a creative and innovative manner.EThOS - Electronic Theses Online ServiceArts and Humanities Research CouncilGBUnited Kingdo

Rethinking Ars subtilior : context, language, study and performance

This dissertation attempts to re-contextualise the late fourteenth and early fifteenth century musical phenomenon now referred to as the Ars subtilior, in terms of our modern understanding of it, as well as its relationship to wider late medieval culture. In order to do so I re-examine the processes used to formulate existing retrospective definitions, identify a few compelling reasons why their re-evaluation is needed, and propose an alternative approach towards this goal. My research has led me to analyse the modern preoccupation with this repertoire, both in musicology and performance, and to explore external influences impinging on our attitudes towards it. Having outlined current attitudes and the problems of their crystallisation, I seek to re-contextualise them within medieval culture through a survey of the surviving physical evidence. The resulting observations highlight the difficulties we face when looking at the material. Above all, they point at the problems created by using narrow definitions of this style, whether these are technical, geographic, temporal or intellectual. My observations shed some light on the scale, complexity and relevance of the Ars subtilior phenomenon. The next step is to look at the music itself by analysing the use and function of stylistic features that distinguish the style. As my goal is to conceptualise the style as a whole, and not merely isolate interesting events within it, the variety of stylistic features examined is wider than those traditionally defined as characteristic of Ars subtilior. A series of case-studies examine the validity and usefulness of my conceptualisations, and attempt to couple modern inquiry into technique with an understanding of its place within medieval culture and society. In my conclusion, I attempt to bring the different strands together by proposing a new conceptualisation of the Ars subtilior which takes our understanding of medieval history and thought-patterns as a starting point, and proves useful also in a modern context. My proposal revolves around the concept of ‘exceptionality’ within a culture that seeks legitimacy. I have formulated it to make sense of the apparent appeal of this music to medieval performers, audiences, patrons, composers, compilers and collectors. Status and meaning was created by attracting attention to a work as a whole, or specific locations within its music or text, through the deviation from older or newly created norms. At the heart of my conceptualisation though, are its modern implications. My goal in this work is to transcend the technicalities of the Ars subtilior and supply scholars and performers with the tools to interpret and perform its music expressively, finding meaning in this unique musical phenomenon.EThOS - Electronic Theses Online ServiceUniversity of ExeterGBUnited Kingdo

La musique en Picardie du XIVe au XVIIe siècle

Pendant plusieurs siècles qui vont de l'édification des grandes cathédrales gothiques à la fin du règne d'Henri IV, la Picardie fut le berceau d'une production musicale fascinante. En témoignent des sources musicales incontournables (le graduel 239 de Laon), la lyrique profane des trouvères picards, les 'organa' de l''Ars vetus' ou la polyphonie de la Renaissance. Trois siècles durant, des générations de chantres formés dans des maîtrises picardes allaient devenir des interprètes recherchés et des compositeurs adulés. Ils envahissent les plus prestigieuses institutions musicales européennes, constituant une nation éclatée de musiciens que l'histoire dira " franco-flamands ". Cet ouvrage tente de tracer les conditions de l'émergence de ces générations, en parcourant un vaste territoire aux frontières fluctuantes, en scrutant les rares sources conservées, en visitant les lieux de formation et de pratique, en suivant des destins pour les uns banals, pour les autres brillants