Dissertations / Theses on the topic 'Guillaume de Machaut'
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Beer, Lewis. "Fortune and desire in Guillaume de Machaut." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/3896/.
Full textBétemps, Isabelle. "L'imaginaire dans l'oeuvre de Guillaume de Machaut /." Paris : H. Champion, 1998. http://catalogue.bnf.fr/ark:/12148/cb36711463v.
Full textMontefu, Jennette Lauren, and res cand@acu edu au. "The Latin Texted Motets of Guillaume de Machaut." Australian Catholic University. School of Arts and Sciences, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp37.29082005.
Full textBétemps, Isabelle. "Imaginaire et savoir dans l'œuvre de Guillaume de Machaut." Paris 4, 1993. http://www.theses.fr/1994PA040021.
Full textThis dissertation is a synchronic literary study of the narratives and lyrical poetry of guillaume de machaut. It aims at giving an account of the poet's imagination connected to different forms of knowledge. This work which falls into three parts : - 'the mirror of the world', 'splinted mirror, splinters of mirror', 'the observatory', offers a route. In the first part we show that machaut expresses the relationship of man to the world by resorting to the sciences of the quadrivium ; with the use of natural metaphores drawn from the different kingdoms - the animal, the vegetable and the mineral. In the second part we notice that the 'mirror of the world', tormented by the ambiguity and the instability of signs, undergoes a crisis and goes to pieces. In the third part we suggest substituting to the 'mirror' 'the observatory' that leads the poet to open his mind to the world so as to observe its phenomena and its motion. Machaut's poetry frees itself from the symbolic codes into a phenomenology
Vlcek, Hannah Paulette. "Manuscript accidentals in the music of Guillaume de Machaut." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/manuscript-accidentals-in-the-music-of-guillaume-de-machaut(18a8d3a9-9094-48e4-b449-f7b4de3a90a9).html.
Full textBullock, Alison Julia. "The musical readings of the Machaut manuscripts." Thesis, University of Southampton, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284572.
Full textWeber, Horst. "Zu Strawinskys Machaut-Rezeption." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38336.
Full textHardy, Sophie. "Edition critique de la Prise d'Alexandrie de Guillaume de Machaut." Phd thesis, Université d'Orléans, 2011. http://tel.archives-ouvertes.fr/tel-00688948.
Full textMaw, David Nicholas. "Words and music in the secular songs of Guillaume de Machaut." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395229.
Full textBasso, Hélène. "La poétique de la répétition chez Guillaume de Machaut : diffraction et réfection." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30026.
Full textRepetitions structure medieval poetry, often called as art of variation. However, their shift of meaning and their relationship to some idea on language should be further analyzed. Therefore, we shall focus on the French lyric poetry of the XIVth century in Guillaume de Machaut's exemplary work. The interpretations on repetitions, lie in stylistic analysis of pieces of the lyric collection, leaving music aside : La Louange des dames which testifies the use of similar techniques in Machaut's narrative stories. Thus, we can say there is a poetic pattern of repetition. We shall study some poetical arts and rhetorical treatrises in order to know whether the repetitions are directly linked to Machaut or else whether rooted in cultural facts. The established doctrine shall be enlightened by the study of Machaut's recognized
Maxwell, Sheila Kate. "Guillaume de Machaut and the mise en page of medieval French sung verse." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/764/.
Full textMaekawa, Kumiko. "Recherches iconographiques sur les manuscrits de Guillaume de Machaut : les décorations des premiers recueils personnels." Paris 4, 1985. http://www.theses.fr/1985PA040015.
Full textLechat, Didier. "Fictions du je et traditions littéraires chez Guillaume de Machaut, Jean Froissart et Christine de Pizan." Paris 3, 1997. http://www.theses.fr/1998PA030008.
Full textThis research focuses on works written in the first person and containing microstories of biblical, historical or mythological origin. The works of guillaume de machaut, jean froissart and christine de pizan which are studied have been composed between 1349 and 1405; most of them belong to the category of "dits", except a few texts of christine. The word "fiction", which we use to name the microstories inserted in the texts of the corpus, appears in the french langugae in the xiiith c. ; authors of the xivth c. Begin to use it to designate the various stories handed down by tradition and reemployed in new contexts. They emphasize a new conception of poetry, more sophisticated, they especially realise they can reemploy mythology with subtlety. The fact that "fables" or historical stories are very popular, and that authors make use of them when they write about themselves, must be related to the influence of two works: the roman de la rose and an extensive allegorisation/adaptation of the metamorphoses, the ovide moralise (ca. 1328). We focused on the modes of rewriting and on the bonds which unites the authors and their readers. The "fictions" are the favourite spaces where one can detect the "point of view of a conscience": they allow the authors who use them to express their poetics, their conception of the relationship between themselves and their readers or their patrons. The rewritings of the stories inserted in the works of these three authors are also revealing of the ways of reading at the end of the middle ages: critical reading of their predecessors by the writers; active reading they hope to awaken among the public
LaBarr, Cameron Frederick. "Ancient Musical Ideas Through a Twenty-First Century Lens: An Examination of Tarik O’Regan’s Scattered Rhymes and Its Relationship to Guillaume de Machaut’s Messe de Notre Dame." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84235/.
Full textSchröder, Gesine. "Machaut für die Jugend. Anmerkungen zu Siegfried Thieles pädagogischer Orchestermusik. (Miszelle Nr. 1 zur Musik der DDR)." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-153670.
Full textDrobinsky, Julia. ""Peindre, pourtraire, escrire", le rapport entre le texte et l'image dans les manuscrits enluminés de Guillaume de Machaut (XIVe-XVe s. )." Paris 4, 2004. http://www.theses.fr/2004PA040131.
Full textPlumley, Yolanda. "The grammar of 14th century melody : tonal organization and compositional process in the chansons of Guillaume de Machaut and the ars subtilior /." New York ; London : Garland, 1996. http://catalogue.bnf.fr/ark:/12148/cb36961810r.
Full textSultan, Agathe. ""En conjunction de science " : musique et rhétorique à la fin du Moyen Age." Paris 4, 2005. http://www.theses.fr/2005PA040224.
Full textA common practice and a constant reference for many medieval poets, music was the source of the second rhetoric. However, today music appears to be a true stumbling stone for literary exegesis. In the tradition initiated by Boethius, music is altogether worldly, human and instrumental allowing the union between sense and intellect. As one of the arts of the quadrivium, its implications for the realm of poetics are very complex. Music interests us primarily for the intricacy of the styles. Even as it follows the old structural and rhetorical patterns, the music of the ars nova partakes in an ambivalent esthetics particularly through the innovative conception of the science of Numbers displayed in the multiplication of voices. In the works of Guillaume de Machaut whose lyrics and rhythmical composition equally reveal his utter degree of artistic refinement, the motet becomes the epitome of poetical tension, fracture and alienation. Pluritextuality provides not a catalyst for dialogue but rather operates as a chamber of echoes. Moreover, the proliferation of tropes intensifies and expands the fictional utterance. With the arguable exception of L'Art de dictier, followed by a relative disaffection for song, the writers continue to search for a new art of the counterpoint, between harmony and eloquence, in the shadow of traditional musical forms
Leach, Elizabeth Eva. "Counterpoint in Guillaume de Machaut's musical ballades." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264519.
Full textDzelzainis, Angela Doreen. "An edition and study of Guillaume de Machaut's La Prise d' Alixandre." Thesis, University of Cambridge, 1985. https://www.repository.cam.ac.uk/handle/1810/250851.
Full textTabard, Laetitia. "Bien assailly, bien deffendu : le Genre du débat dans la littérature française de la fin du Moyen Âge." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040104.
Full textThe aim of this study is to establish a definition of the debate as a literary genre, that would establish itself as such at the end of the fourteenth century in the wake of the Jugements by Guillaume de Machaut. A chronological approach of the corpus shows how the debate can be identified in the midst of the different kinds of dispute literature : it develops its own structure, based on an antagonistic dialogue ending with a plea to the reader’s wisdom, which leaves the issue open. It comes within the scope of recreational practices that give it meaning, and that parody dialectic and rhetoric in order to let an individual voice be heard directly by an audience : this genre consists in a dialogue between ambiguous beings, which has to be decrypted, where the author-narrator is a character and relinquishes his authority ; it needs to be spoken, or even performed. The debate has to do with the evolution of courtly lyricism, which tends to become a poetry dealing mainly with ethics and upsetting traditional categories of thought through the use of dialogue and the possibility of multiple meanings. It privileges a form of knowledge which consists in a personal relationship of the reader with the text, while still retaining the music of oral speech and the dramatic intensity of play
Turcic, Patricia A. "Words and music in communion: an analysis of Guillaume de Machaut's "Le Lay de la Fonteinne" in cultural context." Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/TurcicPA.pdf.
Full textLinklater, Christina. "Guillaume de Machaut's "Messe de Nostre Dame" in the context of fourteenth-century polyphonic music for the Mass Ordinary." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9317.
Full textSieffert, Mathias. "L'écriture de la voix. Poétique du rondeau sans musique à la fin du Moyen Âge (1350-1465)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA066.
Full textNherited from the 13th-Century rondet de carole, the rondeau became a polyphonic musical genre at the age of the ars nova, and tends to be used, in 14th and 15th Centuries manuscripts, as a textual lyric. This thesis uncovers how, from Guillaume de Machaut to Charles d’Orléans, a short and redundant poetical text, which was supposed to be sung became non musical poetry. In the first part of this study we consider the textual rondeau as a rhetorical « ghost of a voice » : we study the history and genealogy of the form from a musical and rhetorical perspective, show how the absence of music impacts the layout and how fiction and narrative relocate the interpolated textual rondeaux in a vocal, musical or epistolary horizon. The next part investigates the way scribes and poets gather collections of rondeaux from a codicological perspective. We offer a typology that distinguishes « hybrid collections », « sections » and « canzonieri ». Through these three kinds of « mises en recueil », we analyze the use of the rondeau in manuscripts from Machaut, Froissart, Christine de Pizan, Eustache Deschamps, Oton de Granson and Jean de Garencières, which finally leads to a detailed analysis of the chançons by Charles d’Orléans, written c. 1440 in the BnF fr. 25458. The last part examines the rise of a scriptural genre : the poetical evolution of the rondeau reveals a rhetorical shift from the ornatus facilis to the ornatus difficilis, especially with Charles d’Orléans who initiates a fully bloomed literary genre. We then analyze, in the last two chapters, collective practices of quoting and rewriting to show how the rondeau becomes a scriptural game, consisting in expanding and recycling ambiguous formulas, especially in a new kind of collections we call « creative anthologies »
Holovská, Kateřina. "Obraz českého krále Jana Lucemburského v díle Guillauma de Machaut." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312575.
Full textTurcic, Patricia A. Bauschatz Cathleen Passman Kristina Wiemann Beth. "Words and music in communion : an analysis of Guillaume de Machaut's "Le lay de la fonteinne" in cultural context /." 2001. http://www.library.umaine.edu/theses/theses.asp?Cmd=abstract&ID=MARC2080.
Full textIncludes vita. Advisory Committee: Cathleen Bauschatz, Prof. of French, Advisor; Kristina Passman, Assoc. Prof. of Classical Language and Literature; Beth Wiemann, Asst. Prof. of Music. Bibliography: leaves 81-89.
Albritton, Benjamin Long. "Recurring musical and poetic structures in Guillame de Machaut's lais." Thesis, 1998. http://hdl.handle.net/2429/8885.
Full textRudolfová, Klára. "Králův básník a básníkův král - český král Jan Lucemburský v literárním díle svého sekretáře Guillauma de Machauta." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-270963.
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