Dissertations / Theses on the topic 'Guillaume de Machaut'
To see the other types of publications on this topic, follow the link: Guillaume de Machaut.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 28 dissertations / theses for your research on the topic 'Guillaume de Machaut.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Beer, Lewis. "Fortune and desire in Guillaume de Machaut." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/3896/.
Full textAbstract:
There is a pervasive tendency, in Machaut scholarship, to read his poetry as having value only insofar as it speaks to our postmodern age: either it is fragmented and riven with ambiguities, or it celebrates eroticism and the things of this world for their own sake; in any case, it resists religious and moral orthodoxy. Such readings, while often valuable in themselves, fail to take sufficient account of the influence which Boethian and Neoplatonic ideas had upon Machaut, and thus misunderstand his work on a fundamental level. By paying attention to the Boethian content in the narrative dits, and by analysing Machaut's verse more thoroughly than has been done before, my thesis demonstrates not only this author's moral orthodoxy, but also his extremely sophisticated didactic methods. I begin with the Confort d'ami, Machaut's most overtly moral work. The Confort engages with the supposed 'worldly' perspective of its imprisoned addressee, adapting biblical and classical exempla in order to coax Charles of Navarre towards a deeper understanding of worldly fortune. In Chapter 2 I show how, in the Prologue and the Dit du vergier, the ambiguity so beloved of critics can serve as a moral commentary on the carnality and self-absorption of the erotic and artistic points of view. Having established, in the preceding chapters, that this author's approach to his subject is ambiguous and critical, in Chapter 3 I explore the extremes of his pessimism, and show how his love poetry can incorporate sophisticated philosophical ideas, through my analysis of the Jugement du roy de Behaigne. The thesis culminates in a detailed reading of the Remede de Fortune. Through his deliberately idealised statements about education, through his application of these views to the art of courtly love, through his composition (and setting to music) of a sequence of virtuoso lyrics, and through his explicit invocations of and borrowings from Boethius, Machaut develops an empathic but ultimately, as I argue, deeply sceptical vision of earthly love.
2
Bétemps, Isabelle. "L'imaginaire dans l'oeuvre de Guillaume de Machaut /." Paris : H. Champion, 1998. http://catalogue.bnf.fr/ark:/12148/cb36711463v.
Full text
3
Montefu, 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 textAbstract:
Guillaume de Machaut’s motets constitute a cycle. This study focuses upon Machaut’s six Latin texted motets and their influence upon these cyclical contexts. Former research into these motets has uncovered references to contemporary poetry, liturgical texts, literary sources, particular persons, and historical events. Through an examination of recent research into the cyclical nature of the motets it is possible to critically evaluate these hypotheses in the light of the past historical, codicological, liturgical, musical and poetic analysis of these works to create a rounded picture of each motet. In this way it was found that many of the previously researched aspects of the motets follow in line with recent theories surrounding motet grouping structures. In this way when placing these works within a mystical theological literary context their sacred nature, evident within the tenor chant fragments upon which many of them are built, becomes evident and a greater plan apparent. Beyond this, with an examination of Machaut’s life and the events which occurred in his lifetime the context for composition of the remaining motets is unearthed. Within these motets elements have now been identified which link them to Machaut’s canonries at both Saint Quentin and Reims as well as the events of the Hundred Years’ War. In this way the deep connection between Machaut’s motets and all levels of his life is becoming increasingly apparent. Through an examination of these six Latin texted motets it is found that a liturgical context is key to the analysis of all voices. This is apparent in the mere use of vocabulary idiomatic to the liturgy present within these texts. In this way the selection of words within motet 21 points to a Marian allusion and the apocalyptic, drawing motet 21 even closer in context to motets 22-23. This apocalyptic reference is also seen in specific words within in triplum text of motet 22. Furthermore, the Marian allusions discovered throughout these last three motets in their upper voices are apparent only with a close examination of the Salve Regina texts. In this way the influence and importance of liturgical context to the analysis of the motet has been extended to all voices. This study has also uncovered allusions to other fourteenth century works in the analysis of Machaut’s motets. In the case of motet 9 a connection between its chant tenor and another from the Roman de Fauvel reveals a political context which brings an added richness to the interpretation of these texts. Furthermore, as with motets 18-19, it may be gleaned that as Machaut and Vitry were both canons at Saint Quentin that perhaps it was here and with these two motets that Machaut began his tutelage with the older master of the motet. These conclusions may be drawn by the striking similarities between Machaut’s works and those believed to have originated from within the Vitry circle. In the course of this study there have been additions to evidence the necessity of looking to all aspects of Guillaume de Machaut’s motets in their analysis. This includes use of numerical symbolism in varying aspects as shown in motet 9 as well as a thorough exploration of Machaut’s use of vocabulary within his texts to find its literary, historical, motet, and liturgical allusions. The identification of these sources may either serve to reinforce or expand the context of the motet leading to a deeper understanding of its purpose within a group of motets or individually.
4
Bétemps, Isabelle. "Imaginaire et savoir dans l'œuvre de Guillaume de Machaut." Paris 4, 1993. http://www.theses.fr/1994PA040021.
Full textAbstract:
Cette thèse est une étude litteraire et synchronique des dits et des poésies lyriques de Guillaume de Machaut. Elle vise a rendre compte de l'imaginaire du poete lié à differentes formes de savoir. Ce travail, divisé en trois parties : "le miroir du monde", "miroir en eclats, eclats de miroir", "l'observatoire", propose un itineraire. Dans la première partie, nous montrons que Machaut exprime la relation de l'homme au monde en recourant aux sciences du quadrivium, en faisant appel aux métaphores naturelles, tirées des différents règnes, animal, végetal, minéral. Dans la deuxième partie, nous constatons que le "miroir" de Machaut, travaille par l'ambiguité et l'instabilité des signes, traverse une crise et vole en éclats. Dans la troisième partie, nous proposons de substituer au "miroir" "l'observatoire" qui conduit le poête à s'ouvrir sur le monde afin d'en observer les divers phénomenes et les mouvements. La poésie de Machaut se deprend des codes symboliques pour aboutir à une phénomènologieThis 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
5
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 text
6
Bullock, 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 text
7
Weber, Horst. "Zu Strawinskys Machaut-Rezeption." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38336.
Full text
8
Hardy, 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 textAbstract:
La Prise d'Alexandrie est une chronique rimée retraçant les exploits de Pierre Ier de Lusignan (1328-1369), roi de Chypre et de Jérusalem, nouveau Godefroy de Bouillon ; elle a été composée par Guillaume deMachaut vers 1370, peu après le meurtre de Pierre Ier ; ce régicide avait soulevé une très vive émotion enOccident, en particulier en France, qui connaissait par ailleurs une grave crise. Cette chronique, à la fois récithistorique, épopée, éloge posthume, hagiographie, poème lyrique, est la dernière oeuvre d'un auteur connu etreconnu ; on peut considérer cette biographie royale comme le testament de Guillaume de Machaut, lecouronnement de son oeuvre. La Prise d'Alexandrie est le récit d'une croisade, une croisade qui ne se vit plus surles champs de bataille, mais qui se joue dans les cours royales et papales ; une croisade qui ne se vit plus, maisqui se dit ; une croisade qui se marchande aussi ; une croisade menée par un poète : Machaut a en effet composéici une véritable satire de son siècle.A travers notre travail, nous souhaitons faire découvrir ou redécouvrir cette oeuvre mal connue ; nousfournissons, avec le texte original et sa traduction, la description des manuscrits, une présentation de l'auteur etde son oeuvre, une étude littéraire et une analyse linguistique du texte, des notes critiques, un glossaire, un indexdes noms propres, la liste des proverbes et expressions, une chronologie des événements et une bibliographiesélective.
9
Maw, 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 text
10
Basso, Hélène. "La poétique de la répétition chez Guillaume de Machaut : diffraction et réfection." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30026.
Full textAbstract:
Les répétitions structurent la poésie médiévale, qualifiée d'art de la variation. Cependant leurs effets de sens et le rapport à la langue qu'elles engagent restent à analyser. L'étude, portant sur la poésie lyrique française du XIVe s, dissociable de la musique, part du cas exemplaire de la production de Guillaume de Machaut. Les interprétations de la répétition se fondent sur des analyses stylistiques de pièces du recueil lyrique non noté : La Louange des dames, que cautionne la présence de procédés équivalents dans des dits narratifs. Ainsi se dégage une poétique de la répétition. Pour savoir si elle est propre à Machaut, ou si elle s'enracine dans un fait culturel quelques arts poétiques et traités de rhétorique sont étudiés. Le faible poids d'une doctrine établie amène à interroger plutôt les productions des disciples avoués de Machaut : Eustache Deschamps et Oton de Grandson. Chez eux, la poétique de la répétition prend de nouvelles orientations. Elle se diffracte, traduisant le rapport singulier de chaque poète à sa langue. Différentes, ces poétiques de la répétition témoignent cependant d'un même présupposé sur la langue : le sens des mots déborde leur première compréhension. Cette conviction légitime le recours à la répétition, et ouvre les poèmes à de multiples lectures et ré-appropriations. Ainsi, Machaut, Deschamps, Grandson, participent d'une communauté poétique : en atteste l'existence de recueils collectifs associant leur production. Trois exemples (manuscrit français 15 de Pennsylvanie, Recueil de galanteries, manuscrit 8 bibliothèque de Catalogne) permettent de comprendre comment elles peuvent être réunies et se prêter à de véritables réfectionsRepetitions 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
11
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 textAbstract:
The aim of this thesis is to examine what a study of the visual presentation of the fourteenth-century poet-composer Guilluame de Machaut's songs can tell us that studying them simply as pre-defined works cannot. This has involved two distinct, but related fields of enquiry. Firstly, I have developed of a way of considering the six manuscripts of Machaut containing what appear to be his complete works which focuses on the visual impact of each codex as a whole, from the materials used to the content it contains (text, images, music). This methodology, which draws on the works of such scholars as B. Cerquiglini (Eloge de la variante, 1989), S. Huot (From Song to Book, 1987), and D. Leech-Wilkinson (The Modern Invention of Medieval Music, 2002) and relies heavily on primary sources, is founded on the premise that each of the manuscripts is a complete and unique artefact, irrespective of who created it and for what purpose. Building on this, I argue that each manuscript can be considered a performance. When one of Machaut’s compositions (poetical, musical, or both) is preserved in more than one source, each such manuscript is considered as a performance in its own right. This performative approach allows for and indeed welcomes variations in interpretation and presentation, including those that appear to entail manipulations of the work itself, by performers as diverse as copyists (involved in internal, possibly mnemonic performance), oral interpreters (singing or reading out loud, either from memory or from a copy), editors (whatever their purpose and medium, be it a paper edition based on all sources or a digital edition of just one: perhaps these are the equivalent of today's copyists?), and readers (scholarly and leisurely, from any era). Having established this approach in my thesis, I then assess the role of the individuals involved in such a manuscript performance. The differing role of the scribes and the author in a manuscript's production is considered, particularly with reference to the manuscripts over whose compilation the author is perceived to have had some control. The role of the reader is considered in terms of the reception of the manuscript and especially the extent to which manuscript layout and design subconsciously ‘control’ reader interpretation. In the light of this I analyse the manuscript presentation of Machaut's songs in each of the six principal manuscripts transmitting his works, with particular focus on the literary works that contain musical notation, the Remede de Fortune and the Voir Dit, the series of lays set to music, and the Messe de Notre Dame. The methodology adopted throughout considers the visual impact of the presence of music on the manuscript page and assesses the extent of this impact both on the reader and on its relevance to manuscript design: what can the layout of the music tell us about the manuscript's readers, patrons and creators? This analysis offers insights as to the role of artists in the society of mid- and late-fourteenth-century France, the changing perceptions of words and music, and the role of reading, writing, and memory in society.
12
Maekawa, 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 text
13
Lechat, 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 textAbstract:
Ce travail porte sur des oeuvres ecrites a la premiere personne et contenant des micro-recits enchasses d'origine biblique, mythologique ou historique. Les ouvrages de guillaume de machaut, jean froissart et christine de pizan retenus ont ete composes entre 1349 et 1405; ils appartiennent pour la plupart a la categorie du "dit", a l'exception de certains textes de christine. Le terme de "fiction" par lequel nous designons les micro-recits inseres dans les oeuvres du corpus apparait en langue francaise au xiiie s. Et commence a etre utilise par les auteurs du xive s. Pour designer les divers recits legues par la tradition et reemployes dans de nouveaux contextes. Les auteurs qui utilisent ce mot mettent l'accent sur une conception nouvelle de leur art: poesie de l'artifice, consciente des reemplois subtils que lui permet en particulier la mythologie. La vogue des "fables" ou des recits historiques, et leur utilisation dans des oeuvres ou l'auteur se represente lui-meme, est a rattacher a une double influence: celle du roman de la rose et celle d'une immense adaptation-allegorisation des metamorphoses, l'ovide moralise (ca. 1328). C'est en nous attachant toujours aux modalites de reecriture et aux liens que les auteurs entretiennent avec leur "horizon d'attente" que nous nous sommes interroge sur les articulations entre reemplois de materiaux preexistants et ecriture a la premiere personne. Les "fictions" sont les espaces privilegies dans lesquels vient s'inscrire "le point de vue d'une conscience": elles permettent aux auteurs qui s'en servent d'exprimer leur conception de leur art, leur point de vue sur les rapports qu'ils entretiennent avec leur public et leurs commanditaires. Les reecritures de recits inseres dans les "dits" et les traites de ces trois auteurs sont aussi un revelateur des pratiques de lecture a la fin du moyen age: lectures critiques de leurs predecesseurs par les ecrivains; lecture active qu'ils esperent eveiller chez leur publicThis 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
14
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 textAbstract:
British composer Tarik Hamilton O’Regan (b. 1978, London) is earning a reputation as an important composer of today. The innovative works of O’Regan are entering the spectrum of professional, educational, and community performing organizations across the United States and Europe. Scattered Rhymes’ intricate melodic, harmonic, and rhythmic relationships with Messe de Notre Dame by Guillaume de Machaut (c.1300-1377) make an examination and comparison of the two works significant. Analyzing Scattered Rhymes by tracing its roots to Guillaume de Machaut’s Messe de Notre Dame, results in a renewed interest in this ancient work and brings prominence to Tarik O’Regan’s modern musical interpretation of ancient ideas. Understanding Scattered Rhymes as a work based on ideas from the fourteenth century in fusion with compositional concepts rooted in the modern era promotes Scattered Rhymes as one that is valuable in the current musical landscape.
15
Schröder, 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 textAbstract:
Siegfried Thiele schrieb in den 1970er Jahren drei Orchesterwerke nach Vorlagen Guillaume de Machauts. In dem Beitrag wird untersucht, in welcher Weise sie sich als pädagogische bzw. popularisierende Kompositionen verstehen lassen und wie sie sich als Stücke, die in der DDR entstanden, in einer Geschichte der Machaut-Bearbeitung situieren.
16
Drobinsky, 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 text
17
Plumley, 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 text
18
Sultan, Agathe. ""En conjunction de science " : musique et rhétorique à la fin du Moyen Age." Paris 4, 2005. http://www.theses.fr/2005PA040224.
Full textAbstract:
Invoquée et pratiquée par nombre de poètes médiévaux, source de la seconde rhétorique, la musique constitue aujourd'hui une pierre d'achoppement de la critique littéraire. Mondaine, humaine et instrumentale dans la tradition boécienne, unissant le sensible à l'intelligible, elle possède en tant qu'art du quadrivium des implications complexes pour la poétique. Son intérêt tient en particulier à la subtilité de ses écritures. Tributaire de modèles grammaticaux et rhétoriques mais conçue à nouveaux frais comme une science du Nombre à travers la pluralisation des voix, la musique de l'ars nova met en jeu une esthétique de l'équivoque. Imposant aux textes les raffinements de ses structures rythmiques, le motet s'illustre chez Guillaume de Machaut comme l'emblème d'un lyrisme de la tension, de la désarticulation et de l'altération. La pluritextualité, dont le fonctionnement paraît moins dialogique qu'échoïque, contribue par ses tropes multipliés à enrichir la fiction énonciative. Malgré la rupture ambiguë que suggère L'Art de dictier et l'instauration d'une certaine distance vis-à-vis du chant, c'est en héritiers des formes musicales que les écrivains forgeront leur propre contrepoint, entre harmonie et éloquenceA 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
19
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 text
20
Dzelzainis, 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 text
21
Tabard, 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 textAbstract:
Cette étude vise à définir le débat comme un genre, qui se constituerait à la fin du quatorzième siècle dans le sillage des jugements de Guillaume de Machaut. Une approche chronologique du corpus met en valeur la manière dont le débat se détache dans l’ensemble composite de la littérature de dispute : il développe une structure qui lui est propre, fondée sur un dialogue conflictuel s’achevant par un appel au jugement du lecteur, qui laisse en suspens la question. Il s’inscrit dès lors dans des pratiques ludiques qui lui donnent sens, et qui parodient la dialectique et la rhétorique pour faire émerger une parole individuelle, en prise avec un public : dialogue à décrypter entre des êtres ambivalents, où l’auteur-narrateur se fait personnage et abdique son autorité, le genre appelle une diction, voire une mise en scène. Le débat entretient donc un rapport étroit avec l’évolution de la lyrique courtoise vers une forme de poésie morale, qui fait vaciller les catégories de pensée grâce au jeu du dialogue et à la possibilité de lectures multiples. Il met en avant une forme de savoir qui se constitue dans un rapport personnel du lecteur au texte, tout en conservant la musique de la parole vivante et la richesse dramatique du jeuThe 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
22
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 text
23
Linklater, 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 textAbstract:
It is widely held in the scholarly literature of music history that the Messe de Nostre Dame of Guillaume de Machaut is unique. While several other examples of polyphonic settings of the Mass Ordinary dating from approximately the same era do survive, they are distinct from Machaut's Mass in at least two respects. The Messe de Nostre Dame is attributed to a single, named composer, whereas most fourteenth-century Mass cycles are anonymous, or are thought to have been assembled from the repertories of several composers, or both. Further, few contemporary medieval cycles are copied as such, preserving instead the traditional organization of the kyriale, in which several Kyrie movements are grouped in one section, followed by a group of Gloria movements, and so on; Machaut's Mass, however, survives complete in five manuscript versions, all of which present its six movements in uninterrupted succession. Despite the comparative difficulty of assembling cycles from the largely anonymous and physically separate movements described above, though, a convincing case may be made (and has been) for the existence of several pre-modern polyphonic cycles besides the Messe de Nostre Dame. (Abstract shortened by UMI.)
24
Sieffert, 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 textAbstract:
Forme héritée du rondet de carole devenue un genre polyphonique à l’époque de l’ars nova, le rondeau s’est paradoxalement développé, à la fin du Moyen Âge, en tant que genre poétique sans musique. Cette thèse se propose ainsi d’étudier comment, de Guillaume de Machaut à Charles d’Orléans, une forme à la fois brève et répétitive a su paradoxalement s’imposer comme un genre textuel autonome. La première partie de ce travail, « Le fantôme de la voix », envisage la dette que le rondeau textuel doit à la tradition musicale. Après un essai de définition diachronique, nous interrogerons l’effet de l’absence de musique sur l’évolution de la mise en page du rondeau, puis la manière dont les récits à interpolations lyriques jouent de l’imaginaire musical, vocal et épistolaire d'une forme "hantée". La deuxième partie, « L’espace du manuscrit » interroge les « mises en livres » du rondeau. Une typologie distinguant la "collection hybride", la "section" et le "canzoniere", initie un parcours dans les manuscrits de Machaut, Froissart, Christine de Pizan, Eustache Deschamps, Oton de Granson et Jean de Garencières. Nous proposons une analyse détaillée d’un cas particulier : les chançons de Charles d’Orléans, copiées vers 1440 dans le fonds primitif du BnF fr. 25458. Dans la troisième partie, il s’agit de concevoir la naissance d’un « genre », qui se cristallise dans le goût de l'énigme et le choix de l’ornatus difficilis, alors même que la forme se prêtait davantage, au XIVe siècle, à l’ornatus facilis. Les deux derniers chapitres étudient la circulation, la réécriture et le recyclage de refrains intertextuels au sein de plusieurs recueils collectifs transformés, par le mélange de l'ancien et du nouveau, en véritables « anthologies créatives »Nherited 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 »
25
Holovská, Kateřina. "Obraz českého krále Jana Lucemburského v díle Guillauma de Machaut." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312575.
Full textAbstract:
This thesis is devoted to Guillaume de Machaut and his writings that depict the poet's views on the ideal monarch, and his memories of John of Luxembourg. In the opening chapters of this thesis the author presents a brief biography of Guillaume de Machaut, his literary work and historical context that influenced the poet's thinking. The thesis also examines Machaut's idea of an ideal ruler, mainly contained in his essay Comfort for a Friend. The last part of this thesis is devoted to John of Luxembourg. The author deals with the reasons that led to the fact that John of Luxembourg became in the Machaut's work the embodiment of the ideal ruler. She also compares the Machaut's representation of the Czech King with predominantly negative perception in Czech chronicles of 14th century. Machaut's testimony of the Czech King helps to understand the John's popularity in Western Europe and the divergence between Czech a French concept of ideal ruler.
26
Turcic, 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 textAbstract:
Thesis (M.A.) in Liberal Studies--University of Maine, 2001.Includes 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.
27
Albritton, Benjamin Long. "Recurring musical and poetic structures in Guillame de Machaut's lais." Thesis, 1998. http://hdl.handle.net/2429/8885.
Full textAbstract:
Analysis of the poetry of Guillaume de Machaut's lais reveals that a surprisingly large number of
metric structures are repeated. This study focuses on two of these repeated metric structures and examines
the musical settings to determine if there are corresponding musical structures that recur, thereby
indicating a compositional approach to the setting of like poetic forms.
The musical analyses reveal that, aside from a few instances of reused melodic and rhythmic
material, the relationship among verses of like metric structure is purely formal. Each metric structure is
set to a fixed pattern of musical phrases which, in the examples discussed, operates parallel to the poetic
structure, obscuring some aspects of the poetic structure while highlighting others.
The recurring musical/poetic structures which, in some cases, pervade Machaut's collection of
lais, provide a glimpse at Machaut's compositional approach to the lai. The musical phrase, as suggested
by Gollner, is analogous to the poetic line in that a verse's musical structure is developed by a
combination of musical phrases. A verse's phrase structure is reused when a verse's metric structure is
repeated suggesting that, for Machaut, these two structures bear an important, perhaps inextricable,
relationship. The formal design of a lai must be considered, as mentioned above, as a cycle of formally
unrelated structures on a given theme. Further, Machaut develops a repertoire of formal structures specific
to the lai and reuses them throughout his lais. Some of these structures provide the foundation for quite a
large number of lais.
28
Rudolfová, 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.
Full textAbstract:
Guillaume de Machaut, figure francaise majeure du XIVe siecle dans le domaine des lettres comme dans celui de la musique. Auteur d'une oeuvre importante d'inspiration courtoise et romanesque, dernier « musicien - poete », est né a Machault pres de Reims vers 1300. Apres une formation de clerc, il entre, en 1323, au service de Jean de Luxembourg, et il suit son protecteur dans ses campagnes militaires et ses voyages a travers toute l'Europe, participant a sa vie fastueuse et aventureuse. Cinq de ses oeuvres témoignent de son activité aupres de ce roi de Boheme: Le Dit du Lion (1342), Le Jugement du roi de Boheme (vers 1340; dédié au roi Jean de Luxembourg), Le Confort d'ami (1357; dédié au roi Charles de Navarre), La Fontaine amoureuse (1360-1362