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Journal articles on the topic 'Guillaume de Machaut'

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Published: 4 June 2021
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1

Bowers, Roger. "Guillaume de Machaut." Early Music XVIII, no. 3 (1990): 489–91. http://dx.doi.org/10.1093/earlyj/xviii.3.489.

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2

Roccati, G. Matteo. "Guillaume de Machaut, Quatre dits." Studi Francesi, no. 161 (LIV | II) (September 1, 2010): 334–35. http://dx.doi.org/10.4000/studifrancesi.6535.

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3

Lacassagne, Miren. "Actualité de Guillaume de Machaut." Le Moyen Age CIX, no. 1 (2003): 129. http://dx.doi.org/10.3917/rma.091.0129.

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4

Sewright, Kathleen. "The Ferrell-Vogüé Machaut Manuscript by Guillaume de Machaut." Notes 73, no. 3 (2017): 584–87. http://dx.doi.org/10.1353/not.2017.0029.

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5

Boulton, Maureen. "‘Anonymous’ Machaut: Guillaume de Machaut in Paris, BnF, NAF 6221." Digital Philology: A Journal of Medieval Cultures 5, no. 1 (2016): 116–26. http://dx.doi.org/10.1353/dph.2016.0008.

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6

Monson, A., and Kevin Brownlee. "Poetic Identity in Guillaume de Machaut." Modern Language Review 81, no. 2 (April 1986): 477. http://dx.doi.org/10.2307/3729748.

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7

Plumley, Yolanda. "Guillaume de Machaut 700 years on." Early Music XXVIII, no. 3 (August 2000): 487–89. http://dx.doi.org/10.1093/earlyj/xxviii.3.487.

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8

Clark, Alice V. "The Motets by Guillaume de Machaut." Notes 76, no. 3 (2020): 491–95. http://dx.doi.org/10.1353/not.2020.0028.

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9

Zenck, Martin. "Karel Goeyvaerts und Guillaume de Machaut." Die Musikforschung 43, no. 4 (September 22, 2021): 336–51. http://dx.doi.org/10.52412/mf.1990.h4.1290.

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10

Plumley, Yolanda. "Citation and allusion in the late Ars nova: The case of Esperance and the En attendant songs." Early Music History 18 (October 1999): 287–363. http://dx.doi.org/10.1017/s0261127900001881.

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In his Prologue, Guillaume de Machaut lists the ballade entée, or ‘grafted ballade’, as one of the many genres he is inspired to write to praise and honour all ladies. It is unclear from this fleeting reference, however, exactly what type of work Machaut meant by this term and whether he was referring to a purely poetic form or to one that involved music. That the practice of citation in lyric poetry was well established at this time is demonstrated by Machaut's own output, which reveals him to have been a master of this art; this literary tradition was to continue to thrive in the later fourteenth century.
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11

Popin, Marielle, and Lawrence Earp. "Guillaume de Machaut. A Guide to Research." Revue de musicologie 82, no. 2 (1996): 368. http://dx.doi.org/10.2307/947140.

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12

Popin, Marielle, and Isabelle Betemps. "L'Imaginaire dans l'oeuvre de Guillaume de Machaut." Revue de musicologie 85, no. 2 (1999): 362. http://dx.doi.org/10.2307/947091.

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13

Harden, Jean, and Lawrence Earp. "Guillaume de Machaut: A Guide to Research." Notes 53, no. 3 (March 1997): 785. http://dx.doi.org/10.2307/899728.

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14

Meredith, Peter, Lawrence Earp, Guillaume de Machaut, Minnette Gaudet, and Constance B. Hieatt. "Guillaume de Machaut: A Guide to Research." Modern Language Review 92, no. 4 (October 1997): 967. http://dx.doi.org/10.2307/3734244.

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15

Mickel, Emanuel J. "Kevin Brownlee.Poetic Identity in Guillaume de Machaut." Romance Quarterly 34, no. 2 (May 1987): 237–39. http://dx.doi.org/10.1080/08831157.1987.11000444.

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16

de Looze, Laurence. "Guillaume de Machaut: A Guide to Research.Lawrence Earp." Speculum 73, no. 3 (July 1998): 844. http://dx.doi.org/10.2307/2887526.

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17

Margolis, Nadia. "Poetic Identity in Guillaume de Machaut. Kevin Brownlee." Speculum 62, no. 2 (April 1987): 388–89. http://dx.doi.org/10.2307/2855237.

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18

Weber-Bockholdt, Petra. "Beobachtungen zu den Virelais von Guillaume de Machaut." Archiv für Musikwissenschaft 49, no. 4 (1992): 263. http://dx.doi.org/10.2307/930553.

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19

Göllner, Marie Louise. "Guillaume de Machaut: Notation and the Compositional Process." Anuario Musical, no. 56 (December 30, 2001): 21. http://dx.doi.org/10.3989/anuariomusical.2001.56.94.

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En recientes estudios se ha enfatizado cada vez más que Machaut, particularmente en sus últimas chansons profanas, desarrolló un nuevo ideal de verticalidad musical, basado concretamente en tres, en lugar de dos voces. El presente artículo relaciona esta innovación con el concepto de notación estratificada del compositor y con la individualidad lineal de cada una de las tres voces, como se pone de manifiesto por su uso de motivos rítmicos repetidos en las baladas del poema narrativo tardío, Le voir dit.
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20

Huot, Sylvia. "Guillaume de Machaut and the Consolation of Poetry." Modern Philology 100, no. 2 (November 2002): 169–95. http://dx.doi.org/10.1086/493179.

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21

Huot, Sylvia. "Poetic Identity in Guillaume de Machaut. Kevin Brownlee." Modern Philology 84, no. 1 (August 1986): 63–64. http://dx.doi.org/10.1086/391516.

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22

BAIN, JENNIFER. "Tonal structure and the melodic role of chromatic inflections in the music of Machaut." Plainsong and Medieval Music 14, no. 1 (April 2005): 59–88. http://dx.doi.org/10.1017/s0961137104000117.

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The interpretation of chromatic content in fourteenth-century music has been widely debated. While most studies have focused on contrapuntal necessity, this study advocates an approach that begins from the perspective of melody. Using the ballades, virelais and rondeaux of Guillaume de Machaut as a central repertory, it proposes that not only are chromatic inflections in Machaut's monophonic songs derived melodically, but that many chromatic inflections in Machaut's polyphonic songs also arise from melodic rather than contrapuntal requirements. Because of their implied semitone motion – arguably crucial to tonal organization – they can have an impact on the definition of tonal structure by privileging the individual pitches they decorate, particularly but not exclusively in cadential melodic formulas or progressions.
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23

Palmer, R. Barton. "The Capture of Alexandria. Guillaume de Machaut , Janet Shirley." Speculum 78, no. 2 (April 2003): 563–66. http://dx.doi.org/10.1017/s0038713400169271.

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24

Crépin, André. "Poetic Identity in Guillaume de Machaut by Kevin Brownlee." Studies in the Age of Chaucer 8, no. 1 (1986): 168–70. http://dx.doi.org/10.1353/sac.1986.0010.

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25

Cropp, Glynnis M. "Guillaume de Machaut: Secretary, Poet, Musician (review)." Parergon 29, no. 1 (2012): 230–31. http://dx.doi.org/10.1353/pgn.2012.0050.

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26

WILKINS, N. "Review. Poetic Identity in Guillaume de Machaut. Brownlee, Kevin." French Studies 40, no. 1 (January 1, 1986): 60. http://dx.doi.org/10.1093/fs/40.1.60.

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27

Clark, Alice V. "Listening to Machaut's Motets." Journal of Musicology 21, no. 4 (2004): 487–513. http://dx.doi.org/10.1525/jm.2004.21.4.487.

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In a significant number of his motets, Guillaume de Machaut uses melodic repetition to provide audible cues to their talea structure. He further breaks or alters that repetition in order to call attention to final talea statements, thereby providing a sounding clue to the motet's end. The use of this technique in a genre well known for its intellectual complexities seems to show a special concern for the unprepared listener, a concern that is less clearly manifested in the work of other motet composers in 14th-century France. This has implications both for how we see Machaut in relation to his contemporaries and for how we may approach his motets today.
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28

BOWERS, ROGER. "GUILLAUME DE MACHAUT AND HIS CANONRY OF REIMS, 1338–1377." Early Music History 23 (October 2004): 1–48. http://dx.doi.org/10.1017/s0261127904000038.

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29

Miller, Anne-Hélène. "Nature and Authorship in Brunetto Latini and Guillaume de Machaut." Nottingham Medieval Studies 54 (January 2010): 93–112. http://dx.doi.org/10.1484/j.nms.1.100770.

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30

Boogaart, J. "Guillaume de Machaut: Secretary, Poet, Musician. By Elizabeth Eva Leach." Music and Letters 93, no. 3 (August 1, 2012): 397–99. http://dx.doi.org/10.1093/ml/gcs044.

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31

Skoda, Hannah. "Guillaume de Machaut: Secretary, Poet, Musician, by Elizabeth Eva Leach." English Historical Review 130, no. 543 (February 24, 2015): 424–26. http://dx.doi.org/10.1093/ehr/cev012.

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32

Alberni, Anna. "Guillaume de Machaut at the Court of Aragon, 1380–1430." Digital Philology: A Journal of Medieval Cultures 7, no. 2 (2018): 173–90. http://dx.doi.org/10.1353/dph.2019.0009.

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33

Huot, Sylvia. "Guillaume de Machaut: A Guide to Research, ed. Lawrence Earp." Romance Philology 55, no. 1 (January 2001): 130–31. http://dx.doi.org/10.1484/j.rph.2.304463.

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34

BENT, M. "Review. Guillaume de Machaut: A Guide to Research. Earp, Lawrence." French Studies 52, no. 1 (January 1, 1998): 74. http://dx.doi.org/10.1093/fs/52.1.74.

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35

Huot, S. "Controlling Readers: Guillaume de Machaut and his Late Medieval Audience." French Studies 62, no. 2 (April 1, 2008): 210. http://dx.doi.org/10.1093/fs/knm339.

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36

Fast, Susan. "God, Desire, and Musical Narrative in the Isorhythmic Motet." Canadian University Music Review 18, no. 1 (March 15, 2013): 19–37. http://dx.doi.org/10.7202/1014818ar.

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This article examines the relationship between late Medieval narrative structure in French literature and music (specifically the isorhythmic motet) and how that structure was shaped by deeply held beliefs within Medieval culture, including the idea that a person's identity and desires were directed by God. A detailed analysis of the motet De bon espoir/Puis que la douce rousee/Speravi by Guillaume de Machaut is made to support the argument.
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37

Leupin, Alexandre, and Peggy McCracken. "The Powerlessness of Writing: Guillaume de Machaut, the Gorgon, and Ordenance." Yale French Studies, no. 70 (1986): 127. http://dx.doi.org/10.2307/2929852.

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38

Altmann, Barbara K., and R. Barton Palmer. "Debating the Love Debate: Guillaume de Machaut v. Christine de Pizan." Medieval Feminist Forum 29 (March 2000): 39–46. http://dx.doi.org/10.17077/1536-8742.1317.

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39

Patterson, Jeanette. "Controlling Readers: Guillaume De Machaut and His Late Medieval Audience (review)." MLN 122, no. 4 (2008): 932–38. http://dx.doi.org/10.1353/mln.2008.0013.

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40

Sinclair, K. V. "Guillaume de Machaut, The Tale of the Alerion (review)." Parergon 14, no. 2 (1997): 175–77. http://dx.doi.org/10.1353/pgn.1997.0090.

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41

Boogaart, J. "Review: Machaut and Reims: Anne Walters Robertson, Guillaume de Machaut and Reims: context and meaning in his musical works." Early Music 32, no. 4 (November 1, 2004): 605–8. http://dx.doi.org/10.1093/em/32.4.605.

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42

Lagomarsini, Claudio. "Il Roman de Cardenois e la tradizione manoscritta di Guillaume de Machaut." Romania 130, no. 517 (2012): 109–33. http://dx.doi.org/10.3406/roma.2012.7367.

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43

Boynton, Susan. "Poetry and Music in Medieval France from Jean Renart to Guillaume Machaut." Romanic Review 96, no. 1 (January 1, 2005): 119–21. http://dx.doi.org/10.1215/26885220-96.1.119.

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44

Davis, Steven. "Guillaume de Machaut, Chaucer's Book of the Duchess, and the Chaucer Tradition." Chaucer Review 36, no. 4 (2002): 391–405. http://dx.doi.org/10.1353/cr.2002.0008.

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45

Switten, Margaret. "Guillaume de Machaut : Le Remède de fortune au carrefour d'un art nouveau." Cahiers de l'Association internationale des études francaises 41, no. 1 (1989): 101–16. http://dx.doi.org/10.3406/caief.1989.1707.

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46

Leech-Wilkinson, Daniel. "Le Voir Dit: a reconstruction and a guide for musicians." Plainsong and Medieval Music 2, no. 2 (October 1993): 103–40. http://dx.doi.org/10.1017/s0961137100000486.

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Guillaume de Machaut's autobiographical poem, Le Voir Dit, has been known to musicians mainly by reputation. In 1928 Friedrich Ludwig printed extracts from passages on music in the introduction to his edition of Machaut's complete musical works, in 1969 Sarah Jane Williams examined Machaut's remarks about manuscript production, and in a more general article, for the 1977 Machaut anniversary, she introduced Le Voir Dit to non-specialists. On the whole, however, musicians have been content to leave study of the complete text to scholars of Middle French. Their priorities are, of course, very different; much of the most influential writing on Le Voir Dit from the last twenty years has been concerned to show how the text might be read in a structuralist or post-structuralist manner, and has placed relatively little emphasis on more positivistic questions such as how the text was compiled or its relationship to the historical persons and events it mentions. Yet to anyone interested in the origins and function of this extraordinary document such issues seem fundamental; indeed, the historically minded reader might wonder how the text can be understood at all until such matters have been addressed.
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47

Martineau, Anne. "Élucidation et glose d'un passage énigmatique du Voir Dit de Guillaume de Machaut." Le Moyen Age CXVII, no. 2 (2011): 345. http://dx.doi.org/10.3917/rma.172.0345.

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48

Calin, William. "La prise d'Alixandre (The Taking of Alexandria). Guillaume de Machaut , R. Barton Palmer." Speculum 79, no. 2 (April 2004): 517–18. http://dx.doi.org/10.1017/s0038713400088369.

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49

CLARK, ALICE V. "Machaut's motets on secular songs." Plainsong and Medieval Music 29, no. 1 (April 2020): 1–25. http://dx.doi.org/10.1017/s0961137120000042.

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ABSTRACTIn his three motets with tenors taken from secular songs, Guillaume de Machaut experiments with upper voice structures that borrow from the talea principle used in chant-based motets, creating hybrid forms that reflect aspects of the motet's overall subject. In two cases, Machaut sets up upper-voice taleae that do not coincide with their song-based tenor but interact with it in interesting ways. Trop plus est bele / Biauté paree de valour / Je ne sui mie certeins (M20) balances these formal principles to reflect a perfect love balanced between the dedicatory and the sacralised, while Lasse! comment oublieray / Se j'aim mon loyal ami / Pour quoy me bat mes maris? (M16) creates three opposing forms that reflect a Lady looking in two different directions, towards a beloved and a husband who abuses her. Dame je sui cilz qui weil endurer / Fins cuers doulz, on me deffent / T. Fins cuers doulz (M11) does not define regular upper-voice taleae, but rather uses the tools by which taleae are defined in the upper voices – long rests, hocket sections, and melodic repetition – to merge disparate formal principles in the service of a motet that discusses a woman who merges a soft appearance with a hard reality. Here Machaut also uses hexachordal punning, combining sharps and flats to express the Lady's contradictory qualities.
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50

Leech-Wilkinson, Daniel. "Le Voir Dit and La Messe de Nostre Dame: aspects of genre and style in late works of MacHaut." Plainsong and Medieval Music 2, no. 1 (April 1993): 43–73. http://dx.doi.org/10.1017/s0961137100000413.

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Le Voir Dit is one of the most fascinating of the works left by the celebrated poet-composer Guillaume de Machaut (d. 1377), and at the same time, as John Stevens has said, ‘one of the most curious documents of the [fourteenth] century’. Through 9000 lines of narrative, sixty-two lyrics in all the main forms (nine of them set to music), and forty-six letters which include comments on the character of the songs and on the business of producing poetry, music and manuscripts, we seem to take a guided tour of Machaut's emotional and professional life over three years of his old age. For more than a century it has proved a rich source of revealing quotations, sustaining many varied arguments. The story it tells of Machaut's literary and emotional affair with a young girl, Peronne, has been read at times as autobiography, at times as fiction; and the incidental comments on composition, performance and copying have been interpreted in studies ranging far beyond Le Voir Dit as evidence of fourteenth-century professional practice. None the less, the constituent parts of the text as they survive in manuscripts from Machaut's circle are disordered, the poem lacks an adequate published edition, and even its music – in size, at least, the most manageable of its components – has yet to be considered as a whole.
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