Guillaume de Machaut

A Guide to Research

Lawrence Earp

• Publisher: Routledge
• Year: 2013
• eBook ISBN: 9781136781766
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Music

This book provides an overview of the current state of research on Machaut, the major figure of 14th-century French music and poetry, giving fair representation to the many areas of Machaut research that are pursued in fields outside music.Coverage of the current state of knowledge on each of the manuscripts includes the newly discovered Aberystwyth manuscript, described in detail here for the first time. A section on the large narrative poems pulls together recent research of several scholars and offers new views. An up-to-date concordance of the miniatures in all of the illustrated Machaut manuscripts gives information on where published studies and facsimiles may be found. The discography is the most complete list of Machaut recordings yet compiled and provides critical evaluations of recordings most valuable for instruction, according to our latest conception of performance practice in the 14th-century.A biography section organizes the documentary material in a way that will facilitate further research. The bibliography of secondary works cites books, editions, articles, and dissertations (including forthcoming works) from 1740 to 1991, in French, English, the other western European languages, Polish, Russian, and Japanese. The volume is fully indexed.

Bibliography

Due to the nature of the topical chapters in this book, the bibliography includes many works that are not exclusively concerned with Machaut; in such cases the annotation addresses only the item's connection with Machaut. For books of direct relevance to Machaut, I include references to reviews. A few book reviews containing especially important material specifically referenced in the topical chapters above have been given separate entries in the bibliography, e.g., Guesnon 1912. Numbers in square brackets that follow manuscript sigla are keyed to the through-numbered manuscript descriptions in chapter 3.

Abert, Hermann.

1904-5. “Die Musikästhetik der Echecs Amoureux” Sammelbdnde der Inter-nationalen Musikgesellschaft 6:346–55.

Discussion of the conception of music in a long passage from the anonymous Echecs Amoureux, published elsewhere by Abert. An additional passage (354–55,1. 17) includes mention of the “res d'Allemaigne"; see chap. 7.3, commentary to Nes qu'on (B33). For a new edition of the Echecs Amoureux, see Kraft 1977.

Aboshi, Tsuyoshi.

1981. “Machaut no ongaku no nezasumono” (On the foundation of Machaut's music; in Japanese; summary in English). Bigaku (Aesthetics) 125 (summer): 39–50.

Not examined. According to the abstract, seems to be trying to prove that Machaut is a medieval, not a Renaissance, composer. Abstract: RILM 15 (1981), no. 2354.

Allaire, Gaston G.

1972. The Theory of Hexachords, Solmization and the Modal System. A Practical Application. Musicological Studies and Documents 24. [Rome]: American Institute of Musicology.

Example 26 (112–14) interprets source accidentals in terms of Allaire's theory of hexachords and solmization. Abstract: RILM 6 (1972), no. 201.

1980. “Les enigmes de l'Antefana et du double hoquet de Machault: une tentative de solution” (summary in English). Revue de musicologie 66:27–56. A new solution to problems of musicaficta in the Hoquetus David (43–56). Abstracts: RILM 14 (1980), no. 360; Michel Huglo, Scriptorium 35 (1981): 3* no. 6.

Allen, Mark, and John H. Fisher.

1987. The Essential Chaucer: An Annotated Bibliography of Major Modern Studies. Reference Publication in Literature. Boston: G.K. Hall. Excellent annotated bibliography of twentieth-century scholarship.

Allorto, Riccardo, ed.

1983. Antologia storica della musica (dai Greci al Rinascimento). E.R. 2815. Milan: Ricordi.

Historical anthology of music, with commentary and Italian translation of texts, including Machaut's De tout sui (V38/32), Je puis trop (B28), Qui es I Hal Fortune (M8), and the Kyrie and Gloria from the Mass.

Alos-Moner, Ramon d'.

1924. “Documenti per la storia della biblioteca d'Alfonso il Magnanimo.” In Miscellanea Francesco Ehrle: Scritti di storia e paleografia. Vol. 5, Biblioteca ed Archivio Vaticano. Biblioteche diverse, 390–422. Studi e testi 41. Rome: Biblioteca Apostolica Vaticana.

Publication of the 1417 inventory of the library of Alfonso the Magnanimous. Earp (1989, 478–79) notes that the description of the Machaut manuscript matches MS Vg [3].

Altmann, Barbara K.

1987. “Diversity and Coherence in Christine de Pizan's Dit de Poissy.” French Forum 12:251–71.

Includes brief mention of Jugement Behaingne and Jugement Navarre as models for Christine's Dit de Poissy (262).

1988. “Christine de Pizan's Livre du Dit de Poissy: An Analysis and Critical Edition.” Ph.D. diss. University of Toronto. Ann Arbor: University Microfilms. Order no. 59958.

Not examined; publication forthcoming. Part I contains an analysis of Christine's Dit de Poissy, with discussion of Machaut's Jugement Behaingne and Jugement Navarre as models. Abstracts: DAI A 50/1 (July 1989): 134–35; 52/11 (May 1991): 3951-52; Dalhousie French Studies 14 (spring-summer 1989): 113–14.

1992. “Reopening the Case: Machaut's Jugement Poems as a Source in Christine de Pizan.” In Reinterpreting Christine de Pizan, ed. Earl Jeffrey Richards et al., 137–56. Athens and London: University of Georgia Press. Excellent discussion of Christine's literary debt to Machaut's debate poems, emphasizing the critical and ironic aspects of her reworkings. Review: J.C. Laidlaw, French Studies 48 (1994): 191–92.

Alton, Jeannine, and Brian Jeffery.

1976. Bele buche e bele parleure: A Guide to the Pronunciation of Medieval and Renaissance French for Singers and Others. London: Tecla. Includes audio cassette.

A useful guide to historical French pronunciation, including a taped recitation of Machaut's Plus dure (V31/28), followed by a sung performance of the first strophe. Reviews: C.A. Robson, Music and Letters 62 (1981): 417; Laurence Wright, Early Music 6 (1978): 599.

Ambros, August Wilhelm.

1891. Geschichte der Musik. Vol. 2, Die Anfdnge der europaisch-abendldnd-ischen Musik. Die Entwicklung des geregelten mehrstimmigen Gesanges. Breslau: Leuckart, 1864. 2nd ed., revised by Otto Kade. Leipzig: Leuckart, 1880. 3rd ed., revised by Heinrich Riemann. Leipzig: Leuckart, 1891. Reprint. Hildesheim: Georg Olms, 1968.

Ambros first mentions Machaut in connection with Adam de la Halle: “He and Machault form the connecting transition from the trouveres to the actual schooled musicians. As the former, they briskly invented words and tunes for their poems, just as their inner compulsions drove them, and in this they succeeded with charming productions” [examples from Dame, a vous (RF6) and J'aim lafleur (L2), both from Bottee de Toulmon 1836] (251). “As learned musicians they set polyphonic vocal pieces that we will get to know later, which however appear to us as highly crude, almost barbaric attempts” (254). Ambros's view of Machaut and others as transitional figures is first stated in the “Vorrede” to the volume (vi). Later, Ambros gives Kiesewetter's example from the opening of the Gloria of the Mass, indicating that “the entire piece belongs to the childhood of harmonic art” (370). Finally, Ambros contrasts Machaut's previously discussed grace as a melodist in his monophonic works with his failure as a contrapuntist, based on Do us viaire (Rl), again published after Kiesewetter (374–75).

Amon, N[icole] (see also Jordan, Nicole Amon).

1976. “Le vert: Guillaume de Machaut, poete de Faffirmation et de la joie.” Revue du Pacifique 2:3–11.

Aspects of color symbolism in the Voir Dit.

Anderson, Gordon A.

1976. “Responsory Chants in the Tenors of Some Fourteenth-Century Continental Motets.” Journal of the American Musicological Society 29: 119–27. Identifies the sources of five motet tenors not identified by Ludwig, including He! Mors I Fine (M3), S'il estoit I s' Amours (M6), Helas! pour quoy virent I Corde (M12), Maugre mon cuer I De ma dolour (M14), and Tu qui gregem I Plange (M22). For the tenor of Martyrum I Diligenter (M19), see Fuller (1990, 231 n. 43) and A.W. Robertson's forthcoming study of music at Reims cathedral. Abstract: RILM 10 (1976), no. 2384.

Anderson, J.J.

1991. “Criseyde's Assured Manner.” Notes and Queries n.s. 38:160–61. Chaucer's adaptation of some passages in Jugement Behaingne and Remede for his Troilus and Criseyde.

1992. “The Man in Black, Machaut's Knight, and Their Ladies.” English Studies 73:417–30.

Chaucer's use of Machaut's Jugement Behaingne and Remede for the Man in Black's description of Blanche in The Book of the Duchess.

Angiolini, Giuliano d'.

1987. “Le son du sens: Machaut, Stockhausen. La ballade 34 et le Chant des Adolescents.” Voix et instrument, parole et musique dans le repertoire musical du Moyen-Age d nos jours. Analyse Musicale 9 (Oct.): 43–51.

Besides revealing certain correspondences between the musical conceptions of Machaut and Stockhausen, Angiolini provides some interesting strategies for the analysis of poetical and musical aspects of polytextuality in Machaut, strategies also suggestive for the analysis of motets. Abstract: RILM 21 (1987), no. 8298.

Anglès, Higinio.

1970. Historia de la musica medieval en Navarra (obra postuma). Pamplona: Diput...

Table of contents

• Cover
• Half Title
• GARLAND COMPOSER RESOURCE MANUALS
• Full Title
• Copyright
• GARLAND COMPOSER RESOURCE MANUALS
• Contents
• Preface
• Abbreviations
• List of Tables
• I. Biography of Guillaume de Machaut
• II. Machaut's Literary and Musical Legacy
• III. The Manuscripts
• IV. The Miniatures
• V. The Narrative Dits
• VI. Lyrical Poetry: The Loange des Dames
• VII. The Music
• VIII. Discography
• Bibliography
• Index of manuscripts
• General index
• Index of titles, first lines, and refrains