Jump to ContentJump to Main Navigation
Guillaume de MachautSecretary, Poet, Musician$

Elizabeth Eva Leach

Print publication date: 2011

Print ISBN-13: 9780801449338

Published to Cornell Scholarship Online: August 2016

DOI: 10.7591/cornell/9780801449338.001.0001

Show Summary Details
Page of

PRINTED FROM Cornell University Press SCHOLARSHIP ONLINE (www.cornell.universitypressscholarship.com). (c) Copyright University of Cornell University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in Cornell for personal use (for details see http://cornell.universitypressscholarship.com/page/privacy-policy/privacy-policy-and-legal-notice). Subscriber: null; date: 20 June 2018

(p.ix) Music Examples

(p.ix) Music Examples

Source:
Guillaume de Machaut
Publisher:
Cornell University Press

  1. Example 3.1. Triple balade De triste cuer / Quant vrais amans / Certes, je di (B29), with text of first stanza underlaid. 104

  2. Example 4.1. Esperance (B13): a. “-ueil” b-rhyme emphasized by cadences at the ouvert and clos, and in the B section; b. unison d at the end of the first full musical phrase (mid–poetic line 2); c. opening and final cadences. 134

  3. Example 4.2. Amours doucement (L7/6), opening stanza: a. Transcription representing double versicle layout of the manuscripts; b. Schrade edition, showing quadrupled versicle structure. Reproduced by permission of Éditions de l’Oiseau-Lyre. 146

  4. Example 4.3. Qui n’aroit (RF1), stanza 5 music (with translation of the text). 148

  5. Example 4.4. Qui n’aroit (RF1), stanza 8 music, showing repetition of “-elle” rhymes in bold (with translation of the text). 150

  6. Example 4.5. Qui n’aroit (RF1), stanza 11 music, showing aa'b structure and the “-aille” rhyme (with translation of the text). 151

  7. Example 4.6. Joie, plaisance (RF3) (with translation of the first stanza of the text). 155

  8. Example 4.7. Dame de qui (RF5) (four-part version with translation of text): a. cadence at “cent mil ans”; b. musical enjambment of ll. 5–6. 160

  9. Example 4.8. The Lay de Plour, Qui bien aimme (L22 /16), stanzas 5–6 (with translation). 173

  10. Example 4.9. Je ne cuit pas (B14) and Amour m’a fait (B19) compared: a. mm. 5–7, where B19’s tenor resembles B14’s cantus, and vice versa; b. unusual melodic interval for “Amours” at the outset of B19. 196

  11. Example 4.10. Shared motive between opening of the refrain in Je ne cuit pas (B14) and Amour m’a fait (B19), m. 18. 196

  12. Example 5.1. Il m’est avis (B22) complete, with stanza 1 underlaid: a. caesura ll. 2 and 4 (midpoint of the A section); b. caesura of the refrain line. 204

  13. Example 5.2. De Fortune (B23) complete, with stanza 1 underlaid: a. “wheel” motive; b. unstable point of “durance.” 209

  14. Example 5.3. Qui es / Ha! Fortune (M8) aligned by greater taleae. 215

  15. Example 5.4. The first stanza of the complaint Tels rit (RF2) in modern notation (values quartered). 228

  16. (p.x) Example 5.5. De petit po (B18): A section. 248

  17. Example 6.1. Plourez, dames (B32) music (complete). 268

  18. Example 6.2. Contre ce dous (Lay de Nostre Dame) (L15/10), stanza 1 and translation. 297

  19. Example 6.3. Ma fin (R14) with a translation of the text. 300

  20. Example 6.4. Shared motive between Deschamps’s déploration balades set to music by F. Andrieu, and Anon., Dame qui fust. 312