9536a Medieval Music: Guillaume de Machaut

Music 9536a
Machaut
Fall 2016
Meetings: Tuesday 1:30-4:30pm, TC 340
Instructor:
James Grier
Talbot College 223
telephone: EXT 85340
email: [email protected]
This course will examine themes in the output of Guillaume de Machaut, the leading
composer and musician in fourtheenth-century France. Topics covered will include the
production of the manuscripts, under his own direction, that preserve his works, and the principal
genres he composed.
Scholastic offences are taken seriously and students are directed to read the
appropriate policy, specifically, the definition of what constitutes a Scholastic
Offence, as found at
http://www.uwo.ca/univsec/pdf/academic_policies/appeals/scholastic_discipline_g
rad.pdf.
As part of a successful graduate student experience at Western, we encourage
students to make their health and wellness a priority. Western provides several oncampus health-related services to help students achieve optimum health and
engage in healthy living while pursuing a graduate degree. Students seeking help
regarding mental health concerns are advised to speak to someone in whom they
feel comfortable confiding, such as a faculty supervisor, a program advisor, or the
Associate Dean (Graduate Studies). Campus mental health resources may be found
at
http://www.health.uwo.ca/mental_health/resources.html.
BIBLIOGRAPHY:
Manuscripts: A: Paris, Bibliothèque nationale de France, MS français 1584 <gallica.bnf.fr>
B: Paris, Bibliothèque nationale de France, MS français 1585 <gallica.bnf.fr>
C: Paris, Bibliothèque nationale de France, MS français 1586 <gallica.bnf.fr>
D: Paris, Bibliothèque nationale de France, MS français 1587 <gallica.bnf.fr>
E: Paris, Bibliothèque nationale de France, MS français 9221 <gallica.bnf.fr>
F: Paris, Bibliothèque nationale de France, MS français 22545 <gallica.bnf.fr>
G: Paris, Bibliothèque nationale de France, MS français 22546 <gallica.bnf.fr>
Vg: The Ferrell-Vogüé Machaut Manuscript.
Publications, 2014.
2 vols.
Oxford:
DIAMM
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Bain, Jennifer. “Tonal Structure and the Melodic Role of Chromatic Inflections in the Music of
Machaut.” Plainsong & Medieval Music 14 (2005): 59-88.
Bent, Margaret. “The Machaut Manuscripts Vg, B and E.” Musica Disciplina 37 (1983): 53-82.
———. “Deception, Exegesis and Sounding Number in Machaut’s Motet 15.” Early Music
History 10 (1991): 15-27.
Boogart, Jacques. “Encompassing Past and Present: Quotations and Their Function in
Machaut’s Motets.” Early Music History 20 (2001): 1-86.
Bowers, Roger. “Guillaume de Machaut and his Canonry of Reims, 1338-1377.” Early Music
History 23 (2004): 1-48.
Brothers, Thomas. Chromatic Beauty in the Late Medieval Chanson: An Interpretation of
Manuscript Accidentals. Cambridge: Cambridge University Press, 1997, pp. 88-135.
Brown, Thomas. “Another Mirror of Lovers? Order, Structure and Allusion in Machaut’s
Motets.” Plainsong & Medieval Music 10 (2001): 121-33.
Brownlee, Kevin. Poetic Identity in Guillaume de Machaut. Madison: University of Wisconsin
Press, 1984.
———. “Machaut’s Motet 15 and the Roman de la rose: The Literary Context of Amours qui a
le pouoir/Faus Samblant m’a deceü/Vidi Dominum.” Early Music History 10 (1991): 114.
Butterfield, Ardis. Poetry and Music in Medieval France: From Jean Renart to Guillaume de
Machaut. Cambridge Studies in Medieval Literature, 49. Cambridge: Cambridge
University Press, 2002.
Calin, William. A Poet at the Fountain: Essays on the Narrative Verse of Guillaume de
Machaut. Lexington KY: University Press of Kentucky, 1974.
Clark, Alice V. “Listening to Machaut’s Motets.” Journal of Musicology 21 (2004): 487-513.
Desmond, Karen. “Refusal, the Look of Love, and the Beastly Woman of Machaut’s Balades 27
and 38.” Early Music History 32 (2013): 71-118.
Dömling, Wolfgang. Die mehrstimmigen Balladen, Rondeaux und Virelais von Guillaume de
Machaut: Untersuchungen zum musikalischen Satz. Münchener Veröffentlichungen zur
Musikgeschichte, 16. Tutzing: H. Schneider, 1970.
Earp, Lawrence. “Genre in the Fourteenth-Century French Chanson: The Virelai and the Dance
Song.” Musica Disciplina 45 (1991): 123-41.
———. Guillaume de Machaut: A Guide to Research. Garland Composer Resoruce Manuals,
36. New York: Garland, 1995.
———. “Interpreting the Deluxe Manuscript: Exigencies of Scribal Practice and Manuscript
Production in Machaut,” in The Calligraphy of Medieval Music, ed. John Haines.
Musicalia Medii aevi, 1. Turnhout: Brepols, 2011, pp. 223-40.
———, “Machaut’s Role in the Production of Manuscripts of His Works,” Journal of the
American Musicological Society 42 (1989), 461-503.
Everist, Mark. “‘Souspirant en terre estrainge’: The Polyphonic Rondeau from Adam de la
Halle to Guillaume de Machaut.” Early Music History 26 (2007): 1-42.
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Guillaume de Machaut: Poète et compositeur. Paris: Klincksieck, 1982.
Hoppin, Richard H. Medieval Music. Norton Introduction to Music History. New York:
Norton, 1978.
Jackson, Roland. “Guillaume de Machaut and Dissonance in Fourteenth Century French
Music.” Musica Disciplina 53 (2003-8): 7-49.
Keitel, Elizabeth A. “The So-Called Cyclic Mass of Guillaume de Machaut.” The Musical
Quarterly 68 (1982): 307-23.
Kibler, William W., and James I. Wimsatt. “Machaut’s Text and the Question of His Personal
Supervision.” Studies in the Literary Imagination 20 (1987): 41-53.
Leach, Elizabeth Eva. “Death of a Lover and the Birth of the Polyphonic Ballade: Machaut’s
Notated Ballades 1-5.” Journal of Musicology 19 (2002): 461-502.
———. “Fortune’s Demesne: The Interrelation of Text and Music in Machaut’s Il mest avis
(B22), De fortune (B23) and Two Related Anonymous Balades.” Early Music History 19
(2000): 47-79.
———. Guillaume de Machaut: Secretary, Poet, Musician. Ithaca, NY: Cornell University
Press, 2011.
———. “Machaut’s Balades with Four Voices.” Plainsong & Medieval Music 10 (2001): 4779.
———, ed. Machaut’s Music: New Interpretations. Studies in Medieval and Renaissance
Music. Woodbridge: Boydell Press, 2003.
Leech-Wilkinson, Daniel. Machaut’s Mass: An Introduction. Oxford: Oxford University
Press, 1990).
———. “Le Voir Dit and La Messe de Nostre Dame: Aspects of Genre and Style in the Late
Works of Machaut.” Plainsong & Medieval Music 2 (1993): 43-73.
———. “Le Voir Dit: A Reconstruction and Guide for Musicians.” Plainsong & Medieval
Music 2 (1993): 103-40.
Machabey, Armand. Guillaume de Machaut: La vie et l’oeuvre musical. 2 vols. Paris:
Richard-Masse, 1955.
Markstrom, Kurt. “Machaut and the Wild Beast:” Acta Musicologica 61 (1989): 12-39.
Maurey, Yossi. “A Courtly Lover and an Earthly Knight Turned Soldiers of Christ in Machaut’s
Motet 5.” Early Music History 24 (2005): 169-211.
Maw, David. “‘Trepasser mesure’: Meter in Machaut’s Polyphonic Songs.”
Musicology 21 (2004): 46-126.
Journal of
McGrady, Deborah, and Jennifer Bain, eds. A Companion to Guillaume de Machaut. Brill’s
Companions to the Christian Tradition, 33. Leiden: Brill, 2012.
Newes, Virginia. “Turning Fortune’s Wheel: Musical and Textual Design in Machaut’s
Canonic Lais.” Musica Disciplina 45 (1991): 95-121.
Robertson, Anne Walters. Guillaume de Machaut and Reims: Context and Meaning in His
Musical Works. Cambridge: Cambridge University Press, 2002.
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Williams, Sarah Jane. “An Author’s Role in Fourteenth-Century Book Production: Guillaume
de Machaut’s ‘Livre ou je met toutes mes choses’.” Romania 90 (1969): 433-54.
Wilson, David Fenwick. Music of the Middle Ages: Style and Structure. New York: Schirmer
Books, 1990.
Zayaryznaya, Anna. “‘She has a wheel that turns . . .’: Crossed and Contradictory Voices in
Machaut’s Motets.” Early Music History 28 (2009): 185-240.
EVALUATION:
Seminar presentation and final paper
100%
All students will submit a one-page proposal, with attached bibliography, of the project they will
pursue for their Seminar presentation and Final paper by 7 October. Seminar presentations will
be scheduled at that time for the last weeks of term. Final papers are due 5:00 p.m. Monday 19
December. Attendance at seminar presentations is compulsory for all members of the class.
Failure to attend will result in a penalty in the final grade for the course.
SYLLABUS:
Meetings during the first six weeks will be devoted to the following topics:
1. Introduction and historical background.
2. Machaut and His Manuscripts.
Reading:
Williams, “An Author’s Role in Fourteenth-Century Book Production.”
Kibler and Wimsatt, “Machaut’s Text.”
Earp, “Machaut’s Role in the Production of Manuscripts of His Works.”
3. Repertory: Mass.
Score: Leech-Wilkinson, Machaut’s Mass.
Recording: MCD 2992, 4071, 20910.
Reading: Robertson, Guillaume de Machaut and Reims, pp. 257-75.
4. Repertory: Motets.
Dame, je sui cilz/Fins cuers doulz MCD 3013
Inviolata genitrix/Felix virgo/Ad te suspiramus MCD 3013
Qui es promesses de Fortune/Ha, fortune!/Et non est qui adiuvet MCD 4441
Scores: Collected Works in Polyphonic Music of the Fourteenth Century, vols. 2-3.
Reading:
Robertson, Guillaume de Machaut and Reims, pp. 79-102.
Brown, “Another Mirror of Lovers?”
5. Repertory: Lai.
Le lai de la Fonteinne MCD 4071
Score: Collected Works in Polyphonic Music of the Fourteenth Century, vols. 2-3.
Reading: Newes, “Turning Fortune’s Wheel.”
MACHAUT
6. Repertory: Secular polyphony.
Dame, de qui toute ma joie vient
Biauté qui toutes autres pere
Amours me fait desirer
Foy porter
Tuit mi penser
Dame, a qui
Je vivroie liement
Douce dame jolie
Rose, liz, printemps, verdure
Scores: Collected Works in Polyphonic Music of the Fourteenth Century, vols. 2-3.
Recording: MCD 3013
Reading:
Brothers, Chromatic Beauty, pp. 88-135.
Bain, “Tonal Structure.”
The balance of the term will be reserved for seminar presentations.
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