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Interpretation and Counterpoint: The Case of Guillaume de Machaut's De Toutes Flours

Interpretation and Counterpoint: The Case of Guillaume de Machaut's De Toutes Flours Music Analysis, 19/iii (2000) 321 ß Blackwell Publishers Ltd. 2000. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK ELIZABETH EVA LEACH and analytical approaches with a basis in fourteenth-century theory (Brothers). Secondly, the appearance of an unusual dissonance between the cantus and contratenor in the final few bars of the B section (the section before the refrain, in bar 42) has been explained both as an early instance of word painting (Wolfgang Domling) and as a further index of compositional exceptionality È (Fuller). Both this dissonance and another potential contratenor-cantus (CtCa) dissonance slightly earlier in the same phrase (bar 40) will be discussed in terms of what they might tell us about scribal and compositional priorities and the modern interpretation of the normative-exceptional dialectic in relation to Machaut's compositional practice. The basic premise of this article is that analysis grounded in the tools provided by medieval counterpoint teaching can reveal the extent of the stability of the musical text of medieval songs. Whilst, as with B31, a medieval song may be available in a varied number of voice parts, the added voices depend to a great extent on a perception of, in this case, a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Interpretation and Counterpoint: The Case of Guillaume de Machaut's De Toutes Flours

Music Analysis , Volume 19 (3) – Oct 1, 2000

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Publisher
Wiley
Copyright
Copyright © 2000 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00123
Publisher site
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Abstract

Music Analysis, 19/iii (2000) 321 ß Blackwell Publishers Ltd. 2000. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK ELIZABETH EVA LEACH and analytical approaches with a basis in fourteenth-century theory (Brothers). Secondly, the appearance of an unusual dissonance between the cantus and contratenor in the final few bars of the B section (the section before the refrain, in bar 42) has been explained both as an early instance of word painting (Wolfgang Domling) and as a further index of compositional exceptionality È (Fuller). Both this dissonance and another potential contratenor-cantus (CtCa) dissonance slightly earlier in the same phrase (bar 40) will be discussed in terms of what they might tell us about scribal and compositional priorities and the modern interpretation of the normative-exceptional dialectic in relation to Machaut's compositional practice. The basic premise of this article is that analysis grounded in the tools provided by medieval counterpoint teaching can reveal the extent of the stability of the musical text of medieval songs. Whilst, as with B31, a medieval song may be available in a varied number of voice parts, the added voices depend to a great extent on a perception of, in this case, a

Journal

Music AnalysisWiley

Published: Oct 1, 2000

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