In The Art of the Grafted Song: Citation and Allusion in the Age of Machaut, author Yolanda Plumley explores the penchant for borrowing in chansons and lyrics from fourteenth-century France, uncovering a practice integral to the experiments in form, genre, and style that ushered in a new school of lyric.
In The Art of the Grafted Song: Citation and Allusion in the Age of Machaut, author Yolanda Plumley explores the penchant for borrowing in chansons and lyrics from fourteenth-century France, uncovering a practice integral to the experiments in form, genre, and style that ushered in a new school of lyric.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Yolanda Plumley is Professor of Historical Musicology at the University of Exeter. She has published widely on late medieval music and its cultural context and is author of The Grammar of Fourteenth-Century Melody (New York and London, 1996) and (with Anne Stone) of Codex Chantilly, Bibliothèque du Château de Chantilly, MS 564 (Turnhout, 2008), and co-editor of three volumes of essays on late medieval and Renaissance culture.
Inhaltsangabe
* Preface with Acknowledgements * Abbreviations * Introduction * Part One: Citation, Genre, and Experiments in Song in the early Fourteenth Century * 1. Cantilena entata: Etymologies and the Grafted Song ca. 1300 * 2. Grafting song in Paris: The Lyric Works of Jehannot de Lescurel * 3. Experimental Song-Writing in the Roman de Fauvel * Part Two: Performing Citation in Court and City: The Rise of the Fixed Forms * 4. Performing Nonsense at Court: Watriquet de Couvin's Fastras * 5. Citation and Ritual at the Puys of Valenciennes and Paris * 6. Jehan de le Mote and the Rise of the Ballade * 7. Citing the Classics: Mythological Ballades by Le Mote, Vitry, and Campion * Part Three: Machaut and the Art of Grafted Song * 8. Machaut's Heritage: Tracing Citations in his Lyrics and Songs * 9. Self-Citation and Lyric Process in La Loange des dames * 10. The Dynamics of Duplication: Staging Debate in Machaut's Voir Dit * Epilogue * Bibliography
* Preface with Acknowledgements * Abbreviations * Introduction * Part One: Citation, Genre, and Experiments in Song in the early Fourteenth Century * 1. Cantilena entata: Etymologies and the Grafted Song ca. 1300 * 2. Grafting song in Paris: The Lyric Works of Jehannot de Lescurel * 3. Experimental Song-Writing in the Roman de Fauvel * Part Two: Performing Citation in Court and City: The Rise of the Fixed Forms * 4. Performing Nonsense at Court: Watriquet de Couvin's Fastras * 5. Citation and Ritual at the Puys of Valenciennes and Paris * 6. Jehan de le Mote and the Rise of the Ballade * 7. Citing the Classics: Mythological Ballades by Le Mote, Vitry, and Campion * Part Three: Machaut and the Art of Grafted Song * 8. Machaut's Heritage: Tracing Citations in his Lyrics and Songs * 9. Self-Citation and Lyric Process in La Loange des dames * 10. The Dynamics of Duplication: Staging Debate in Machaut's Voir Dit * Epilogue * Bibliography
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