Guillaume de Machaut was the foremost poet-composer of his time. Studies look at all aspects of his prodigious output.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Symmetry and Dissymmetry in the Music of the Lay de Bonne Esperance (L18/13) Virginia Newes SPECULUM MORTIS: Form and Signification in Machaut's Motet Hé Mors / Fine Amour / Quare non sum mortuus (M3) Jacques Boogaart Observations on Machaut's Hé Mors, com tu es haie / Fine Amour, qui me vint navrer / Quare non sum mortuus (M3) Alice V. Clark Flos / Celsa and Machaut's Motets: Emulation and Error? Thomas Brown Texture and Counterpoint in the Four Voice Mass Settings of Machaut and his Contemporaries Kevin N Moll The 'Harmony' of the Machaut Mass Margaret Bent Machaut's Mass and Sounding Number Singing More About Singing Less: Machaut's Pour ce que tous (B12) Elizabeth Eva Leach Music Writing and Poetic Voice in Machaut: Some Remarks on B12 and R14 Anne Stone A Portrayal of the Lady who Guards her Honour (B25) Jehoash Hirshberg Machaut's B flat Balade Honte, paour (B25) Peter M. Lefferts The Intabulation of De toutes flours (B31) in the Codex Faenza as Analytical Model Jane E Flynn Machaut's Balade Ploures dames (B32) in the Light of Real Modality Christian Berger Balades 32 and 33 and the 'res dalemangne' Jennifer Bain Male and Female Voice in Two Virelais of Guillaume de Machaut William Mahrt The Marriage of Words and Music: Musique Naturele and Musique Artificiele in Machaut's Sans cuer, dolens (R4)(R4) Yolanda Plumley Rose, lis Revisited Daniel Leech Wilkinson Some Observations Regarding Musico Textual Interrelationships in Late Rondeaux by Machaut Karl Kugle
Symmetry and Dissymmetry in the Music of the Lay de Bonne Esperance (L18/13) Virginia Newes SPECULUM MORTIS: Form and Signification in Machaut's Motet Hé Mors / Fine Amour / Quare non sum mortuus (M3) Jacques Boogaart Observations on Machaut's Hé Mors, com tu es haie / Fine Amour, qui me vint navrer / Quare non sum mortuus (M3) Alice V. Clark Flos / Celsa and Machaut's Motets: Emulation and Error? Thomas Brown Texture and Counterpoint in the Four Voice Mass Settings of Machaut and his Contemporaries Kevin N Moll The 'Harmony' of the Machaut Mass Margaret Bent Machaut's Mass and Sounding Number Singing More About Singing Less: Machaut's Pour ce que tous (B12) Elizabeth Eva Leach Music Writing and Poetic Voice in Machaut: Some Remarks on B12 and R14 Anne Stone A Portrayal of the Lady who Guards her Honour (B25) Jehoash Hirshberg Machaut's B flat Balade Honte, paour (B25) Peter M. Lefferts The Intabulation of De toutes flours (B31) in the Codex Faenza as Analytical Model Jane E Flynn Machaut's Balade Ploures dames (B32) in the Light of Real Modality Christian Berger Balades 32 and 33 and the 'res dalemangne' Jennifer Bain Male and Female Voice in Two Virelais of Guillaume de Machaut William Mahrt The Marriage of Words and Music: Musique Naturele and Musique Artificiele in Machaut's Sans cuer, dolens (R4)(R4) Yolanda Plumley Rose, lis Revisited Daniel Leech Wilkinson Some Observations Regarding Musico Textual Interrelationships in Late Rondeaux by Machaut Karl Kugle
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