My essay on the estampies of the Oxford manuscript
Douce 308 has just been published in a collection entitled Music and Instruments of the Middle Ages: Essays in Honour of Edited by Christopher Page, Tess Knighton and David Skinner.
The estampie is usually thought of as an instrumental genre, but the ones in Douce 308 survive as extensive (and complicated) poetic texts. My essay attempts to glean what we can about their musical form from these unnotated and unique traces (none of the Douce 308 estampies has any concordances). I argue, ultimately, that these vocal estampies are closer to the surviving notated instrumental versions that people have previously believed.
full listing of the other contents of the volume can be seen on the Boydell and Brewer site and there’s a discount available on order for a fixed period via the pdf below:
A brief look at another vernacular song tradition. Continue reading Vernacular song (list A) lecture 4
This lecture looks at the reception of monophonic medieval vernacular song, from the earliest manuscript copies to modern performances. Continue reading Vernacular song (list A) lecture 6
This podlecture continues a discussion of the troubadours, looking at song themes and genres.
Podlecture 2: The Troubadours 2
Cheyette, Fredric L.
Ermengard of Narbonne and the World of the Troubadours. Ithaca: Cornell University Press, 2001. Paterson, Linda M.
The World of the Troubadours: Medieval Occitan Society, c.1100-c.1300. Cambridge: Cambridge University Press, 1995. Schulman, Nicole M.
Where Troubadours Were Bishops: The Occitania of Folc of Marseille (1150-1231). London: Routledge, 2001.
Bloch, R. Howard.
Medieval Misogyny and the Invention of Western Romantic Love. Chicago: University of Chicago Press, 1991. Kay, Sarah.
Subjectivity in Troubadour Poetry. Cambridge: Cambridge University Press, 1990. Some history of the term
‘Courtly Love’ via Wikipedia, which has some useful links. Lewis, C. S.
The Allegory of Love. 1936. NY: Oxford University Press, 1958.
On the role of
Aubrey, Elizabeth. ‘References to Music in Old Occitan Literature’,
Acta Musicologica 61/2 (1989): 110–149. Levitsky, Ann. ‘Song Personified: The
Tornadas of Raimon de Miraval’, Mediaevalia 39 (2018): 17–57. McAlpine, Fiona. ‘Authenticity and the “Auteur”: The Songs of Hugues de Berzé’,
Plainsong and Medieval Music, 4 (1995), 1-12. Peraino, Judith A.
Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume De Machaut. New York: Oxford University Press, 2011.
As before (in podlecture 1):
Check you know who or what the following are:
Fin’ amors or courtly love
Andreas Capellanus and his The Art of Courtly Love
Chrétien de Troyes
joc-partit / partimen
Ovid on Love
CONTINUE TO LECTURE 3
My article treating a ‘boring’ song by Blondel de Nesle has just been published by Early Music . Continue reading Imagining the performance of trouvère song
A third post from the performance workshop with graindelavoix, sponsored by the Leverhulme Trust and held at St Hugh’s College, Oxford in March 2017. Continue reading Performance workshop 3: JP30
A second post from the performance workshop with graindelavoix, sponsored by the Leverhulme Trust and held at St Hugh’s College, Oxford in March 2017. Continue reading Performance Workshop 2: JP4
A first post from the performance workshop with graindelavoix, sponsored by the Leverhulme Trust and held at St Hugh’s College, Oxford in March 2017. Continue reading Performance Workshop 1: JP27a
This second year of my Leverhulme project will involve a workshop with performers designed to help me think about my unnotated manuscript in a more musical way. Continue reading Performing jeux-partis with graindelavoix
How were large collections of lyric poetry (with or without music) assembled?
Continue reading The source materials for large medieval chansonniers