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Richard Freedman 7 9 21 45 61 77 97 111 125 147 159 ... PIETRESSON DE SAINT-AUBIN, Dictionnaire topographique du Nord, Lille, 1994 (published as a set of 46 microfiches by the Archives Départementales du Nord). HAUTCOEUR, Cartulaire de l’église collégiale de Saint-Pierre de Lille, Paris, 1894. WOLINSKI one of those Parisians with whom he is accustomed to dally (Ne sui pas, ce vos plevis,/ de ceus de Paris / dont vous jouez a har).42 She thereby implies that Parisian women have loose morals.NEC NON TYRONIBUS QUÀM EIUS ARTIS PERITIORIBUS SUMMOPERE INSERVIENTES. Journées du Patrimoine: Visite du Clocher et de l’Eglise St-Pierre, brochure published by Les Amis du Patrimoine Santois, Santes, 1999. It appears that the manuscript W2 was created for use in a court.We shall continue our resolute choice for international quality in our publications and together with the new team we look forward to a bright future. 82–83, 134, 183–184; and TISCHLER, The Earliest Motets, 2, pp. DRINKING MOTETS IN MEDIEVAL ARTOIS AND FLANDERS 15 TRIPLUM Domine ainz qe j’aie digné mende la brunete a cors gent a la bouche riant a la clere face lors bevons et menjons luz et autres poisons et chars et venoisons lors coument au povre fouchier q’il liet sus dou mengier sa viele afetier en chantant note et die la melodie qe je tant es sainz oie Saint Pere de Sanz or le fet bien ... NÈGRE, Toponymie générale de la France, Geneva, 1990–1991, vol. BULLOCK-DAVIES, Menestrellorum Multitudo: Minstrels at a Royal Feast, Cardiff, 1978, pp. My thanks to Nancy Regalado and Marilyn Lawrence for this reference, and to Dr. For a description of vin de repasse, or rapé, which was wine made from the dregs of the first pressing, see GARRIER, Histoire sociale et culturelle du vin, pp. See TOBLER, LOMMATZSCH and CHRISTMANN, Altfranzösisches Wörterbuch, 3, col. 219-220; and GARRIER, Histoire sociale et culturelle du vin, p. The two meanings of the term are acknowledged by T. 42 43 Le hary appears to have had sexual connotations and faire le hari was a euphemism for making love; see BALDINGER, Dictionnaire étymologique de l’ancien français, H, col. Therefore, the last word of the motet probably should read hari. In spite of its importance, however, there has been surprisingly little discussion of how pervasive imitation evolved.Eugeen Schreurs General Editor 9 DRINKING MOTETS IN MEDIEVAL ARTOIS AND FLANDERS Mary E. et Pous et Baudouins au gros mallos Saveniens les baste trop qant j’es oi si m’en esjoi de la grant doulcor m’esblai einsi vif et joienz (TRANSLATION) Lord: Before I will have dined, Send for the brunette with the fair body, With the laughing smile, With the clear face. BAUTIER, Clarius: Chronique de Saint-Pierre-le-Vif de Sens, Paris, 1979, pp. Lawrence for sharing her expertise on minstrels and related Old French terminology. LAWRENCE, Minstrel Disguise in Medieval French Narrative: Identity, Performance, Autorship, Ph. 1760; and STIMMING, Die altfranzösischen Motette, p. SCULLY, Du fait de cuisine par Maistre Chiquart 1420 (Ms S 103 de la bibliothèque Supersaxo, à la Bibliothèque cantonale du Valais, à Sion), in Vallesia, 40 (1985), pp. I looked for a discussion of this issue in all the major Renaissance text books (Reese, Brown, Atlas, Perkins, Sparks, Strohm).1 While all of them say that imitation emerged in the late fifteenth century, and some say that it emerged first in Milan in the 1470s, none of them say how it developed.2 I am trying to trace the origins and development of pervasive imitation in the decades before 1500, especially in the motet.3 This article is a first stab at the issues, and presents some hypotheses on the mechanisms involved. It is imitation as used in the late fifteenth- and the sixteenth-century motet, called pervasive because it pervades all the voices and the structure of the work.One result is that this Yearbook 6 is now past its due date. In the triplum, domine, or lord, seems to designate the speaker, who has an authoritative tone. It could be a rosé wine,32 or a wine cooked with honey and spices.33 It might be significant that although a fifteenth-century printed edition of Taillevent’s Le Viandier provides a recipe for claret with honey and spices,34 this recipe is not found in the manuscript tradition, which stretches back to the second half of the thirteenth century.35 The term clapé is a mystery. This remains a hypothesis until we can know more about the court’s liturgy and the nature of its chapel personnel. 46, edited it as haris, he translated the last line as ‘Whom you treat like mad dogs’. WRIGHT, Music at the Court of Burgundy, 1364–1419: A Documentary History, Henryville – Ottawa – Binningen, 1979, p. 21 FROM VARIETY TO REPETITION: THE BIRTH OF IMITATIVE POLYPHONY* The emergence of pervasive imitation in polyphonic music in the decades leading up to 1500 marks a major change in musical style.The patience of the authors and the readers has, however, given us the time and technology to realise the release of all the articles in a contemporary fashion on the internet (kuleuven.be/alamire), in parallel with the paper edition. 18 As edited in STIMMING, Die altfranzösischen Motette, pp. Stimming thought it was a scribal error for rapé.36 29 30 31 32 33 34 35 36 C. LACHIVER, Vins, vignes et vignerons: Histoire du vignoble français, 1988, pp. Nevertheless, thanks to the French motets, we now know that W2 was not made for France, as had been believed for the past hundred years. The kind of imitation developed in the Josquin era dominated musical composition for the rest of the Renaissance in almost every genre.
YEARBOOK ALAMIRE FOUNDATION OF THE 6 Yearbook of the Alamire Foundation 6 Leuven – Neerpelt 2008 Yearbook of the Alamire Foundation 6 Editorial board: Bonnie J.
BLACKBURN, University of Oxford (GB) Ignace BOSSUYT, Alamire Foundation, Katholieke Universiteit Leuven (B) Bruno BOUCKAERT, Alamire Foundation, Katholieke Universiteit Leuven (B) David BRYANT, Giorgio Cini Foundation, Institute of Music, Venezia (I) Anne-Emmanuelle CEULEMANS, Université Catholique de Louvain, Louvain-la-Neuve and Muziekinstrumentenmuseum, Brussel (B) David CRAWFORD, University of Michigan, Ann Arbor (US) Frank DOBBINS, Goldsmiths College, University of London (GB) David FALLOWS, University of Manchester (GB) Barbara HAGGH, University of Maryland, College Park (US) Herbert KELLMAN, University of Illinois at Urbana-Champaign (US) Honey MECONI, Rice University, Houston (US) Volker SCHIER, Arizona State University (US) Katelijne SCHILTZ, Katholieke Universiteit Leuven (B) Eugeen SCHREURS, Alamire Foundation, Katholieke Universiteit Leuven (B) Jaap VAN BENTHEM, Universiteit Utrecht (NL) Henri VANHULST, Université Libre de Bruxelles (B) Andrew WATHEY, Royal Holloway, University of London (GB) Saskia WILLAERT, De Pinte (B) General editors Yearbooks Alamire Foundation: Bruno Bouckaert, Eugeen Schreurs Final editors: Bruno Bouckaert, Ivan Asselman Musical examples: Vincent Besson Production editor: Annelies Van Boxel Lay-out: FRIEDEMANN BVBA, Hasselt (Belgium) Printing: Print-it, Herentals (Belgium) This publication was made possible by grants from: Fund for Scientific Research – Flanders (Belgium) Alamire Foundation, International Centre for the Study of Music in the Low Countries (Katholieke Universiteit Leuven) Katholieke Universiteit Leuven, Musicology Section D 2008/4169/1 ISBN: 90 6853 167 0 Cover illustration: The circular labyrinth (the ballade). © 2008 Copyright by Alamire Music Publishers, Provinciaal Domein Dommelhof, Toekomstlaan 5B, B-3910 Neerpelt – Alamire Foundation, International Centre for the Study of Music in the Low Countries, Parijsstraat 72B, B-3000 Leuven – kuleuven.be/alamire No part of this book may be reproduced in any form, by print, photoprint, microfilm or other means without written permission from the publisher.
University of California, Berkeley, Music Library, MS 744, fol. Every effort has been made to contact copyright-holders of illustrations.
Such achievements have only been possible through the investment of a great deal of - often anonymous - human capital. For a complete facsimile and edition of the manuscript see P. WOLINSKI TRIPLUM Mout sont vallant cil de Gant plein de cortoisie large et cortois despendant et de riche vie s’en ont li aver mout grant envie. Cursed be those userers, Who love money so much For dice, If they are thrown. He curses the userers, who lend money for gambling with dice. On the whole, the chants of the organa belong to the liturgy of Paris, which, paradoxically, was the liturgy of the French royal court.
From the Alamire Foundation’s inception in 1991, the undersigned was managing director, a position held until 2001 when he went on to lead Resonant, Centre for Flemish Musical Heritage, handing the torch on to Bruno Bouckaert. AUBRY, Cent motets du XIIIe siècle, publiés d’après le manuscript Ed. MOTETUS A la cheminee eu mois froit de jenvier vueill la char salee le chapon gras mengier dame bien paree chantent et envoisier c’est ce qi m’agree boens vins a remuer cler feu sanz fumee les dez et le tablier sanz tencier. Then he tells Gautier, his unwelcome companion, that he wants to eat and drink. DE RAADT, Sceaux armoriés des Pay-Bas et pays avoisinants, 4, Brussels, 1898–1903, p. However, the presence of the motets discussed above suggests that the manuscript was not intended for a Parisian patron, but, rather, for someone from the Low Countries.