Relevant bibliographies by topics / Messe de Nostre Dame (Guillaume, de Machaut)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Messe de Nostre Dame (Guillaume, de Machaut)'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Messe de Nostre Dame (Guillaume, de Machaut)"

1

Leech-Wilkinson, Daniel. "Le Voir Dit and La Messe de Nostre Dame: aspects of genre and style in late works of MacHaut." Plainsong and Medieval Music 2, no. 1 (April 1993): 43–73. http://dx.doi.org/10.1017/s0961137100000413.

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Le Voir Dit is one of the most fascinating of the works left by the celebrated poet-composer Guillaume de Machaut (d. 1377), and at the same time, as John Stevens has said, ‘one of the most curious documents of the [fourteenth] century’. Through 9000 lines of narrative, sixty-two lyrics in all the main forms (nine of them set to music), and forty-six letters which include comments on the character of the songs and on the business of producing poetry, music and manuscripts, we seem to take a guided tour of Machaut's emotional and professional life over three years of his old age. For more than a century it has proved a rich source of revealing quotations, sustaining many varied arguments. The story it tells of Machaut's literary and emotional affair with a young girl, Peronne, has been read at times as autobiography, at times as fiction; and the incidental comments on composition, performance and copying have been interpreted in studies ranging far beyond Le Voir Dit as evidence of fourteenth-century professional practice. None the less, the constituent parts of the text as they survive in manuscripts from Machaut's circle are disordered, the poem lacks an adequate published edition, and even its music – in size, at least, the most manageable of its components – has yet to be considered as a whole.
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2

HARTT, JARED C. "Les doubles hoqués et les motés: Guillaume de Machaut's Hoquetus David." Plainsong and Medieval Music 21, no. 2 (September 13, 2012): 137–73. http://dx.doi.org/10.1017/s0961137112000022.

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ABSTRACTGuillaume de Machaut's Hoquetus David represents the only extant hocket of the Ars Nova. Although the Hoquetus is among Machaut's most commercially recorded compositions, it has received relatively little scholarly attention: while Daniel Leech-Wilkinson has focused on its rhythmic characteristics and Anne Walters Robertson on its possible raison d'être, many of the Hoquetus's unusual musical features remain unexplored. In Part I of this article, I compare the Hoquetus with Machaut's motets, as well as with thirteenth-century double hockets, in order to shed light on several of the work's anomalies. In Part II, I turn to matters of syntax, concentrating on Machaut's use of the dissonant seventh. I discuss and illustrate Machaut's surprisingly frequent use of the seventh to fifth progression in several passages from the Hoquetus, his motets and the Messe de nostre dame, and in turn demonstrate that the progression indeed constitutes a salient element of his compositional praxis. In Part III, I briefly address the question of method of performance. By inspecting the vocal ranges and melodic activity of the Hoquetus itself, I demonstrate that the Hoquetus David is indeed conducive for vocal performance, and in turn speculate how it might be performed despite its lack of text.
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3

Clemencic, René. "„Messe de Nostre Dame“ von Guillaume de Machault." Österreichische Musikzeitschrift 51, no. 4 (January 1996). http://dx.doi.org/10.7767/omz.1996.51.4.226.

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Dissertations / Theses on the topic "Messe de Nostre Dame (Guillaume, de Machaut)"

1

Linklater, Christina. "Guillaume de Machaut's "Messe de Nostre Dame" in the context of fourteenth-century polyphonic music for the Mass Ordinary." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9317.

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It is widely held in the scholarly literature of music history that the Messe de Nostre Dame of Guillaume de Machaut is unique. While several other examples of polyphonic settings of the Mass Ordinary dating from approximately the same era do survive, they are distinct from Machaut's Mass in at least two respects. The Messe de Nostre Dame is attributed to a single, named composer, whereas most fourteenth-century Mass cycles are anonymous, or are thought to have been assembled from the repertories of several composers, or both. Further, few contemporary medieval cycles are copied as such, preserving instead the traditional organization of the kyriale, in which several Kyrie movements are grouped in one section, followed by a group of Gloria movements, and so on; Machaut's Mass, however, survives complete in five manuscript versions, all of which present its six movements in uninterrupted succession. Despite the comparative difficulty of assembling cycles from the largely anonymous and physically separate movements described above, though, a convincing case may be made (and has been) for the existence of several pre-modern polyphonic cycles besides the Messe de Nostre Dame. (Abstract shortened by UMI.)
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2

LaBarr, Cameron Frederick. "Ancient Musical Ideas Through a Twenty-First Century Lens: An Examination of Tarik O’Regan’s Scattered Rhymes and Its Relationship to Guillaume de Machaut’s Messe de Notre Dame." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84235/.

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British composer Tarik Hamilton O’Regan (b. 1978, London) is earning a reputation as an important composer of today. The innovative works of O’Regan are entering the spectrum of professional, educational, and community performing organizations across the United States and Europe. Scattered Rhymes’ intricate melodic, harmonic, and rhythmic relationships with Messe de Notre Dame by Guillaume de Machaut (c.1300-1377) make an examination and comparison of the two works significant. Analyzing Scattered Rhymes by tracing its roots to Guillaume de Machaut’s Messe de Notre Dame, results in a renewed interest in this ancient work and brings prominence to Tarik O’Regan’s modern musical interpretation of ancient ideas. Understanding Scattered Rhymes as a work based on ideas from the fourteenth century in fusion with compositional concepts rooted in the modern era promotes Scattered Rhymes as one that is valuable in the current musical landscape.
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Books on the topic "Messe de Nostre Dame (Guillaume, de Machaut)"

1

Leech-Wilkinson, Daniel. Machaut's mass: An introduction. Oxford: Clarendon, 1992.

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2

Guillaume, de Machaut, ca. 1300-1377., ed. Machaut's Mass: An introduction. Oxford: Clarendon Press, 1990.

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3

Leech-Wilkinson, Daniel. Machaut's Mass: An Introduction (Clarendon Paperbacks). Oxford University Press, USA, 1992.

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Book chapters on the topic "Messe de Nostre Dame (Guillaume, de Machaut)"

1

"17. Performing Machaut’s Messe de Notre Dame: From Modernist Allegiances to the Postmodern Hinterland." In A Companion to Guillaume de Machaut, 333–59. BRILL, 2012. http://dx.doi.org/10.1163/9789004228191_019.

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