Fortune's demesne: the interrelation of text and music in Machaut's<i>Il mest avis</i>(B22),<i>De fortune</i>(B23) and two related anonymous balades

Leach, Elizabeth Eva

doi:10.1017/s0261127900001960

Cited by 4 publications

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“…38 It also appears to play an important role in the ordering of the motets. 38 It also appears to play an important role in the ordering of the motets.…”

Section: Machaut's Motets 1-20: Some Questions Of Ordermentioning

confidence: 99%

“…Machaut's method of presenting works with similar structural or thematic features adjacently, in pairs, has been identified by Elizabeth Eva Leach in the ballades. 38 It also appears to play an important role in the ordering of the motets. M7 and M8, the only two isorhythmic motets in the unusual tempus imperfectum prolatio minor, appear consecutively.…”

Section: Machaut's Motets 1-20: Some Questions Of Ordermentioning

confidence: 99%

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Another Mirror of Lovers? - Order, structure and allusion in Machaut's motets

Brown¹

2001

Plainsong and Medieval Music

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Machaut's first twenty motets appear, identically ordered, in a group of manuscripts copied under the composer's supervision. This order highlights connections between individual motets. Proportional relationships between six motets, and an allusion to the mid-point of Le Roman de la rose in the tenth motet, suggest that Machaut intended the motet group to be self-contained and sub-divided into two groups of ten.

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“…38 It also appears to play an important role in the ordering of the motets. 38 It also appears to play an important role in the ordering of the motets.…”

Section: Machaut's Motets 1-20: Some Questions Of Ordermentioning

confidence: 99%

Section: Machaut's Motets 1-20: Some Questions Of Ordermentioning

confidence: 99%

Another Mirror of Lovers? - Order, structure and allusion in Machaut's motets

Brown¹

2001

Plainsong and Medieval Music

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Vernacular SongIII: Polyphony

Leach¹

2018

The Cambridge History of Medieval Music

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Refusal, the Look of Love, and the Beastly Woman of Machaut's Balades 27 and 38

Desmond

2013

Early Music History

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In balades 27 and 38, Machaut likens the wounds suffered by the lover to those that result from the poisons of deadly beasts. He invokes animal imagery to depict the beloved and her behaviour: she encloses within her being monstrous beasts that repel and repulse the lover, causing him grievous bodily harm. In the course of both balades the deadly beasts transform into various allegorical characters that are personifications of secular vices. One of these characters, Refusal (‘Refus’), emerges as central. Machaut personifies the lady's rejection of the lover's advances (which he makes through words/music) as the courtly vice Refusal. In Balade 27, it is her sense organs that enact this refusal: her ears cannot hear him, her mouth rejects him, and her Look kills him. I explore the resonances of Machaut's sadistic and animalistic lady in two spheres: the courtly, where the obvious antecedents for Machaut's imagery are the courtly bestiaries; and the sacred, where parallels between Refusal and the deadly sins of pride and envy can be detected, as suggested by my interpretation of these two balades and some of Machaut's motets, and the links I set forth between these sins, vices, and the senses that partake in them.Patri carissimo eidemque ingeniossimo, John Patrick Desmond (1943–2013)

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Fortune's demesne: the interrelation of text and music in Machaut'sIl mest avis(B22),De fortune(B23) and two related anonymous balades

Cited by 4 publications

References 3 publications

Another Mirror of Lovers? - Order, structure and allusion in Machaut's motets

Another Mirror of Lovers? - Order, structure and allusion in Machaut's motets

Vernacular SongIII: Polyphony

Refusal, the Look of Love, and the Beastly Woman of Machaut's Balades 27 and 38

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