GOOD AND PERFECT GIFTS">GOOD AND PERFECT GIFTS Over the course of compiling the manuscript, the copyist increasingly aligned semiminim shape with prolation: Since the rondeau is in minor prolation, I suggest that the copyist might have used the void flagged figure in order to suggest a momentary shift into major prolation. In so doing, the copyist might have left to us a witness of a performance practice in which the mensural and rhythmic possibilities inherent in the built-in tension between and were explored. The text of this rondeau is also preserved in an anonymous collection of poetry, Le Jardin de plaisance et fleur de rethoricque , printed in by the Parisian printer-bookseller Antoine Verard.
This collection contains numerous other fifteenth-century chanson texts, including eleven others set by Binchois. The first of the three was subsequently voided, creating a minim and two semiminims in its place.
Mon seul et souverain desir is the only piece in which both shapes were originally written as such. It also makes use of full-black semiminims in the contratenor voice. Major prolation did not disappear completely, of course, although much fewer pieces in the later fifteenth century used major prolation in all voices simultaneously; it did, however, take on additional connotations, such as augmentation in the tenor line.
Origins and Evolution Oxford , , especially ch.
Figure 3 adapted from page In several subsequent publications, Walter Kemp more specifically suggested c. This has become the generally accepted date range for Escorial and is cited as such both in the Census-Catalogue of Manuscript Sources of Polyphonic Music — Neuhausen-Stuttgart, —88 and in Die Musik in Geschichte und Gegenwart Kassel, — However, in his A Catalogue of Polyphonic Songs — Oxford, , David Fallows suggests a more narrow window of between and , due to the overlap between Escorial and the last gatherings of Canonici, which date to c.
Neue Quellen des Additionally, the anonymous Bien veignant fols.
This is the only instance in Escorial in which both shapes are used in the same piece, but since each is in a different voice part, this peculiarity may reflect the use of multiple exemplars and would necessitate closer study to determine further mensural or notational significance. As these semiminims are the result not of the Canonici copyist but of a later editor, they are not considered within the body of this article.
See footnote 43 below.
Gattungstradition und Werkcharakter an der Schwelle zur Neuzeit Hamburg , , —7. See also note 2 above, in particular Boone, Upton. Gilbert Reaney's edition of O spirito gentil transcribes a string of void flagged semiminims in the cantus at the end of the first section as a set of semiminims followed by a sextuplet, but he does not explain his editorial process. If his reading is correct, this is the only piece in all of Canonici in which the same semiminim shape had two different rhythmic durations in the same piece, but it is not within the scope of the current article to determine the accuracy of this interpretation.
Also, in the phrase occurring two perfections before the fermata, the Canonici copy transmits a dotted minim and a void flagged semiminim, whereas the Escorial copy shows a minim and two full-red semiminims. This is the only rhythmic variance between the two manuscripts with regard to semiminims; the last three semiminims of the rondeau's cantus voice differ slightly in pitch.
Hugo de Lantins, Tra quante regione el sol si mobele fols. Benoit, De couer joyeux je veuil chanter fol. Binchois, Toutes mes joies sont estaintes fol. Brollo, Vivere et recte reminiscere fol. To send this article to your Kindle, first ensure no-reply cambridge. Find out more about sending to your Kindle.
Poissance d'amours - Mystics, Monks and Minstrels in 13th-century Brabant. Check if you have access via personal or institutional login. To send this article to your account, please select one or more formats and confirm that you agree to abide by our usage policies. Please enter a valid email address Email already added. Esclave Puist Yl Devenir. Actions for selected content:.
Note you can select to send to either the free. Find out more about the Kindle Personal Document Service. The bindings of a large number of manuscripts formerly held in the library of the Benedictine monastery of St Michelsberg in Bamberg preserve fragments of medieval chantbooks documenting a culture in which practical singing and music theory were closely intertwined.
These remnants, the work of generations of scribes, reveal a sustained concern for correctness ranging from the use of pitch-clarifying neume notations, to the use of letters, to the recording of melodies along lines prescribed in theoretical works. The influence the music theorist Hermann of Reichenau on St Michelsberg's own theorist, Frutolf, raises two questions.
First, what is the nature of the relationship between practical chant and music theory books at St Michelsberg?
Second, how was Hermann's notation used at the monastery? It ranks among the longest of Ars Nova motets, and divides neatly into three parts of which the middle is an eighty-breve untexted hocket section. By shifting the salience of the number three from local rhythmical organisation to the global level of form, it serves as an example of how music can depict perfection ex imperfectis.
The copyist of the manuscript Oxford, Bodleian Library, Canon.
The transcription of the music is based on Oxford with corrections from. Escorial; the poetic text follows Escorial, which has a more careful underlay;. Oxford only. Yet the unique transcription of Binchois's rondeau Mon seul et souverain desir, in which the copyist alternates between the two common note.
Yet the unique transcription of Binchois's rondeau Mon seul et souverain desir , in which the copyist alternates between the two common note shapes for the semiminim in the cantus voice, has thus far gone unexplained. This notation has no rhythmic significance; as such, it appears to be a superficial anomaly.
In this article, I lay out a rationale for a reading of the notation of the semiminims in this piece as potentially deliberate and meaningful. Over the course of compiling the manuscript, the copyist increasingly aligned semiminim shape with prolation: Since the rondeau is in minor prolation, I suggest that the copyist might have used the void flagged figure in order to suggest a momentary shift into major prolation. In so doing, the copyist might have left to us a witness of a performance practice in which the mensural and rhythmic possibilities inherent in the built-in tension between and were explored.
The Liturgical chant bibliography 24 retains the traditional format: Additions to the bibliographies of previous years mostly reviews are listed directly after this introduction. This year's bibliography opens with five Cantus planus databases and indexes , which were introduced in a detailed review published in the Journal of the American Musicological Society , 67 , —85 Who would you like to send this to?
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