Aurelianis civitas: Student Unrest in Medieval France and a Conductus by Philip the Chancellor

Payne, Thomas

doi:10.2307/2903397

Cited by 42 publications

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“…Since Philip's position brought him into contact with the university, it is not surprising that some of his conductus refer to student conflicts in the early thirteenth century. 28 The growth of the University of Paris reflected a renewed concern for the proper education of clerics. Paris became the centre of a new cadre of clerks, associated with noble and royal households, educated at cathedral schools and universities and often remunerated in part through the acquisition of church benefices.…”

Section: Thegallicanriteofmerovingianfrance(c 500-751)mentioning

confidence: 99%

The Cambridge companion to French music

2015

Choice Reviews Online

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Music for much of the Middle Ages is mostly treated as a trans-national repertoire, except in the area of vernacular song. Nevertheless, many of the most important documented developments in medieval music took place in what is now France. Certainly, if the concept of 'France' existed at all for most of the Middle Ages, it did not encompass anything like the modern hexagone: French kings (or, more properly, 'kings of the French') usually did not directly control all the territories they nominally ruled, and southern territories in particular sought to maintain their political and cultural distinctiveness. Still, it can be useful to consider medieval music in relation to other developments in French culture. From the intersections of chant and politics in the Carolingian era, to the flowerings of music and Gothic architecture, to the growth of vernacular song in the context of courtly society, music participated in broader intellectual and institutional conversations. While those conversations did not generally have truly national goals, they took place within what is now France, among people who often considered themselves to be, on some level, French.I am grateful to William Chester Jordan and Daniel DiCenso for comments that kept me from several inaccuracies in areas outside my area of specialisation. The members of my research group here at Loyola, as usual, forced me to clarify my thoughts. All remaining errors are my own.

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Section: Thegallicanriteofmerovingianfrance(c 500-751)mentioning

confidence: 99%

The Cambridge companion to French music

2015

Choice Reviews Online

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Parisian masters of theology, 1215–48: a biographical register

Young¹

2014

Scholarly Community at the Early University of Paris

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The Cambridge Companion to French Music

Trezise¹

2015

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France has a long and rich music history that has had a far-reaching impact upon music and cultures around the world. This accessible Companion provides a comprehensive introduction to the music of France. With chapters on a range of music genres, internationally renowned authors survey music-making from the early middle ages to the present day. The first part provides a complete chronological history structured around key historical events. The second part considers opera and ballet and their institutions and works, and the third part explores traditional and popular music. In the final part, contributors analyse five themes and topics, including the early church and its institutions, manuscript sources, the musical aesthetics of the Siècle des Lumières, and music at the court during the ancien régime. Illustrated with photographs and music examples, this book will be essential reading for both students and music lovers.

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Aurelianis civitas: Student Unrest in Medieval France and a Conductus by Philip the Chancellor

Cited by 42 publications

References 0 publications

The Cambridge companion to French music

The Cambridge companion to French music

Parisian masters of theology, 1215–48: a biographical register

The Cambridge Companion to French Music

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