Reading and Theorizing Medieval Music Theory: Interpretation and Its Contexts

Leach, Elizabeth Eva

doi:10.1525/mts.2011.33.1.90

Cited by 6 publications

(1 citation statement)

References 16 publications

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“…Kim's paper threw new light on the anti-semitism of Chaucer's Prioress's Tale by combining manuscript study, musicology and textual criticism, while paying close attention to critical race theory. This is a fascinating approach, but one that is, unfortunately, still all too likely to receive negative critiques, if the controversy over Elizabeth Eva Leach's work on gender and medieval music theory is anything to go by (see Leach, 2006a;Leach, 2006b;Fuller, 2011;and Leach, 2011). Continuing conservative resistance to new ideas makes the risktaking and experimental work of scholars such as Kim as well as Leach all the more urgent.…”

Section: The Futures Of Queer Philologymentioning

confidence: 99%

Towards a queer philology

Magnani

Watt

2018

Postmedieval

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Section: The Futures Of Queer Philologymentioning

confidence: 99%

Towards a queer philology

Magnani

Watt

2018

Postmedieval

View full text Add to dashboard Cite

Vernacular SongIII: Polyphony

Leach¹

2018

The Cambridge History of Medieval Music

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Les doubles hoqués et les motés: Guillaume de Machaut's Hoquetus David

Hartt¹

2012

Plainsong and Medieval Music

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Guillaume 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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Reading and Theorizing Medieval Music Theory: Interpretation and Its Contexts

Cited by 6 publications

References 16 publications

Towards a queer philology

Towards a queer philology

Vernacular SongIII: Polyphony

Les doubles hoqués et les motés: Guillaume de Machaut's Hoquetus David

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