Rondeaux, Virelais, and Ballades in French 13th-Century Song

Apel, Willi

doi:10.2307/829766

Cited by 2 publications

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“…Парадоксальность ситуации заключается в том, что поэтическая сторона церковных верс прежде сама испытала 10 Термин «заджальная структура» (zadjalesque) появился в результате исследований Х. Риберы-и-Тарраго, Р. Менендеса Пидаля [16], П. Ле Жантиля [17], В. Апеля [18] Проникновение рифмы в каролингскую поэзию и даже прозу 18 связано с тем же культурным трафиком Сирия -Ирландия, однако решающую роль все же сыграло более позднее воздействие арабской рифмованной поэзии, которая часто сопровождала даже научные трактаты мусульман 19 . «Несомненно, что у нас рифма существовала в спорадическом состоянии еще до мусульманского влияния, -отмечает Л. Масиньон, -но она имела совершенно иную форму, будучи похожей на усовершенствованный ассонанс.…”

Section: /2014unclassified

Eastern and Western Influences in the <I> Cantus Publicus</I> Tradition of the 12th and 13th Centuries

Iskhakova¹

2014

Obs. kulʹt.

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Considers the impact of MuslimArab culture (via Andalusia) on the one hand and of the Church poetry and music on the other on the troubadours’ art. The author argues that though troubadours’ love poetry was quite alike Arabic lyrics, the formal structure of the songs created in the South of France was directly related to the Church Latin poetry and music of the second half of the 11th century. However, the ambiguity about the issue is rooted in the poetic Arab influence on these Church “songs” that spread during the 9th and the 10th centuries.

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Section: /2014unclassified

Eastern and Western Influences in the <I> Cantus Publicus</I> Tradition of the 12th and 13th Centuries

Iskhakova¹

2014

Obs. kulʹt.

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A NEW LINK BETWEEN THE MOTET AND TROUVÈRE CHANSON: THEPEDES-CUM-CAUDAMOTET

Saint-Cricq

2013

Early Music History

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This article investigates a corpus of sixteen thirteenth-century motets whose formal structures are rigorously modelled on the AAB formal type of the trouvère chanson. This corpus bears witness that the first specimens of hybridization between polyphony and the high-style lyric chanson arose as early as the 1240s, well before the emergence of fourteenth-century polyphonic song. The analysis of the make-up of the AAB form of the motets first reveals that its elements completely match those of the pedes-cum-cauda formal type of trouvère chansons. The formal impact of song citations within the corpus is then explored, together with the different modalities according to which they are involved in the make-up of the AAB form. Finally, the analysis of the texture of the works brings to light the singularity of their fabric: remodelled by the structures of the trouvère chanson, it breaks with the traditional format of the motet and turns into the texture of a motet-chanson.

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Rondeaux, Virelais, and Ballades in French 13th-Century Song

Cited by 2 publications

References 1 publication

Eastern and Western Influences in the <I> Cantus Publicus</I> Tradition of the 12th and 13th Centuries

Eastern and Western Influences in the <I> Cantus Publicus</I> Tradition of the 12th and 13th Centuries

A NEW LINK BETWEEN THE MOTET AND TROUVÈRE CHANSON: THEPEDES-CUM-CAUDAMOTET

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