The Vitry Motet Tribum Que Non Abhorruit / Quoniam Secta Latronum / Merito Hec Patimur and Its «quotations»

Bent, Margaret

doi:10.2307/20796010

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“…Vitry and Le Mote's heavy reliance on Ovid in their debate over the relationship between political and cultural topographies cannot but recall Ovid's own poetry of exile, the Tristia and the Epistulae ex Ponto, and Margaret Bent has already demonstrated Vitry's certain knowledge of Ovid's Epistulae. 45 At the same time, neither Vitry nor Le Mote overtly treat exile within their exchange: Vitry compares Le Mote to 'Antheus', possibly to be understood as Actaeon, and to an emasculated beaver. 46 Tese images, however, are of fight, rather than exile specifcally, and Le Mote's proud defence of his life in England certainly does not present the image of a poet in exile.…”

Section: Helicon In Exilementioning

confidence: 99%

Tending to One's Garden: Deschamps's 'Ballade to Chaucer' Reconsidered

Strakhov¹

2016

Medium Ævum

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Section: Helicon In Exilementioning

confidence: 99%

Tending to One's Garden: Deschamps's 'Ballade to Chaucer' Reconsidered

Strakhov¹

2016

Medium Ævum

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“…(1993,). See, for example, Bent (1993Bent ( , 1997. Recently, the discussion has moved on to include the wider environment of listening in the Middle Ages; cf., for example, Dillon (2012).…”

Section: -17 18 F---e♭--d-d♭-c---b♭mentioning

confidence: 99%

Testing Respect(fully): An Interview with Frederic Rzewski

Vaes¹

2015

Experimental Affinities in Music

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In the 1990s Daniel Wolf talked about a "post-experimental" phase, meaning that "'experimental' refers to a type of music of a particular historical era, essentially, if not quite exclusively, the music of the fifties, sixties, and seventies stemming from Cage's 'hard' definition" (Gilmore 2014, 27). This era implies the operating and maintenance of a complex "experimental scene" that supports itself from within and that includes "the composers themselves, [and] mediating factors compris[ing] a complex network of festivals, foundations, academic institutions, venues, private patrons, performers, publishers, publicists, critics, musicologists, and so on" (ibid.). ( 5)"'Experimental' is all the interesting new music that isn't avant-garde" (Gilmore 2014, 28). [Michael Nyman's definition.] 9This typology, succinctly but rigorously proposed by Bob Gilmore, situates itself in an "experimental world," which is inspired by the thought of the sociologist Howard S. Becker (see Becker 1982), but crucially remains musically (and not sociologically) oriented. Even if limited to music from the twentieth century, it is a most useful typology both from the viewpoint of historical musicology as well as from the perspective of composers, providing a common framework of reference to diverse practices. Two complementary questions become inescapable: (1) Was there no experimentation in music before the twentieth century? and (2) Are there no political implications when one advocates and puts into action an "experimental attitude"? Or, formulated differently, Does experimental music (or experimentation in music) remain in a beautifully encapsulated limbo, independent of the world "out there," as suggested by Daniel Wolf 's definition, which seems based on an ivory-tower "experimental scene"? At the very end of his essay, Bob Gilmore (2014: 29) refers to the first question, stating, "As regards the work of older composers, I'm of the opinion that some music is inherently, not temporarily, experimental."What, then, is music that is "inherently experimental"? Reflecting on this question triggers many other related questions: Is there an experimental attitude recognisable in different times, styles, and places? Are there any detectable "experimental affinities" throughout music history? How do new artistic paths emerge through experimental performance or compositional practices? What is the character, function, and potential of experimentation in musical practice? How does experimentation shape artistic identity and expertise? These were the fundamental questions discussed at the International Orpheus Academy for Music and Theory in the

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“…Many readers will be familiar with the 'bottom-up' approach to analysing a motet, beginning with the tenor voice -typically an appropriate section of plainchant, placed into a rhythmic pattern -and then comparing upper voice(s) to it in succession and, finally, in combination. Contrapuntally, this makes sense, as the upper voices of a song are typically fashioned in a dyadic relationship with their tenor (Bent 1998). The structural importance of the tenor in musical and ideological terms has therefore been a fundamental pillar of analysis of thirteenthcentury motet analysis.…”

mentioning

confidence: 99%

Anna Zayaruznaya, The Monstrous New Art: Divided Forms in the Late Medieval Motet (Cambridge: Cambridge University Press, 2015). xvii + 301 pp. £69.99 (hb); £22.99 (pb). ISBN 9781107039667.Anna Zayaruznaya, Upper‐Voice Structures and Compositional Process in the Ars Nova Motet. RMA Monographs Series (Abingdon: Routledge, 2018). xv + 158 pp. £115 (hb). ISBN 9781138302440.

Colton¹

2019

Music Analysis

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The Vitry Motet Tribum Que Non Abhorruit / Quoniam Secta Latronum / Merito Hec Patimur and Its «quotations»

Cited by 3 publications

References 0 publications

Tending to One's Garden: Deschamps's 'Ballade to Chaucer' Reconsidered

Tending to One's Garden: Deschamps's 'Ballade to Chaucer' Reconsidered

Testing Respect(fully): An Interview with Frederic Rzewski

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