Crossing Borderlines: Points of Contact between the Late-Fourteenth Century French Lyric and Chanson Repertories
2004; Bärenreiter; Volume: 76; Issue: 1 Linguagem: Inglês
ISSN
2296-4339
Autores Tópico(s)Medieval European Literature and History
ResumoThe story goes that, after Guillaume de Machaut, there was a parting of the ways between poets and musicians as the lyric grew more fully emancipated from its musi cal roots. While Machaut, of course, had written lyrics both with and without music, the leading poets of the following generations, like Eustache Deschamps, Jean Froissart, Oton de Granson, Christine de Pizan and Alain Chartier, appear to have possessed no musical training and to have been quite content to leave music out of the equation altogether. Indeed, of the many hundreds of extant lyric poems by the poets just mentioned, only a tiny number has survived with musical settings, and these settings were provided by composers, not by the poets themselves. If this evidence implies that poets were no longer interested in, nor perhaps capable of, writing music, are we to assume that com posers similarly delegated responsibility for the composition of their song-texts? When we consider the contemporary chanson repertory we may well ask who was responsible for the composition of the song texts: were late fourteenth-century composers, like Machaut before them, equally adept at writing poetry and music? Did they write their own lyrics or did they generally collaborate with poets, or set existing texts?
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