Les doubles hoqués et les motés: Guillaume de Machaut's Hoquetus David
2012; Cambridge University Press; Volume: 21; Issue: 2 Linguagem: Inglês
10.1017/s0961137112000022
ISSN1474-0087
Autores Tópico(s)Medieval European Literature and History
ResumoABSTRACT 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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