Chevalier mulestes guariz和“前香索尼耶”的方言抒情诗

IF 0.5 1区 艺术学 0 MEDIEVAL & RENAISSANCE STUDIES
Uri Jacob
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引用次数: 0

摘要

从十三世纪和十四世纪抄录的香索尼耶是现存最早包含大量欧洲方言歌词的来源。然而,当代文学资料提到了更早的白话文歌词书籍的存在,并且早在12世纪就有少数注释歌词存活下来。本文探讨了一种特定类型的记谱歌曲,它比文献记载相对较好的香颂尼尔传统早了几十年,特别关注于十字军招募歌曲Chevalier mulestes guariz (RS 1548a)的案例研究,这首歌创作于1140年代中期。这首歌可能是现存最早的古法国抒情诗(有或没有乐谱)的副本,在几个方面与保存在香音室中的歌曲不同,特别是在音乐形式、手稿外观和中世纪的预期用途方面。我从几个角度研究了这首歌,包括它的十字军主题,出处,作者,手稿呈现,音乐结构,目标受众,以及它的组成和复制的更广泛的背景。对一首歌曲的如此仔细的研究不仅提供了对早期书写的白话单音传统背景的见解,而且还为后来的香颂尼尔传统的起源提供了新的视角。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Chevalier mult estes guariz and the ‘pre-chansonnier’ vernacular lyric
ABSTRACT Chansonniers copied from the thirteenth and the fourteenth centuries are the earliest extant sources to include an extensive corpus of lyrics in European vernacular languages. However, contemporary literary sources refer to the existence of earlier books of vernacular lyrics, and a handful of notated lyrics survive from as early as the twelfth century. This article explores a certain type of notated song that predates the relatively well-documented chansonnier tradition by some decades, specifically focusing on the case study of the crusader recruitment song Chevalier mult estes guariz (RS 1548a), composed around the mid-1140s. Probably the earliest extant copy of an Old French lyric (with or without musical notation), this unicum is distinct from songs of the kind preserved in the chansonniers in several respects, especially in its musical form, its manuscript appearance and its intended use in the Middle Ages. I examine this song from several angles, including its crusading theme, provenance, authorship, manuscript presentation, musical construction, intended audience, and the broader contexts of its composition and copying. Such close examination of a single song not only offers insights into the context of an early tradition of written-out vernacular monophony but also casts new light on the origins of the later chansonnier tradition.
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来源期刊
CiteScore
0.50
自引率
0.00%
发文量
15
期刊介绍: Plainsong & Medieval Music is published twice a year in association with the Plainsong and Medieval Music Society and Cantus Planus, study group of the International Musicological Society. It covers the entire spectrum of medieval music: Eastern and Western chant, secular lyric, music theory, palaeography, performance practice, and medieval polyphony, both sacred and secular, as well as the history of musical institutions. The chronological scope of the journal extends from late antiquity to the early Renaissance and to the present day in the case of chant. In addition to book reviews in each issue, a comprehensive bibliography of chant research and a discography of recent and re-issued plainchant recordings appear annually.
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