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Giving Voice to LoveSong and Self-Expression from the Troubadours to Guillaume de Machaut$
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Judith A. Peraino

Print publication date: 2011

Print ISBN-13: 9780199757244

Published to Oxford Scholarship Online: January 2012

DOI: 10.1093/acprof:oso/9780199757244.001.0001

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Changing the Subject of the Chanson d’amour

Changing the Subject of the Chanson d’amour

Chapter:
(p.123) 3 Changing the Subject of the Chanson d’amour
Source:
Giving Voice to Love
Author(s):

Judith A. Peraino

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199757244.003.0004

This chapter investigates cross-temporal relationships of voice between anonymous scribes and compilers and the named authors whose songs and identities they recorded. The chapter first considers the discrete libelli of songs by Thibaut de Champagne and Adam de la Halle preserved at either end of the chansonnier trouv. T (P-BNF fr. 12615). Through compilatio over time, scribes assembled the individual authorial voices of these two trouvères and created a genealogical line from the early-century Champagne noble to the late-century Artesian cleric. The second part of this chapter looks at the dismantling effects of continued compilatio by examining three late additions to the chansonnier trouv. M (P-BNF fr. 844), specifically three strophic chansons by the trouvères Robert de Castel, Perrin d’Angicourt, and Guiot de Dijon, whose music has been radically recomposed by later scribes “under the influence” of the descort, as well as refrain songs. The unusual forms, melodic behavior, and mensural notation betray an estrangement from the conventions of the repertory and can be read as conscious distortions or parodies—unauthorized versions engaged in an open-ended musical debate about the expressive confines of the aristocratic courtly chanson.

Keywords:   Adam de la Halle, Thibaut de Champagne, Charles d’Anjou, Robert de Castel, Perrin d’Angicourt, Guiot de Dijon, Chansonnier de Noailles, manuscrit du roi, compilatio, Arras, Artois, jeu-parti

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