The monstrous new art : divided forms in the late medieval motet

322 Pages·2015·18.843 MB·English

by  de Machaut Guillaume, de Vitry Philippe, Zayaruznaya, Anna

The Monstrous New Art
Latemedievalmotettextsarebrimmingwithchimeras,centaurs,and
otherstrangecreatures.InTheMonstrousNewArt,AnnaZayaruznaya
explores the musical ramifications of this menagerie in the works of
composers Guillaume de Machaut, Philippe de Vitry, and their con-
temporaries.Aligningthelargerformsofmotetswiththebroadsacred
andsecularthemesoftheirtexts,Zayaruznayashowshowmonstrous
or hybrid exempla are musically sculpted by rhythmic and textural
means. These divisive musical procedures point to the contradictory
aspectsnotonlyofexplicitlymonstrousbodies,butofsuchapparently
unified entities as the body politic, the courtly lady, and the Trinity.
Zayaruznaya casts a new light on medieval modes of musical repre-
sentation,withprofoundimplicationsforbroaderdisciplinarynarra-
tives about the history of text–music relations, the emergence of
musicalunity,andtheontologyofthemusicalwork.
anna zayaruznaya is an assistant professor in the Department
ofMusicatYaleUniversity.Herresearchbringsthehistoryofmusical
formsandnotationintodialoguewithmedievalliterature,iconography,
andthehistoryofideas.Herworkhasappearedintheleadingjournals
ofherfield,includingtheJournaloftheAmericanMusicologicalSociety
and the Journal of Musicology. Her study of musical voice-crossings
used to depict the action of the goddess Fortune in the motets of
Guillaume deMachaut was awarded the2011Van CourtlandtElliott
Prize by the Medieval Academy of America. She has also received
awardsandfellowshipsfromtheAmericanMusicologicalSociety,the
InstituteofAdvancedStudyatPrincetonUniversity,andtheRadcliffe
Institute of Advanced Study at Harvard University, where she was a
fellowin2013–14.
music in context
Serieseditors:
J.P.E.Harper-Scott
RoyalHolloway,UniversityofLondon
JulianRushton
UniversityofLeeds
The aim of Music in Context is to illuminate specific musical works, repertoires, or
practices in historical, critical, socio-economic, or other contexts; or to illuminate
particularculturalandcriticalcontextsinwhichmusicoperatesthroughthestudyof
specific musical works, repertoires, or practices. A specific musical focus is essential,
whileavoidingthedecontextualizationoftraditionalaestheticsandmusicanalysis.The
seriestitleinvitesengagementwithbothitsmainterms;theaimistochallengenotions
of what contexts are appropriate or necessary in studies of music, and to extend the
conceptual framework of musicology into other disciplines or into new theoretical
directions.
books in the series
simon p. keefe,Mozart’sRequiem:Reception,Work,Completion
j. p. e. harper-scott,TheQuiltingPointsofMusicalModernism:
Revolution,Reaction,andWilliamWalton
nancy november,Beethoven’sTheatricalQuartets:Opp.59,74and95
rufus hallmark,“FrauenliebeundLeben”:Chamisso’sPoemsand
Schumann’sSongs
The Monstrous New Art
Divided Forms in the Late Medieval Motet
anna zayaruznaya
YaleUniversity
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Zayaruznaya,Anna,author.
Themonstrousnewart:dividedformsinthelatemedievalmotet/Anna
Zayaruznaya,YaleUniversity.
pages cm.–(Musicincontext)
Includesbibliographicalreferencesandindex.
ISBN978-1-107-03966-7
1. Motets–France–500–1400–Historyandcriticism. 2. Vitry,Philippede,
1291–1361.Motets.
3. Guillaume,deMachaut,approximately1300–1377.Motets. I. Title.
ML1427.2.Z39 2014
7820.260902–dc23
2014029904
ISBN978-1-107-03966-7Hardback
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For Yarrow, and because of him

Contents
Listofillustrations page[viii]
Listofmusicexamples [x]
Listoftables [xii]
Supplementaryonlinecontentandmusicexamples [xiii]
Acknowledgements [xv]
Introduction [1]
1 Songsalive [21]
2 How(not)towriteamotet:TheexemplaryInvirtute/
Decens [70]
3 Motetvisionsofanapocalypticstatue [106]
4 Interlude:Nebuchadnezzar’sdream [142]
5 Arsnovaanddivision [173]
Epilogue: Thepoeticsofrepresentation [227]
Appendices
1 PhilippedeVitry,Invirtute/Decens:Texts,translations,and
music [235]
2 PhilippedeVitry,Cumstatua/Hugo:Texts,translations,and
music [243]
3 PhilippedeVitry,Phimillies/Ocreator:Texts,translations,and
music [250]
4 Anonymous,Postmissarum/Postmisse:Textsand
translations [256]
5 Anonymous,Fortune/Madolour:Textsandtranslations [258]
6 Anonymous,Amer/Durement:Textsandtranslations [260]
7 PhilippedeVitry,Firmissime/Adesto:Textsandtranslations [262]
8 Anonymous,Beatius/Cumhumanum:Textsandtranslations [264]
Glossary [266]
Bibliography [270]
Indexofcompositions [293]
GeneralIndex [296]
vii
Illustrations
The author and publisher acknowledge the following sources of copyright
materialandaregratefulforthepermissionsgranted.Whileeveryefforthas
been made, it has not always been possible to identify the sources of all
materialused,ortotraceallcopyrightholders.Ifanyomissionsarebrought
toournotice,wewillbehappytoincludetheappropriateacknowledgements
inanysubsequentedition.
1.1 J.J.Grandville,“Barcarolle,”LeMagasinPittoresque8,no.31(Paris,
August1840) [page28]
1.2 RomandeFauvel,BibliothèquenationaledeFrance,fondsfrançais146,
fol.9v [47]
1.3 RomandeFauvel,BibliothèquenationaledeFranceMS,fondsfrançais
146,fols.44v–45r [53]
2.1 Repertorialintersectionbetweendiminutionandsecond-colorhockets
inarsnovamotets [80]
2.2 Vitry,Invirtute/DecensinBibliothèquenationaledeFrance,nouvelles
acquisitionslatines2444,fol.48r [86]
2.3 Cantimpré,Liberdenaturarerum,thePragueCastleArchive,
MetropolitanChapterLibrary,sign.L.11,fol.125r [96]
2.4 Dermochelyscoriacea,dorsalview.PhotographedbyChr.Hoorn,
reproducedfromBrongersma,EuropeanAtlanticTurtles(Leiden:Brill,
1972),Plate2 [98]
2.5 PeterboroughPsalterandBestiary,Cambridge,ParkerLibraryMS53,
fol.201v.ReproducedwiththepermissionoftheMasterandFellowsof
CorpusChristiCollege,Cambridge [101]
3.1 Comestor,Biblehistoriale,DenHaag,MuseumMeermanno,MMW
MS10B23,fol.254v [111]
3.2 EnjambmentinCumstatua/Hugo,triplumll.5–9 [123]
3.3 Locationsofhocketsinseveralmotetswithlongtaleae [137]
4.1 Saint-SeverBeatus,BibliothèquenationaledeFrance,MSlatin8878,
fols.51vand220r [144]
viii