LITERACY AND ORALITY IN THE SECULAR MUSIC OF THIRTEENTH CENTURY FRANCE: THE EVIDENCE OF THE «ADAM DE LA HALLE» MANUSCRIPT

1993 ◽  
Vol 16 (4) ◽  
pp. 2367
Author(s):  
Keyser
Keyword(s):  
Thirteenth Century ◽  
Adam De La Halle

scholarly journals Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle

2019 ◽  
Vol 72 (2) ◽  
pp. 431-492 ◽  
Author(s):  
Catherine A. Bradley
Keyword(s):  
Thirteenth Century ◽  
Musical Ability ◽  
Careful Selection ◽  
Musical Practice ◽  
Adam De La Halle ◽  
The Relationship ◽  
Selection Of ◽  
Written Sources

This article explores trends and motivations in the selection of plainchant and vernacular song quotations as the foundations of thirteenth-century motets. I argue that particular tenor melodies that received only cursory treatment in the liturgical polyphony of the Magnus liber organi were adopted in motets on account of their brevity and simplicity, characteristics that enabled their combination with upper-voice song forms and refrain quotations. Demonstrating a preference for short and simple tenors within the earliest layers of the motet repertoire, I trace the polyphonic heritage of the tenor omnes, whose simple melody enabled its combination with another more obscure plainchant quotation, aptatur, in a unique double tenor motet. I propose that motet creators—while sensitive to the semantic connotations of tenor texts—exploited the musical ability of tenor quotations to be combined with or stand in for other musical quotations. Newly identifying a plainchant tenor source in a motet by Adam de la Halle, I show that Adam's polyphonic motet quotations of his own three-voice polyphonic rondeaux were achieved by the careful selection of motet tenors to replicate the freely conceived lowest voices of these preexisting rondeaux. The article further reveals profound modal and melodic similarities between the quotations chosen as thirteenth-century motet tenors and the newly composed lowest voices of polyphonic rondeaux and English pes motets. It offers new perspectives on the relationship between the “elite” genre of the motet and types of polyphony that are less well attested in written sources, often considered to inhabit a more “popular” realm of musical practice.

Relation of the Saccasa?khepa??k? Called S?ratthas?lin? to the Vinayavinicchaya??k? Called Vinayas?ratthasand?pan?

2018 ◽  
Vol 35 (1-2) ◽  
pp. 189-223
Author(s):  
Petra Kieffer-Pülz
Keyword(s):  
Thirteenth Century ◽  
Present Contribution ◽  
The Common ◽  
Literary Histories ◽  
High Degree ◽  
Parallel Texts

The present contribution suggests the common authorship of three P?li commentaries of the twelfth/thirteenth centuries CE, namely the Vinayavinicchaya??k? called Vinayas?ratthasand?pan? (less probably Vinayatthas?rasand?pan?), the Uttaravinicchaya??k? called L?natthappak?san?, and the Saccasa?khepa??k? called S?ratthas?lin?. The information collected from these three commentaries themselves and from P?li literary histories concerning these three texts leads to the second quarter of the thirteenth century CE as the period of their origination. The data from parallel texts explicitly stated to having been written by V?cissara Thera in the texts themselves render it possible to establish with a high degree of probability V?cissara Thera as their author.

A Thirteenth-Century English Charter at Brock University

Florilegium ◽  
2010 ◽  
Vol 29 ◽  
pp. 6-6
Author(s):  
André Basson ◽  
R. Andrew McDonald ◽  
David Sharron ◽  
Angus A. Somerville
Keyword(s):  
Thirteenth Century

Some Modest Psalters from Thirteenth-century Flanders

Scriptorium ◽  
1986 ◽  
Vol 40 (1) ◽  
pp. 88-95
Author(s):  
Kerstin Carlvant-Boysen
Keyword(s):  
Thirteenth Century
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