scholarly journals Adam de la Halle et Nevelot Amion, Les Vers d’Amours d’Arras

2019 ◽  
pp. 263-264
Author(s):  
Michèle Gally
Keyword(s):  
Adam De La Halle

Adam De La Halle, Le Jeu de la Feuillee

1980 ◽  
Vol XXXIII (suppl) ◽  
pp. 561-562
Author(s):  
K. Varty
Keyword(s):  
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.

Les Conges d'Arras (Jean Bodel, Baude Fastoul, Adam de la Halle)

1967 ◽  
Vol 62 (2) ◽  
pp. 329
Author(s):  
T. B. W. Reid ◽  
Pierre Ruelle
Keyword(s):  
Adam De La Halle

scholarly journals De grant mal amaladis e la pastorella nascosta in Aucassin et Nicolette: una proposta di datazione della chantefable

2019 ◽  
Vol 31 ◽  
pp. 235-258
Author(s):  
Lucilla Spetia
Keyword(s):  
Adam De La Halle ◽  
Terminus Post Quem

L’anonima chantefable Aucassin et Nicolette, fondata sulla parodia, ha una controversa datazione. Tuttavia la presenza di l’autrier – marca lessicale identificativa del genere pastorella –, e una serie di allusioni erotiche autorizzano a rileggere con maggiore attenzione il cap. XI, e inparticolare il v. 21 che riproduce il v. 12 del prologo, a conferma della centralità della scena rappresentata, in connessione sia con la lirica del gattorosso di Guglielmo IX, sia con la pastorella maggiore di Marcabruno ad essa connessa. Non solo, ma l’analisi lessicale di un altro vocabolo dello stesso capitolo consente di cogliere un ulteriore gioco intertestuale con le Jeu de la Feuillée di Adam de la Halle, che fornisce il 1276 come terminus post quem per la datazione della chantefable e di porre la sua composizione nell’ambiente borghese di Arras, di cui condivide le istanze sociali e culturali declinate attraverso il ricorso alla parodia.  

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