Book Series Epitome musical

A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564)

Yolanda Plumley, Anne Stone (eds)

  • Pages: 368 p.
  • Size:190 x 290 mm
  • Illustrations:10 b/w
  • Language(s):French, English
  • Publication Year:2010

  • ISBN: 978-2-503-51598-4
  • Paperback
  • Available
  • ISBN: 978-2-503-53762-7
  • E-book
  • Available


Most of the essays collected in this volume had their origins in a conference entitled Nouveaux regards sur le manuscript 564 de Chantilly/New Perspectives on the Chantilly Codex held on 13-15 September 2001 in Tours, under the auspices of the Centre d’Études Supérieures de la Renaissance (Université François Rabelais/Centre Nationale de la Recherche Scientifique). The conference was the last in a series of meetings held that week marking the tenth anniversary of the musical research branch, Programme Ricercar. The idea to hold the conference had emerged in 1999 as we ourselves embarked on a collaborative project on this most fascinating of music sources from the late Middle Ages. Our own extended scrutiny of the codex and its contents, which has culminated in the publication of a detailed study and the first colour reproduction of the manuscript made us keenly aware of the significance of this source and its repertory to our understanding of the history of music before 1600. The Chantilly codex is beyond doubt one of the most important sources for late medieval secular polyphony.

Yolanda Plumley and Anne Stone, Introduction

I . Reading the Repertory

Virginia Newes, Deception, Reversal, and Paradox. The Rondeaux of the Chantilly Codex in Context – Gilles Dulong, En relisant Solage – Elizabeth Eva Leach, Dead Famous: Mourning, Machaut, Music, and Renown in the Chantilly Codex – Gilles Dulong and Agathe Sultan, Nouvelles lectures des chansons notées dans le codex Chantilly – Elizabeth Randell Upton, Editing Chantilly Chansons: Scribal Procedures for Text Placement and Larger Questions of Musical Style

II . Reading the Notation

Jehoash Hirshberg, Criticism of Music and Music as Criticism in the Chantilly Codex – Dorit Tanay, Between the Fig Tree and the Laurel: Or voit tout Revisited – Jason Stoessel, The Interpretation of Unusual Mensuration Signs in the Ars subtilior – Margaret Bent, The Myth of tempus perfectum diminutum in the Chantilly Manuscript

III. Sources and Questions of Provenance

Reinhard Strohm, Diplomatic Relationships between the Chantilly Codex and Cividale Fragments? – Maricarmen Gómez, French Songs in Aragon de Terence Scully révisé – Thomas Brothers, Flats and Chansons in MS Florence, Biblioteca Nazionale, Panciatichi 26 – Mark Everist, A New Source for the Polyphony of the Ars subtilior. Paris, Bibliothèque nationale de France, nouvelles acquisitions françaises 22069 – Yolanda Plumley and Anne Stone, Cordier’s Picture-Songs and the Relationship between the Song Repertories of the Chantilly Codex and Oxford Manuscript – Guiliano Di Bacco, The Myth of Philipoctus de Caserta?