Volume 1 begins with Guillaume de Machaut
(approximately 1300-1377) and ends with Josef Rheinberger (1839-1901); volume 2 opens with the development of the oratorio and nineteenth-century genres such as the choral symphony, and concludes with John Adams.
Part One focuses on courtly narratives of love, locating the intertextuality and thematic concern with textual interpretation displayed in poems such as the Kingis Quair, Henryson's Testament of Cresseid and works by Gavin Douglas and William Dunbar against the intellectual background of the dit amoureux tradition perfected by Guillaume de Machaut
and Jean Froissart.
Para el texto que nos ocupa, como senala Turrent, la pauta la encontro en el libro Guillaume de Machaut
in Reims de Anne Robertson, profesora del Departamento de Musica de la Universidad de Chicago, quien tambien comparte con Turrent la profesion musical, por su condicion de ejecutante del piano.
Focusing on Guillaume de Deguileville, Guillaume de Machaut
, and Jean Froissart (each of whom composed scenes in which they appear on trial before God), "Eschatological Subjects" contributes important new insights on the complex "trial process" of later medieval literature, in which poetic authority and fame depended on the poet's ability to defend himself before a fearful court of reader opinion.
Here, the combination of organ (Fairs) and brass, with players placed individually around the hall, gave Roberts' colouristic exploration of themes by Guillaume de Machaut
a fractured, surround-sound effect that, although modest in scope, was totally fascinating.
The ensemble, with six male and four female voices, is dedicated to introducing modern audiences to lesser-known masterpieces of centuries past, including works of composers such as Claudio Monteverdi, Thomas Tallis and Guillaume de Machaut
Scholarship on Guillaume de Machaut
currently stands at an important juncture.
Partridge goes on to reconsider the rubrics to the Retraction found in various manuscripts of the Tales in light of the scribal treatment of similar passages in the manuscripts of Guillaume de Machaut
, Jean Froissart, and Christine de Pizan.
Numerous studies have demonstrated to what extent the medieval cleric, as writer, could betray a desire to create for himself, among his secular peers, an impressive persona through literature, this has been shown to be the case for Richard de Fournival, (1) Abelard, (2) and, as Kevin Brownlee and Deborah McGrady suggest, for Guillaume de Machaut
Arn also discusses the effects of this reordering for Charles d'Orleans studies, suggesting that the structure of the poet's manuscript is more organic than formal, and making parallels to manuscripts containing the works of poets from the recent past, notably lean Froissart and Guillaume de Machaut
In the second essay, Deborah McGrady shows how Guillaume de Machaut
, in his Fonteinne amoureuse, uses the material object of the poem to valorize commissions, which "straddle gift-economy and mercantilism" (21), and to upend the traditional patron-poet hierarchy.
It is generally known that Guillaume de Machaut
, probably the greatest French poet and composer of the 14th century, worked in the service of the King of Bohemia, John of Luxemburg (1310-1346) as the king's secretary.