{"title":"在《圣训》第13章中寻找财富:马肖圣训中的排序与借用的洞见","authors":"Melanie Shaffer","doi":"10.1017/S0961137117000055","DOIUrl":null,"url":null,"abstract":"ABSTRACT On first glance, Machaut's Tans doucement/Eins que ma dame/Ruina (M13) is a typical motet with few musical or textual anomalies. Perhaps this is why, with the exception of a brief article by Alice V. Clark, little extensive, individual study of M13 has been conducted. This article examines the musico-poetic cues for Fortune found in M13’s many forms of reversal, duality and upset order. The discovery of a new acrostic which references the Roman de Fauvel, whose interpolated motet Super cathedram/Presidentes in thronis/Ruina (F4) is the source of M13’s tenor, further supports a Fortune-based reading of this motet. M13 may therefore be included among the Fortune-prominent motets proposed by Anna Zayaruznaya and Jacques Boogaart (M12, M14 and M15). Understanding that Machaut intentionally ordered his motets, M13 fills a sequential gap, suggesting that M12–15 may serve as a meaningfully ordered group of Fortune-based motets. The acrostic's Fauvel reference also provides additional connections between M13 and F4, offering insight into ways Machaut may have responded to and cleverly cited his sources.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"26 1","pages":"115 - 139"},"PeriodicalIF":0.5000,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137117000055","citationCount":"1","resultStr":"{\"title\":\"Finding Fortune in Motet 13: insights on ordering and borrowing in Machaut's motets\",\"authors\":\"Melanie Shaffer\",\"doi\":\"10.1017/S0961137117000055\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT On first glance, Machaut's Tans doucement/Eins que ma dame/Ruina (M13) is a typical motet with few musical or textual anomalies. Perhaps this is why, with the exception of a brief article by Alice V. Clark, little extensive, individual study of M13 has been conducted. This article examines the musico-poetic cues for Fortune found in M13’s many forms of reversal, duality and upset order. The discovery of a new acrostic which references the Roman de Fauvel, whose interpolated motet Super cathedram/Presidentes in thronis/Ruina (F4) is the source of M13’s tenor, further supports a Fortune-based reading of this motet. M13 may therefore be included among the Fortune-prominent motets proposed by Anna Zayaruznaya and Jacques Boogaart (M12, M14 and M15). Understanding that Machaut intentionally ordered his motets, M13 fills a sequential gap, suggesting that M12–15 may serve as a meaningfully ordered group of Fortune-based motets. The acrostic's Fauvel reference also provides additional connections between M13 and F4, offering insight into ways Machaut may have responded to and cleverly cited his sources.\",\"PeriodicalId\":41539,\"journal\":{\"name\":\"Plainsong & Medieval Music\",\"volume\":\"26 1\",\"pages\":\"115 - 139\"},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2017-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1017/S0961137117000055\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Plainsong & Medieval Music\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/S0961137117000055\",\"RegionNum\":1,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MEDIEVAL & RENAISSANCE STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Plainsong & Medieval Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/S0961137117000055","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MEDIEVAL & RENAISSANCE STUDIES","Score":null,"Total":0}
引用次数: 1
摘要
乍一看，马肖的《Tans doucement/Eins que ma dame/Ruina》(M13)是一首典型的圣歌，几乎没有音乐或文本上的异常。也许这就是为什么除了爱丽丝·v·克拉克(Alice V. Clark)的一篇简短文章外，几乎没有对M13进行过广泛的个人研究。本文探讨了《M13》中多种形式的反转、二元性和混乱秩序中蕴含的音乐诗意线索。新发现的一首离合诗引用了罗马人de Fauvel，其中插入的圣歌Super cathedram/Presidentes in thronis/Ruina (F4)是M13男高音的来源，进一步支持了《财富》杂志对这首圣歌的解读。因此，M13可能被列入由Anna Zayaruznaya和Jacques Boogaart (M12, M14和M15)提出的《财富》突出的口号中。我们可以理解马肖是有意为之的，M13填补了一个顺序上的空白，这表明M12-15可能是一组有意义的、有序的《财富》系列格言。离合诗的Fauvel参考也提供了M13和F4之间的额外联系，提供了马肖可能回应和巧妙引用他的来源的方式。
Finding Fortune in Motet 13: insights on ordering and borrowing in Machaut's motets
ABSTRACT On first glance, Machaut's Tans doucement/Eins que ma dame/Ruina (M13) is a typical motet with few musical or textual anomalies. Perhaps this is why, with the exception of a brief article by Alice V. Clark, little extensive, individual study of M13 has been conducted. This article examines the musico-poetic cues for Fortune found in M13’s many forms of reversal, duality and upset order. The discovery of a new acrostic which references the Roman de Fauvel, whose interpolated motet Super cathedram/Presidentes in thronis/Ruina (F4) is the source of M13’s tenor, further supports a Fortune-based reading of this motet. M13 may therefore be included among the Fortune-prominent motets proposed by Anna Zayaruznaya and Jacques Boogaart (M12, M14 and M15). Understanding that Machaut intentionally ordered his motets, M13 fills a sequential gap, suggesting that M12–15 may serve as a meaningfully ordered group of Fortune-based motets. The acrostic's Fauvel reference also provides additional connections between M13 and F4, offering insight into ways Machaut may have responded to and cleverly cited his sources.
期刊介绍：
Plainsong & Medieval Music is published twice a year in association with the Plainsong and Medieval Music Society and Cantus Planus, study group of the International Musicological Society. It covers the entire spectrum of medieval music: Eastern and Western chant, secular lyric, music theory, palaeography, performance practice, and medieval polyphony, both sacred and secular, as well as the history of musical institutions. The chronological scope of the journal extends from late antiquity to the early Renaissance and to the present day in the case of chant. In addition to book reviews in each issue, a comprehensive bibliography of chant research and a discography of recent and re-issued plainchant recordings appear annually.
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