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Le chansonnier français de Berne (cote 389, sigle C) date du dernier quart du 13ième siècle. Souvent considéré trop marginal pour servir de manuscrit de base d'une édition critique, dans cette publication il fait l'objet d'une analyse approfondie suivie d'une nouvelle édition de 53 poésies uniques et anonymes. Dans la première partie de son étude, l'éditeur présente un bref aperçu historique ainsi qu'une description détaillée des aspects physiques du manuscrit. Suit alors une analyse du contenu et de l'organisation du chansonnier. Lors de l'identification de poésies individuelles, l'éditeur se sert des bibliographies de Raynaud-Spanke, mais également de celle de Linker, trop souvent négligée bien que organisée plus logiquement. Après une présentation détaillée des traits dialectaux du manuscrit, l'ouvrage offre une transcription diplomatique et une édition critique commentée de 53 unica anonymes. Pour chaque poésie il y a des repères bibliographiques, une analyse métrique, et un bref commentaire philologique. Les appendices constituent des outils qui placent le manuscrit dans le contexte de la poésie médiévale: il s'agit e.a. d'une présentation synoptique des chansons, et de plusieurs concordances avec p. e. les répertoires métriques de Mölk/Wolfzettel et de Frank.

French poetry --- Songs, French. --- Burgerbibliothek Bern. --- Chansonnier Français. --- Edition. --- Old French.

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Nowhere in the art song repertoire does one find a more felicitous union than in the 200 or so melodies of Faure, Chausson, Duparc, and Debussy. These four composers brought to the magnificent world of their contemporaries--Verlaine, Gautier, Baudelaire, Mallarme, Leconte de Lisle, and others--the delicacy, sensitivity, and voluptuousness that characterize French music from 1865 to 1914. Song by song, this comprehensive study addresses each composer's complete works for solo, voice, and piano. Errors in popular published editions are pointed out and corrected. The full French text is given, followed by Barbara Meister's translation--in many cases, the first English version ever published. These exquisite renderings (not intended to substitute for the French lyrics in performance) vividly convey the sense and mood of the originals. Here the singer will find guidance on interpretation and pronunciation; the accompanist will profit from harmonic analyses intended to further genuine partnership with the vocalist; and the listener will gain a fuller satisfaction from learning how various works fit into their historical and aesthetic context, and in the lives of the poets and composers.

Songs, French --- History and criticism. --- Debussy, Claude, --- Duparc, Henri, --- Chausson, Ernest, --- Faure, Gabriel, --- Songs (Faure, Gabriel) --- Songs (Duparc, Henri) --- Songs (Debussy, Claude) --- Songs (Chausson, Ernest) --- France.

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This book provides an in-depth study of the late medieval chanson, from Gace Brulé through Guillaume Du Fay. It is largely concerned with interpretation of the way accidentals function, not only at the level of local detail but also as part of the overall design. Thomas Brothers thus explores the way inflections are used by the composer as an expressive tool. The background problem to which this study responds is the conceptual difficulty we have in interpreting pitch syntax in this repertory. Support for this approach comes from reference to causa pulchritudinis ('by reason of beauty'), a justification for chromatic writing first encountered at the beginning of the fourteenth century. In advancing an interpretation of the musical side of the chanson, Thomas Brothers aims to bring standards closer to what has been achieved in study of sister disciplines of art and literature.

78.23 --- 78.41.2 --- Monophonic chansons --- Musica ficta --- Polyphonic chansons --- 78.033 --- 78.033 Muziek--?.033 --- Muziek--?.033 --- History and criticism --- Chansons, Polyphonic --- Part songs, French --- Alteration, Chromatic --- Chromatic alteration (Music) --- Conjuncta --- Musica falsa --- Chromaticism (Music) --- Performance practice (Music) --- Chansons, Monophonic --- Songs, French --- Musica ficta. --- History and criticism. --- Songs --- 500-1400 --- Part songs --- 15th century

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Songs, French --- Singers --- Romanticism in music --- Salons --- Chansons françaises --- Chanteurs --- Romantisme en musique --- Salons littéraires --- History and criticism --- History --- Histoire et critique --- Histoire --- Paris (France) --- Social life and customs --- Moeurs et coutumes --- 524 --- Muziekgeschiedenis (Romantiek) --- Chansons françaises --- Salons littéraires --- 19th century --- Songs [French ] --- France --- 78.27 --- 78.41.2 --- French songs --- Vocalists --- Musicians --- French salons --- Intellectual life --- Manners and customs --- Musical romanticism --- Romanticism (Music) --- Style, Musical --- Neoromanticism (Music)

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As the visual representation of an essentially oral text, Sylvia Huot points out, the medieval illuminated manuscript has a theatrical, performative quality. She perceives the tension between implied oral performance and real visual artifact as a fundamental aspect of thirteenth- and fourteenth-century poetics. In this generously illustrated volume, Huot examines manuscript texts both from the performance-oriented lyric tradition of chanson courtoise, or courtly love lyric, and from the self-consciously literary tradition of Old French narrative poetry. She demonstrates that the evolution of the lyrical romance and dit, narrative poems which incorporate thematic and rhetorical elements of the lyric, was responsible for a progressive redefinition of lyric poetry as a written medium and the emergence of an explicitly written literary tradition uniting lyric and narrative poetics.Huot first investigates the nature of the vernacular book in the thirteenth and fourteenth centuries, analyzing organization, page layout, rubrication, and illumination in a series of manuscripts. She then describes the relationship between poetics and manuscript format in specific texts, including works by widely read medieval authors such as Guillaume de Lorris, Jean de Meun, and Guillaume de Machaut, as well as by lesser-known writers including Nicole de Margival and Watriquet de Couvin. Huot focuses on the writers' characteristic modifications of lyric poetics; their use of writing and performance as theme; their treatment of the poet as singer or writer; and of the lady as implied reader or listener; and the ways in which these features of the text were elaborated by scribes and illuminators. Her readings reveal how medieval poets and book-makers conceived their common project, and how they distinguished their respective roles.

Poetry --- Old French literature --- 840 "12/13" --- Books --- -French poetry --- -Manuscripts, French --- -Manuscripts, Medieval --- -Narrative poetry, French --- -Poetry --- -Scriptoria --- -Songs, French --- -French songs --- Copying rooms --- Writing rooms --- Rooms --- Illumination of books and manuscripts --- Manuscripts --- Monasteries --- Monastic libraries --- Poems --- Verses (Poetry) --- Literature --- French narrative poetry --- French poetry --- Medieval manuscripts --- French manuscripts --- French literature --- Library materials --- Publications --- Bibliography --- Cataloging --- International Standard Book Numbers --- Franse literatuur--?"12/13" --- History --- -History and criticism --- History and criticism --- Editing --- Reproduction --- Philosophy --- Manuscripts, French --- Manuscripts, Medieval --- Narrative poetry, French --- Scriptoria --- Songs, French --- History and criticism. --- Manuscripts. --- History. --- Editing. --- -Franse literatuur--?"12/13" --- 840 "12/13" Franse literatuur--?"12/13"