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Degrees of Separation: Intermusicali...

Wilkening, Anya B.,

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Degrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Degrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song // Anya B Wilkening.
Author:	Wilkening, Anya B.,
Description:	1 electronic resource (333 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-10, Section: A.
Contained By:	Dissertations Abstracts International85-10A.
Subject:	Music history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31146915
ISBN:	9798382262338

Degrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song /
Wilkening, Anya B.,

Degrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song /Anya B Wilkening. - 1 electronic resource (333 pages)

Source: Dissertations Abstracts International, Volume: 85-10, Section: A.

This dissertation examines the procedure of musical borrowing, in which melodies are recycled or reworked, in the sung, vernacular poetry of the troubadours. Their usage of the practice (specifically, that of contrafacture, wherein pre-existing melodies are retexted) is attested to in poetic treatises, confirmed by a small number of examples transmitted with musical notation, and further supported by a large body of poems that share a versification structure. The paucity of extant melodies, however, has prevented scholars from fully exploring the musical implications of the technique. Through close and multidisciplinary analysis of music, text, image, and material object, this study uses intermusicality as an entry point to address larger questions about the musical practice of the Occitan poet-composers: how were songs crafted, and what is the relationship between music and text? How was this repertoire spread, and what roles did oral and notated transmission play? How would audiences have interpreted the songs of the troubadours? To that end, I examine a series of case studies drawn from Paris, Bibliotheque nationale de France, f. fr. 22543. Throughout, I characterize musical borrowing as a generative procedure used commonly by the troubadours, and foreground the connections (aural and otherwise) that arise as a consequence. As such, the dissertation offers a new way of understanding the musico-poetic practice of the troubadours, with respect to both mechanics and meaning, through the lens of a well-attested but largely-silenced compositional practice.

English

ISBN: 9798382262338Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Contrafacture

Degrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song /
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245 1 0 $a Degrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song / $c Anya B Wilkening.
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500 $a Advisors: Boynton, Susan L.
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520 $a This dissertation examines the procedure of musical borrowing, in which melodies are recycled or reworked, in the sung, vernacular poetry of the troubadours. Their usage of the practice (specifically, that of contrafacture, wherein pre-existing melodies are retexted) is attested to in poetic treatises, confirmed by a small number of examples transmitted with musical notation, and further supported by a large body of poems that share a versification structure. The paucity of extant melodies, however, has prevented scholars from fully exploring the musical implications of the technique. Through close and multidisciplinary analysis of music, text, image, and material object, this study uses intermusicality as an entry point to address larger questions about the musical practice of the Occitan poet-composers: how were songs crafted, and what is the relationship between music and text? How was this repertoire spread, and what roles did oral and notated transmission play? How would audiences have interpreted the songs of the troubadours? To that end, I examine a series of case studies drawn from Paris, Bibliotheque nationale de France, f. fr. 22543. Throughout, I characterize musical borrowing as a generative procedure used commonly by the troubadours, and foreground the connections (aural and otherwise) that arise as a consequence. As such, the dissertation offers a new way of understanding the musico-poetic practice of the troubadours, with respect to both mechanics and meaning, through the lens of a well-attested but largely-silenced compositional practice.
546 $a English
590 $a School code: 0054
650 4 $a Music history. $3 3342382
650 4 $a Medieval literature. $3 3168324
650 4 $a Fine arts. $3 2122690
650 4 $a Music. $3 516178
653 $a Contrafacture
653 $a Intertextuality
653 $a Medieval music
653 $a Musical borrowing
653 $a Troubadour poetry
653 $a Troubadour song
690 $a 0208
690 $a 0297
690 $a 0357
690 $a 0413
710 2 $a Columbia University. $b Music. $e degree granting institution. $3 3827636
720 1 $a Boynton, Susan L. $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 85-10A.
790 $a 0054
791 $a Ph.D.
792 $a 2024
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31146915