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Contents

Music from the Earliest Notations to the Sixteenth Century

REDEFINING (AND RE-REFINING) A GENRE

Chapter:
CHAPTER 9 Machaut and His Progeny
Source:
MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY
Author(s):
Richard Taruskin

That reinvestment was accomplished not by a stylistic revival but a thorough stylistic renovation. Machaut was able to reelevate and recomplicate the style of courtly love poetry, even while retaining its more popular forms, because he possessed a polyphonic craft that went far beyond the attainments of any previous courtly or urban love-singer. Where Adam de la Halle’s polyphonic rondeaux were cast in as simple and straightforward a polyphonic texture as could be—that of the syllabic versus or conductus setting—Machaut’s were subtle, ornate, and full of a very recondite lyricism that made telling decorative use, as we have seen, of musica ficta “causa pulchritudinis.”

Citation (MLA):
Richard Taruskin. "Chapter 9 Machaut and His Progeny." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 29 Aug. 2014. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009002.xml>.
Citation (APA):
Taruskin, R. (n.d.). Chapter 9 Machaut and His Progeny. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 29 Aug. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009002.xml
Citation (Chicago):
Richard Taruskin. "Chapter 9 Machaut and His Progeny." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 29 Aug. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009002.xml
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