The subtilitas with which Machaut expressed his implicitly aristocratic outlook on art and culture took an explicit and even somewhat technocratic turn in the work of the generations of poets and musicians who followed him, and who looked upon him as a creative father. One of the leading French poets at the end of the fourteenth century, Eustache Deschamps (ca. 1346–ca. 1407), the author of over a thousand ballades, actually labeled himself Machaut’s apprentice, successor, and heir.3 (According to at least one authority he was even more than that: he was reputed to be Machaut’s nephew.) In his treatise Art de Dictier et de Fere Chançons (“The art of poetry and making songs”) of 1392, Deschamps purported to transmit his master’s teachings.
- 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. 2 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009017.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 2 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009017.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 2 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009017.xml