THE “PARISIAN” CHANSON
During the fifteenth century, the word “chanson” connoted an international courtly style, an aristocratic lingua franca. A French song in a fixed form might be written anywhere in Europe, by a composer of any nationality whether at home or abroad. The French chanson was thus nearly as ecumenical or “travelable” a style within its rarefied social domain as the Latin motet. In addition to the examples given in previous chapters (Du Fay in Italy, Binchois in Burgundy, Isaac in Austria, Josquin everywhere), one could add the names of two English composers, Robert Morton and Walter Frye, both of whom wrote French rondeaux in the purest “Burgundian” style (although only Morton is known to have actually worked on the continent).
- Citation (MLA):
- Richard Taruskin. "Chapter 17 Commercial and Literary Music." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 Oct. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 17 Commercial and Literary Music. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 1 Oct. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 17 Commercial and Literary Music." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 Oct. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017004.xml