INSTRUMENTAL MUSIC BECOMES LITERATE AT LAST
ex. 13-14 J’ay pris amours (anonymous rondeau)
The elegantly crafted J’ay pris amours seems the perfect late fifteenth-century chanson, and so it was evidently regarded at the time. Its popularity was something phenomenal, to judge by the usual standards of wide dissemination and emblematic or emulatory recycling in later music—so phenomenal, in fact, that its present-day status as an anonymous composition is something of a phenomenon in itself. Its nearest rival for favor was De tous biens plaine (“Full of all good things”), by the Burgundian court composer Hayne van Ghizeghem, whose surviving output consists entirely of rondeaux. Like J’ay pris amours, Hayne’s song was appropriated as a Marian emblem for cantus-firmus Masses and motets, including a famous motet by Compère that translated the opening words into Latin (omnium bonorum plena), addressed them directly to the Virgin, and called down her blessings on a whole honor roll of French and Flemish musicians.
- Citation (MLA):
- Richard Taruskin. "Chapter 13 Middle and Low." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 7 Sep. 2024. <https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-013007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 13 Middle and Low. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 7 Sep. 2024, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-013007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 13 Middle and Low." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 7 Sep. 2024, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-013007.xml
