Citation and Allusion in the Ars nova French Chanson and Motet: Memory, Tradition, and Innovation

就像我们自己的社会喜欢在各种不同的语境中利用引文、引用和典故一样，中世纪的作家、艺术家和作曲家也强烈地意识到这些外部参考文献丰富他们作品的巨大潜力。通过唤起来自遥远或较近的过去的经典文本或其生产者/无论是来自古典古代，神圣传统，还是最近的方言背景/中世纪作者在自己的作品中留下权威印记的同时，展示了他们对传统的尊重。但引用也可以达到有趣和不稳定的目的：它可以用来评论，挑战，甚至颠覆现有的作品，允许一个作者展示他与另一个作者竞争并最终超越的能力。该项目将首次对1340-1420年间的引证和典故进行详细的研究，这些典故在当时音乐风格的两种前沿流派——圣歌和香颂中表达出来。中世纪的作曲家在创作新作品时总是乐于利用已有的材料，围绕借来的圣歌创作复调就是最经久不衰的例子。但是，中世纪晚期见证了对从旧中创造新思想的特别有力的实验。人们对13世纪的圣歌给予了相当大的关注，这是一种介于神圣与世俗之间的不寻常的混合体，在其基础行中结合了借用的朴素颂歌，在其高音部分则大量引用和影射了当时流行的音乐和文学传统。直到最近，音乐学家才开始探索14世纪保留曲目中的引用实践；他们的初步发现表明，引用和典故在写作想象中仍然占据着重要的地位，尽管是以不同的形式和在新现代化体裁的背景下。本项目的总体目的是阐明圣歌和香颂中引用实践的范围、性质和意义。这一活动侧重于白话文本的音乐作品，将在当时的文学和社会实践的更广泛背景下进行。这项调查将在音乐学和更广泛的跨学科辩论中提出一些紧迫的主题问题：法国的新艺术剧目如何与早期的白话文剧目相交，引用实践对新复调香颂的出现有什么启示？纪尧姆·德·马肖是当时和现在最著名的诗人和作曲家，他在歌词和音乐中借鉴了早期的传统，他的作品在多大程度上代表了他所处的时代？音乐和抒情的语料库之间的关系是什么？这一时期音乐和诗歌作品分裂的传统观点是否合理？在中世纪，音乐和文本中的引用练习如何增强我们对记忆的理解和对记忆的态度？这个跨学科和多方面的项目有可能使一些学术团体受益。通过以提议的方式跨越学科界限，它应该为音乐学家和文学学者提供一个更全面和情境化的观点，以了解他们的特定材料。这项对中世纪晚期引文实践的研究也将有助于对一般互文性的持续研究，以及关于中世纪记忆和过去与现在谈判的专题辩论。最后，该项目的一个重要成果将是一个可在线搜索的歌词数据库，该数据库从该时期的音乐和诗歌中提取，这不仅对音乐学家，而且对法国语言和文学学者都是无价的。

Just as our own society delights in exploiting citation, quotation, and allusion in an array of different contexts, medieval writers, artists, and composers were intensely aware of the vast potential for such external references to enrich their works. By evoking canonical texts or their producers from the distant or the more recent past/whether from Classical antiquity, the sacred tradition, or recent vernacular contexts/medieval authors demonstrated their respect for tradition while impressing on their own work the stamp of authority. But citation could also serve playful and destabilising ends: it could be used to comment upon, challenge, or even subvert an existing work, allowing one author to demonstrate his ability to compete with, and ultimately to surpass, another. This project will undertake the first detailed study of citation and allusion in the period c1340-1420 as expressed in the two genres at the cutting edge of musical style at the time, the motet and the chanson. Medieval composers had always demonstrated a readiness to exploit existing material in their creation of new works, the building of polyphony around a borrowed chant representing the most enduring example. But the late Middle Ages bore witness to especially vigorous experimentation with the idea of creating new from old. Considerable attention has been paid to the thirteenth-century motet, an unusual hybrid between sacred and secular that combined borrowed plainchant in its foundation line and myriad citations of and allusions to the popular musical and literary tradition of the day in its upper voices. Only very recently have musicologists begun to explore citational practice in the fourteenth-century repertory; their preliminary findings suggest that citation and allusion continued to occupy a vital place in the compositional imagination albeit in a different guise and in the context of newly modernised genres. The general aim of this project is to clarify the extent, nature, and significance of citational practice in the motet and chanson. Focussing on musical works with vernacular texts, this activity in the musical repertory will be located within the broader context of literary and social practices of the time. This investigation will contribute some pressing topical questions within musicology and to broader interdisciplinary debates: how does the French Ars nova repertory intersect with earlier repertories with vernacular texts, and what light does citational practice shed on the emergence of the new polyphonic chanson? To what extent did Guillaume de Machaut, the most famous poet and composer then as now, draw on earlier traditions in his lyrics and music, and how far are his works representative of his own period? What is the relationship between the musical and lyric-only corpus, and is the traditional view of a split between musical and poetic production in this period justified? how can citational practice in music and text enhance our understanding of memory and attitudes to remembrance in the middle ages?This interdisciplinary and multi-facetted project has potential to benefit a number of scholarly constituencies. By cutting across disciplinary boundaries in the manner proposed, it should afford both musicologists and literary scholars a more rounded and contextualised view of their particular corpus of material. This study of citational practice in the late medieval context will also contribute to ongoing studies of intertextuality in general, and to topical debates concerning memory in the middle ages and the negotiation of past and present. Finally, a significant output of the project will be an on-line searchable database of lyrics drawn from the music and poetry of the period that will be invaluable not only to musicologists but to scholars of French language and literature.