_book_id: 0 _book_language: en _book_alttitle: 0 _dedication_title: Dedication _publisher_id: 0 _collection_id_series: sinl i Musical Culture in the World of Adam de la Halle © Koninklijke Brill NV, Leiden, 2019 | doi:10.1163/9789004379480_001 ii Brill’s Companions to the Musical Culture of Medieval and Early Modern Europe VOLUME 3 The titles published in this series are listed at brill.com/bcmc iii Musical Culture in the World of Adam de la Halle Edited by Jennifer Saltzstein LEIDEN | BOSTON iv Cover illustration: Chansonnier et mélanges littéraires, ‘Adam de la Halle , Chansonnier’, fol. 10r, BnF fonds français 25566. With kind permission of the Bibliothèque nationale de France. Library of Congress Cataloging-in-Publication Data Names: Saltzstein, Jennifer. Title: Musical culture in the world of Adam de la Halle / edited by Jennifer Saltzstein. Description: Leiden ; Boston : Brill, [2019] | Series: Brill’s companions to the musical culture of medieval and early modern Europe ; Volume 3 | Includes bibliographical references and index. | Identifiers: LCCN 2019003774 (print) | LCCN 2019004877 (ebook) | ISBN 9789004379480 (E-book) | ISBN 9789004368453 (hardback : alk. paper) Subjects: LCSH: Adam, de La Halle, approximately 1235-approximately 1288. | Music--500-1400--History and criticism. Classification: LCC ML410.A2 (ebook) | LCC ML410.A2 M8 2019 (print) | DDC 782.4/3092--dc23 LC record available at https://lccn.loc.gov/2019003774 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 2214-9511 isbn 978-90-04-36845-3 (hardback) isbn 978-90-04-37948-0 (e-book) Copyright 2019 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper and produced in a sustainable manner. ContentCsontents v Contents Acknowledgements vii List of Figures viii List of Tables ix List of Music Examples x Notes on Contributors xii A Note on Manuscript Sigla xvi Introduction 1 Jennifer Saltzstein part 1 The Northern Milieu 1 The “School of Arras” and the Career of Adam 21 Carol Symes 2 The Poets of the North: Economies of Literature and Love 51 Eliza Zingesser part 2 Material Contexts of Arrageois Song 3 Another Note on fr. 25566 and Its Illustrations 77 Alison Stones 4 Aristocratic Patronage and the Cosmopolitan Vernacular Songbook: the Chansonnier du Roi (M-trouv.) and the French Mediterranean 95 John Haines 5 Taking Notae on King and Cleric: Thibaut, Adam, and the Medieval Readers of the Chansonnier de Noailles (T-trouv.) 121 Judith A. Peraino Contents vi Contents Contents v Acknowledgements vii Figures viii Tables ix Music Examples x part 3 Notes on Contributors xii AIn Ntrootdeu ocnti oMna nuscript S1igla xvi Genres in Context Jennifer Saltzstein Part 1 The Northern Milieu Chapter 1 The “School of Arras” and the Career of Adam 21 6 The Northern Jeu-parti 153 Carol Symes Chapter 2 Eliza Zingesser* Daniel E. O’Sullivan Part 2 Material Contexts of Arrageois Song Chapter 3 Another Note on fr. 25566 and Its Illustrations 77 Alison Stones 7 The Songs of Adam de la Halle 189 Chapter 4 Aristocratic Patronage and the Cosmopolitan Vernacular Songbook: The Chansonnier du Roi (M-trouv.) and the French Mediterranean 95 John Haines Isabelle Ragnard Chapter 5 Taking Notae on King and Cleric: Thibaut, Adam, and the Medieval Readers of the Chansonnier de Noailles (T-trouv.) 121 Judith A. Peraino Part 3 Genres in Context Chapter 6 The Northern Jeu-parti 153 part 4 Daniel E. O’Sullivan Chapter 7 The Songs of Adam de la Halle 189 Traditions and Transformations Isabelle Ragnard Part 4 Traditions and Transformations Chapter 8 Adam de la Halle: Cleric and Busker 231 8 Adam de la Halle: Cleric and Busker 231 Alain Corbellari Chapter 9 Refrain Quotations in Adam’s Rondeaux, Motets and Plays 249 Alain Corbellari Anne Ibos-Augé Chapter 10 The Pastourelle and the Jeu de Robin et Marion 282 Anna Kathryn Grau Chapter 11 9 Refrain Quotations in Adam’s Rondeaux, Motets and Plays 249 Friends and Foals: The Polyphonic Music of Adam de la Halle 311 Mark Everist Chapter 12 Anne Ibos-Augé Adam de la Halle’s Fourteenth-Century Musical and Poetic Legacies 352 Jennifer Saltzstein Annex I – Refrains in Rondeaux and Chansons 365 Anne Ibos-Augé Annex II – The Refrains and Citations in the Motets 376 10 The Pastourelle and the Jeu de Robin et Marion 282 Anne Ibos-Augé Annex III – Lyrical Citations in the Plays 381 Anne Ibos-Augé Anna Kathryn Grau Annex IV – Musical Transcriptions 391 Anne Ibos-Augé Bibliography 394 Index of People 418 Index of Sources and Works 421 11 Friends and Foals: The Polyphonic Music of Adam de la Halle 311 Index of Subjects 425 Mark Everist 12 Adam de la Halle’s Fourteenth-Century Musical and Poetic Legacies 352 Jennifer Saltzstein Annex I – Refrains in Rondeaux and Chansons 365 Anne Ibos-Augé Annex II – The Refrains and Citations in the Motets 376 Anne Ibos-Augé Annex III – Lyrical Citations in the Plays 381 Anne Ibos-Augé Annex IV – Musical Transcriptions 391 Anne Ibos-Augé Bibliography 394 Index of People 418 Index of Sources and Works 421 Index of Subjects 425 AcknowAlcedkgneomwelnetdsgements vii Acknowledgements Although I am its sole editor, this book was a collaborative effort. I am grateful, first and foremost, to the contributors for giving their time, energy, and exper- tise to the book’s individual chapters. I offer thanks to Julian Deahl, who saw the need for this project, devised its title, and asked me to edit it; I also thank Kate Hammond for seeing the project through to its production phase after Julian’s retirement. The Bibliothèque nationale de France offered permission to reproduce the manuscript images that appear here. I edited portions of the manuscript in 2016–2017 while on leave with the support of a National Endow- ment for the Humanities Fellowship; the project would undoubtedly have taken much longer to complete without this support. I thank my skillful copy- editor, Marianne Noble, for catching many oversights. My special thanks go to my dear friend and over-qualified translator Amy Heneveld, and to my equally over-qualified music editor, Anne Ibos-Augé. Anne’s expert eye and deft music- engraving skills are evident throughout the musical examples, and her sup- porting materials and appendices have greatly increased the utility of this book. viii Figures Figures Figures 4.1 Incipit of Adam de la Halle’s “D’amourous cuer voel” chanter in wax 106 5.1 T-trouv. fol. 7r 122 5.2 T-trouv. fol. 226r 122 5.3 Initial for Thibaut in T-trouv. fol. 1r 127 5.4 Initial for Adam in T-trouv. fol. 224r 128 11.1 Fr. 25566, fol. 34v 316 11.2 Fr. 25566, fol. 37r 317 Tables Tables ix Tables 4.1 Attested and extant sources of Old French song in Outremer, thirteenth century 108 5.1 A schematic inventory of T-trouv. 123 5.2 Distribution of Notae in each section of T-trouv. 124 5.3 A comparison of the first fifteen names in six chansonniers 130 5.4 Repertory comparison of four trouvères 134 5.5 Noted lines in the Thibaut libellus of T-trouv. 144 5.6 Noted lines in the Adam libellus of T-trouv. 146 6.1 The jeux-partis of Adam de la Halle 172 7.1 Musical patterns in Adam’s monophonic songs 222 9.1 The texts of the rondeau and the motet 262 9.2 The melodic patterns in the two versions of “Fines amouretes ai” 265 9.3 The beginnings of the rondeau and the duplum 267 9.4 vdB 477 in RS 1449 (K-trouv. 345a) and M 787 (Mo 160v) 270 9.5 vdB 765 in De ma dame vient and Fui te gaite, fai me voie 271 11.1 Adam’s rondeaux, refrains and shared motets 328 11.2 Adam’s rondeaux: refrains in Renart le Nouvel 330 11.3 Tessitura of Adam’s rondeaux 334 11.4 Adam’s five motets: sources 339 11.5 Confraternity motets 348 x Music Examples Music Examples Music Examples 7.1 XIX/RS 52, v. 1–4 212 7.2 II/RS 1186, v. 2 and 4 (B1), v. 7 (B2) 212 7.3 XXI/RS 1060, v. 4 and v. 5 215 7.4 (1) XIV/RS 500 v. 1 mode of fa/F (2) XXX/RS 1771 v.1 mode of fa/F and (3) XXV/RS 432 v.1 mode of sol/G 216 7.5 XI/RS 2128, v. 1 217 7.6 (1) IV/RS 152, v.1 and v.3 [A], v.5 [C], and v.6 [D] (2) VII/RS 1711, v.1 and (3) XIX/RS 52, v. 7 217 7.7 (1): XXXII/RS 336, v. 1 and 3, (2): XXXIV/RS 495, v. 2, and (3): XXIII/RS 1383, v. 6 218 7.8 (1) VIII/RS 888, v. 8 and (2) XI/RS 2128, v. 5 and 6 219 7.9 XXIX/RS 1715, v. 1 and 3 (mss. W-trouv. and P-trouv.) 220 7.10 XXXIV/RS 495, v. 1–4 221 9.1 vdB 1227 in the triplum of the motet Ma loiauté m’a nuisi (25) / A la bele Ysabelet (26) / Omnes (M1) (Mo 225v), vdB 1228 in the triplum of the motet Chascun dit que je foloie (149) / Se j’ai amé folement (150) / In seculum (M13) (Cl 384rb) and vdB 1229 in Adam’s rondeau (fr. 25566, fol. 32va) 252 9.2 vdB 1804 in the rondeau (fr. 25566, fol. 34rb), vdB 9 in RS 839 (M-trouv. 127rb) and line 1 of RS 839 253 9.3 vdB 496 in the rondeau “Dieux, comment porroie” (fr. 25566, fol. 34ra) and in Renart le Nouvel (fr. 372, fol. 34va) 255 9.4 vdB 1166 in Renart le Nouvel (fr. 372, fol. 47va) and in the rondeau “Jolietement” (Ba 32rc) 255 9.5 vdB 496, 1166, 494, 173 and 513, related to one another in manuscript fr. 372 of Renart le Nouvel and associated with the melodic material of “Dieux, comment porroie” 256 9.6 vdB 496 in Renart le Nouvel (fr. 372, fol. 51va et fr. 1593, fol. 34v) 257 9.7 vdB 1074 in Adam’s rondeau (fr. 25566, fol. 32va) and in the three versions in Renart le Nouvel (fr. 25566, fol. 167vb, fr. 372, fol. 50rb and fr. 1593, fol. 52rb) 257 9.8 Accentuation of the ternary structure of vdB 1074 in manuscript fr. 1593 258 9.9 vdB 784 in “Hareu, li maus d’amer” (fr. 25566, fol. 32vb) and Renart le Nouvel (fr. 25566, fol. 167ra) and vdB 793 in Renart le Nouvel (fr. 25566, fol. 166ra) 258 9.10 vdB 793 in the duplum of the motet Amours ne mi tendra mais (604) / Adés mi tient amours joli (605) / Kyri[e] eleison (Mo 124r) and in the tenor of the motet Qui Amours veult maintenir (880) / Li dous pensers (881) / Cis a cui (Mo 316rb) 259