Burgundian Court Song in the Time of Binchois

The court of the Dukes of Burgundy saw a growth in popularity of the chanson during the early 15th century. Whilst maintaining medieval forms and functions, the chanson of this period acquired an eloquence and creative scope which was evident in the works of the leading composers, resulting in a genre which the author describes as the musical voice of Burgundian melancholy. The polyphonic chanson is examined within the literary, social and aesthetic context of court culture during the reign of Philip the Good. This particular study focuses on the anonymous songs collected in the manuscript "Escorial, Biblioteca del Monasterio MS V.III.24", a major source of Franco-Flemish song. Through analysis of the cadences, melodies, mensuration, textures and rhythmic figures, the author has been able to establish stylistic criteria for the ascription of these songs to the masters of the period, Dufay and Binchois. The first section of the book explores Binchois' markedly individual style and assesses his contribution to the genre. This is followed by an analysis which places individual songs within the context of the courts in whose service they were composed.Table of ContentPART I: THE ANONYMOUS CHANSONS; ANALYSIS AND ASCRIPTION: Introduction; The Rondeaux for Three Voices: Cadences; The Rondeaux for Three Voices: Melody; The Rondeaux for Three Voices: Mensuration, texture, and performance practice; Other Rondeaux, the Ballades, and the Middle Dutch songs; A new Binchois repertoire; PART II: THE CHANSON IN BURGUNDIAN COURT CULTURE: Introduction; What is `Burgundian' music?; Chivalric humanism and the Chanson; The Chanson and la Courtoise; The musical mirror of Burgundian melancholy; Conclusion; Appendices: Catalogue of Escorial MS V.III.24; The Anonymous Pieces; The Vers-Structure of the French-texted songs; Corrigenda; Bibliography; Index