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Degrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song
Degrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211151124
- ISBN
- 9798382262338
- DDC
- 780
- 서명/저자
- Degrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song
- 발행사항
- [Sl] : Columbia University, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 333 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-10, Section: A.
- 주기사항
- Advisor: Boynton, Susan L.
- 학위논문주기
- Thesis (Ph.D.)--Columbia University, 2024.
- 초록/해제
- 요약This dissertation examines the procedure of musical borrowing, in which melodies are recycled or reworked, in the sung, vernacular poetry of the troubadours. Their usage of the practice (specifically, that of contrafacture, wherein pre-existing melodies are retexted) is attested to in poetic treatises, confirmed by a small number of examples transmitted with musical notation, and further supported by a large body of poems that share a versification structure. The paucity of extant melodies, however, has prevented scholars from fully exploring the musical implications of the technique. Through close and multidisciplinary analysis of music, text, image, and material object, this study uses intermusicality as an entry point to address larger questions about the musical practice of the Occitan poet-composers: how were songs crafted, and what is the relationship between music and text? How was this repertoire spread, and what roles did oral and notated transmission play? How would audiences have interpreted the songs of the troubadours? To that end, I examine a series of case studies drawn from Paris, Bibliotheque nationale de France, f. fr. 22543. Throughout, I characterize musical borrowing as a generative procedure used commonly by the troubadours, and foreground the connections (aural and otherwise) that arise as a consequence. As such, the dissertation offers a new way of understanding the musico-poetic practice of the troubadours, with respect to both mechanics and meaning, through the lens of a well-attested but largely-silenced compositional practice.
- 일반주제명
- Music history
- 일반주제명
- Medieval literature
- 일반주제명
- Fine arts
- 일반주제명
- Music
- 키워드
- Contrafacture
- 키워드
- Intertextuality
- 키워드
- Medieval music
- 키워드
- Troubadour song
- 기타저자
- Columbia University Music
- 기본자료저록
- Dissertations Abstracts International. 85-10A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■006m o d
■007cr#unu||||||||
■020 ▼a9798382262338
■035 ▼a(MiAaPQ)AAI31146915
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a780
■1001 ▼aWilkening, Anya B.
■24510▼aDegrees of Separation: Intermusicality and Intertextuality in Medieval Monophonic Song
■260 ▼a[Sl]▼bColumbia University▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a333 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-10, Section: A.
■500 ▼aAdvisor: Boynton, Susan L.
■5021 ▼aThesis (Ph.D.)--Columbia University, 2024.
■520 ▼aThis dissertation examines the procedure of musical borrowing, in which melodies are recycled or reworked, in the sung, vernacular poetry of the troubadours. Their usage of the practice (specifically, that of contrafacture, wherein pre-existing melodies are retexted) is attested to in poetic treatises, confirmed by a small number of examples transmitted with musical notation, and further supported by a large body of poems that share a versification structure. The paucity of extant melodies, however, has prevented scholars from fully exploring the musical implications of the technique. Through close and multidisciplinary analysis of music, text, image, and material object, this study uses intermusicality as an entry point to address larger questions about the musical practice of the Occitan poet-composers: how were songs crafted, and what is the relationship between music and text? How was this repertoire spread, and what roles did oral and notated transmission play? How would audiences have interpreted the songs of the troubadours? To that end, I examine a series of case studies drawn from Paris, Bibliotheque nationale de France, f. fr. 22543. Throughout, I characterize musical borrowing as a generative procedure used commonly by the troubadours, and foreground the connections (aural and otherwise) that arise as a consequence. As such, the dissertation offers a new way of understanding the musico-poetic practice of the troubadours, with respect to both mechanics and meaning, through the lens of a well-attested but largely-silenced compositional practice.
■590 ▼aSchool code: 0054.
■650 4▼aMusic history
■650 4▼aMedieval literature
■650 4▼aFine arts
■650 4▼aMusic
■653 ▼aContrafacture
■653 ▼aIntertextuality
■653 ▼aMedieval music
■653 ▼aMusical borrowing
■653 ▼aTroubadour poetry
■653 ▼aTroubadour song
■690 ▼a0208
■690 ▼a0297
■690 ▼a0357
■690 ▼a0413
■71020▼aColumbia University▼bMusic.
■7730 ▼tDissertations Abstracts International▼g85-10A.
■790 ▼a0054
■791 ▼aPh.D.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17160841▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
