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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,
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without prior written permission from the publisher.
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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
