Guillaume de Machaut: Notation and the Compositional Process
DOI:
https://doi.org/10.3989/anuariomusical.2001.56.94Abstract
In recent scholarship it has been increasingly emphasized that Machaut, particularly in his later secular chansons, developed a new ideal of vertical sound, namely one which rested on a three- rather than a two-voice basis. The present article links this innovation to the composer's layered concept of notation and to the linear individuality of each of the three voices as evidenced by his use of repeated rhythmic motifs in the ballades of the late narrative poem. Le voir dit.
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