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Deception, Exegesis and Sounding Number in Machaut’s Motet 15
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AbstractThis chapter analyses the musical and textual structure of Machaut’s Motet 15 (Amours qui a le pouoir/Faus Samblant); it complements a literary analysis of the texts by Kevin Brownlee. The upper parts are related to the tenor in a stunning secular–sacred conjunction referencing the God of Jacob and the god of love, which is worked out in symbolic and depictive detail and underpinned by numerical structures in both texts and music. ‘False seeming’, the protagonist of the motetus part, is played out in deceptive musical near-repeats, and words of measuring time and distance coincide with musically structural points. A musico-textual quotation shared with Machaut’s Motet 10 is explored in Chapter 12.
Title: Deception, Exegesis and Sounding Number in Machaut’s Motet 15
Description:
AbstractThis chapter analyses the musical and textual structure of Machaut’s Motet 15 (Amours qui a le pouoir/Faus Samblant); it complements a literary analysis of the texts by Kevin Brownlee.
The upper parts are related to the tenor in a stunning secular–sacred conjunction referencing the God of Jacob and the god of love, which is worked out in symbolic and depictive detail and underpinned by numerical structures in both texts and music.
‘False seeming’, the protagonist of the motetus part, is played out in deceptive musical near-repeats, and words of measuring time and distance coincide with musically structural points.
A musico-textual quotation shared with Machaut’s Motet 10 is explored in Chapter 12.
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