Measuring music
Identifieur interne : 000530 ( Istex/Corpus ); précédent : 000529; suivant : 000531Measuring music
Auteurs : Richard FreedmanSource :
- Early Music [ 0306-1078 ] ; 2006-11.
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DOI: 10.1093/em/cal089
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<body>
<p>Faced with the challenge of understanding the music of the past through its historical context, scholars have often turned to the archives for clues to the circumstances, purposes and mentalities of those who played and listened. This intriguing and persuasively argued new book stands such an approach on its head, proposing that we instead consider how music might have served to fashion the past rather than simply decorate it. Here Kate Van Orden draws upon an astonishingly rich array of primary materials, including not only musical works, but chronicles, courtesy books, equestrian and military manuals, ceremonials, political tracts and engravings, too. These documents, regarded through the critical lens of recent scholarship on the changing character of nobility and arms in early modern Europe, yield a compelling vision of the moralized aesthetics and aestheticized sense of virtue through which French élites fashioned themselves during the century before the reign of Louis XIV.</p>
<p>Music and dance are perhaps uniquely poised to help us understand this process of self-regulation, particularly in an age when élite status was less a question of blood lineage than a matter of manners. If taste trumps breeding, then music, arms and discipline (the three aptly chosen focal points of Van Orden's study) can tell us more about the nobility than any claim of pedigree. Time, rhythm and movement, she argues, both animated and controlled this courtly culture preoccupied with the signs of noble virtue and the conditions of a harmonious state. This is a crucial insight, for it permits her to interrogate her sources in ways that have long been ignored by those of us otherwise busy exploring pitch structures and text–tone relationships. French music and musical culture of the 16th and 17th centuries, after all, have often remained opaque to enquiry from these familiar perspectives, which although productive for the exploration of the madrigal or instrumental forms frequently fall short of the mark for the chanson, air and ballet. All these insights culminate in the final chapter of her book, a new reading of court dance as regulated violence, here manifest in <italic>Le Caroussel du Roi</italic>, a remarkable equestrian ballet created for the engagement of Louis XIII in 1612. (Van Orden, herself an accomplished wind player as well as a scholar, organized a re-creation of the original in conjunction with the San Francisco Early Music Society, the University of California and CalPerformances in Berkeley during the summer of 2000.) In taking aim at this ambitious target Van Orden traces several formative connections demonstrating the ‘significant coincidence of music with political aspirations for social order’ (p.35) as it was sought in France during the 16th and early 17th centuries.</p>
<p>Her method and assumptions are most clearly set out in the first chapter of the book. Even as it anticipates the subsequent trajectory of individual, social and political bodies in motion, this chapter pauses to reconsider Clément Janequin's <italic>La guerre</italic> and other examples of vocal polyphony for what they reveal about the Renaissance conception of what she calls ‘the musical style of war’ (p.20). Juxtaposing Janequin's imitations of trumpet calls, drum patterns and battle signals with evidence from writers as diverse as Thoinot Arbeau and Marin Mersenne, she helps us to understand such works not simply as representing the sounds of war, but instead as a means of invoking (and then controlling) violent passions and the threat they posed to social order.</p>
<p>From this vantage point the next five chapters range out to consider notions of time, rhythm and movement as they were enlisted in various processes of education, official worship and the regulation of battle. In ‘Music as the measure of all things’ she charts musical training in the educational programmes of the day, demonstrating how those who aspired to the status of nobility cultivated their skill with lute and voice as counterweights to equestrian and military acumen. Solo airs of the early 17th century (including some by French masters such as Pierre Guedron and Gabrielle Bataille) take on new significance in this context, she shows, as measured vehicles for the regulation of feeling among these aspiring courtiers. But the real focus of this chapter is the idea of ‘harmonical governance’ (see the fascinating discussion on pp.76–7) informed by careful readings of texts such as Jean Bodin's <italic>Six livres de la République</italic> of 1576. This source and its Pythagorean musical metaphors of social orders are not new to music historians. But Van Orden's subtle gaze brings forth some compelling insights about the relationship between musical and social harmony as it was understood in Renaissance France. Similarly, in ‘Violence, dance and the <italic>ballet de cour</italic>’ the history of social dancing at court yields up new perspectives on performance and social control. Metre and movement, according to this third chapter, were the animating processes that permitted—even compelled—courtiers to channel their violent, demonstrative passions in ways that were acceptable in an age of increasing royal control. Emerging in the 16th century and culminating in works such as the famous <italic>Déliverance de Renault</italic> performed at court in 1617, the French <italic>ballets du cour</italic> are in this view a form of ritual violence that sought to subordinate the dangerous energies of private duels and private armies to central authority.</p>
<p>Sacred music, too, as we learn in ‘The cross and the sword’, could serve as a means of promoting a theatre of state in an age racked by religious conflict between Catholic and Protestant communities. Of particular interest here are the perspectives on the royal ceremony books of the 1580s, and especially the tradition of the <italic>Te Deum</italic>. In addition to some provocative ideas on the appropriation of popular processionals and singing in the service of royal ritual, Van Orden offers some very interesting readings of polychoral works by Lasso, Guillaume Boni and Eustache du Caurroy that have otherwise had little critical attention. In ‘Pyrrhic dance and art of war’ we pause to consider the legacy of classical discourse on battle as choreography that was assimilated to the practice of gunpowder warfare by Renaissance humanists. As in previous chapters, the focus remains with time, and especially with rhythmic patterns of military drills, cadences and signals as the means to control increasingly large—and increasingly professional—armies of the French state. Invoking authorities from Plato to Descartes and even Foucault, Van Orden here shows us that civility and military discipline intersect through the organizing power of rhythm. Turning at last to the final chapter, on the <italic>ballet à cheval</italic> and the remarkable <italic>Carrousel du Roi</italic> of 1612, we cannot help but wonder at the immense range of sources assembled in this excellent book, and the patient learning with which they have been considered.</p>
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