The Elizabethan Lyric as Contrafactum: Robert Sidney's ‘French Tune’ Identified
Identifieur interne : 001497 ( Istex/Corpus ); précédent : 001496; suivant : 001498The Elizabethan Lyric as Contrafactum: Robert Sidney's ‘French Tune’ Identified
Auteurs : Gavin AlexanderSource :
- Music and Letters [ 0027-4224 ] ; 2003-08.
English descriptors
- Teeft :
- Airs, Allez, Amourettes, Anonymous translations, Antony holborne, Astrophil, Ballard, Bass part, Bataille, Belle, Belles amourettes, British library, Campion, Certain sonnets, Chanson, Chanson vulgaire, Ciel, Ciel veut ainsi, Contrafacta, Contrafacta lyrics, Contrafactum, Dance tune, Dowland, Easie introduction, Easy introduction, Edward doughtie, Effect trochaic, Elizabethan madrigal, Elizabethan poetry, Enchanting skill, English airs, English literature, English metre, English poetry, English renaissance song, English song, English texts, English verse, English words, Englished, Essex circle, Estes, Feminine endings, Final stanza, First appearance, First half, First line, First sight, First stanza, Flattering delight, Frank dobbins, French chanson, French court, French culture, French influences, French music, French psalter, French renaissance, French song, French text, French tune, Gabriel bataille, Galliard, Homophonic treatment, Imitative treatment, Instrumental tunes, Italian madrigalls englished, Italian songs, Jeanice brooks, John dowland, Last line, Lieu tous, Livre, Lute, Lute song, Lute songs, Lyric, Manuscript, Manuscript collection, Many cases, Metre, Metrical, Metrical regularity, Miscellaneous prose, Music letters, Musica, Musica transalpina, Musical element, Musical form, Musical material, Musical rhythm, Musical sidneys, Musicall banquet, Musique, Note values, Other versions, Parody, Philip arcadia, Philip sidney, Pierre ballard, Pierre guedron, Planson, Pleasant delites, Poetic form, Popular chanson, Popular song, Popular songs, Popular tune, Practicall musicke, Prose works, Prosody, Psalm metaphrases, Puis, Rism, Robert contrafactum, Robert sidney, Robert song, Robert text, Sacred parody, Second line, Second lines, Secular songs, Short lines, Sidney, Sixteenth century, Solo song, Song incipits, Song viii, Sonnet, Speech rhythm, Stanza, Stella, Strophic, Syllabic, Syllable, Tessier, Textual variant, Textual variants, Theyr cleer, Thomas campion, Thomas watson, Tradition ecrite, Trio versions, Triple time, Trochaic, Trochaic metres, Tune, Versified music.
Abstract
The writing of English contrafacta in the later sixteenth century was an important route for the importing of Continental music, and for the influence of Continental poetic styles and musico‐poetic relations. The contrafactum can tell us a great deal about how its writer understands English poetry and versification in relation both to music and to literary and musical practices in other countries. It also offers a model for thinking about how the use of a pre‐existent poetic or musical form cannot avoid encountering and responding to the residues of previous occupants. The song that lies behind Robert Sidney's Song 12, ‘To a french Tune’, is identified and its implications both for our knowledge of the poetry of Sidney and his contemporaries, and for the history of Elizabethan and Jacobean song, are discussed. The French song ‘Puis que le ciel’ is witnessed by a number of versions and Sidney's contrafactum in fact adds much to what we can say about them.
Url:
DOI: 10.1093/ml/84.3.378
Links to Exploration step
ISTEX:09C531F5FEBBD767CFDCE09799259FDC51732FD3Le document en format XML
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The contrafactum can tell us a great deal about how its writer understands English poetry and versification in relation both to music and to literary and musical practices in other countries. It also offers a model for thinking about how the use of a pre‐existent poetic or musical form cannot avoid encountering and responding to the residues of previous occupants. The song that lies behind Robert Sidney's Song 12, ‘To a french Tune’, is identified and its implications both for our knowledge of the poetry of Sidney and his contemporaries, and for the history of Elizabethan and Jacobean song, are discussed. 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Sabol</json:string><json:string>Robert Garnier</json:string><json:string>William Corkine</json:string><json:string>Francis Walsingham</json:string><json:string>Gabriel Bataille</json:string><json:string>Katherine Duncan-Jones</json:string><json:string>John Stevens</json:string><json:string>Winifred Maynard</json:string><json:string>Jehan Planson</json:string><json:string>King James</json:string><json:string>Lyric Poetry</json:string><json:string>Tragodie</json:string><json:string>Vok</json:string><json:string>Elizabethan</json:string><json:string>Alfonso Ferrabosco</json:string><json:string>Albert Feuillerat</json:string><json:string>King Charles</json:string><json:string>Edward Olleson</json:string><json:string>Edward Doughtie</json:string><json:string>Brian Jeffery</json:string><json:string>Marais</json:string><json:string>Claude Le Jeune</json:string><json:string>E. Rollins</json:string><json:string>Elise Bickford</json:string><json:string>Antony Holborne</json:string><json:string>Robert Falck</json:string><json:string>Robert Dowland</json:string><json:string>Dd</json:string><json:string>John Johnson</json:string><json:string>Herbert Schneider</json:string><json:string>Pierre Ballard</json:string><json:string>Francois-Eustache Du</json:string><json:string>Kate van Orden</json:string><json:string>Henry Expert</json:string><json:string>Leon Cavellat</json:string><json:string>Philip</json:string><json:string>Marin</json:string><json:string>Mais</json:string><json:string>Lydia Hamessley</json:string><json:string>Philip Brett</json:string><json:string>Daniel Heartz</json:string><json:string>Robert Sidney</json:string></persName><placeName><json:string>Mass.</json:string><json:string>Uppsala</json:string><json:string>Paris</json:string><json:string>Dorsten</json:string><json:string>Southampton</json:string><json:string>Columbia</json:string><json:string>Jondorf</json:string><json:string>Hanover</json:string><json:string>NH</json:string><json:string>Herford</json:string><json:string>Amsterdam</json:string><json:string>Chicago</json:string><json:string>Flushing</json:string><json:string>New Brunswick</json:string><json:string>Stockholm</json:string><json:string>France</json:string><json:string>NJ</json:string><json:string>Cambridge</json:string><json:string>England</json:string><json:string>Oxford</json:string><json:string>Saint Bartholomew</json:string></placeName><ref_url></ref_url><ref_bibl><json:string>Oxford, 1990</json:string><json:string>Oxford, 1973</json:string><json:string>Oxford, 1984</json:string><json:string>London, 1947</json:string><json:string>Chicago, 1968</json:string><json:string>London, 1592</json:string><json:string>London, 1975</json:string><json:string>Geneva, 1984</json:string><json:string>London, 1597</json:string><json:string>Cambridge, 1962</json:string><json:string>Boston, 1986</json:string><json:string>Oxford, 1966</json:string><json:string>Paris: Adrian Le Roy and Robert Ballard, 1587</json:string><json:string>London, 1952</json:string><json:string>Paris, 1582</json:string><json:string>London, 1963</json:string><json:string>Paris, 1576</json:string><json:string>Amsterdam, 1698</json:string><json:string>London, 1991</json:string><json:string>New York and London, 2000</json:string><json:string>Paris, 1998</json:string><json:string>Haven and London, 1985</json:string><json:string>[1573]</json:string><json:string>Oxford, 1987</json:string><json:string>Paris: Pierre Ballard, 1612</json:string><json:string>London, 1984</json:string><json:string>Paris, 1597</json:string><json:string>Milan, 1949</json:string><json:string>Oxford, 2000</json:string><json:string>Cambridge, 2001</json:string><json:string>New York, 1962</json:string><json:string>Minneapolis, 1982</json:string><json:string>Le Pupitre 70; Paris, 1987</json:string><json:string>New York, 1939</json:string><json:string>Monaco, 1953</json:string><json:string>Oxford, 1986</json:string><json:string>New York, 1967</json:string><json:string>Paris: Pierre Ballard, 1611</json:string><json:string>Paris, 1847</json:string><json:string>Leiden, 1986</json:string><json:string>London, 1746</json:string><json:string>New York, 1961</json:string><json:string>Arles, 2000</json:string><json:string>Paris: Pierre  Á Ballard, 1608</json:string><json:string>Geneva, 1980</json:string><json:string>York and London, 1989</json:string><json:string>Brooks et al.</json:string><json:string>Oxford, 1962</json:string></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/HXZ-9ZPFZNT9-G</json:string></ark><categories><wos></wos><scienceMetrix><json:string>arts & humanities</json:string><json:string>visual & performing arts</json:string><json:string>music</json:string></scienceMetrix><scopus><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Music</json:string></scopus><inist><json:string>sciences humaines et sociales</json:string><json:string>histoire et sciences de la litterature</json:string></inist></categories><publicationDate>2003</publicationDate><copyrightDate>2003</copyrightDate><doi><json:string>10.1093/ml/84.3.378</json:string></doi><id>09C531F5FEBBD767CFDCE09799259FDC51732FD3</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/ark:/67375/HXZ-9ZPFZNT9-G/fulltext.pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/ark:/67375/HXZ-9ZPFZNT9-G/bundle.zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/ark:/67375/HXZ-9ZPFZNT9-G/fulltext.tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">The Elizabethan Lyric as Contrafactum: Robert Sidney's ‘French Tune’ Identified</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">Oxford University Press</publisher><availability><licence><p>Copyright Oxford University Press 2003</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-GTWS0RDP-M">oup</p></availability><date>2003</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">The Elizabethan Lyric as Contrafactum: Robert Sidney's ‘French Tune’ Identified</title><author xml:id="author-0000"><persName><forename type="first">Gavin</forename><surname>Alexander</surname></persName></author><idno type="istex">09C531F5FEBBD767CFDCE09799259FDC51732FD3</idno><idno type="ark">ark:/67375/HXZ-9ZPFZNT9-G</idno><idno type="DOI">10.1093/ml/84.3.378</idno><idno type="local">840378</idno></analytic><monogr><title level="j">Music and Letters</title><title level="j" type="abbrev">Music and Letters</title><idno type="pISSN">0027-4224</idno><idno type="eISSN">1477-4631</idno><idno type="publisher-id">musicj</idno><idno type="PublisherID-hwp">musicj</idno><imprint><publisher>Oxford University Press</publisher><date type="published" when="2003-08"></date><biblScope unit="volume">84</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="378">378</biblScope><biblScope unit="page" to="402">402</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2003</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>The writing of English contrafacta in the later sixteenth century was an important route for the importing of Continental music, and for the influence of Continental poetic styles and musico‐poetic relations. The contrafactum can tell us a great deal about how its writer understands English poetry and versification in relation both to music and to literary and musical practices in other countries. It also offers a model for thinking about how the use of a pre‐existent poetic or musical form cannot avoid encountering and responding to the residues of previous occupants. The song that lies behind Robert Sidney's Song 12, ‘To a french Tune’, is identified and its implications both for our knowledge of the poetry of Sidney and his contemporaries, and for the history of Elizabethan and Jacobean song, are discussed. The French song ‘Puis que le ciel’ is witnessed by a number of versions and Sidney's contrafactum in fact adds much to what we can say about them.</p></abstract></profileDesc><revisionDesc><change when="2003-08">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-10-5">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/HXZ-9ZPFZNT9-G/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus oup, element #text not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article xml:lang="en" article-type="research-article">
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