The Elizabethan Lyric as Contrafactum: Robert Sidney's ‘French Tune’ Identified
Identifieur interne : 000736 ( Main/Exploration ); précédent : 000735; suivant : 000737The 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
Affiliations:
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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. 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.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Alexander, Gavin" sort="Alexander, Gavin" uniqKey="Alexander G" first="Gavin" last="Alexander">Gavin Alexander</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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