Our understanding of medieval culture vastly relies on fragmentary sources. Musicologists are especially well-acquainted with this — most historians working on pre-1500 music rely to a significant extent on ‘waste’ parchment as a source of information about lost musical cultures. Working with fragments is challenging; however, it can also yield […]
Those present in the chamber cannot be seen from the Salón but goings-on in the Salón can be followed and observed from the chamber…
Do we need the concept of the ‘musical work’ to make a music history? This is a simple question to which it is not easy to offer an answer. If we answer it restrictively, we would have to say that its use is only relevant for the study of the music of the 19th century and much of the 20th century. But it is also quite possible that we might accept its validity for music from the 15th century onwards…
Interview with Grantley McDonald, Post-doc researcher on the MALMECC project What attracted you to this project? I have been working on a large-scale project on the court chapel of Maximilian I Habsburg (1459–1519) since 2016. At every turn I became aware how much its structures, practices and personnel drew on […]
Finally, I’d like to throw some questions out there, which go clearly beyond the current context and medium…
Part II of this blog raised many questions, though I will only mention three in this part. Why would Le Franc choose to act in this manner? Would this remodelling become apparent to his contemporary audiences? How was it enacted?
A Peek at Machaut and Le Franc – Part II Previously on the MALMECC blog: in the last post, I traced a few links between Guillaume de Machaut and Martin Le Franc and left some questions hanging as to how far they can be stretched. This is the focus of […]
Part I of IV by Uri Smilansky Helen Swift has written extensively (2017, but also 2004, 2006, 2008 and 2013) about an extraordinary work, the Complainte du livre du Champion des Dames a maistre Martin le Franc son acteur. Martin le Franc (c. 1410-1461) must have composed this 60-strophe dream-poem […]