By Apel, Willi
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Additional info for French secular music of the late fourteenth century
Completely wrong is Coussemaker's transcription of Ne celle amour (No. 54) in his Histoire de I'harmonie au moyen-dge (1852), which has a full text in Ch, while the text of Rei lacks the tierce. Traduction, p. XL. Also wrong is the transcription of the begin(35) See also WoGM i, particularly pp. 328-356. ning of Baude Cordier's Amans amez in E. Dannemann, Die spatgo(36) A somewhat simpler device for the notation of syncopated tische Musiktradition . . (1936), p. 106, no. 33 (see Davison-Apel, passages, also often used in our sources, is that of split groups of Historical Anthology of Music, N o .
Indeed there is little in French poetry of the late fourteenth centruy to suggest a general tendency toward pathos, open form, or extravagance. Romance philologists usually complain about a certain sterility of thought and rigidity of treatment in the poetry of Machaut, and even more so in that of his successors, Jean Froissart (1333-1410), Eustache Deschamps (c. 1340c. 1410) and Oton de Granson (d. 1397). 'Those elements which made French lyrics of the mid-thirteenth century gems of vibrant beauty had lost their strength.
L'etude de Mod m'avait LuGM ii, 22f and in AMW vii, viii (Besseler) should also be consuggerfi depuis longtemps la mtaie idee. J e 'ne connais les theories sulted, particularly for some of the subsidiary sources not described de ce savant italien que par une breve citation dans Li Gotti, loc. in WoGM. eit: (p. 85, fn. 25). 24 NOTES (22) Cf. F. Ludwig, in SIM iv, 42; H. , the example in ApNPM, 207; J. Wolf, in WoGM i, 328; also the articles by Pirrotta and de p. 394). Van mentioned in n. 10. (39) See WoGM i, 294.