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leo treitler, with voice and pen: coming to know medieval song and how it was made. oxford: oxford university press, 2003. xxx, 506 pp.; 9 pp. of plates; cd. isbn 0 19 816644 3

Plainsong & Medieval Music, 2005, Vol.14 (2), p.225-234 [Peer Reviewed Journal]

2005 cambridge university press ;ISSN: 0961-1371 ;EISSN: 1474-0087 ;DOI: 10.1017/S0961137105220235

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  • Title:
    leo treitler, with voice and pen: coming to know medieval song and how it was made. oxford: oxford university press, 2003. xxx, 506 pp.; 9 pp. of plates; cd. isbn 0 19 816644 3
  • Author: carruthers, mary
  • Subjects: Classical music ; Essays ; Improvisation ; Reading ; reviews
  • Is Part Of: Plainsong & Medieval Music, 2005, Vol.14 (2), p.225-234
  • Description: [...]she distinguishes sharply between written and sonically actualized music (pp. 4, 28, 46), a distinction that may have had little relevance to the elite and musically sophisticated group who worked on fr. 146 and who, we suspect, like their modern counterparts heard the pieces they set down without vocalizing them or having them performed. [...]she declares, It would be inconceivable today to make a book that draws on so many artistic materials, [and] alludes to such a variety of cultural and political contexts (pp. 278), although others may recognize Fauvels collaborative spirit in the artistic visions that inform, for example, Matthew Barneys Cremaster cycle; Peter Sellars and Bill Violas Tristan und Isolde; and the dances that Trisha Brown has staged with Robert Rauschenberg and Philip Glass. Dillon recognizes that Chaillou may be a nom de plume, a literary device (p. 77), but she endorses Gervais du Bus as the author of the original Fauvel, and identifies him as the Gervais du Bus who became a chancery clerk after serving as chaplain of Enguerran de Marigny, the chief object of Fauvels satire (pp. 14, 16, 27, 77, 147). [...]while Dillon insists in her essay in Fauvel Studies (p. 217) and in the book (pp. 13, 17) on the necessity of distinguishing between fictive time and real historical time when assessing the significance of the dates inserted in Fauvel, she does not seem prepared to analyse with equal rigour, scepticism and reserve the authorial names inserted into the poem (and, in the case of the borrowings from Jehan Maillart, omitted from it). [...]not all readers will agree with Dillon (pp. 25778) that fols. 28bis and 28ter were left unnumbered as a dramatic effect to call attention to what she calls the compilers mid-point game (p. 268).
  • Publisher: Cambridge, UK: Cambridge University Press
  • Language: English
  • Identifier: ISSN: 0961-1371
    EISSN: 1474-0087
    DOI: 10.1017/S0961137105220235
  • Source: AUTh Library subscriptions: ProQuest Central
    Alma/SFX Local Collection
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