Companion to Guillaume de Machaut

Jennifer Bain, Ph.D. (2001) in Music Theory, Stony Brook University, is Chair of the Department of Music at Dalhousie University. She has published widely on medieval music, recently editing a special issue of the Journal of Music Theory.Deborah McGrady, Ph.D. (1997) in French, University of California, Santa Barbara, is Chair of the Department of French at the University of Virginia. She is the author of Controlling Readers: Guillaume de Machaut and His Late Medieval Audience (Toronto, 2006).

A CHOICE Recommended Academic Title; "Upper division undergraduates through faculty" -- C.E. Campbell, Cottey College, CHOICE May 2013.“This volume succeed unequivocally in meeting its stated aims, through the quality of the individual essays and its well-conceived architecture. It represents a significant contribution to the burgeoning field of Machaut scholarship. Moreover, it may contribute to making Machaut a more accessible figure within university curricula. It will be informative and refreshing for all those whose interest lie in the world of late medieval music and poetry .” Tamsyn Rose-Steel, University of Exeter. In: The Journal of Ecclesiastical History, Vol. 65, No. 2 (April 2014), pp. 411-412.‘’A Companion to Guillaume de Machaut will be of use to researchers of literature and music at all levels, but especially for graduate students and those beginning to cross disciplinary boundaries. Bain and McGrady have assembled an introduction to the field of Machaut studies that will bring its readers up to speedwith a large and growing bibliography […] it should be acquired by any library that serves departments of French and music.’’Anna Kathryn Gray, DePaul University. In: Renaissance Quarterly, Vol. 66, No. 4, Winter 2013, p. 1396.‘’Machaut’s literary and musical accomplishments stand out in both breadth and depth in the fourteenth as well as in the twenty-first century. This recent addition to Machaut scholarship will be a generating force for research in the near future and will provide new avenues and multidisciplinary approaches to his work that will keep scholars busy for the next decade.’’Bradford Lee Eden, Valparaiso University. In: Sixteenth Century Journal,Vol. 45, No. 2, 2014, p.432.‘’The editors have done a formidable job at rounding up such a highly impressive group of established scholars, and these authors have provided a substantial body of rich, stimulating scholarship. I recommend the volume for non-specialists and specialists alike, for it will be of great use to both types of readers as the various musical and literary fields of Machaut studies continue to develop in the coming years.’’Jared C. Hartt, Oberlin College Conservatory of Music. In: H-France Review, 14, 77, 2014, p. 3.‘’It’s contents present insightful, sometimes provocative, but always stimulating commentaries on Machaut’s work. All those seriously concerned with studying Machaut’s music will find themselves profitably detained within its pages.’’David Maw, Oxford University. In: Early Music, V. 43, 1, February 2015, p. 636.

• AcknowledgementsList of ContributorsList of tables, figures and examplesIntroduction, Deborah McGrady and Jennifer BainSECTION I: MACHAUT IN PERSPECTIVE1. The Poetic I, Helen J. Swift 2. Guillaume de Machaut and the Forms of Pre-Humanism in Fourteenth-Century France, Anne-Hélène Miller3. Poet as Musician, Elizabeth Eva Leach SECTION II: SELECT WORKS IN DISCIPLINARY DIALOGUE4. Ma fin est mon commencement :The Essence of Poetry and Song in Guillaume de Machaut, Jacqueline Cerquiglini-Toulet (Translated by Jeanette Patterson (Department of French and Italian, Princeton University)5. “et mon commencement ma fin”: Genre and Machaut’s Musical Language in His Secular Songs, Jennifer Bain6. Machaut and Debate Poetry, Emma Cayley7. Moving across Media: Machaut’s Lais and the Judgment Tradition, Benjamin AlbrittonSECTION III: CONTEXTUALIZING MACHAUT’S MUSIC8. Machaut’s Musical Heritage, Mark Everist9. Self-Citation and Compositional Process in Guillaume de Machaut’s Lyrics with and without Music: The Case of “Dame, se vous n’avez aperceü” (Rondeau 13), Yolanda Plumley 10. The Motets Read and Heard, Alice V. Clark11. Declamation as Expression in Machaut’s Music, Lawrence EarpSECTION IV: CONTEXTUALIZING MACHAUT’S LITERATURE12. Guillaume de Machaut and the Classical Tradition: Individual Talent and (Un)Communal Tradition, R. Barton Palmer13. ‘Laissier le mal, le bien eslire’: History, Allegory, and Ethical Reading in the Works of Guillaume de Machaut, Daisy Delogu14. History's Fixers: Informants, Mediators, and Writers in the Prise d’Alixandre, Zrinka Stahuljak15. Instrumental Comparisons: Machaut’s Shorter Dits, Julie SingerSECTION V: TRADITION AND RECEPTION16. Guillaume de Machaut’s Lyric Poetry, Barbara K. Altmann17. Performing Machaut’s Messe de Notre Dame: from Modernist Allegiances to the Postmodern Hinterland, Kirsten Yri18. Machaut and his Material Legacy, Deborah McGradyBibliographyIndex