IMC 2017: Sessions

Session 1003: Music and Identity: Sacred and Secular Song

Wednesday 5 July 2017, 09.00-10.30

Moderator/Chair:Heidi Krauss, Facultad de Geografía e Historia, Universidad Nacional de Educación a Distancia, Madrid
Paper 1003-aLa alteridad en el rito Cristiano Franco-romano: El caso de las epístolas farcidas de san Esteban
(Language: Español)
Joan Maria Martí Mendoza, Institut de Ciències de l'Educació, Universitat Autònoma de Barcelona
Index terms: Hagiography, Liturgy, Music, Performance Arts - Drama
Paper 1003-bMelodic Itinerancy in Medieval Occitan and French Minstrel Songs
(Language: English)
Daniel O'Sullivan, Department of Modern Languages, University of Mississippi
Index terms: Language and Literature - French or Occitan, Literacy and Orality, Manuscripts and Palaeography, Music
Paper 1003-cPolitical Contrafacture and Aristocratic Identity in 13th-Century France
(Language: English)
Meghan Quinlan, Merton College, University of Oxford
Index terms: Gender Studies, Language and Literature - French or Occitan, Music, Politics and Diplomacy
Abstract

Paper -a:
La recitación de la vida de los santos y los hechos de los mártires del viejo rito franco, pasaron a formar parte del nuevo rito franco-romano como parte de las lecturas del día de conmemoración de su nacimiento. Las epístolas de días señalados, especialmente aquellos del ciclo de Navidad, se troparon, es decir, se ‘farcieron’ tanto en latín como en lengua vernácula. Diversos testimonios y rúbricas nos cuentan cómo se desarrollaba el canto de estas epístolas que tuvieron sus defensores y detractores durante su práctica. Encontramos indicaciones de cómo se debían cantar, quien las debía cantar, en que momento, con qué vestiduras y en qué lugar. En libros de cuentas, ordinarios y consuetas encontramos pagos para la construcción de tarimas, harina para hacer engrudo y fabricar las piedras de la lapidación y, especialmente en Catalunya, indicaciones de que existía una representación del drama de san Esteban. Pero ninguna fuente nos muestra una pequeña prueba de que este drama litúrgico existiera como un drama autentico y al uso. Mi comunicación abordará, tras el estudio de más de setenta fuentes diversas entre las propias epístolas como rúbricas referidas a ellas, el papel de la alteridad (the Otherness) en el momento del canto de la epístola farcida del día de san Esteban.

Paper -b:
In this paper, I study material and performative networks established through contrafacture among three cansos de joglar – minstrel songs – in French and Occitan. A minstrel song is one that thematises the itinerant life of minstrels, and the theme of wandering, I argue, subtends each new setting, regardless of major shifts in theme. One is an Occitan song attributed to Pistoleta and preserved with its melody in Paris, BnF French 20050. The other two are Old French contrafacts: the first was written with its melody in Paris, BnF French 846, and the other appears without melody in Oxford, Bodleian, ms. Douce 308, and Paris, BnF French 12581.

Paper -c:
This paper considers the geopolitical associations of two political contrafacta (serventois) from thirteenth-century France. In both cases, re-using a widely disseminated melody provides a way of embedding certain attitudes, emotions, and aristocratic identities in a sonic, non-textual space, and the task of uncovering such associations calls for an investigation of each melody’s historical contexts, as well as their embeddedness in issues of gender and class. I argue that the original songs of the contrafacta evoke notions of place and identity that are not politically neutral, and are thus exploited in their new political contexts to communicate specific allegiances and antagonisms. The musical patterns of these shared melodies also provide layers of signification accessible to those unaware of the original songs: instances of repetition, symmetric structures, extremes in range, and various interval shifts all have the potential to change, undercut, or intensify the text, and this can have powerful effects on the song maker’s intended political message, as I show through sung demonstration.