The Latin Texted Motets of Guillaume de Machaut

The Latin Texted Motets of Guillaume de Machaut

Submitted by

Jennette Lauren Montefu B.A. (University of San Diego)

A thesis submitted in partial fulfillment of the requirements of the degree of

Master of Music

School of Arts and Sciences

Faculty of Humanities

Australian Catholic University

Research Services

Locked Bag 4115,

Fitzroy, VIC 3065

Australia

July 30, 2003

Statement of Sources:

This thesis contains no material published elsewhere or extracted in

whole or in part from a thesis by which I have qualified for or been

awarded another degree or diploma.

No other person¡¯s work has been used without due

acknowledgement in the main text of the thesis.

This thesis has not been submitted for the award of any degree or

diploma in any other tertiary institution.

All research procedures reported in the thesis received the approval

of the relevant Ethics/Safety Committees where required.

_____________________________

Jennette Lauren Montefu

__________________

Date

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Abstract

Guillaume de Machaut¡¯s motets constitute a cycle. This study focuses upon

Machaut¡¯s six Latin texted motets and their influence upon these cyclical contexts.

Former research into these motets has uncovered references to contemporary poetry,

liturgical texts, literary sources, particular persons, and historical events. Through an

examination of recent research into the cyclical nature of the motets it is possible to

critically evaluate these hypotheses in the light of the past historical, codicological,

liturgical, musical and poetic analysis of these works to create a rounded picture of each

motet. In this way it was found that many of the previously researched aspects of the

motets follow in line with recent theories surrounding motet grouping structures. In this

way when placing these works within a mystical theological literary context their sacred

nature, evident within the tenor chant fragments upon which many of them are built,

becomes evident and a greater plan apparent. Beyond this, with an examination of

Machaut¡¯s life and the events which occurred in his lifetime the context for composition

of the remaining motets is unearthed. Within these motets elements have now been

identified which link them to Machaut¡¯s canonries at both Saint Quentin and Reims as

well as the events of the Hundred Years¡¯ War. In this way the deep connection between

Machaut¡¯s motets and all levels of his life is becoming increasingly apparent.

Through an examination of these six Latin texted motets it is found that a

liturgical context is key to the analysis of all voices. This is apparent in the mere use of

vocabulary idiomatic to the liturgy present within these texts. In this way the selection of

words within motet 21 points to a Marian allusion and the apocalyptic, drawing motet 21

even closer in context to motets 22-23. This apocalyptic reference is also seen in specific

words within in triplum text of motet 22. Furthermore, the Marian allusions discovered

throughout these last three motets in their upper voices are apparent only with a close

examination of the Salve Regina texts. In this way the influence and importance of

liturgical context to the analysis of the motet has been extended to all voices.

This study has also uncovered allusions to other fourteenth century works in the

analysis of Machaut¡¯s motets. In the case of motet 9 a connection between its chant tenor

and another from the Roman de Fauvel reveals a political context which brings an added

richness to the interpretation of these texts. Furthermore, as with motets 18-19, it may be

gleaned that as Machaut and Vitry were both canons at Saint Quentin that perhaps it was

here and with these two motets that Machaut began his tutelage with the older master of

the motet. These conclusions may be drawn by the striking similarities between

Machaut¡¯s works and those believed to have originated from within the Vitry circle.

In the course of this study there have been additions to evidence the necessity of

looking to all aspects of Guillaume de Machaut¡¯s motets in their analysis. This includes

use of numerical symbolism in varying aspects as shown in motet 9 as well as a thorough

exploration of Machaut¡¯s use of vocabulary within his texts to find its literary, historical,

motet, and liturgical allusions. The identification of these sources may either serve to

reinforce or expand the context of the motet leading to a deeper understanding of its

purpose within a group of motets or individually.

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Contents

Statement of Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii

Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Literature Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Chapter 1 ¨C Fourteenth Century France . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Chapter 2 ¨C The Life of Guillaume de Machaut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Chapter 3 - Guillaume de Machaut¡¯s Complete Works Manuscripts and

Motet Ordering Structures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Chapter 4 ¨C Motet 9 (O livoris feritas /Fons tocius superbie/Fera Pessima) . . . . . . . . . 72

Chapter 5 ¨C Motets 18 & 19 (Bone pastor guillerme/ Bone pastor, qui pastores / Bone

pastor and Martyrum gemma latria / Diligenter inquiramus / A Christo

honoratus) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Chapter 6 - Motets 21-23 (Christe qui lux / Veni creator spiritus / Tribulatio

proxima est, Tu qui gregem / Plange, regni respublica! /

Apprehende arma, and Felix virgo / Inviolata genitrix / Salve Regina) . . . . . . .116

Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

APPENDIX I ¨C Texts and translations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156

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Introduction

In the Prologue to his complete works, Guillaume de Machaut gives us a hint as to

the elements which may be found in his musical and poetic works, listing them simply as

Sens, Retorique, et Musique. Although these words appear to be straight forward their

actual medieval meaning and their implications upon Machaut¡¯s musical works are not so

easily fathomed. In order to derive this meaning it is necessary to examine the use of

rhetoric, impressive words and language which probably hold different significance to the

reader of today, and music, whose definition to the Medieval scholar was stratified and

included mathematical ratio and divine order. In scanning the large breadth of Machaut¡¯s

works for these elements they appear to reach their zenith in Machaut¡¯s motets. Indeed,

in the past and present musicologists have excitedly unearthed allusions which seem to

fill these three texted musical works to the brim. These motets have been shown to

encompass references to both the past, with allusion to trouv¨¨re poetry and other French

literary traditions, as well as Machaut¡¯s present, with reference to the events surrounding

the Hundred Years¡¯ War. Beyond this, musically Machaut has been found to borrow

motet material from Philippe de Vitry and his contemporaries, adding a further level of

allusion to the mix. Recently it has even been discovered that in the mere act of ordering

his works Machaut alludes to sacred theological writings of the period. The combination

of these textual allusions, the symbolic musical elements of the ars nova motet, and the

overall cyclical context of the works produces the meaning which Machaut describes

within his Prologue.

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