![]() Unlike classical quantitative verse, there is not necessarily control over the foot, and the poetry is organized according to number of syllables in a line, rhyme and end accent (either paroxytonic or proparoxytonic). The poems that form the basis of the conductus repertory are little known and even less well understood. ![]() Others, for example, have taken the term conductus to have a meaning associated with ‘conduct’, and this fits well with the homiletic and moralizing tone of some of the poems. Some have taken the term conductus to indicate some sort of processional context for the genre, and while it is just about conceivable that when the medieval procession stopped and made a station, singers might have sung a conductus, the more common idea that the works were sung while processing fits ill with the complexity of both their words and music. Certainly there are difficulties with the rhythm of parts of the conductus that have led to a position where until relatively recently there has been no consensus as to how they would have been performed (more below), and even the function of the conductus-what it’s for-has been the subject of debate. Perhaps it is a number of uncertainties around the conductus that have resulted in its eclipse by other genres. Manuscripts preserving the repertory are found from Scotland to the southern Rhineland, and from Spain to southern Poland. This is an immense repertory, and one that was spread far and wide. Three works have a doubtful generic profile, and 122 survive as texts or incipits alone. Of these poems, 675 are set to music, and of these 377 are monophonic 184 are in two parts 111 in three parts 3 in four parts. For the conductus is every bit as ambitious as its other family members whether in terms of the complexity or sophistication of its poetry, or of the technical wizardry of some of its musical techniques, it is a genre to be reckoned with.Įven in terms of simple numbers, the conductus occupies an important place on the medieval musical landscape: there are slightly over 800 Latin poems with music copied between around 12, preserving a repertory composed between the 1180s and 1230s. Unlike its well-known siblings, the flamboyant organum and occasionally smutty motets, the conductus has remained in the shadows for much longer than its musical and poetic ambitions deserve. ![]() expédié sous 24 h sous double protection.The conductus has always seemed like the poor relation in the history of music between the twelfth and the fourteenth centuries. Que l'Auteur soit en tout cas remerciée d'avoir montré, par le sérieux de son analyse, qu'il était impossible de se contenter d'impressions qui restent incertaines parce que générales" Michel Huby, in C.C.M., 1980, t. Nous avons donc l'impression qu'on pourra toujours nier toute influence ou au contraire en retrouver une partout. Lorsque la poésie se réduit très souvent à des variations subtiles sur des types en nombre restreint, lorsque toute l'ambition d'un poète est de tirer le maximum des possibilités techniques que lui offrent rythme, rimes, structures de strophes & mélodies, il est toujours possible qu'à mille kilomètres de distance, qu'à quarante années d'intervalle, deux poètes, se fondant sur les mêmes règles, s'orientant selon des principes analogues, inventent la même structure, le même jeu de rimes. D'un autre côté, nous savons si peu de choses sur les relations entre les écoles, entre les individus, la nature même de la poésie de cette époque est telle qu'il est bien difficile de déterminer des rapports précis, de déceler des influences directes. Ranawake pousse à l'extrême sa répugnance à admettre une influence des trouvères sur les «Minnesänger» (.) En conclusion, cet ouvrage s'est peut-être voulu trop complet pour pouvoir être toujours clair dans l'espace restreint de ses 400 pages (il s'agit en effet de toute la poésie provençale, allemande, médio-latine & de la France du Nord de 1180 à 1260 au moins). réformé, avec discrets stigmates usuels / Sommaire : Die französischen strophenformen - gegenüberstellung der deutschen u. ![]() manque), de XV+414+(2)pp, notes & réf., forte biblio, indices ex.
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