@article{
 title = {Les refrains de la Court de paradis: Variance et cohérence des insertions lyriques dans un poème narratif du XIIIe siècle},
 type = {article},
 year = {2007},
 identifiers = {[object Object]},
 keywords = {23: Historical musicology (Western music) -- To,78: Music and other arts -- Poetry and other lite,France -- literature -- poetry -- lyric and narra,Guillaume de Machaut -- writings -- dits -- lyric,Jean Renart -- Guillaume de Dole -- lyric and nar,Jehannot de L'Escurel -- writings -- dits -- ly,poetry -- France -- lyric and narrative mixing --,poetry -- Guillaume de Machaut -- dits -- lyric a,poetry -- Jean Renart -- Guillaume de Dole -- lyr,poetry -- Jehannot de L'Escurel -- dits -- lyri,poetry -- anonymous -- La court de paradis -- mus},
 pages = {229},
 volume = {93},
 month = {1},
 id = {4db35a61-ce51-32dd-b9ae-29199034dc62},
 created = {2010-10-13T21:12:06.000Z},
 file_attached = {false},
 profile_id = {992ba1bc-1967-3b6a-a728-baa12466e495},
 group_id = {c0eb349a-6e84-3b18-a0e1-cfb072910808},
 last_modified = {2010-10-13T21:13:35.000Z},
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 hidden = {false},
 citation_key = {ibos-auge_les_2007},
 source_type = {article},
 short_title = {Les refrains de la Court de paradis},
 abstract = {In early 13th-c. northern France, certain writers began to include lyric elements in non-lyric texts. The first example of the practice of mixing lyric poetry and narration appears in the romance, Le roman de la rose ou Guillaume de Dole written around 1228, and the practice soon spread to all kinds of texts in verse and prose produced in the 13th c., ending with Jehannot de L'Escurel's and Guillaume de Machaut's dits, which demonstrate a new way of dealing with the genre. The study of these quotations reveals many elements important to both musicological and philological scholarship. The little-known Court de paradis is an anonymous narrative poem from the late 13th c. One of its three copies includes musical notation for 18 of its 19 refrains, some of them textual and/or musical unicae, others preserved in various other musical sources. A detailed study of the different occurrences of these refrains (similarities and discrepancies between the versions of the Court de paradis and other sources, relationships among the unicae and the poem's other musical material) enables the scholar to establish the distinctive choices of the text's only musical MS, giving rise to various questions on the scribe's role and the meaning of variability in the Middle Ages, both in musical and literary text transmission.},
 bibtype = {article},
 author = {Ibos-Augé, Anne (Author)},
 journal = {Revue de musicologie},
 number = {2}
}

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