@article{
 title = {O Guillaume de Machaut, o vasiliás tīs Kýprou kai Ī katálīpsī tīs Alexándreias},
 type = {article},
 year = {2002},
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 keywords = {1365 -- subject of Guillaume de Machaut La prise,78: Music and other arts -- Poetry and other liter,Guillaume de Machaut -- writings -- La prise d'A,King of Cyprus -- life -- conquest of Al-Iskanda,Pierre I,performance practice—by composer -- Guillaume de, ou Chronique du roi Pierre Ier de Lusignan, wars and catastrophes -- Egypt -- al-Iskandarīy},
 pages = {80},
 id = {e39cf10a-0938-33ad-aedd-918f13849eee},
 created = {2010-10-13T21:12:06.000Z},
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 profile_id = {992ba1bc-1967-3b6a-a728-baa12466e495},
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 citation_key = {rmanou_o_2002},
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 abstract = {Guillaume de Machaut, one of the first composers in the history of Western music to develop pure musical associations, was also the author of many lyric poems and 15 long dits (of around 9000 verses each), a development of the earlier chanson de geste, relating the deeds of contemporary knights and noblemen instead of Greek and Roman heroes. The last of these, La prise d'Alixandre, narrates the 1365 sacking of Alexandria by King Pierre I de Lusignan of Cyprus, one of a very few literary sources on music in this king’s court. The events of the expedition were communicated to Machaut by the knights and courtiers that followed Pierre to Alexandria. It is to them and their entourage that the poem was intended to be recited. The recitation was possibly done on an improvised melody (or improvised variations on an existing melody) with instrumental accompaniment. Machaut’s cerebral ideas are poetic and musical in parallel and in cohesion. The famous rondeau Ma fin est mon commencement illustrates the unity of musical and poetic technique and form, in his work. In the poems he wrote without music, he is often playing with words in cancrizans, mirrors and other canonic techniques. In fact, in La Prise d’ Alixandre the hero’s and the poet’s names are hidden in a riddle (a canon) whose solution is left to the reader or the auditor. Were the poem set to music, this cerebral construction would presumably be duplicated in some musical canon. As a source on the music in the court of Pierre I, the work is not very enlightening; most information is on the festivities of Western courts he visited.},
 bibtype = {article},
 author = {Rōmanou, Kaitī (Author) and Ρωμανού, Καίτη (Author)},
 journal = {Polyfōnia},
 number = {1}
}

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