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‘Doulce Mémoire’ A Study of the Parody Chanson

Published online by Cambridge University Press:  01 January 2020

Frank Dobbins
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Extract

The Renaissance attitude to art as craft is reflected in a veritable cult of competitive setting testing the composer's ingenuity and invention. Already in the fifteenth century one finds abundant evidence of this trend in rival versions, sacred and secular, by famous professional musicians of chansons like ‘De tous biens plaine’, ‘J'ay pris amours’ and ‘Fors seulement l'attente’. A similar situation is found in the poetry of the time: thus in the fifteenth century one finds numerous rondeaux with the same incipit but with different continuations, while the sixteenth century provides a parallel case with the résponse (or rebours) which borrows its form, ideas, images and even whole lines from the model. The entire neo-Petrarchist repertoire is emulative, and the vogue of the blason, instituted by Clément Marot in exile at Ferrara in 1535, was overtly competitive.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 96 , 1969 , pp. 85 - 101
Copyright
Copyright © 1970 The Royal Musical Association and the Authors

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References

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