Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student manager Brianna (class of 2023) and features music by the early Renaissance composer Guillaume Dufay (1397-1474). Thanks, Brianna!
Guillaume Dufay
Chansons: Forty-Five Settings in Original Notation
Guillaume Du Fay (left), with Gilles Binchois (right) in a c. 1440 Illuminated manuscript copy of Martin le Franc’s Le champion des dames (source: Wikipedia)
One of the most fascinating aspects of music history to me is the way that musical notation and writing has evolved. A prime example of this is the madrigal. A madrigal is a part-song for several voices most commonly found in the Renaissance period. While this style of music was most popular in Italy and England, there are several noteworthy French composers who wrote madrigals.
One such composer is Guillaume Dufay. The music library is lucky to have a score of a selection of 45 of his pieces, all in original notation. Flipping through the pages shows a style of notation that has since lost popularity, but it is still incredibly interesting to look at.
Learning to transpose such music is a vast field of study that is very active to this day. I find it to be a sort of puzzle, as there are some notes and articulations that were assumed to be inferred by performers in the period it was written, but that are generally explicitly written out in modern music. Finding these hidden clues and listening to your transcription is a rewarding and fun experience. If you get a chance, be sure to check out this music!
