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  • Cited by 2
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    This article has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Saint-Cricq, Gaël 2013. A NEW LINK BETWEEN THE MOTET AND TROUVÈRE CHANSON: THE PEDES-CUM-CAUDA MOTET. Early Music History, Vol. 32, p. 179.

    EVERIST, MARK 2007. Motets, French Tenors, and the Polyphonic Chanson ca. 1300. Journal of Musicology, Vol. 24, Issue. 3, p. 365.

  • Early Music History, Volume 15
  • October 1996, pp. 59-96

The polyphonic rondeau c. 1300: Repertory and context*

  • Mark Everist (a1)
  • DOI:
  • Published online: 01 December 2008

Any explanation of the emerging polyphonic chanson in the years before 1330 must negotiate varied repertories and compositions. One of the central genres in such a study would be the polyphonic rondeau. It is characterised by a musico-poetic structure more or less analogous to the rondeau of the later fourteenth century, but also by three-part music – mostly syllabic, note-against-note – that is copied in score. Our view of these sorts of compositions is dominated by the works of Adam de la Halle, whose sixteen score-notated polyphonic settings of vernacular lyrics are preserved in a manuscript now in the Bibliothèque Nationale (F-Pn), MS fr. 25566.

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H. Tischler , ‘The Dates of Perotin’, Journal of the American Musicological Society, 16 (1963), pp. 240–1

C. Page , ‘Johannes de Grocheio on Secular Music: A Corrected Text and a New Translation’, Plainsong and Medieval Music, 2 (1993), pp. 1741

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Early Music History
  • ISSN: 0261-1279
  • EISSN: 1474-0559
  • URL: /core/journals/early-music-history
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