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Compositional Procedure in Machaut's ‘Hoquetus David’

Published online by Cambridge University Press:  01 January 2020

Extract

Guillaume De Machaut's Hoquetus David has long been regarded as an exceptional work (for sources, see the bibliography appended to this article). Sections of hocket had been included in motets since the twelfth century (see Sanders 1974), and the technique still played an important part in the isorhythmic structure of Machaut's own motets. Surviving examples of hockets as independent compositions, however, are few. From the thirteenth century there are the seven consecutive pieces in Bamberg 115 (ed. Aubry 1908, nos. 102–8), five of them based on the same chant, together with isolated pieces in Montpellier 196 (ed. Rokseth 1935–9, no. 5) and Paris 11411 (no. 3). On the other hand, the numerous references in theoretical treatises to hocket as an independent form on a par with motets and organa suggest that hockets as separate pieces were not uncommon during the thirteenth century. For the fourteenth century, however, the picture is far less clear. Jacob of Liège, writing around 1330–40, states that modern composers use hocket only in motets, having abandoned the old duplex, contra-duplex, triplex, and quadruplex forms (ed. Bragard 1973, 89); and the fact that the Hoquetus David appears to be the only surviving example supports this.

Type
Research Article
Copyright
Copyright © Royal Musical Association, 1980

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References

Bibliography

Sources of the ‘Hoquetus David’ (all references are here made to Schrade 1956)Google Scholar
MS A (Paris, Bibliothèque nationale, fonds français, 1584), ff. 451v-452rGoogle Scholar
MS B (Paris, Bibliothèque nationale, fonds français, 1585), f. 331v (triplum only)Google Scholar
MS G (Paris, Bibliothèque nationale, fonds français, 22546), ff. 163v-164rGoogle Scholar
MS Vg (without shelfmark, New York, Wildenstein & Co., formerly owned by the Marquis de Vogüé), ff. 334v-335rGoogle Scholar
Sources of the ‘Hoquetus David’ (all references are here made to Schrade 1956)Google Scholar
MS A (Paris, Bibliothèque nationale, fonds français, 1584), ff. 451v-452rGoogle Scholar
MS B (Paris, Bibliothèque nationale, fonds français, 1585), f. 331v (triplum only)Google Scholar
MS G (Paris, Bibliothèque nationale, fonds français, 22546), ff. 163v-164rGoogle Scholar
MS Vg (without shelfmark, New York, Wildenstein & Co., formerly owned by the Marquis de Vogüé), ff. 334v-335rGoogle Scholar

Other manuscripts cited

Bamberg 115: Bamberg, Staatliche Bibliothek, MS Lit. 115 (formerly Ed.IV. 6), ed. Aubry 1908Google Scholar
F: Paris, Bibliothèque nationale, fonds français, 22545Google Scholar
Montpellier 196: Montpellier, Faculté de Médecine, MS H.196, ed. Rokseth 1935-9Google Scholar
Paris 11411: Paris, Bibliothèque nationale, fonds latin, 11411Google Scholar
Reims 217, 224 etc: Reims, Bibliothèque municipale, MSS 217, 224, 264, 265, 285Google Scholar

Secondary literature and editions

Aubry, Pierre, ed., 1908. Cent motets du XIIIe siècle publiés d'après le manusarit Ed.IV. 6 de Bamberg. Paris: International Musical Society, Paris SectionGoogle Scholar
Barrois, Jean-Baptiste Joseph, 1830. Bibliothèque protypographique, ou librairies des fits du roi Jean, Charles V, Jean de Berri, Philippe de Bourgogne et les siens. Paris: Treuttel et WürtzGoogle Scholar
Bragard, Roger, ed., 1973. Jacobus Leodiensis: Speculum musice, Corpus scriptorum de musica 3–7. American Institute of MusicologyGoogle Scholar
Chailley, Jacques, 1950. Histoire musicale du moyen-âge. Paris: Presses UniversitairesGoogle Scholar
Coussemaker, Edmond de, ed., 1864-76. Scriptorum de musica medii aevi novam seriem a Gerbertina alteramParis: A. Durand (reprinted Hildesheim: Olms)Google Scholar
Dalglish, William E., 1969. ‘The Hocket in Medieval Polyphony’, The Musical Quarterly 55, 344–63Google Scholar
Gastoué, Amédée, 1922. Les primitifs de la musique française. Paris: H. LaurensGoogle Scholar
Hammond, Frederick F., ed., 1970. Walter Odington: De speculatione musice, Corpus scriptorum de musica 14. American Institute of MusicologyGoogle Scholar
Machabey, Armand, 1955. Guillaume de Machault 130?-1377: La vie et l'oeuvre musical. Paris: Richard-Masse-ÉditeurGoogle Scholar
Reaney, Gilbert, and Gilles, André, ed., 1974. Franco of Cologne: Ars cantus mensurabilis, Corpus scriptorum de musica 18. American Institute of MusicologyGoogle Scholar
Reese, Gustave, 1940. Music in the Middle Ages. New York: Norton; London 1941: DentGoogle Scholar
Rohloff, Ernst, ed., 1972. Die Quellenhandschriften zum Musiktraktat des Johannes de Grocheio. LeipzigGoogle Scholar
Rokseth, Yvonne, ed., 1935-9. Polyphonies du XIIIe siècle: le manusarit H.196 de la Faculté de médecine de Montpellier. Paris: Éditions de l'Oiseau-lyreGoogle Scholar
Sanders, Ernest H., 1974. ‘The Medieval Hocket in Practice and Theory’, The Musical Quarterly 60, 246–56Google Scholar
Schrade, Leo, ed., 1956. Polyphonic Music of the Fourteenth Century 3. Monaco: Éditions de l'Oiseau-lyreGoogle Scholar
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