User:Aza24/Sandbox7
Music[edit]
Compositions by Binchois[1]
His surviving works include 28 mass movements, 32 psalms, motets, and small sacred works, and 54 chansons, 47 in rondeau form and seven in ballade form.
To describe his style, the Encyclopædia Britannica remarks that "Binchois cultivated the gently subtle rhythm, the suavely graceful melody, and the smooth treatment of dissonance of his English contemporaries".[2] As a melodist in particular, Binchois is often considered among the finest of the 15th century;[2] Fallows argues that in this regard he had no contemporary equal.[3] As such, Binchois is best known for his lyric-driven secular French songs, known as chansons, which were widely transmitted and imitated by fellow composers.[2]
Most commentators agree that Binchois was not a progressive composer.[4] The musicologist Reinhard Strohm concludes that although Binchois although "earned his enormous reputation in the one genre in which he excelled as a composer, performer and possibly even poet [...] this master of melody and courtly performer apparently does not explore the depths of the art".[5] Binchois utilized a limited range of musical techniques, favoring older styles, such as melodies evocative of the 12th-century amour courtois (lit. 'courtly love') tradition of the troubadours and trouvères.[4] In genre choice too he was conservative, eschewing newer voguish forms—such as Cyclic masses and Cantus firmus masses based on secular tunes—in favor of smaller-scale works.[4] In fact, only a single large-scale work of his survives, an incomplete isorhythmic motet: Nove cantum melodie (1481).[6]
A number of scholars have scholars have identified stylistic tropes which frequent Binchois' music.[7]
Binchois' method of text setting was often unique from his peers.[7]
Despite Binchois' general dismissal of early Renaissance musical developments, scholars have identified numerous stylistic eccentricities—both conservative and progressive—unique from his peers.[4]
His use of dissonance has incited much conversation
| External audio | |
|---|---|
| Triste plaisir et douleureuse joye performed by the Sollazzo Ensemble | |
 Triste plaisir et douleureuse joye |
His tunes appeared in copies decades after his death, and were often used as sources for Mass composition by later composers.[8] Most of his secular songs are rondeaux, which became the most common song form during the century.[9] Binchois' melodies are generally independent of the rhyme scheme of the verses they are set to, an approach which was uncommon by 15th century European composers.[10]
Like Du Fay, Binchois was deeply influenced by the contenance angloise style of the English composer John Dunstaple.[11] The court of Philip had generally good relations with the English, and had established both diplomatic and cultural links with their northern neighbor; his court was open to English diplomats, businessmen and musicians.[12]
About half of his extant secular music is found in the manuscript Oxford, Bodleian Library MS Canon. misc. 213.[13]
Editions[edit]
- W. Rehm, ed., Die Chansons von Gilles Binchois (1400–1460) (1957).
Tinctoris detail in The Oxford Dictionary of the Renaissance
References[edit]
- ^ Planchart 2000, p. 89.
- ^ a b c Britannica 2021, § para. 3.
- ^ Fallows 2001, §8 "Style".
- ^ a b c d Slavin 1992, p. 342.
- ^ Strohm 2005, p. 182.
- ^ Pryer 2011, § para. 3.
- ^ a b Slavin 1992, pp. 346–347.
- ^ Fallows 2001, §2 "Reputation and influence", para. 3.
- ^ Fallows 2001, §6 "Secular works", para. 1.
- ^ Fallows 2001, §6 "Secular works", para. 5.
- ^ Fallows 2001, §4 "Binchois and England".
- ^ Strohm 2005, p. 243.
- ^ Fallows 2001, § "Works".