CHAPTER 14
Symbols and Puzzles: Machaut and the Medieval Mind
OVERVIEW
This chapter presents interactions between East and West (primarily through the Crusades) as
sparking the creative energies of troubadours, trouvères, and composers of the Ars nova, notably
Guillaume de Machaut. Machaut’s “puzzle” chanson Ma fin est mon commencement serves to
illustrate the newly refined artistic approach of the Ars nova.
LEARNING OBJECTIVES
1. To recognize the songs of poet-musicians known as troubadours and trouvères as
representative examples of secular music-making in the Middle Ages
2. To understand the Crusades as enabling the cultural exchange between East and West during
the Middle Ages
3. To recognize the music of the poet-composer Guillaume de Machaut as embodying the
musical style known as the Ars nova
LECTURE SUGGESTIONS
1. Play only the openings of each of the eight lines of text of Machaut’s Ma fin est mon
commencement and ask students to listen for which lines have the same music.
2. Bring in a score of Machaut’s Ma fin est mon commencement and highlight the palindromic
interaction between the A and B sections. This excerpt is found in Friedrich Ludwig, ed.,
Guillaume de Machaut: Musikalische Werke, Erster Band: Balladen, Rondeaux, und
Virelais (Leipzig: Breitkopf & Härtel, 1926).
3. Divide your class into four groups according to the following sections of Machaut’s Ma fin
est mon commencement: 1. refrain, 2. verse, 3. partial refrain, and 4. partial verse. Play the
example (with the text clearly visible to the class and with the sections labeled as in the
Listening Guide) and have each group throw a ball or beanbag to the next group as the
sections are sung.
ASSIGNMENT SUGGESTIONS
1. The stories of the Crusades are chronicled in the Crusader songs that flowed from the pens of
musicians and poets in the late Middle Ages. One of the most famous, the Pastinalied
(“Palestine song”) by the German minnesinger Walther von der Vogelweide, dates from the
early thirteenth century. The text is printed below. What do these lyrics tell us about the
Crusade experience, at least for this particular Christian Crusader?
1. Now for the first time I live worthily,
since my sinful eyes sees
the Holy Land and also the earth
to which one so much honor assigns.
To me has happened what I have always prayed for,
I have come to the city
where God walked as a human being.
2. Of the beautiful lands, rich and glorious,
that I so far have seen,
you are the most deserving of honor:
what a miracle happened here!
That a maiden bore a child,
Lord over all the multitude of angels,
was that not absolutely a miracle?
3. Here He in purity was baptized,
so that each person could be pure;
then he let himself be sold,
so that we who are in bondage would be set free.
Otherwise, we would be lost;
Hail to you, spear, cross, and thorn!
Woe to you, heathens, this enrages you!
4. Christians, Jews, and heathens
all claim that this land is their inheritance.
May God decide justly for us
For the sake of His three names.
All the world is fighting here;
We are desirous of the right;
It is just for Him to defend us.
From Peter J. Burkholder and Claude Palisca, The Norton Anthology of Western Music,
Vol. I: Ancient to Baroque. 7th ed. (New York: W. W. Norton, 2014), pp. 4849.
2. Not all musicians embraced the Ars nova at the beginning of the fourteenth century. One
vocal critic was Jacques de Liège, who complained about the music of Machaut and his Ars
nova contemporaries: “Wherein does this lasciviousness in singing so greatly please, this
excessive refinement, by which, as some think, the words are lost, the harmony of
consonances is diminished, the value of the notes is changed, . . . and measure is confused?”
How would you respond to de Liège’s criticism?
TEACHING CHALLENGES
1. Students are not likely to hear the palindromic character of Machaut’s Ma fin est mon
commencement without some kind of visual cue. Using a score (see above for a score
source) with highlighted parts and taking time to focus on one part at a time might help to
guide student listening.
2. The subject of the Crusades will likely be a timely yet sensitive issue in the classroom,
especially in one with a multicultural student population. This topic is a wonderful
opportunity to allow a discussion about the Crusades to open a dialogue about the
connections between medieval and current episodes of conflict and exchange between East
and West.
SUPPLEMENTAL REPERTORY
Philippe de Vitry: Cum statua/Hugo, Hugo/Magister invidie (isorhythmic motet)
Walther von der Volgelweide: Palästinalied (Crusader’s song)
Comtessa de Dia: A chantar (trobairitz song)
Machaut: Rose, liz, printemps, verdure (rondeau)
Sumer is icumen in (rota)
SUPPLEMENTAL BIBLIOGRAPHY
Aubrey, Elizabeth. The Music of the Troubadours. Bloomington and Indianapolis: Indiana
University Press, 1996. An informative and accessible study of the troubadours. Chapter 1
(“Historical Background”) provides useful information on the art of the troubadours within
the historical context of the Crusades.
Leech-Wilkinson, Daniel. “Ars Antiqua—Ars Nova—Ars Subtilior.” In James McKinnon, ed.,
Antiquity and the Middle Ages: Ancient Greece to the 15th Century. London: Macmillan,
1990. A concise essay that outlines the cultural and creative context of the Ars nova
movement.
CHAPTER OUTLINE
Symbols and Puzzles: Machaut and the Medieval Mind (Chapter 14)
I. Medieval Minstrels and Court Musicians
A. Minstrels
1. wandering, versatile entertainers
2. musicians on the fringe of society
B. Troubadours and trouvères
1. aristocratic French poet-musicians
2. flourished at various courts of Europe
3. poems: chivalry, unrequited love, political and war songs, Crusades
4. developments in polyphony carry over to secular music
II. Machaut and the French Ars Nova
A. New musical style
1. early 1300s France, then Italy
2. developments in rhythm, meter, harmony, counterpoint
3. more refined and complex than Ars antiqua (old art)
4. secular themes
B. Guillaume de Machaut (c. 13001377)
1. foremost composer-poet, far-reaching influence
2. double career: cleric, courtier
3. worked at various French courts
4. self-consciously collected his works for posterity
5. sacred and secular compositions
a. favored chanson: French courtly love poems
b. poetic forms: rondeau, ballade, and virelai
c. new freedom of rhythms, syncopations, interplay of duple and triple meters
C. Listening Guide 3: Machaut, Ma fin est mon commencement (My end is my beginning)
(Mid-14th century)
1. three-voice, a cappella chanson
a. non-imitative polyphony
b. duple meter, syncopated rhythm
c. long melismas, hollow cadences
2. puzzle text: rondeau by Machaut
a. enigmatic text, palindromes
b. religious connotations as well
3. alternating A and B sections
4. palindromic structure
a. B section retrograde of A section
b. two upper voices trade parts at midpoint
c. bottom voice retrogrades at midpoint