Music Examples
7.1 XIX/RS 52, v. 1–4 212
7.2 II/RS 1186, v. 2 and 4 (B1), v. 7 (B2) 212
7.3 XXI/RS 1060, v. 4 and v. 5 215
7.4 (1) XIV/RS 500 v. 1 mode of fa/F (2) XXX/RS 1771 v.1 mode of fa/F and (3) XXV/RS 432 v.1 mode of sol/G 216
7.5 XI/RS 2128, v. 1 217
7.6 (1) IV/RS 152, v.1 and v.3 [A], v.5 [C], and v.6 [D] (2) VII/RS 1711, v.1 and (3) XIX/RS 52, v. 7 217
7.7 (1): XXXII/RS 336, v. 1 and 3, (2): XXXIV/RS 495, v. 2, and (3): XXIII/RS 1383, v. 6 218
7.8 (1) VIII/RS 888, v. 8 and (2) XI/RS 2128, v. 5 and 6 219
7.9 XXIX/RS 1715, v. 1 and 3 (mss. W-trouv. and P-trouv.) 220
7.10 XXXIV/RS 495, v. 1–4 221
9.1 vdB 1227 in the triplum of the motet Ma loiauté m’a nuisi (25) / A la bele Ysabelet (26) / Omnes (M1) (Mo 225v), vdB 1228 in the triplum of the motet Chascun dit que je foloie (149) / Se j’ai amé folement (150) / In seculum (M13) (Cl 384rb) and vdB 1229 in Adam’s rondeau (fr. 25566, fol. 32va) 252
9.2 vdB 1804 in the rondeau (fr. 25566, fol. 34rb), vdB 9 in RS 839 (M-trouv. 127rb) and line 1 of RS 839 253
9.3 vdB 496 in the rondeau “Dieux, comment porroie” (fr. 25566, fol. 34ra) and in Renart le Nouvel (fr. 372, fol. 34va) 255
9.4 vdB 1166 in Renart le Nouvel (fr. 372, fol. 47va) and in the rondeau “Jolietement” (Ba 32rc) 255
9.5 vdB 496, 1166, 494, 173 and 513, related to one another in manuscript fr. 372 of Renart le Nouvel and associated with the melodic material of “Dieux, comment porroie” 256
9.6 vdB 496 in Renart le Nouvel (fr. 372, fol. 51va et fr. 1593, fol. 34v) 257
9.7 vdB 1074 in Adam’s rondeau (fr. 25566, fol. 32va) and in the three versions in Renart le Nouvel (fr. 25566, fol. 167vb, fr. 372, fol. 50rb and fr. 1593, fol. 52rb) 257
9.8 Accentuation of the ternary structure of vdB 1074 in manuscript fr. 1593 258
9.9 vdB 784 in “Hareu, li maus d’amer” (fr. 25566, fol. 32vb) and Renart le Nouvel (fr. 25566, fol. 167ra) and vdB 793 in Renart le Nouvel (fr. 25566, fol. 166ra) 258
9.10 vdB 793 in the duplum of the motet Amours ne mi tendra mais (604) / Adés mi tient amours joli (605) / Kyri[e] eleison (Mo 124r) and in the tenor of the motet Qui Amours veult maintenir (880) / Li dous pensers (881) / Cis a cui (Mo 316rb) 259
9.11 vdB 156, vdB 413, vdB 1486 and vdB 200 in manuscript fr. 25566 of Renart le Nouvel 259
9.12 vdB 156, 1295 et 429 in manuscript fr. 372 260
9.13. Refrains that are based on a polarity of fa in manuscript fr. 1593 261
9.14 The initial polyphonies for the rondeau “Fi, mari” (fr. 25566, fol. 33rb) and the motet Dame bele (872) / Fi, mari (873) / Nus n’iert ja jolis (Mo 300vb) 262
9.15 vdB 1012 and 289, one after another in the manuscript fr. 1593 de Renart le Nouvel 264
9.16 The rondeau “Dieus soit en cheste maison” 266
9.17 The two lower voices of the rondeau and the motet (fr. 25566) 267
9.18 vdB 12 (Mo 288rb) and vdB 13 (N-motet 196r) 267
9.19 Polyphonic repetition in motet De ma dame vient (33) / Dieus! comment porroie (34) / Omnes (M1): perfections 1–3 and 9–11 (Mo 311r) 269
9.20 Two presentations of the tenor (ordines 1–7, puis 8–12) 269
9.21 The repetitions in “J’ai adés d’amours chanté / Omnes” 272
9.22 The similarities between pivot notes in vdB 1633, vdB 871 and vdB 251 275
9.23 Insertions 2 and 4 of the play 275
9.24 vdB 251 and the beginnings of vdB 252 and the phrase “Hé, Robechon” 275
9.25 vdB 1860 and the refrain of “Robin, par l’ame ten pere” 276
9.26 vdB 370 (Mo 52ra) and the beginning of “Robin, par l’ame ten pere” 277
9.27 The beginning of “Hui matin jou chevauchoie” and the refrains vdB 1161 and vdB 870 277
9.28 The last two citations of the play 278
9.29 The melodic evolution of “Bergeronnete” in the manuscript Méjanes 166 279
10.1 Le Jeu de Robin et Marion, vv. 95–100 298
10.2 Le Jeu de Robin et Marion, vv. 170–80 299
10.3 Le Jeu de Robin et Marion, vv. 761–62 301
11.1 “Hé, Dieux! Quant verrai” – edition, poetry, and translation 319
11.2 Text and analysis of “Dieus soit en cheste maison” 322
11.3 Comparison of texts of rondeaux 8 and 10 323
11.4 “Dame or sui”: rondeau and refrain 326
11.5 Contrapuntal combination of rondeau 2 331
11.6 “Fi, Maris” complex of rondeau and motet 336
11.7 Texts and analysis of J’os ien a m’amie (198) / Je n’os a amie (199) / In seculum (M 13) 341
11.8 Complete edition of J’os ien a m’amie (198) / Je n’os a amie (199) / In seculum (M 13) 343
11.9 Dieus comment porrai / O regina glorie / Nobis concedas: beginning and end of Triplum text 349