Digital Image Archive of Medieval Music


David Fallows, Robert Morton’s Songs: A Study of Styles in the Mid-Fifteenth Century (PhD, University of California, Berkeley, 1976)

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Part 1 discusses the songs that seem to be securely attributed to Morton: each song forms the basis of a brief essay on some aspect of the song tradition. Only then, in Part 2, is Morton’s life discussed, partly because the life is important only in the context of his music, partly because biographical conclusions can be drawn easily when the music is examined, and partly because it provides a suitable springboard for Part 3. Part 3 deals primarily with ascription problems and in so doing attempts to identify the style of the Burgundian court tradition as against that of the other cultural centres in Europe. Four of the songs ascribed to Morton are thereby shown to be most unlikely to have been composed by him.

Table of Contents
List of manuscript abbreviations
Note on the editions
Part I: The Authentic Works
1. Le Souvenir: the Words and the Music
2. N’aray je jamais: the Counterpoint
3. Cousine: Rhythm and Meter
4. Que pourroit: Chromaticism
5. Paracheve ton entreprise: Thought and Afterthought
6. Mon bien ma joyeux: Finding a Satisfactory Verbal Text
7. Il sera pour vous: Homage and Expansion
8. Plus j’ay le monde: Traces of Morton’s Style
Part II: Biographical
9. Robert Morton’s Life
10. Charles the Bold as a Patron of Music
Part III: The Doubtful Works
11. Vien avante: Adrien Basin, Pierre Basin and the Court Circle
12. Pues servicio: Enrrique and Spanish Song
13. Elend: German Song and the Contrafact Tradition
14. C’est temps: Caron and the Question of Ascriptions
Part IV: Conclusion
15. Morton’s Legacy
Appendix: Description of the Main Sources