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Robert de Reims, also known as \"La Chievre de Rains,\" was among the earliest trouvères-poet-composers who were contemporaries of the troubadours but who wrote in the dialects of northern France. This critical edition provides new translations into English and modern French of all the songs and motets ascribed to him, along with the original texts, the extant music, and a substantive introduction. Active sometime between 1190 and 1220, Robert was an influential figure in the literary circles of Arras. Thirteen compositions set to music are here attributed to him, including nine chansons and four polyphonic motets that were broadly disseminated in the thirteenth century and beyond. Robert's work is exceptional on a number of fronts. He lavished particular care on the phonic harmony of his words. Acoustic luxuriance and expertise in rhyming, grounded in the play of echoes and variation (often extending into the music), constitute the hallmark of his poetry. Moreover, he is the earliest trouvère known to have composed a parodic sotte chanson contre Amours (silly song against Love). Located clearly at the nexus of monophonic song and polyphony, Robert's corpus also poses the intriguing question of trouvère participation in the development of the polyphonic repertory. The case of Robert de Reims jostles and tempers the standard history of the chanson and motet. Accessible and instructive, this trilingual critical edition of his complete works makes the oeuvre of this innovative and consequential trouvère available in one volume for the first time.

In music making \"in company\", the protagonists have to follow the rules of interaction and create the cohesion of \"being together\". At the same time, they try to promote personal goals that depend on specific personal treasure troves of experience. These are continuously being modified also as a result of the exchange between individuals. The perspective of the \"individuals in company\" leads the emphasis of the investigations to the ways in which the acts of performance, interpretation and lo.

This is a performance of La soiree interdite: L'ensemble La Fenice fete ses 20 ans, performed by Ensemble La Fenice and conducted by Jean Tubery.

This is a performance of Grant yvroigne et mal vivant, performed by Huelgas Ensemble and conducted by Paul Van Nevel.

This is a performance of La soiree interdite: L'ensemble La Fenice fete ses 20 ans, performed by Ensemble La Fenice and conducted by Jean Tubery.

This is a performance of La soiree interdite: L'ensemble La Fenice fete ses 20 ans, performed by Ensemble La Fenice and conducted by Jean Tubery.

This is a performance of La soiree interdite: L'ensemble La Fenice fete ses 20 ans, performed by Ensemble La Fenice and conducted by Jean Tubery.

This is a performance of La soiree interdite: L'ensemble La Fenice fete ses 20 ans, performed by Ensemble La Fenice and conducted by Jean Tubery.

This is a performance of Mare Nostrum un voyage en Mediterranee, performed by Les Cris de Paris and conducted by Goeffroy Jourdain.

During the lifetime of Guillaume Du Fay (c. 1400–1474) the motet underwent a profound transformation. Because of the protean nature of the motet during this period, problems of definition have always stood in the way of a full understanding of this crucial shift. Through a comprehensive survey of the surviving repertory, Julie Cumming shows that the motet is best understood on the level of the subgenre. She employs new ideas about categories taken from cognitive psychology and evolutionary theory to illuminate the process by which the subgenres of the motet arose and evolved. One important finding is the nature and extent of the crucial role that English music played in the genre's transformation. Cumming provides a close reading of many little-known pieces; she also shows how Du Fay's motets were the product of sophisticated experimentation with generic boundaries.