Book contents
- The Cambridge History of Fifteenth-Century Music
- Series page
- The Cambridge History of Fifteenth-Century Music
- Copyright page
- Dedication
- Contents
- Figures
- Music examples
- Notes on contributors
- Acknowledgments
- Abbreviations
- Introduction
- Part I Historiography
- Part II Improvisation and composition
- Part III Humanism
- Part IV Music and other arts
- Part V Music in churches, courts, and cities
- 21 Musical institutions in the fifteenth century and their political contexts
- 22 Music and musicians at the Burgundian court in the fifteenth century
- 23 The papal chapel in the late fifteenth century
- 24 The beneficial system and fifteenth-century polyphony
- 25 Professional women singers in the fifteenth century: a tale of two Annas
- 26 Savonarola and the boys of Florence: songs and politics
- Part VI Religious devotion and liturgy
- Part VII Theory and practice
- Part VIII Sources
- Part IX Genres
- Part X Reception
- Index
22 - Music and musicians at the Burgundian court in the fifteenth century
from Part V - Music in churches, courts, and cities
Published online by Cambridge University Press: 05 July 2015
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Book contents
- The Cambridge History of Fifteenth-Century Music
- Series page
- The Cambridge History of Fifteenth-Century Music
- Copyright page
- Dedication
- Contents
- Figures
- Music examples
- Notes on contributors
- Acknowledgments
- Abbreviations
- Introduction
- Part I Historiography
- Part II Improvisation and composition
- Part III Humanism
- Part IV Music and other arts
- Part V Music in churches, courts, and cities
- 21 Musical institutions in the fifteenth century and their political contexts
- 22 Music and musicians at the Burgundian court in the fifteenth century
- 23 The papal chapel in the late fifteenth century
- 24 The beneficial system and fifteenth-century polyphony
- 25 Professional women singers in the fifteenth century: a tale of two Annas
- 26 Savonarola and the boys of Florence: songs and politics
- Part VI Religious devotion and liturgy
- Part VII Theory and practice
- Part VIII Sources
- Part IX Genres
- Part X Reception
- Index
Summary
The Valois dukes of Burgundy established a rich system of patronage that extended continuously from the end of the Middle Ages to the beginning of the modern era. Their wide-ranging cultural influence makes the primacy of the court's musical life of great interest to the history of music. Ruling over most of the territories where the Franco-Flemish singers and composers who dominated European art music from 1400 to 1550 were born and trained, the dukes of Burgundy supported the most distinguished musicians of their time. The organization of musicians employed at the Burgundian court remained remarkably consistent from the 1380s and the 1500s. Music historians must connect dense archival materials about performers with musical sources that reveal little about the creation or development of the repertories they transmit. Born out of the French crown at the end of the fourteenth century, the court of Burgundy and its historical continuity left a substantial mark on the following century.
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- The Cambridge History of Fifteenth-Century Music , pp. 427 - 445Publisher: Cambridge University PressPrint publication year: 2015
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