YEARBOOK OF THE ALAMIRE FOUNDATION

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16 MARY E. WOLINSKI different. The lordly speaker actually is musing on the sound of church bells. He is reminded of the bells (sainz) of St-Pere de Sanz and he recalls Savinien beating Paul and Baldwin with great mallets. When the speaker hears them, he rejoices and is transported by the lively and joyous beauty of the sound. Paul and Baldwin are, I believe, the names of the bells. Certainly it was a medieval tradition to give bells names. 20 Savinien was the local bellringer, who regularly would mount the tower to sound the bells, not by pulling on a rope, but by striking them with large mallos, which I take to be the plural of maillot, meaning ‘mallet’. 21 The word mallos can also mean buzzing insects, such as bees and wasps, which is why Stimming hypothesized that mallos stood for bagpipes with their buzzing drone bass. 22 However, musette and cornemuse commonly designate the bagpipe in Old French. 23 Stimming’s misinterpretation of mallos appears to have caused him to misread this music-making scene entirely. The mallos are not being played by Paul and Baldwin, but are wielded by Savinien, who uses them to beat (baste) Paul and Baldwin to create a joyful sound. Medieval bellringers were known to have had more than one bell to strike and to have even played tunes, both sacred and secular. They were the human predecessors of the mechanical jacquemarts that are visible, even if only as ornaments, in many belltowers today. 24 There are still two mysteries in this text. First, in the verse … et Pous et Baudouins there are three single notes over the first word, et. Thus, it is possible that there was another name before that of Paul, and that there were three bells rather than two. Second, it is difficult to know which church is meant by Saint Pere de Sanz. The largest city by this name is Sens, which had three churches dedicated to St Peter: the large abbey of Saint-Pierre-le-Vif in the countryside beyond the city walls, and two smaller churches inside the town, Saint-Pierre-le-Rond and Saint-Pierre-le-Donjon. 25 There are also several villages and estates called Sains, but none of the parish churches that I know of in these locations were dedicated to St Peter. 26 However, there is a church of Saint-Pierre in the town of Santes, just outside of Lille. The medieval church 20 For many examples of bells’ names see J.-D. BLAVIGNAC, La Cloche: Etudes sur son histoire et sur ses rapports avec la société aux différents âges, Geneva, 1877. 21 See A. TOBLER, E. LOMMATZSCH and H.H. CHRISTMANN, Altfranzösisches Wörterbuch, Berlin, Wiesbaden, 1925-, 5, cols. 794–804. 22 STIMMING, Die altfranzösischen Motette, pp. 183–184. 23 F. GODEFROY, Dictionnaire de l’ancienne langue française et tous ses dialectes du IXe au XVe siècle, Paris, 1885, repr. New York – Vaduz 1961, vol. 5, col. 457; vol. 2, col. 305. 24 On the ringing of bells to tell time see P. PRICE, Bells and man, Oxford – New York, 1983, p. 173. 25 See R. MOUILLA, Sens: un siècle d’images, Sens, 1994, pp. 144–145; Gallia Christiana in provincias ecclesiasticas distributa, 12, Paris, 1715–1874, p. 2 and col. 58; R.-H. BAUTIER, M. GILLES and A.-M. BAUTIER, Clarius: Chronique de Saint-Pierre-le-Vif de Sens, Paris, 1979, pp. 50, 74. 26 E. NÈGRE, Toponymie générale de la France, Geneva, 1990–1991, vol. 1, nos. 3554 and 11527; vol. 3, no. 28812. Some parish churches are identified in A.C.H. MENCHE DE LOISNE, Dictionnaire topographique du Département du Pas-de-Calais, Paris, 1907, pp. 337–338.
DRINKING MOTETS IN MEDIEVAL ARTOIS AND FLANDERS 17 was destroyed by fire in 1468 and the medieval bells are no longer there. 27 The two present bells were baptized in 1922 and named Clémence and Marie-Henriette Léonie. 28 Finding a church with at least two bells named Paul and Baldwin could help identify the lordly speaker. TRIPLUM (TRANSLATION) Domine qi t’a ci amené n’ies pas bien assenez por qoi fes tu tel vité q’oncor n’ai ge pas digné va t’en a ton ostel qar je vueill mengier ne m’ennuier loe torne ou foier le vins est ou pichier aé tout mon aé tel vie ai ge mené maugre ces ousuriers qui tant aiment deniers por dé se il est atorné Gautier alons mengier Gautier, apele l’oubloier por nos esbanoier aé de ce rapé bevons a grant plenté par senté Lord, Who has brought you here? You are not wise. Why do you do such a low thing? For I still have not dined. Go to your lodging, For I would like to eat, Not to be bothered. I advise you to turn to your hearth. The wine is in the pitcher. Aé! All my life long, Such a life I have led. Cursed be those userers, Who love money so much For dice, If they are thrown. let us go eat. Call the wafer maker To entertain us. Aé! Of this rapé wine Let us drink in great quantity For our health! 27 T. LE JOSNE DE L’ESPIERRE, Histoire de Santes, Paris, 1855, repr. 1989, pp. 68–69, 99. See also P. PIETRESSON DE SAINT-AUBIN, Dictionnaire topographique du Nord, Lille, 1994 (published as a set of 46 microfiches by the Archives Départementales du Nord). References to this church are also found in E. HAUTCOEUR, Cartulaire de l’église collégiale de Saint-Pierre de Lille, Paris, 1894. 28 Journées du Patrimoine: Visite du Clocher et de l’Eglise St-Pierre, brochure published by Les Amis du Patrimoine Santois, Santes, 1999. My thanks to Dominique Facon, for making this brochure and other unpublished material available to me.
Page 1 and 2: YEARBOOK OF THE ALAMIRE FOUNDATION
Page 3 and 4: Yearbook of the Alamire Foundation
Page 5 and 6: ... NEC NON TYRONIBUS QUÀM EIUS AR
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Page 9 and 10: TRIPLUM (TRANSLATION) Hare hare hye
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POLYPHONY AND WORD-SOUND IN ADRIAN
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78 LUMINITA FLOREA The Hague, 6 and
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80 LUMINITA FLOREA Regardless of th
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82 LUMINITA FLOREA THE SCRIPTOR IN
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84 LUMINITA FLOREA At any rate, thi
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86 LUMINITA FLOREA normally result
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UT HEC TE FIGURA DOCET: THE TRANSFO
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THE TRANSFORMATION OF MUSIC THEORY
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CHANGE AND CONTINUITY IN TWENTIETH-
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(1) Son morto e moro e pur cerco mo
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(1) Latra traitora tu mi fai morire
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(1) Bona sera como stai core mio be
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THE TWO EDITIONS OF LASSO’S SELEC
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160 RICHARD FREEDMAN Lasso’s chan
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164 RICHARD FREEDMAN It seems likel
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166 RICHARD FREEDMAN II, who ruled
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168 RICHARD FREEDMAN Authorial cont
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170 RICHARD FREEDMAN APPENDIX Docum
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172 RICHARD FREEDMAN Royaume que bo
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174 RICHARD FREEDMAN machen unnd ei
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176 RICHARD FREEDMAN prejudice both
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178 BERNHOLD SCHMID Lassos vierundz
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180 BERNHOLD SCHMID cepta (quae nec
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182 BERNHOLD SCHMID sei senza parol
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184 BERNHOLD SCHMID Beispiel 1a: Ko
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186 BERNHOLD SCHMID Beispiel 3a: Nu
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188 BERNHOLD SCHMID Beispiel 5: Num
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190 BERNHOLD SCHMID Beispiel 6: Num
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192 BERNHOLD SCHMID Mensur in Numme
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194 BERNHOLD SCHMID Bis Takt 20 sin
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MUSIQUE ET POLITIQUE À FLORENCE DA
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Corsini, n° 28 Deh perche si rebel
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226 SUSAN LEWIS HAMMOND Figure 1. M
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228 SUSAN LEWIS HAMMOND PRODUCING M
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252 SUSAN LEWIS HAMMOND 1 The listi
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