caa a22 4500 388052732 CHVBK 20180307125058.0 cr unu---uuuuu 161130e199810 xx s 000 0 eng 10.1017/S0261127900001613 doi S0261127900001613 pii (NATIONALLICENCE)cambridge-10.1017/S0261127900001613 Fuller Sarah State University of New York at Stony Brook Modal discourse and fourteenth-century French song: A ‘medieval' perspective recovered? [Elektronische Daten] [Sarah Fuller] Writing about a late-fourteenth-century ballade in honour of Mathieu de Foix, Howard Mayer Brown candidly aired his uncertainty about the proper theoretical perspective from which to engage the music. ‘How should we in the twentieth century interpret this music: from the point of view of emerging tonality, as an example of polyphonic modality, or of the influence the extended system of hexachords had on compositional decisions, or should we use some other conceptual framework?' In his catalogue of choices, Brown alludes to a variegated lot of modern approaches that range across appropriation (sometimes formal, sometimes casual) of terms from functional tonality, modal descriptions founded on octave species and finals, mappings of hexachordal areas, empirical observation of pitch emphases and tonal orientations. Copyright © Cambridge University Press 1998 Early Music History Cambridge University Press 17(1998-10), 61-108 0261-1279 17<61 1998 17 EMH https://doi.org/10.1017/S0261127900001613 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0261127900001613 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Fuller Sarah State University of New York at Stony Brook NATIONALLICENCE 773 0- Early Music History Cambridge University Press 17(1998-10), 61-108 0261-1279 17<61 1998 17 EMH CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence SWISSBIB 11725505X BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge