纪尧姆·德·马肖 - 我终即我始（14世纪回旋歌）
《我终即我始》时马肖为数不多的所有声部都采用逆行手法的回旋歌。给出一段旋律后，一个演唱者按正序演唱，另一演唱者按逆序演唱；最低声部演唱者演唱的与此不同，长度却只有上述旋律的一半长，因此需要先正向唱，再逆向唱，才能和上述两个声部同时回到起点。如果从最低声部逆行的“中点”处观察，上面两个声部就像交换了一样。

1363年11月3日，63 岁的作曲家、外交家、传教士纪尧姆·德·马肖对他 “最甜蜜的爱”潘若内勒 (Peronnelle）说道：“只要你开口，我这把老骨头甘愿为你做世间任何事情。你的绝色美貌和精致的甜蜜就像磁石吸引着铁块那样吸引我和我的心……我最甜的甜心啊！我会把你看到过的那11支歌谣献给你，它们正是为你而作。”
纪尧姆·德·马肖(Guillaume de Machaut，1300~1377)是法国新艺术音乐的最重要人物。马肖出生于法国北部香槟省，曾接受神职教育，20岁当过波希米亚国王的大臣，后以其才华进入法国宫廷服务于法国国王，晚年任职教士，在隐修生活中去世。马肖不仅是音乐家，当时也以诗人著称，在文学史中享有名声。马肖在诗歌和音乐创作情况的资料保存得非常完备，在西方音乐史上他是作品得到完整保存的第一位音乐家。马肖的音乐作品涉猎到14世纪几乎所有重要的音乐体裁，其中有经文歌、弥撒，以及大量世俗歌曲，他总结了法国晚期中世纪音乐的一系列成果，成为一个时代的音乐家典范。
经文歌创作
维特里以来，14世纪经文歌重新喜用拉丁歌词，歌词常常比较严肃，以道德虔诚和称颂赞美为内容，音乐方面比13世纪经文歌显得堂皇和富有气势，常用于典礼仪式场合。马肖继承和发展了前期经文歌创作的传统，共写了23首经文歌，主要也是三声部，持续声部常由器乐担任，上方两声部人声歌唱。与维特利经文歌不同的是马肖更多以法文作为歌词（有17首法文经文歌)。在创作技巧方面，马肖非常重视等节奏技术的运用，并将等节奏扩展运用到上面各个声部，更自由灵活地探索更复杂的节奏技巧。马肖晚年最后三首拉丁经文歌写于百年战争期间，内容是祈求和平，这些经文歌继承了14世纪早期经文歌的成果，附加了一个新的“对应持续声部”(contratenor),以四声部取代了通常的三声部织体。新加人的对应持续声部无歌词，不放在高声部，而是与持续声部(tenor)处在同一音区，与持续声部在节奏上也相近，并经常与持续声部形成声部的交错，组成丰富的和声效果，支持上方两个带歌词的旋律声部。
弥撒曲
弥撒曲源于宗教礼拜活动的弥撒仪式。礼拜弥撒根据场合、时节分为变化的专用弥撒和不变的常规弥撒，后来人们把不变的五段常规弥撒视为一套（慈悲经、荣耀经、信经、圣哉经、羔羊经)乐曲组合在一起，逐渐从礼拜中独立出来，形成了弥撒曲这一体裁。马肖只写过一部弥撒曲，这部名为《圣母弥撒》(Messe de Nostre Dame)的弥撒虽仍服从于礼拜功能，但对于艺术体裁的弥撒曲的形成却具有重要的历史意义。马肖对弥撒曲的贡献在于，他第一次把常规弥撒的各个段落视为一个整体来统一构思。《圣母弥撒》的特点是：庞大的规模，使用当时罕见的四声部织体；各个乐章之间具有明显对比，但各个段落之间在音乐材料上具有内在的联系；此外马肖还把经文歌中的各种复杂节奏技巧（如等节奏）运用于弥撒曲的写作中。
世俗歌曲
马肖的宗教作品在他的整个作品中只占很少部分，大量的是世俗作品，其中世俗歌曲是他的创作的重要部分。马肖的世俗歌曲包括部分单声歌曲，如他创作的大部分莱歌、25首维勒莱(virelai)都是单声歌曲，这些歌曲继承了法国北部游吟诗人的传统，但在节奏的复杂性上有所发展。马肖歌曲创作中最有影响的是世俗复调歌曲。直到马肖的时代，世俗歌曲大多限制于单声音乐，马肖把世俗歌曲用于复调创作，并使复调歌曲这一简单形式达到很精细和完美地步。马肖的复调歌曲中体现出许多新艺术时期的特征，如突出二拍的地位，和声上更重视三度、六度音响，旋律精细而灵活多变。马肖在创作中特别注重对歌曲的表现力的开掘，他认为音乐和诗歌只能发自内心才具有感染力，音乐家应该特别注意高声部旋律的表现作用。马肖歌曲创作中的持续声部多为自由创作的旋律，在多于两个声部的歌曲中他常使用“对应持续声部”，这个声部与持续声部构成和声基础，支持上面的高音旋律声部(cantus)。在14世纪末这种样式的声部组合成为世俗复调歌曲的标准形式。
马肖的复调歌曲主要体现于14世纪法国诗歌和音乐的三种“周定形式”(formes fixes)：维勒莱、回旋歌(rondeau)、叙事歌(ballade),它们都是一些有固定格式的诗歌体裁，诗歌内容多是“宫廷之恋”题材，诗歌的结构特征决定了音乐的形式结构。维勒莱的结构特征是由一叠句(A)开始，叠句之后接三段诗节(bba),形成Abba结构，最后结束于A。回旋歌的最简单形式由八行短诗，音乐由两个段落构成，仍有叠句不断重复，与维勒莱不同的是，叠句可以是由两个段落构成，典型的形式是A B a A a b A B(大写字母表示歌词叠句)。马肖写有21首回旋歌，在此中倾注了高度复杂的写作技巧。在临近14世纪末，回旋歌表现出更复杂的形式，成为三种正规形式中最受作曲家瞩目的体裁。

叙事歌
叙事歌是马肖歌曲创作的重要体裁，他共写了42首配有音乐的叙事歌。叙事歌的歌词通常有三节，每节七八行诗，每一节的最后一行或两行诗相同，因此在歌词上形成重复性叠句，叠句在内容上大多是对这一节诗主题的概括。叙事歌的旋律分成两大部分，结构为AB。每一节诗歌的一、二行用A的旋律，三、四行再重复A，剩下的几行诗用B部分旋律。马肖的叙事歌有二到四声部的不同样式，典型情况是男声独唱与下方两个声部器乐伴奏，当出现两个歌唱声部，且两声部各有不同歌词时，称为二重叙事歌。
今日视频：1、纪尧姆·德·马肖 - 我终即我始（14世纪回旋歌）；2、最早期多声部弥撒 [Guillaume de Machaut 马肖] 《圣母弥撒》及其他中世纪作品 3、【中世纪音乐】Guillaume de Machaut 马肖的音乐和诗歌艺术。

我的终结即我的开始
而我的开始亦即我的终结
这实在是真实无比
我的终结即我的开始。
我的第三段旋律仅演奏三次
然后逐渐减弱直至结束。
我的终结即我的开始
而我的开始亦即我的终结。
我的终点即是我的起点
我的终点即是我的起点
而我的起点亦是我的终点。
这便是我所坚守的（或，是我所依循的），
我的终点即是我的起点。
我的第三行仅重复三次
便自我循环，从而结束。
我的终点即是我的起点
而我的起点亦是我的终点。

Guillaume de Machaut (1300-1377) was the most important figure in the new art music of France. Machaut was born in the Champagne region of northern France and received religious education. At the age of 20, he served as a minister to the King of Bohemia, and later, with his talent, entered the French court to serve the King of France. In his later years, he held the position of a priest and died in a monastic life. Machaut was not only a musician but was also known as a poet at that time, and he enjoyed a reputation in literary history. Machaut had very complete records of his poetry and music creation, and he was the first musician in Western music history whose works were fully preserved. Machaut's musical works covered almost all important musical genres of the 14th century, including motets, masses, and a large number of secular songs. He summarized a series of achievements of French late medieval music and became a model of a musician of his era. Motet Composition Since Vitelius, in the 14th century, motets regained the use of Latin lyrics, which were often relatively serious, with content such as moral piety and praise. In terms of music, they were more magnificent and powerful than the 13th-century motets, and were often used in ceremonial occasions. Machaut inherited and developed the tradition of early motet composition and wrote 23 motets, mainly in three voices, with the continuo part often performed by instruments and the upper two voices sung by human voices. Unlike Vitelius's motets, Machaut used French lyrics more often (there were 17 French motets). In terms of composition techniques, Machaut highly valued the application of equal-rhythm techniques and extended them to all the voices above, exploring more complex rhythm techniques more freely and flexibly. Machaut's last three Latin motets written in his later years were composed during the Hundred Years' War, and the content was for the prayer for peace. These motets inherited the achievements of early 14th-century motets and added a new "contratenor" (the lower continuo voice), replacing the usual three-part texture with a four-part texture. The new contratenor had no lyrics and was not placed in the high voice but was in the same pitch range as the continuo voice and had similar rhythms to the continuo voice, often forming voice interludes with the continuo voice to create rich harmonic effects, supporting the two vocal parts with lyrics above. Mass Composition The Mass originated from the Mass ceremony in religious worship. The Mass in worship was divided into variable special Masses and unchanging regular Masses according to occasions and seasons. Later, people combined the five unchanging regular Masses into a set (the Mercy Ode, the Glory Ode, the Creed, the Hymn of Saints, and the Lamb Ode) and gradually separated them from worship, forming the genre of Mass. Machaut wrote only one Mass, titled "Messe de Nostre Dame", although it still served the function of worship, it was of great historical significance for the formation of the artistic genre of Mass. Machaut's contribution to the Mass was that he first unified the various sections of the regular Mass for a unified conception. The characteristics of "Messe de Nostre Dame" were: a large scale, using a rare four-part texture at that time; each movement had obvious contrasts, but the sections were internally connected in musical materials; In addition, Maixois also applied various complex rhythm techniques (such as equal rhythm) from the liturgical songs to the composition of the Mass. Secular songs Maixois's religious works only accounted for a small portion of his entire works. The majority were secular works, among which secular songs were an important part of his creation. Maixois's secular songs included some monophonic songs, such as most of the lègades he composed, and 25 virelais, all of which were monophonic songs. These songs inherited the tradition of the northern troubadours of France, but developed in terms of the complexity of rhythm. The most influential aspect of Maixois's song composition was the secular polyphonic songs. Until Maixois's time, secular songs were mostly limited to monophonic music. Maixois used secular songs in polyphonic composition and made this simple form of polyphonic songs reach a very refined and perfect level. The polyphonic songs of Maixois demonstrated many characteristics of the new art period, such as highlighting the status of the second beat, paying more attention to the third and sixth tones in harmony, and having a fine and flexible melody. In his composition, Maixois particularly emphasized the exploration of the expressiveness of the songs. He believed that music and poetry could only have an infectious power when they originated from the heart. Musicians should pay special attention to the expression role of the high-pitched melody. The continuous voices in Maixois's song composition were mostly freely created melodies. In songs with more than two voices, he often used "corresponding continuous voices", which formed the harmonic basis with the continuous voices and supported the upper high-pitched melody voice (cantus). At the end of the 14th century, this style of voice combination became the standard form of secular polyphonic songs. Maixois's polyphonic songs were mainly represented in three "fixed forms" of 14th-century French poetry and music: virelais, rondeaux, and ballades. They were all some fixed-form poetic genres, and the content of the poetry was mostly "courtly love" themes. The structural characteristics of the poetry determined the form structure of the music. The structural characteristics of virelais were started by a refrain (A), followed by three stanzas (bba), forming the Abba structure, and ending with A. The simplest form of rondeau was composed of eight short poems, and the music consisted of two sections, still with the refrain constantly repeating. Unlike virelais, the refrain could be composed of two sections, and the typical form was A B a A a b A B (capital letters indicating the refrain). Maixois wrote 21 rondeaux, in which he poured in highly complex writing techniques. Near the end of the 14th century, rondeaux showed more complex forms and became the most notable genre among the three formal forms. Ballade was an important genre in Maixois's song creation, and he composed 42 ballades with music. The lyrics of the ballades usually had three stanzas, each with seven or eight lines of poetry, and the last line or two of each stanza was the same, thus forming repetitive refrains, which were mostly summaries of the theme of this stanza. The melody of the ballades was divided into two parts, with the structure of AB. The first and second lines of each stanza were in the A melody, the third and fourth lines repeated the A, and the remaining lines were in the B part melody. Maixois's ballades had different styles of two to four voices, and the typical situation was male solo singing with two lower voices playing instruments, when there were two singing voices and each voice had different lyrics, it was called a double ballade.

Today's video: 1. Guillaume de Machaut - I Am What I Am (14th-century rondeau); 2. The Earliest Polyphonic Mass [Guillaume de Machaut] "Virgin Mary Mass" and Other Medieval Works; 3. [Medieval Music] Guillaume de Machaut's Music and Poetry Art.

【中世纪音乐】Guillaume de Machaut 马肖的音乐和诗歌艺术

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