Yolanda Plumley, The Art of Grafted Song. Citation and Allusion in the Age of Machaut

L’objet du présent ouvrage, comme l’explique fort bien l’auteur dans son introduction, que je me permets de citer brièvement, est de « trace the trajectory of the Ars nova chanson from its roots in early dance-song from ca. 1300 to the mature polyphonic works of Machaut, and to explore the part played by citational practice in its development » (p. 10) ; la « pratique citationnelle » en question se définissant, « in a broad sense » (p. 6), comme tout ce qui relève de la citation, de la paraph. ; The subject of this book, as the author very well explains in his introduction, which I would like to quote briefly, is ‘trace the trajectory of the Ars nova chanson from its roots in early dance-song from ca. 1300 to the mature polyphonic works of Machaut, and to explore the part played by citational practice in its development’ (p. 10); the “citational practice” in question is defined as “in a broad sense” (p. 6), like anything that falls under the citation, paraph.