Abstract

Death and commemoration were central to the devotions that filled the side chapels and adorned the votive altars of 15th-century churches with exquisite sounds, forms and colours. Musicians participated in this outpouring of innovative memorials as both contributors to the ceremonies, providing the sacred harmonies that permeated these spaces on behalf of the deceased, and also as donors who funded their own visual and aural commemorations. How can this dual role help us understand the importance of musical identity for 15th-century professional singers and composers? Du Fay’s complex of commemorations—his will, personalized compositions and wall-mounted memorial—provides the most comprehensive specimen of this fascinating overlap between commemorator and commemorated, but there also remain many fragments from other musicians. Using Du Fay’s example, we can find connections between the visual and musical artefacts created or funded by other musicians, and infer that being remembered after death was an important impetus for the recognition of a distinct musical identity and the development of the professional composer.

中文翻译：

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在图像、声音和石头上塑造持久的音乐身份

摘要

死亡和纪念是充满小教堂和用精美的声音、形式和颜色装饰 15 世纪教堂的祭坛的奉献精神的核心。音乐家们作为仪式的贡献者，代表死者提供弥漫在这些空间中的神圣和声，以及作为资助他们自己的视觉和听觉纪念活动的捐助者，参与了这场创新纪念活动的涌现。这种双重角色如何帮助我们理解音乐身份对于 15 世纪专业歌手和作曲家的重要性？杜菲的纪念复杂——他的遗嘱、个性化的作品和壁挂式的纪念——为纪念者和被纪念者之间这种迷人的重叠提供了最全面的样本，但也有许多来自其他音乐家的片段。