Type of Document	Thesis
Author	Thornton, Lyndsey Michelle
Author's Email Address	lthornton@fsu.edu
URN	etd-04092007-163930
Title	Musical Characteristics of the Songs Attributed to Peter of Blois (c. 1135-1211)
Degree	Master of Music
Department	Music, College of
Advisory Committee	Advisor Name Title Charles Brewer Committee Chair Douglass Seaton Committee Member Paula Gerson Committee Member
Keywords	Ver Prope Florigerum Flava Licori Vitam Duxi Iocundam Invehar In Venerem Lateran IV Pope Celestine III Twelfth Century Twelfth-Century Politics Twelfth-Century Music Felix Ille Locus Quem Vitis Amenat Amena Ex Ungue Primo Teneram Estivali Clarius Estas In Exilium Pope Odo Rene Auberjonois Song Parody Vacillantis Trutine Quo Me Vertam Nescio Reflexive Gesture Rhetorical Gesture Qui Seminant In Lacrimis Qui Seminant In Loculis Olim Sudor Herculis Olim Militaveram Veneris Prosperis Vite Perdite Non Te Lusisse Pudeat A Globo Veteri Blandus Aure Spiritus Brume Torpescunt Da Plaudens Organo Dionei Sideris Dum Iuventur Floruit Discat Cancellarius Caudae Henry II Dum Rutilans Pegasei Eleanor Of Aquitaine Philip The Chancellor Phillip The Chancellor Philippe The Chancellor Peter Of Blois Petrus Blesensis Medieval Song Medieval Latin Song Medieval Latin Lyric Secular Latin Song Secular Latin Lyric Pudology Walter Of Chatillon Sic Et Non Abelard Thomas Becket Archbishop Thomas Becket Cancellarius Chancellor Parody Conductus Conducti Cauda Flos Preclusus Sub Torpore Grates Ago Veneri Spoliatum Flore Pratum Sevit Aure Spiritus Sed Invitus Scribo Ridere Solitus Quod Amicus Suggerit Phebeo Reditu Calescit Partu Recenti Frondium O Cunctis Liberalior O Cessent Gemitus Non Te Lusisse Pudeat Non Carnis Est Sed Spiritus Nec Mare Flumini Sa Vivere Michi Reddidit In Nova Fert Animus In Lacu Miserie Mide Regis Vicio Ni Lavare Laterem Hyemale Tempus Vale Iam Vere Fere Medio In Laborem Sponte Labor
Date of Defense	2007-03-28
Availability	unrestricted
Abstract Toward the end of the twelfth century, moral conflict was rampant in the Catholic Church regarding the conduct of all levels of the ecclesiastical hierarchy. There was acerbic criticism of the profligate bishops and archbishops who formed the upper echelon of clerical life, and much of this censure came from within the ranks of the clergy. One of the most interesting critics of the higher clergy is Peter of Blois, who had served such clerical posts as Archdeacon of Bath and London. He criticized the behavior of everyone from archbishop to altar boy in his letters and poetry, but the latter oeuvre also expresses his concessions to the inner conflict that he faced as a result of his choice to serve God. A double standard of morality is prevalent in both the prose and verse works of Peter of Blois and is often one of the identifying factors in support of attributions of his authorship. He condones vice in moderation during youth but advocates repentance in old age. While there is an increasing amount of scholarship that treats either Peter’s song texts or the music of the corpus of Notre Dame conductus, specific research into the music of Peter’s songs is not readily available. This study examines the musical characteristics of the songs of Peter of Blois and their relationship to the texts within the manuscript tradition of his works, placing them within the context of the Twelfth-Century Renaissance. Because of the cohesion of the group in the Florence MS and the clarity with which they can be transcribed, these songs will be the primary focus of musical discussion. Through analysis of the musical components of the songs from Florence fascicle X that can be attributed to Peter with a significant amount of certainty, and through comparison with those known to have been written by Peter’s contemporaries, such as Walter of Châtillon and Philip the Chancellor, I will define a musical style that is characteristic of Peter’s songs in addition to providing evidence for new attributions.
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