Surname
Flagiaco (de)
Given Name
Aegidius
Variant Name
Gilles
Role
Master of choirboys
Musician
Active period
1336 - 1336
Workplace
Paris
Institution
Sainte-Chapelle de Paris
Biography
Lettres de Benoît XII (1334-1342): textes et analyses books.google.frCatholic Church. Pope (1334-1342 : Benedict XII), Alphonse Fierens - 1910 - 588 pages - Extraits
Egidio de Flagiaco, in arte musice magistro puerorum capelle regalis Parisius, confertur canonicatus ecclesie S. Pétri Ariensis, Morinensis diócesis, sub expectatione prebende, non obstante quod ...
Relevé par article Clercx Hoppin à voir et retrouver la source !
Bibliotheque de la Faculte de philosophie et lettres de ...: Numéro 149 L'ars nova: recueil d'études sur la musique du XIVe siècle
books.google.frLES COLLOQUES DE WEGIMONT - 1959 - 274 pages - Extraits p. 85
Il est « in arte musice magistro puerorum capelle regalis Parisius et reçoit un canonicat sep le 16 mars 1336, dans le diocèse de Thérouanne (Morinum) 3. C'eût été une belle occasion de rédiger un traité à l'usage des parvuli *. ...
Clarks1 1996, p. 3-5
The starting point for this study is the brief treatise describing motet composition by Egidius de Murino. This treatise, De modo componendi tenores motetorum,6 is appended to four manuscripts of the Tractatus figurarum; the Tractatus figurarum itself was once thought to have been the work of Egidius as well, but recent work has cast doubt on that attribution? Though nothing else is known for certain about Egidius, he was clearly highly regarded by his peers, for he is named in two of the motets that celebrate living musicians.8 Richard Hoppin and Suzanne
Clercx note that he probably came from the diocese of Therouanne (Latin Morinllm, in northern France), and they suggest several potential
candidates for this individual:9 first an Egidius Morini, bachelor in civil law and student at the University of Orleans who, at the request of
Philippe VI, received a canonicate with expectation of a prebend at Le Mans on 27 January 1337; second, another Egidius Morini, a clerc from the diocese of Amiens who received acanonicate with expectation of a prebend at Sainte-Gertrude de Nivelles, in the diocese of Liege, on 28 March 1378; third, Gilles Aicelin de Montaigu, bishop of Therouanne and later cardinal; and finally Egidius de Flagiaco, in arte musice capelle regalis Parisills, who received a canonicate with expectation of a prebend in Therouanne on 16 March 1336.10
Since the treatise deals only with the most basic steps for writing a motet-the author states that it is "for the teaching of children"l1-it is difficult to suggest a date for Egidius's career on the basis of its contents alone. The late date traditionally given for the treatise is based mostly on that of the Tractatus figurarum, for rhythmic and notational subtleties are often easier to place. Once the Tractatus figurarum is taken away from Egidius, though, the earlier part of the century becomes plausible, and, if Karl Kiigle is correct that the Ivrea codex (which transmits Apollinis eclipsatur / Zodiacum signis lustrantibus / T. In omnem terram, one of the motets that names Egidius) presents a repertory "frozen in 1359,"12 the earlier candidates become more likely. Perhaps the authorship of Egidius de Flagiaco, known to have been a musician but whom Hoppin and Clercx do not seem to take seriously as the author of our treatise and whom Reaney omits entirely from his discussion of the author's identity, ought to be reconsidered. This would make Egidius a rough contemporary of Machaut and Vitry, who are both named in the same two motets that name Egidius. If this is so, his treatise could be seen as a beginner's introduction to the composition of the type of motets under consideration here, or at worst those of a generation or so later.
Notes
8 These are Mllsicalis sciencia / Sciencie laudabili / Tenor (H33) and Apollinis eclipsatllr / Zodiacum signis lustrantibus / T. In omnem terram
(H9). On the musician motets, see the introduction to Harrison 1986. Margaret Bent's and David Howlett's work in recent years on these motets is particularly important, though still unpublished.
9Hoppin and Clercx 1959, 84-85; see also Reaney 1980, 67. Hoppin and Clercx note (p. 83) that Gilles / Egidius is a common name, especially in northern France.
10Hoppin and Clercx 1959, 85. They consider this canonicate to be "une belle occasion de rediger un traite a l'usage des parvuli," but they
ultimately seem to reject Egidius de Flagiaco as a possible author for the treatise because 1336 is most likely too early for the author of the Tractatus figurarum, which they take to be Egidius' :work as well, to be active. Reaney 1980 mentions only the first two of Hoppin's and Clercx's candidates, perhaps because because he believes, as they do, that Egidius de Flagiaco was active too early, though he seems to be at least as good a candidate as the older Egidius Morini, whom Reaney tentatively accepts. Reaney emphasizes the "integrated form" of the Tractatus figurarum-De modo componendi complex, but he does not go so far as to say that the Tractatus is in fact by Egidius.
Egidio de Flagiaco, in arte musice magistro puerorum capelle regalis Parisius, confertur canonicatus ecclesie S. Pétri Ariensis, Morinensis diócesis, sub expectatione prebende, non obstante quod ...
Relevé par article Clercx Hoppin à voir et retrouver la source !
Bibliotheque de la Faculte de philosophie et lettres de ...: Numéro 149 L'ars nova: recueil d'études sur la musique du XIVe siècle
books.google.frLES COLLOQUES DE WEGIMONT - 1959 - 274 pages - Extraits p. 85
Il est « in arte musice magistro puerorum capelle regalis Parisius et reçoit un canonicat sep le 16 mars 1336, dans le diocèse de Thérouanne (Morinum) 3. C'eût été une belle occasion de rédiger un traité à l'usage des parvuli *. ...
Clarks1 1996, p. 3-5
The starting point for this study is the brief treatise describing motet composition by Egidius de Murino. This treatise, De modo componendi tenores motetorum,6 is appended to four manuscripts of the Tractatus figurarum; the Tractatus figurarum itself was once thought to have been the work of Egidius as well, but recent work has cast doubt on that attribution? Though nothing else is known for certain about Egidius, he was clearly highly regarded by his peers, for he is named in two of the motets that celebrate living musicians.8 Richard Hoppin and Suzanne
Clercx note that he probably came from the diocese of Therouanne (Latin Morinllm, in northern France), and they suggest several potential
candidates for this individual:9 first an Egidius Morini, bachelor in civil law and student at the University of Orleans who, at the request of
Philippe VI, received a canonicate with expectation of a prebend at Le Mans on 27 January 1337; second, another Egidius Morini, a clerc from the diocese of Amiens who received acanonicate with expectation of a prebend at Sainte-Gertrude de Nivelles, in the diocese of Liege, on 28 March 1378; third, Gilles Aicelin de Montaigu, bishop of Therouanne and later cardinal; and finally Egidius de Flagiaco, in arte musice capelle regalis Parisills, who received a canonicate with expectation of a prebend in Therouanne on 16 March 1336.10
Since the treatise deals only with the most basic steps for writing a motet-the author states that it is "for the teaching of children"l1-it is difficult to suggest a date for Egidius's career on the basis of its contents alone. The late date traditionally given for the treatise is based mostly on that of the Tractatus figurarum, for rhythmic and notational subtleties are often easier to place. Once the Tractatus figurarum is taken away from Egidius, though, the earlier part of the century becomes plausible, and, if Karl Kiigle is correct that the Ivrea codex (which transmits Apollinis eclipsatur / Zodiacum signis lustrantibus / T. In omnem terram, one of the motets that names Egidius) presents a repertory "frozen in 1359,"12 the earlier candidates become more likely. Perhaps the authorship of Egidius de Flagiaco, known to have been a musician but whom Hoppin and Clercx do not seem to take seriously as the author of our treatise and whom Reaney omits entirely from his discussion of the author's identity, ought to be reconsidered. This would make Egidius a rough contemporary of Machaut and Vitry, who are both named in the same two motets that name Egidius. If this is so, his treatise could be seen as a beginner's introduction to the composition of the type of motets under consideration here, or at worst those of a generation or so later.
Notes
8 These are Mllsicalis sciencia / Sciencie laudabili / Tenor (H33) and Apollinis eclipsatllr / Zodiacum signis lustrantibus / T. In omnem terram
(H9). On the musician motets, see the introduction to Harrison 1986. Margaret Bent's and David Howlett's work in recent years on these motets is particularly important, though still unpublished.
9Hoppin and Clercx 1959, 84-85; see also Reaney 1980, 67. Hoppin and Clercx note (p. 83) that Gilles / Egidius is a common name, especially in northern France.
10Hoppin and Clercx 1959, 85. They consider this canonicate to be "une belle occasion de rediger un traite a l'usage des parvuli," but they
ultimately seem to reject Egidius de Flagiaco as a possible author for the treatise because 1336 is most likely too early for the author of the Tractatus figurarum, which they take to be Egidius' :work as well, to be active. Reaney 1980 mentions only the first two of Hoppin's and Clercx's candidates, perhaps because because he believes, as they do, that Egidius de Flagiaco was active too early, though he seems to be at least as good a candidate as the older Egidius Morini, whom Reaney tentatively accepts. Reaney emphasizes the "integrated form" of the Tractatus figurarum-De modo componendi complex, but he does not go so far as to say that the Tractatus is in fact by Egidius.