transform the moral satire into a festive admonitio, or speculum principis, a work
intended to instruct the prince.
Nancy F.Regalado
[See also: ARS NOVA; FAUVAIN; HUON DE MÉRY; MAILLART, JEAN;
MARIGNY, ENGUERRAN DE]
Aubry, Pierre, ed. Le roman de Fauvel: reproduction photographique du manuscrit français 146 de
la Bibliothèque Nationale de Paris. Paris: Geuthner, 1907.
Långfors, Arthur, ed. Le roman de Fauvel par Gervais du Bus. Paris: Didot, 1914–19.
Le roman de Fauvel in the Edition of Chaillou de Pesstain: A Reproduction in Facsimile of the
Complete Manuscript, Paris, Bibliothèque Nationale, Fonds Français 146. Introduction by
Edward Roesner, François Avril, and Nancy Freeman Regalado. New York: Broude, 1990.
Schrade, Leo, and Frank L.Harrison, eds. The Roman de Fauvel. In Polyphonic Music of the
Fourteenth Century. 24 vols. Monaco: L’Oiseau Lyre, 1956, Vol. 1.
Rosenberg, Samuel N., and Hans Tischler, eds. The Monophonic Songs in the “Roman de Fauvel.”
Lincoln: University of Nebraska Press, 1991.
Langlois, Charles Victor. La vie en France de la fin du XIIe au milieu du XIVe siècle d’après des
moralistes du temps. Paris: Hachette, 1908, 1970, pp. 276–304. [Summary in modern French.]
Paris, Gaston. “Le roman de Fauvel” In Histoire littéraire de la France. Paris: Imprimerie
Nationale, 1898, Vol. 32, pp. 108–53.
FAUXBOURDON
. A quasi-improvisatory practice associated with sacred music by 15th-century Franco-
Burgundian composers. The term is associated with a repertory of over 170 surviving
pieces, primarily hymns, psalms, Magnificats, and antiphons. The texture was also
utilized in Mass movements, particularly in Introits and Sequences, but also in
movements of the Ordinary. Fauxbourdon is usually notated as two voices, with a verbal
cue (faux bourdon) indicating that a third voice is to be sung in parallel fourths below the
cantus. In the example, Dufay paraphrases the plainchant in the cantus, while the tenor
moves primarily in sixths and octaves below, giving the musical effect of a series of first-
inversion triads resolving at cadences into sonorities of fifth and octave.
Guillaume Dufay, Christe redemptor
omnium, fauxbourdon setting of verse
2
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