In The Art of the Grafted Song: Citation and Allusion in the Age of Machaut, author Yolanda Plumley explores the penchant for borrowing in chansons and lyrics from fourteenth-century France, uncovering a practice integral to the experiments in form, genre, and style that ushered in a new school of lyric.
Just as our society delights in citations, quotations, and allusions in myriad contexts, not least in popular song, late medieval poets and composers knew well that such references could greatly enrich their own works. In The Art of the Grafted Song: Citation and Allusion in the Age of Machaut, author Yolanda Plumley explores the penchant for borrowing in chansons and lyrics from fourteenth-century France, uncovering a practice integral to the experiments in form, genre, and style that ushered in a new school of lyric. Working across disciplinary boundaries, Plumley traces creative appropriations in the burgeoning "fixed forms" of this new tradition to build a more intimate understanding of the shared experience of poetry and music in the generations leading up to, and including, Guillaume de Machaut. Exploring familiar and less studied collections of songs as well as lyrics without music, this book sheds valuable light on the poetic and musical knowledge of authors and their audiences, and on how poets and composers devised their works and engaged their readers or listeners. It presents fresh insights into when and in which milieus the classic Ars nova polyphonic chanson took root and flourished, and into the artistic networks of which Machaut formed a part. As Plumley reveals, old songs lingered alongside the new in the collective imagination well beyond what the written sources imply, reminding us of the continued importance of memory and orality in this age of increasing literacy. The first detailed study of citational practice in the French fourteenth-century song-writing tradition, The Art of Grafted Song will appeal to students and scholars of medieval French music and literature, cultural historians, and others interested in the historical and social context of music and poetry in the late Middle Ages.
Although author Yolanda J. Lomax had a successful thirty-two-year-career in the US Army, she longed for the mentorship of her sisters in arms who wore the ranks of sergeant through command sergeants major or lieutenant through general. She yearned for the opportunity to seek their professional advice, as well as have a sister to go to, just to share a personal moment. Lomax realized that as she rose through the ranks as a woman, it was lonely at the top. In Teach Encourage Empower Mentor (TEEM), she proposes a military female mentoring program to encourage sisters in arms to plant seeds, tend them as the roots take hold, emerge, and break through to reveal strong trees with branches. Lomax believes when women teach, encourage, empower, and mentor present and future military forces, it demonstrates that no weapon used against females can prosper. Teach Encourage Empower Mentor (TEEM) delivers the message that when women can set aside trivial bickering and display unity, they are truly a force to be reckoned with. It demonstrates that average females are capable of achieving exceptional results.
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