Scan 136
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
69 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Cuvelier d'Arras, Jehan le
3U. Günther: 'Die Anwendung der Diminution in der Handschrift Chantilly 1047', AMw, xvii (1960), 1
4– 'Zwei Balladen auf Bertrand und Olivier du Guesclin', MD, xxii (1968), 28, 44 [incl cdn and facs of En la saison]
6For further bibliography see FRANCE BIBLIOGRAPHY OF MUSIC TO 1600
8URSULA GÜNTHER
10Cuvelier d'Arras, Jehan le (fl c1240–70) French trouvère. He was perhaps the Johannes Cuvellarius of Bapaume (on the outskirts of Arras) cited in documents of 1258. His period of activity can in any case be determined: the chanson Pour la meillour is dedicated to Wagon Wion, who was échevin (sheriff) of Arras in 1265 and who died by January 1273. As respondent in nine jeux-partis and judge in six others, Cuvelier was familiar with many of the more important members of the Arras poetic circle, including Jehan Bretel, Jehan de Grueviler, Lambert Ferri and Adam de la Halle. Since Gamart de Vilers addressed Cuvelier as 'Sire', it would appear that he was a figure of importance
12With the exception of Pour la meillour, which is decasyllabic, Cuvelier's chansons courtoises favour heptasyllabic lines, often mixed with pentasyllabic or other lines. Amours est follows the pattern AA'BB'CC'DE. Otherwise, all chansons are cast in bar form. Generally some form of repetition or motivic play is present in the caudas. Cuvelier's predilection for plagal modes (except for J'ai une dame) is unusual. In half of the melodies the final is not a tone centre of primary importance. In the Chansonnier Cangé there are occasional hints of modal rhythms in Amours est, Mout me plaisent and Pour la meillour; and the disposition of ligatures in Anus et desesperance and Jolvetés also hints at times that a free use of modal rhythm may not be inappropriate
14WORKS
15Amours est une merveille, R 566, ed in Gennrich
16Anus et desesperance, R 214 (R Schwan sigillum see SOURCES, ms)
17J'ai une dame enamee, R 509
18Jolvetés et joencee, R 484
19Mout me plaisent a sentir, R 1455
20Pour la meillour qu'onques formast Nature, R 2108
22WORKS OF JOINT AUTHORSHIP
23Biais sire tresorier d'Aire, R 155 (proposed jointly by Jehan Bretel and Lambert Ferri to the Tresorier d'Aire and Cuvelier)
24Cuvelier, dites moi voir, R 1824 (proposed by Bretel)
25Cuvelier, et vous, Ferri, R 1042 (proposed by Bretel)
26Cuvelier, j'ain mieux que moi, R 1671 (proposed by Gamart de Vilers)
27Cuvelier, or i parra, R 8 (proposed by Bretel)
28Cuvelier, s'il est ainsi, R 1025 (proposed by Bretel)
29Cuvelier, un jugement, R 692 (proposed by Jehan de Grueviler)
30Cuvelier, vous amerés, R 909 (proposed by Bretel)
31Je vous demant, Cuvelier, espondes, R 928 (proposed by Bretel)
33BIBLIOGRAPHY
34A Långfors, A Jeanroy and L. Brandin Recueil général des jeux-partis français, Société des anciens textes français, 11 (Paris, 1926)
35F Gennrich Grundriss einer Formenlehre des mittelalterlichen Liedes (Halle, 1932)
37For further bibliography see TROUBAIDIORS, TROUVÈRES
38THEODORF: KARP
40Cuvelier, Charles (Louis Paul) (b Paris, 24 April 1877, d Paris, 14 Feb 1955). French composer. He studied at the Paris Conservatoire and with Fauré and Messager. He began writing for the popular theatre with Avant-hier matin (Paris, 20 Oct 1905), and several subsequent works had international success, particularly in Britain. Son petit frère (Paris, 10 April 1907, later as Laïs, ou La courtisane amoureuse; as Wild Geese, London, 12 Feb 1920); Afgar, ou Les plaisirs andalous (Paris, April 1909, London, 27 Sept 1919); La reine s'amuse (Marseilles, 31 Dec 1912, later as La reine joyeuse; as The Naughty Princess, London, Oct 1920); The Lilac Domino (New York, 28 Oct 1914, London, 21 Feb 1918) and Flora Bella (New York, Sept 1916)
42ANDREW LAMB
44Cuyler, Louise E(lvira) (b Omaha, Nebraska, 14 March 1908). American musicologist. Her first musical training was in Omaha, where, while still in high school, she appeared publicly as a violinist. She received the BM in violin from the Eastman School of Music in 1929. Since then she has been associated with the School of Music of the University of Michigan, where she taught theory and took the MM in theory and composition in 1933. After serving in the American Red Cross during World War II, she returned to the University of Michigan and at the same time resumed studies at the Eastman School, taking the PhD in musicology in 1948. At Michigan she became professor of music (1953) and director of the department of musicology (1957). In addition she served for over two decades as music critic for the Ann Arbor Daily News, retiring in 1971. She has lectured widely and has been visiting professor at the University of Washington in Seattle (1964), Stanford University (1965), Indiana University (1975) and the University of California at Santa Barbara (1976). In 1975 she was made Neilson Distinguished Professor of Smith College, Northampton, Massachusetts. Although her interests are wide, Cuyler is best known for her studies of the Franco-Flemish Renaissance and music in Germany during the Josquin period. In particular she has discussed the political use of the motet and the interaction of church and state in musical commissions
46WRITINGS
47The 'Choralis Constantinus Book III' of Heinrich Isaac (ca 1445–1517) (diss, U of Rochester, 1948)
48'The Sequences of Isaac's Choralis Constantinus', JAMS, iii (1950), 3
49'Mozart's Quartets Dedicated to Joseph Haydn: The Commonwealth of Music, in Honor of Curt Sachs' (New York, 1965), 293
50'Music in Biographies of Emperor Maximilian. Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese' (New York, 1966), 111
51'Musical Activity in Augsburg and her Annakirche ca 1470–1630', Cantors at the Crossroads: Essays on Church Music in Honor of Walter E. Buszin (St Louis, 1967), 33 one of two readings
52'Musical Activity in Augsburg and her Annakirche ca 1470-1630', Cantors at the Crossroads: Essays on Church Music in Honor of Walter E. Buszin (St Louis, 1967), 33 one of two readings
53'Georg Rhaw's Opus decem messuarum'. Renaissance-muziek 1400/1600 donum nataleum Rene Bernard Lenaerts (Louvain, 1969), 71
54'Tonal Exploitation in the Later Quartets of Joseph Haydn', Studies in Eighteenth-century Music: a Tribute to Karl Geiringer (New York and London, 1970), 136
55'The Imperial Motet as a Paraliturgical Type Barometer of Relations between Church and Empire', Conference on Medieval and Renaissance Religion Ann Arbor 1972
56The Emperor Maximilian I and Music (London, 1973)
57The Symphony (New York, 1973)
59EDITIONS
60Choralis Constantinus Book III (Ann Arbor, 1950)
61Five Polyphonic Masses by Heinrich Isaac (Ann Arbor, 1956)
63BIBLIOGRAPHY
64F. Borroff, ed Notations and Editions: a Book in Honor of Louise Cuyler (Dubuque, Iowa, 1974)
66EDITH BORROFF
68Cuypers [Kuypers, Kuppers], Johannes Theodorus (b Dornick, 14 Oct 1724; d The Hague, Sept 1808) Dutch violin maker. He became a burgher of The Hague in 1752, and worked there continuously for about 50 years. He was one of the first makers in northern Europe to work on the pattern of Stradivari, though his instruments are highly personal in character and easily
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