. . . . "30"^^ . . . . "n"@en . . . . . . . . "35"^^ . . . . "Pierre des Molins"@pt . . . . . . . . "Pierre des Molins foi um compositor franc\u00EAs do s\u00E9culo XIV, associado \u00E0 escola Ars subtilior da Ars nova. Quase nada se sabe sobre sua vida, exceto que trabalhou para Jo\u00E3o II de Fran\u00E7a. Provavelmente ele \u00E9 o cl\u00E9rigo Perotus de Molyno que esteve com o rei entre 1357 e 1359 em seu cativeiro na Inglaterra, e que depois foi despedido, voltando para a Fran\u00E7a. Somente duas de suas obras sobrevivem, preservadas no Codex de Chantilly: De ce fol pense e Amis tout dous vis. A primeira foi uma das obras mais populares de seu tempo, frequentemente copiada ou usada como moto para outras obras, e ainda \u00E9 uma das mais executadas do repert\u00F3rio Ars nova."@pt . . "Pierre des Molins (fl. derni\u00E8re moiti\u00E9 du XIVe si\u00E8cle) est un compositeur parisien du XIVe si\u00E8cle. Son nom est donn\u00E9 comme \u00AB P. des Molins \u00BB dans le Codex Chantilly et \u00AB Mulino \u00BB dans le codex, Paris, Bibl. Nat. MS ital. 568. Il est l'auteur de deux \u0153uvres, \u00E0 la fois parmi les plus transmises des pi\u00E8ces musicales du XIVe si\u00E8cle, notamment en Italie et dans les pays de langue allemande : la ballade De ce que fol pens\u00E9 et le rondeau Amis, tout dous [le] vis."@fr . . . "Pierre des Molins foi um compositor franc\u00EAs do s\u00E9culo XIV, associado \u00E0 escola Ars subtilior da Ars nova. Quase nada se sabe sobre sua vida, exceto que trabalhou para Jo\u00E3o II de Fran\u00E7a. Provavelmente ele \u00E9 o cl\u00E9rigo Perotus de Molyno que esteve com o rei entre 1357 e 1359 em seu cativeiro na Inglaterra, e que depois foi despedido, voltando para a Fran\u00E7a. Somente duas de suas obras sobrevivem, preservadas no Codex de Chantilly: De ce fol pense e Amis tout dous vis. A primeira foi uma das obras mais populares de seu tempo, frequentemente copiada ou usada como moto para outras obras, e ainda \u00E9 uma das mais executadas do repert\u00F3rio Ars nova."@pt . . . . . . . "200"^^ . . . . . . . . . . . . . "1124513221"^^ . . "14631"^^ . . . . . . . "Pierre des Molins"@fr . . "Pierre des Molins (fl. derni\u00E8re moiti\u00E9 du XIVe si\u00E8cle) est un compositeur parisien du XIVe si\u00E8cle. Son nom est donn\u00E9 comme \u00AB P. des Molins \u00BB dans le Codex Chantilly et \u00AB Mulino \u00BB dans le codex, Paris, Bibl. Nat. MS ital. 568. Il est l'auteur de deux \u0153uvres, \u00E0 la fois parmi les plus transmises des pi\u00E8ces musicales du XIVe si\u00E8cle, notamment en Italie et dans les pays de langue allemande : la ballade De ce que fol pens\u00E9 et le rondeau Amis, tout dous [le] vis."@fr . . . . "P. des Molins (fl.\u2009mid 14th century), probably Pierre des Molins, was a French composer-poet in the ars nova style of late medieval music. His two surviving compositions \u2013 the ballade De ce que fol pens\u00E9 and rondeau Amis, tout dous vis \u2013 were tremendously popular as they are among the most transmitted pieces of fourteenth-century music. The ballade is found in 12 medieval manuscript sources and featured in a c.\u20091420 tapestry; the rondeau is found in 8 sources and referenced by the Italian poet Simone de' Prodenzani. Along with Grimace, Jehan Vaillant and F. Andrieu, Molins was one of the post-Guillaume de Machaut generation whose music shows few distinctly ars subtilior features, leading scholars to recognize Molins's work as closer to the ars nova style of Machaut."@en . . . . . . . . . "45352344"^^ . . . . . . . . . . . . . . "P. des Molins"@en . . . . . . . . . . . . "P. des Molins"@en . . . . . . . . . "P. des Molins (fl.\u2009mid 14th century), probably Pierre des Molins, was a French composer-poet in the ars nova style of late medieval music. His two surviving compositions \u2013 the ballade De ce que fol pens\u00E9 and rondeau Amis, tout dous vis \u2013 were tremendously popular as they are among the most transmitted pieces of fourteenth-century music. The ballade is found in 12 medieval manuscript sources and featured in a c.\u20091420 tapestry; the rondeau is found in 8 sources and referenced by the Italian poet Simone de' Prodenzani. Along with Grimace, Jehan Vaillant and F. Andrieu, Molins was one of the post-Guillaume de Machaut generation whose music shows few distinctly ars subtilior features, leading scholars to recognize Molins's work as closer to the ars nova style of Machaut."@en . .