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A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography. -
Love and War: Troubadour Songs As Propaganda, Protest, and Politics in the Albigensian Crusade
Love and War: Troubadour Songs as Propaganda, Protest, and Politics in the Albigensian Crusade By Leslee Wood B.A., University of Utah, 2003 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. _________________________________________ Chair: Roberta Schwartz, PhD _________________________________________ Paul Laird, PhD _________________________________________ Bryan Kip Haaheim, DMA Date Defended: May 25, 2017 The thesis committee for Leslee Wood certifies that this is the approved version of the following thesis: Love and War: Troubadour Songs as Propaganda, Protest, and Politics in the Albigensian Crusade ___________________________________________ Chair: Roberta Schwartz, PhD Date approved: May 25, 2017 ii Abstract: From the eleventh through the thirteenth century, the troubadours flourished in the Occitan courts of southern France. As the artistic and political voices of their culture, these men and women were educated, creative, and well-placed to envoice the cultural and political events of their time. In 1208, Pope Innocent III launched the Albigensian Crusade against the pervasive Cathar sect, which had attracted followers from every stratum of Occitan society, including believers from the most important ruling families. For twenty years, the crusade decimated the region and destroyed the socio-political apparatus which had long supported, and been given voice by, the troubadours and trobairises. By the end of the war in 1229, the Occitan nobility were largely disinherited and disempowered, unable to support the kind of courtly estates to which they had been accustomed and in which the art de trobar had flourished. Many troubadours were involved both politically and militarily in the crusade and their lyric reactions include astute political commentaries, vigorous calls-to-arms, invectives against the corruption of the Catholic clergy and the French invaders, and laments for the loss of both individuals and institutions. -
Troubadours NEW GROVE
Troubadours, trouvères. Lyric poets or poet-musicians of France in the 12th and 13th centuries. It is customary to describe as troubadours those poets who worked in the south of France and wrote in Provençal, the langue d’oc , whereas the trouvères worked in the north of France and wrote in French, the langue d’oil . I. Troubadour poetry 1. Introduction. The troubadours were the earliest and most significant exponents of the arts of music and poetry in medieval Western vernacular culture. Their influence spread throughout the Middle Ages and beyond into French (the trouvères, see §II below), German, Italian, Spanish, English and other European languages. The first centre of troubadour song seems to have been Poitiers, but the main area extended from the Atlantic coast south of Bordeaux in the west, to the Alps bordering on Italy in the east. There were also ‘schools’ of troubadours in northern Italy itself and in Catalonia. Their influence, of course, spread much more widely. Pillet and Carstens (1933) named 460 troubadours; about 2600 of their poems survive, with melodies for roughly one in ten. The principal troubadours include AIMERIC DE PEGUILHAN ( c1190–c1221), ARNAUT DANIEL ( fl c1180–95), ARNAUT DE MAREUIL ( fl c1195), BERNART DE VENTADORN ( fl c1147–70), BERTRAN DE BORN ( fl c1159–95; d 1215), Cerveri de Girona ( fl c1259–85), FOLQUET DE MARSEILLE ( fl c1178–95; d 1231), GAUCELM FAIDIT ( fl c1172–1203), GUILLAUME IX , Duke of Aquitaine (1071–1126), GIRAUT DE BORNELH ( fl c1162–99), GUIRAUT RIQUIER ( fl c1254–92), JAUFRE RUDEL ( fl c1125–48), MARCABRU ( fl c1130–49), PEIRE D ’ALVERNHE ( fl c1149–68; d 1215), PEIRE CARDENAL ( fl c1205–72), PEIRE VIDAL ( fl c1183–c1204), PEIROL ( c1188–c1222), RAIMBAUT D ’AURENGA ( c1147–73), RAIMBAUT DE VAQEIRAS ( fl c1180–1205), RAIMON DE MIRAVAL ( fl c1191–c1229) and Sordello ( fl c1220–69; d 1269). -
Levitsky Dissertation
The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Anne Levitsky All rights reserved ABSTRACT The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky This dissertation explores the relationship of the act of singing to being a human in the lyric poetry of the troubadours, traveling poet-musicians who frequented the courts of contemporary southern France in the twelfth and early thirteenth centuries. In my dissertation, I demonstrate that the troubadours surpass traditionally-held perceptions of their corpus as one entirely engaged with themes of courtly romance and society, and argue that their lyric poetry instead both displays the influence of philosophical conceptions of sound, and critiques notions of personhood and sexuality privileged by grammarians, philosophers, and theologians. I examine a poetic device within troubadour songs that I term ‘personified song’—an occurrence in the lyric tradition where a performer turns toward the song he/she is about to finish singing and directly addresses it. This act lends the song the human capabilities of speech, motion, and agency. It is through the lens of the ‘personified song’ that I analyze this understudied facet of troubadour song. Chapter One argues that the location of personification in the poetic text interacts with the song’s melodic structure to affect the type of personification the song undergoes, while exploring the ways in which singing facilitates the creation of a body for the song. -
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography. -
MEDIEVAL and TUDOR SACRED and SECULAR MUSIC Some Select Recordings Compact Disc; Cassette Tape; (See Final Note Re Access)
MEDIEVAL AND TUDOR SACRED AND SECULAR MUSIC Some Select Recordings compact disc; cassette tape; (see final note re access) (1) CD 789.ANON 6 Gregorian Chant: Death and Resurrection; Chant for Good Friday, Easter Sunday, and Ascension Day, performed by the Choralscola of the Benedictine Abbey of Münsterschwarzach, dir. Fr. Godehard Joppich OSB (rec. 1981- 2); Archiv Galleria 427 120-2 (booklet with full texts, in Latin and English). See also survey articles on 'Gregorian and Old Roman Chant' and 'Gregorian Chant' in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie [Caian] (20 vols, London, 1980; also available online at: http://www.grovemusic.com), Vol. 7, pp. 693-7, 697-8 (Caius Lib.: Ref 780.3 G), and James McKinnon, 'The Emergence of Gregorian Chant in the Carolingian Era', in James McKinnon (ed.), Man & Music; Antiquity and the Middle Ages; From Ancient Greece to the 15th Century (Houndmills, 1990), Chap. IV (Caius Lib.: 780.9 M). The fullest and most technical account of this chant tradition and its historical evolution is Kenneth Levy, Gregorian Chant and the Carolingians (Princeton, 1998) (Caius Lib.: 782.3222 L); or see Richard Crocker and David Hiley (eds), The Early Middle Ages to 1300 (New Oxford History of Music, II; Oxford, 1990), Chap. IV (Caius Lib.: 780.9 NO). For detailed context and practice see also John Harper, The Forms and Orders of Western Liturgy, from the Tenth to the Eighteenth Century; A Historical Introduction and Guide for Students and Musicians (Oxford, 1991), Chap. 9 on 'Holy Week and Easter' (Caius Lib.: 264.02 H), and for insights into the relation of chant to conventionalised speech see John Stevens, Words and Music in the Middle Ages; Song, Narrative, Dance and Drama, 1050-1350 (Cambridge, 1986), pp. -
Latin Models of Authority and the Compilation of Troubadour Songbooks
Scribes and Singers: Latin Models of Authority and the Compilation of Troubadour Songbooks by Christopher J. Davis A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in The University of Michigan 2011 Doctoral Committee: Professor Peggy S. McCracken, Chair Professor Alison Cornish Professor Yopie Prins Professor Elizabeth L. Sears Associate Professor Catherine Brown Dedication For my parents, William Davis and Christina Tree ii Acknowledgements I would like to thank my chair, Peggy McCracken, for her patience, encouragement and support throughout this process. She has been, from start to finish, the ideal dissertation advisor. I also wish to thank Catherine Brown for coaching (both work and life) and for being a model of academic curiosity. I owe a debt of gratitude to the other members of my committee, Yopie Prins, Alison Cornish and Betsy Sears, for their generous feedback and support at every stage of this project. I would also like to thank the many friends who have read and commented on this dissertation, particularly Alan Itkin, Mira Seo, Ari Friedlander, Stephanie Elsky, Carrie Wood and Daniel Hershenzon. I am particularly grateful to Julen Etxabe and Monica Lopez for years of good conversation, and to my fellow Michigan medievalists, Maria Canal, Tom Maranda and Julie Human for their many observations. I am grateful to Emily Zinnemann for criticism of all kinds. I would also like to thank the fellows of the Michigan Humanities Institute for their contributions and comments. Finally, I wish to thank my family for their love and support, particularly my parents, William and Christina, and also Liam, Timothy, Yuko, Aki and Taiga, who was born in the same year as this dissertation. -
Syllabus MUS 3701 – MUSIC HISTORY I
MUS 3701 – MUSIC HISTORY I: ANTIQUITY-1800 FALL, 2018 Department of Music Section 01, MWF 9:55-10:45 Humanities Bldg., Rm. 235 Instructor Information Instructor: Dr. Molly M. Breckling Office: Humanities rm. 333 Office Phone: 678-839-2432 Office Hours: MW: 9:00-9:45, 11:00-12:00, 1:00-2:00 R: 12:30-5:00, F: 9:00-9:45 Email: [email protected] (ALWAYS TRY EMAIL FIRST!) Course Information Credit Hours: 3 Pre-requisites: MUSC 1302 and 1402, ENG 1101 and 1102, the ability to read musical scores. Any student who has not met the pre-requisite may not remain registered for this class. Required Materials: • Mark Evan Bonds. A History of Music in Western Culture, fourth edition. Pearson, 2013. • Mark Evan Bonds. Anthology of Scores for A History of Music in Western Culture, volume I: Antiquity through the Baroque Era, fourth edition. Pearson, 2013. • Mark Evan Bonds. Anthology of Scores for A History of Music in Western Culture, volume II: The Classical Era to the Present, fourth edition. Pearson, 2013. • One package of 3x5 white lined notecards All materials are available at campus bookstore. You will need to activate your UWG email account (if you have not already done so) and be able to access CourseDen. Course Description: This course is an exploration of Western classical music, from late antiquity through the eighteenth century. As a DSW offering, emphasis will be placed on writing as an integral part of the learning process. Student Learning Outcomes: Students must demonstrate: (1) an understanding of the history and development of musical style, performance, and composition between roughly 800 and 1800; (2) an understanding of music’s place as situated in a broader cultural context; (3) knowledge about specific composers, compositions, and musical practices of the time; (4) aural recognition of selected examples of music (5) the development of critical thinking skills as expressed in informal and formal writing. -
Medieval Authors Abbo of Fleury
Medieval Authors Abbo of Fleury (Floriacensis), c.945-1004 Abelard, Peter (Pierre), c.1079-1142 Adam of Bremen, c.1040-1081 Adam of Cobsam, fl.c.1462 Adam of Eynsham, fl.1196-1232 Adam of Perseigne, d.c.1208 Adela, Countess of Blois, Chartres, and Meaux, c.1062 -1137 Adelaide of Burgundy, Ottonian empress, 931-999 Adomnan of Iona, St., c.625-704 Adso of Montier-en-Der (Adso Deruensis), 10th cent. Aelfric Romanus, c. 955-1015 Aelfric, Abbot of Eynsham, c.955-1020 Aelred of Rievaulx, St., 1110-1167 Agnellus of Ravenna, St., c. 487-570 Agnes of Assisi, St., 1197-1253 Agnes of Poitiers, c.1020-1077 Agnes of Prague, St., 1200-1271 Al Hariri of Basrah, c.1054-1122 Alais, Trobairitz Alamanda, Trobairitz Alan of Lille (Alain de Lille, Alanus de Insulis), c.1120-1203 Alberta, Leon Battista, c.1404-1472 Albertano da Brescia, 13th cent. Albertus Magnus, St., c.1200-1280 Alcuin of York, c.730-804 Alexander III, Pope, 1105-1181 Alexander IV, Pope 1254-1261 Alexander of Telese, Abbot, 12th cent. Alexander V, Pope, c.1340-1410 Alexandre du Pont, 13th cent. Alfonsi, Petrus, c.1062-1110 Alfonso III the Great, c.838-911 Alfonso X the Learned, c.1221-1284 Alfred, King of England, 849-899 al-Ghazali, Abu Hamid, c.1058-1111 Alix (Adela) Of Champagne, c.1140-1206 Almaric, Guirad Almucs de Castelnau, Trobairitz Alnwick, William, c.1270-1333 Amadeus of Lausanne, St., c.1110-1159 Amalarius, Archbishop of Lyon, c.775-850 Ambroise, fl.1196 Ambrose, St., c.340-397 Andreas of Bergamo (Bergomatis), 9th cent. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Poetry in Motion: The Mobility of Lyrics and Languages in the European Middle Ages Murray, David Alexander Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 Poetry in Motion: The Mobility of Lyrics and Languages in the European Middle Ages David Alexander Murray King’s College London This dissertation is submitted for the degree of Doctor of Philosophy. -
Themalijst: U Zoekt Klassieke Muziek
Themalijst U zoekt… klassieke muziek Inhoud Inhoud U zoekt klassieke vormen en genres ? ...................................................................................................... 4 ZOEKEN OP AUTEUR ...................................................................................................................................... 6 ZOEKEN OP TITEL en aanverwante gegevens ................................................................................................ 6 ZOEKEN OP BEZETTING .................................................................................................................................. 8 Gecombineerd Zoeken .................................................................................................................................. 9 U zoekt Middeleeuwse Muziek ? ............................................................................................................. 10 RELIGIEUZE MUZIEK ..................................................................................................................................... 10 Parafonie of parallelle stemmen (vanaf de 9° eeuw) ...................................................................................... 10 Organum-stijl (1180-1230) .............................................................................................................................. 11 Ars Antiqua (1230-1320) ................................................................................................................................. 11 Ars Nova (1320-1420) -
Origins of Western Music 450 – 1300 a Short Study in the Major Developments of Medieval Music by Tristan D’Avignon
Origins of Western Music 450 – 1300 A short study in the major developments of medieval music by Tristan d’Avignon Contents Introduction 5 The Origins of Plainchant 5 The Eight Church Modes 6 Early Medieval Music Theory 6 The Developments of Guido d’Arezzo 7 Melodic Composition of Chant Music 8 Medieval Musical Notation Cheironomic Neumes 8 Square Neumes 9 Franconian Notation 12 Musical Pioneers Notker Balbulus 12 Duke William IX of Aquitaine 13 Hildegard von Bingen 14 Pérotin 15 The Chansons de Geste and the Song of Roland 16 The Troubadours and Trouvères 17 Conclusion 18 Musical Appendix * 19 © 2007 Tristan d’Avignon. Freely distributable for the purposes of the SCA. All images and examples shown in this paper are either available in the public domain, or created with Finale 2006. This paper is available online at: http://stdionysius.sca.org.nz/collegeprojects/westernmusic.html . * The musical appendix is available as a separate download on the page shown above. Origins of Western Music 450 – 1300 A&S Class, As Presented At Canterbury Faire 2007 Tristan d’Avignon INTRODUCTION For the purposes of this class, we are studying the music of the Middle Ages, being the period between the Classical era and the Renaissance. The modern term “Middle Ages” is derived from the humanist Latin “medium aevum”, which was a derogatory term for the 1000 years after the fall of the Roman Empire. But despite this, the musical theorists of the period made substantial progress in the practices of documenting and preserving music, and giving it a theoretical grounding. The first notation systems were developed during this period, and enhanced to the point where they may be read and understood by today’s musicians, though many of today’s conventions are not present here.