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Genre Issues in Troubadour Tensos and Partimens Kelli Mcqueen University of Wisconsin-Milwaukee

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Genre Issues in Troubadour Tensos and Partimens Kelli Mcqueen University of Wisconsin-Milwaukee University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2015 That's Debatable!: Genre Issues in Troubadour Tensos and Partimens Kelli McQueen University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Comparative Literature Commons, History Commons, and the Music Commons Recommended Citation McQueen, Kelli, "That's Debatable!: Genre Issues in Troubadour Tensos and Partimens" (2015). Theses and Dissertations. 819. https://dc.uwm.edu/etd/819 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THAT’S DEBATABLE!: GENRE ISSUES IN TROUBADOUR TENSOS AND PARTIMENS by Kelli McQueen A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2015 ABSTRACT THAT’S DEBATABLE!: GENRE ISSUES IN TROUBADOUR TENSOS AND PARTIMENS by Kelli McQueen The University of Wisconsin-Milwaukee, May 2015 Under the Supervision of Professor Mitchell P. Brauner The troubadour repertory consists of an elaborate complex of genres, some of which are dialogs that employ argumentation in the form of a debate or contest. The precise classification of these debate songs, especially the tenso and partimen genres, involves a measure of controversy that arose in the fourteenth century and continues today. Modern scholars in both literary and musical disciplines reference the dispute in their study of these songs, but largely gloss over the controversy to uphold the traditional parameters of their own disciplines. For literary scholars, this means treating these dialogs as lyric poetry, and musicologists tend to neglect this class of troubadour song because of the lack of extant musical notation. The goal of this study is to combine the literary and musical approaches with the concept of debate as a significant cultural force. The tenso and partimen genres participated in a culture of debate found in institutions such as the medieval university, and legal court systems. The troubadours drew upon topics such as the seven liberal arts, dialectical reasoning, law codes, and legal rhetoric as source material for the content of the debate songs. These topics also provide a foundation for understanding the context of the debate songs as a performative genre. In addition, I apply the techniques of poetic and musical analysis to two songs Amics Bernarz del Ventadorn, and S’ie·us qier conseill, bella amia Alamanda. ii TABLE OF CONTENTS ABSTRACT....................................................................................................................... ii TABLE OF CONTENTS.................................................................................................. iii LIST OF TABLES............................................................................................................. iv LIST OF MANUSCRIPTS................................................................................................. v ACKNOWLEDGEMENTS............................................................................................... vi INTRODUCTION ............................................................................................................. 1 CHAPTER I A DEFINITION OF TERMS................................................................. 8 CHAPTER II DEBATE AND THE MEDIEVAL UNIVERSITY............................. 30 CHAPTER III CANON LAW, CIVIL LAW, AND THE LAWS OF LOVE.............. 57 CHAPTER IV DEBATE SONGS AND THE LEGAL PROCESS.............................. 77 CHAPTER V SONG AND PERFORMANCE........................................................... 97 CONCLUDING THOUGHTS........................................................................................ 120 BIBLIOGRAPHY........................................................................................................... 122 APPENDIX: LYRICS Amics Bernarz del Ventadorn, PC 323.4.................................................... 128 S’ie·us qier conseill, bella amia Alamanda, PC 242.69................................129 TRANSCRIPTIONS Amics Bernarz del Ventadorn, PC 323.4.................................................... 131 S’ie·us qier conseill, bella amia Alamanda, PC 242.69............................... 132 iii LIST OF TABLES Table 1 Formal Structure of Amics Bernarz del Ventadorn Table 2 Formal Structure of S’ie·us qier conseill, bella amia Alamanda iv LIST OF MANUSCRIPTS A Rome, Vatican Latin 5232 B Paris, Bibliothèque Nationale, f.f. 1592 C Paris, Bibliothèque Nationale, f.f. 856 D Modena, Biblioteca Estense, !, R.4.4 E Paris, Bibliothèque Nationale, f.f. 1749 F Rome, Vatican Chigi, L.IV.106 Fª Florence, Biblioteca Riccardiana, 2981 G Milan, Biblioteca Ambrosia, S.P.4 H Rome, Vatican Latin, 3207 I Paris, Bibliothèque Nationale, 854 J Florence, Biblioteca Nazionale, Conv. Sopp., F.IV.776 K Paris, Bibliothèque Nationale, f.f. 12473 L Rome, Vatican Latin, 3206 M Paris, Bibliothèque Nationale, f.f. 12474 N New York, Pierpont Morgan, 819 O Rome, Vatican Latin, 3208 P Florence, Biblioteca Laurenziana, PI.XLI.42 Q Florence, Biblioteca Riccardiana, 2909 R Paris, Bibliothèque Nationale, f.f. 22543 S Oxford, Bodleian Library, Douce 269 T Paris, Bibliothèque Nationale, f.f. 15211 U Florence, Biblioteca Laurenziana, PI.XLI.43 V Venice, Biblioteca Marciana, 278 W Paris, Bibliothèque Nationale, f.f. 844 a Florence, Biblioteca Riccardiana, 2814 a" Modena, Bilbioteca Estense, Càmpori #.N.8.4; 11, 12, 13 d Modena, Bilbioteca Estense, annex to D f Paris, Bibliothèque Nationale, f.f. 12472 r Florence, Biblioteca Riccardiana, end leaves of MS 294 v ACKNOWLEDGEMENTS A heartfelt thanks to Dr. Mitchell Brauner for his enthusiasm and support. My thanks to Dr. Michelle Bolduc for sharing her love of Old Occitan texts. Many thanks to Dr. Timothy Miller for making decisions about quotes and readability. vi 1 INTRODUCTION I am perplexed to pass judgment between the two sides of the following love-debate: two ladies wanted for the sake of love to kiss the knight they both loved, and the one did not dare to do it but began to weep, whereas the other could not prevent herself from carrying out her heart’s desire. Tell me your opinion: which of them ought the beloved to approve more?1 Debate flourished in the High Middle Ages as a stylized practice of inquiry into the way the world functions. The form and content of these debates reflecte the supremacy of dialectical reasoning in university education, and its permeation into many areas of society, from legal practice to entertainment. Nowhere is this more apparent than the troubadour debate song genres known today as tenso and partimen. The goal of this study is to contextualize these genres of troubadour song within medieval debate culture. The troubadours—poet-composers and performers active in European courts during the twelfth through fourteenth centuries—wrote thousands of songs in the vernacular dialects of southern France.2 A small portion of these, approximately 157 out of 2,500 extant songs, are dialogs that employ argumentation in the form of a debate or contest. These courtly games afford a wealth of information about the lives of composers and performers of courtly music and about the noble class. Despite their small number, they cannot be easily placed into neat generic categories. The idea of genre is a useful tool for scholars, a way to organize and synthesize large repertories and their subsequent developments. In the case of the troubadour debate songs, however, this process is complicated by several factors, which are briefly mentioned, but largely glossed over, in the scholarly literature. In this study, I will examine different disciplinary approaches to 1 Ruth Harvey and Linda Paterson, The Troubadour Tensos and Partimens: A Critical Edition 2 Old Occitan is the primary vernacular language considered the most appropriate for love poetry during this period. 2 troubadour song in order to reassess the genres specifically relating to debate, and to propose broader social connections. More specifically, I am interested in the similarities between the troubadour lifestyle and that of university students and legal professionals, and how they all used performative arugmentation. Investigation into the methodologies of modern scholarship shows several unconnected approaches. The large repertory of the troubadours contains information useful in many disciplines, but it primarily concerns literary and musical scholars. Correspondence between these two disciplines is not as active as one might hope. Literary scholars focus on poetic qualities of troubadour songs (rhyme, meter, and versification) essentially isolating themselves from any musical implications. Thomas Kirby-Smith’s book, The Celestial Twins: Poetry and Music Through the Ages, represents the extreme of literary scholars who nod to music then immediately dismiss it. Even though the word music is present in his title, he does not treat it as an equally important entity in his book. Instead, he focuses on historic periods of literature as they led to the eventual separation of poetry from music. He writes, “My arguments both for the indebtedness to music and for the separation from it are naturalistic and evolutionary.”3 The problem with an evolutionary approach is that it starts with a modern conception of what the art form has become and reads
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