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Singing to Another Tune”: Contrafacture and Attribution in Troubadour Song

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Singing to Another Tune”: Contrafacture and Attribution in Troubadour Song “SINGING TO ANOTHER TUNE”: CONTRAFACTURE AND ATTRIBUTION IN TROUBADOUR SONG DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Billee A. Bonse, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Charles M. Atkinson, Adviser Professor Graeme Boone Adviser Professor Margaret Switten School of Music Professor Karen Winstead Copyright by Billee A. Bonse 2003 ABSTRACT This study borrows the quotation in its title, “Singing to another tune,” from Las Leys d’amors (The Laws of Love), a poetic treatise compiled by Guilhem Molinier in the first half of the fourteenth century. Guilhem’s phrase pertains to a compositional technique known to modern scholars as contrafacture, in which the troubadour fashions new lyrics after the poetic structure of a preexistent song, thereby allowing his work to be sung to that earlier melody. The technique of contrafacture is documented not only by Guilhem and other contemporaneous theorists, but also by the troubadours themselves, who on a number of occasions acknowledge composing a poem “el so de,” or “to the tune of” another composer. Both theory and practice demonstrate that structural imitation came to be most closely associated with several specific genres—including the sirventes (moralizing piece), tenso (debate song), coblas (song of few strophes), and planh (lament)—whose poetic structures were commonly modeled after those of the canso, the dominant genre of troubadour composition. Despite abundant structural indications of contrafacture within the troubadour repertoire, melodic traces of the practice are surprisingly scant. Confirmation of melodic borrowing depends upon the preservation of a model and its contrafactum with their concordant musical readings, yet the small proportion of surviving troubadour melodies ii (with only one in ten lyric texts transmitted with its tune) poses a significant impediment to melodic corroboration. Only three sirventes have been preserved with melodies that duplicate those of preexistent cansos. In the remaining instances in which a sirventes, tenso, or other imitative type is preserved with a melodic unicum, scholars of troubadour song have tended to maintain that, absent melodic corroboration, the tune must be presumed original rather than borrowed. In view of the sparseness of the musical record, however, one should give consideration to an alternate interpretation, namely that the tune preserved exclusively with a given troubadour’s sirventes and thereafter transmitted as his invention may actually have been borrowed from a preexistent canso whose melody is no longer extant in its original setting. Isolating viable structural models for such suspected contrafacta allows the possibility of reascribing potentially borrowed melodies to their original composers. The study of contrafacture can thus lead us to question the received attributions of a number of tunes, thereby posing a challenge to the readily made assumption that the manuscript rubrics consistently pertain to both text and melody. By examining several suspected cases of contrafacture within a web of relevant indices—e.g., generic norms, intertextual correlations, socio-historic context, rhetorical motivation, transmission, and melodic style—we shall gain greater insight into a compositional technique that indelibly marked the art of the troubadours. iii In fondest memory Hans-Erich Keller iv ACKNOWLEDGMENTS I wish to thank first and foremost my adviser, Charles M. Atkinson for his keen insights, meticulous readings, and continual enthusiasm throughout the many stages of this study. I also extend my gratitude to Professors Graeme Boone and Karen Winstead for providing me with their constructive comments regarding both the style and content of my document. My most sincere thanks are due to Margaret L. Switten for her gracious willingness to participate as a member of my dissertation committee; her expertise has proven invaluable to me in the refinement of both my methodology and argumentation. I would also like to thank the entire faculty and staff of the Department of Musicology for providing me with a supportive environment throughout my graduate career at The Ohio State University. This dissertation would not have been possible without the generous financial support of several parties: The Société Générale, whose year-long fellowship allowed me to pursue valuable research in Paris; Jack and Zoe Johnstone, whose generous award has helped me to cover numerous travel and research expenses during the past year; and finally, the Graduate School of The Ohio State University, whose Presidential Fellowship has allowed me to dedicate the past year to the writing of my dissertation. Finally, I offer my most heartfelt appreciation to my family and friends for their untiring encouragement throughout this process. v VITA 1 March 1970 . Born – Sioux Falls, South Dakota 1993 . B.A. French and Music History, University of Wisconsin – Madison 1994 – 2002 . Graduate Teaching and Research Associate, The Ohio State University 1997 . M.A. Musicology, The Ohio State University FIELDS OF STUDY Major Field: Music Certificate: Medieval and Renaissance Studies vi TABLE OF CONTENTS Page Abstract . ii Dedication . iv Acknowledgments . v Vita . vi List of Figures . ix List of Sigla for Cited Troubadour Manuscripts . xii List of Sigla for Cited Trouvère Manuscripts . .xiii A Note on Translation . .xiv Chapters: 1. Introduction . 1 2. Towards an understanding of genre and contrafacture: The treatises of troubadour lyric . 18 3. Imitation upon imitation: ‘To the tune of the lament on the Young King of England’. 80 4. Setting a sirventes to the tune of a canso: Peire Cardenal’s debt to Blacasset . 100 5. Bertran de Born and the trouvères: A melodic exchange with Conon de Béthune and Jehan Erart. 126 6. ‘El so de n’Alamanda’: Another melody by a woman troubadour? . .166 vii 7. Departing from convention with a borrowed tune: Guiraut Riquier’s Qui.m disses and a canso by a Guiraudo lo Ros. 199 8. Conclusion . 252 Appendices: A. Glossary of frequently cited terms in Old Occitan . 256 B. Thirteenth-century pieces designated as vers by their authors and their categorization in István Frank’s Répertoire métrique . 258 C. The evolution in the meaning of the term vers (circa 1100 – 1220) . 260 Bibliography . 267 viii LIST OF FIGURES Figure Page 1.1 The three pairs of melodically corroborated borrowings found within the troubadour repertoire, listed by model and contrafactum. 4 1.2 The Monk of Montaudon’s Mot m’enveya (PC 305.10), set “el so de la rassa” (Paris, Bibliothèque nationale, fonds français 22543, fol. 40r, detail) . .8 1.3 Melodically corroborated borrowings of troubadour tunes appearing in outside repertoires . 9 2.1 The sixteen genres as ordered in De doctrina de compondre dictats and their incidence in the troubadour repertoire . .35 2.2 Revision from Leys A to Leys C in the internal ordering of the principal genres, reflecting their ultimate worth in the Jeux floraux . 63 2.3 The principal genres as ordered in Leys A, and their incidence in the troubadour repertoire . 65 3.1 Peire Cardenal’s Aissi com hom plainh son fill o son paire (PC 335.2), said to be “en lo soo deu plant deu Rey juen dangleterre” (Paris, Bibliothèque nationale, fonds français 856, fol. 281v, detail) . 82 3.2 Illustration of the shared strophic structure of Bertran de Born’s Mon chan fenis ab dol et ab maltraire (PC 80.26) and Peire Cardenal’s Aissi com hom plainh son fill o son paire (PC 335.2) . 83 4.1 Peire Cardenal, Un sirventes novel vueill comensar (PC 335.67) . .105 4.2 Blacasset, Si.m fai amors ab fezel cor amar (PC 96.11) . .110 ix 4.3 The tune of Blacasset’s Ben volgra que.m venques merces (PC 96.2) . .120 4.4 The melody preserved with Peire Cardenal’s Un sirventes novel vueill comensar (PC 335.67) . .122 5.1 Bertran de Born, Pois als baros enoia en lur pesa (PC 80.33). 128 5.2 Bertran de Born, Ai Lemozis, francha terra cortesa (PC 80.1) . 129 5.3 Conon de Béthune, Mout me semont Amors ke je m’envoise (R 1837) . .130 5.4 Jehan Erart, Nus chanters mais le mien cuer ne leeche (R 485) . 147 5.5 Synoptic transcription of the three melodic variants set to Conon de Béthune’s Mout me semont Amors ke je m’envoise and Jehan Erart’s Nus chanters mais le mien cuer ne leeche . 152 5.6 A phrase-by-phrase comparison of the two versions of the melody preserved with Conon de Béthune’s Mout me semont Amors ke je m’envoise . .156 5.7 A phrase-by-phrase analysis of the melodic variant preserved with Jehan Erart’s Nus chanters mais mon cuer ne leeche . 157 5.8 The coblas esparsas of Bertran de Born . 161 6.1 The text and melody of the first strophe of S’ie.us quier consseill, bell’ami’Alamanda (PC 242.69), transmitted under Giraut de Borneil’s rubric (Paris Bibliothèque nationale, fonds français 22543, fol. 8r, detail). 168 6.2 Giraut de Borneil and Alamanda, S’ie.us quier consseill, bell’ami’Alamanda (PC 242.69) . 170 6.3 Map of Occitania. 180 6.4 The melody of Giraut de Borneil’s Leu chansonet’e vil (PC 242.45) . .190 6.5 The melody of Giraut de Borneil’s Non puesc sofrir c’a la dolor (PC 242.51) . 191 6.6 The melody preserved with S’ie.us quier consseill, bell’ami’ Alamanda (PC 242.69). .195 7.1 Guiraut Riquier, Qui.m disses, non a dos ans (PC 248.68) . 200 x 7.2 Guiraudo lo Ros, A la mia fe, Amors (PC 240.1) . 222 7.3 The categorization of Guiraut Riquier’s vers in modern scholarship. 237 7.4 The melody preserved with Guiraut Riquier’s Qui.m disses non a dos ans (PC 248.68) .
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