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Reading Questions
Music 331 – Burkholder (10th edition) Reading Questions Free Advice: Begin by reading each chapter without the questions at hand. Next, read each question and begin to reread the chapter, jotting down your answers as you find the information you need. Part I: The Ancient and Medieval Worlds—Chapter 1: Music in Antiquity 1. What are the four historical traces of music from past eras? 2. What two categories of musical evidence survive from the Stone Age? 3. On what occasions did the Mesopotamians perform music? (name 4) 4. What genre did the earliest known composer write, and what might be surprising about that composer? 5. When did Babylonians begin to write down aspects of music, and what did they record? 6. What is the date of earliest known (nearly) complete piece, and what genre is it? 7. Which three instruments were most important to the ancient Greeks, & what “trace” evidence survives? 8. In what two categories did the Greeks write about music? 9. For the Greeks (not Plato), what did harmonia mean, and what did it encompass? 10. What is ethos, and how does music relate to it? 11. Which harmoniai did Plato endorse, and why? 12. Why would Aristotle have been unhappy if his son wanted to appear on American Idol or The Voice? 13. What is a tetrachord, and what are its three genera? 14. What did the word “species” mean to Cleonides (and who was he)? 15. How much ancient Greek music survives, spanning what centuries? 16. What is the Proslambanomenos of the Iastian tonos? (You can figure this out by using the tonos information on p. -
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. -
Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Universität Institut Für Musikwissenschaft Th
Abschlussarbeit zur Erlangung der Magistra Artium im Fachbereich 9 der Goethe - Universität Institut für Musikwissenschaft Thema: Das Frauenlied im Mittelalter – Homogene Gattung oder unpräziser Überbegriff 1. Gutachterin: Dr. phil. Dipl.-Ing. Britta Schulmeyer 2. Gutachter: Dr. René Michaelsen vorgelegt von: Ann Becker aus: Mainz Einreichungsdatum: 25.10.2016 Inhaltsverzeichnis 1. Einleitung 1.1. Fragestellung………………………………………………………………………1 1.2. Voraussetzungen und Problematiken……………………………………………...2 1.3. Vorgehensweise…………………………………………………………………...5 2. Hauptteil 2.1. Okzitanische Chansons de femme 2.1.1. Geographische und zeitliche Einordnung………………………………….6 2.1.2. Ausgewählte Quellen der Lieder 2.1.2.1. Die Handschrift N – New York, Pierpont Morgan Library, 819……...9 2.1.2.2. Die Handschrift K – Paris, BN, fr. 12473……………………………10 2.1.3. Gattungsanalyse 2.1.3.1. Der Canso……………………………………………………………10 2.1.3.2. Die Planh…………………………………………………………….13 2.1.3.3. Das Chanson de malmariée…………………………………………..15 2.1.3.4. Die Balada…………………………………………………………...16 2.1.3.5. Das Chanson de croisade…………………………………………….18 2.1.3.6. Die Tenso…………………………………………………………….19 2.1.3.7. Sonderfall – Altas undas que venez………………………………….22 2.1.4. Literarischer Vergleich…………………………………………………...23 2.1.5. Musikalische Analyse…………………………………………………….24 2.2.Altfranzösische Chansons de femme 2.2.1. Geographische und zeitliche Einordnung………………………………...28 2.2.2. Ausgewählte Quellen der Lieder 2.2.2.1. Der Chansonnier Francais de Saint-Germain-Des-Pres……………...29 2.2.2.2. Der Chansonnier du Roi……………………………………………..29 2.2.3. Gattungsanalyse 2.2.3.1. Das Chanson d’amour………………………………………………..30 2.2.3.2. Das Chanson d’ami…………………………………………………..31 2.2.3.3. Die Plainte……………………………………………………………33 2.2.3.4. -
De Vulgari Eloquentia
The De vulgari eloquentia, written by Dante in the early years of the fourteenth century, is the only known work of medieval literary theory to have been produced by a practising poet, and the first to assert the intrinsic superiority of living, vernacular languages over Latin. Its opening consideration of language as a sign-system includes foreshadowings of twentieth-century semiotics, and later sections contain the first serious effort at literary criticism based on close ana- lytical reading since the classical era. Steven Botterill here offers an accurate Latin text and a readable English translation of the treatise, together with notes and introductory material, thus making available a work which is relevant not only to Dante's poetry and the history of Italian literature, but to our whole understanding of late medieval poetics, linguistics and literary practice. Cambridge Medieval Classics General editor PETER DRONKE, FBA Professor of Medieval Latin Literature, University of Cambridge This series is designed to provide bilingual editions of medieval Latin and Greek works of prose, poetry, and drama dating from the period c. 350 - c. 1350. The original texts are offered on left-hand pages, with facing-page versions in lively modern English, newly translated for the series. There are introductions, and explanatory and textual notes. The Cambridge Medieval Classics series allows access, often for the first time, to out- standing writing of the Middle Ages, with an emphasis on texts that are representative of key literary traditions and which offer penetrating insights into the culture of med- ieval Europe. Medieval politics, society, humour, and religion are all represented in the range of editions produced here. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Aimer Hors Chant : Réinvention De L'amour Et Invention Du "Roman"
Gingras, Francis, « Aimer hors chant : réinvention de l’amour et invention du "roman" », Intermédialités : histoire et théorie des arts, des lettres et des techniques / Intermediality: History and Theory of the Arts, Literature and Technologies, n° 4, 2004, p. 18-43. Le regard de Narcisse, tapisserie réalisée en France ou dans le sud des Pays-Bays, vers 1500, Boston, Museum of Fine Arts, dans Michael Camille, The Medieval Art of Love: Objects and Subjects of Desire, New York, Harry N. Abrams, Inc., Publishers, 1998, p. 46. Aimer hors chant : réinvention de l’amour et invention du « roman » F RANCIS GINGRAS 19 ’amour, tel qu’on le conçoit en Occident, peut aisément passer pour une L invention du Moyen Âge. Avec le développement d’une poésie en langue vernaculaire (et non plus en latin), les premiers troubadours ont proposé un nouvel art d’aimer qui est aussi — et peut-être surtout — un nouvel art d’écrire. Cette nouvelle écriture du désir doit s’entendre dans sa double dimension poétique et musicale, sachant que l’essence même de cet art d’aimer est moins de fonder une érotique nouvelle que de renouveler la poétique du désir1. Le désir de la Dame et le désir du chant se ressourcent ainsi l’un à l’autre et la volonté de préserver le désir devient désir de pérenniser le poème. Ni pure émanation mystique, ni femme authentique, la Dame des troubadours est essentiellement une figure de mots. Elle n’a de réalité que dans le discours de l’amant-poète qui vénère en elle sa propre chanson2. -
Alfred JEANROY LA POESIE LYRIQUE DES TROUBADOURS
Alfred JEANROY Membre de l’Institut Professeur à l’Université de Paris LA POESIE LYRIQUE DES TROUBADOURS TOME II Histoire interne. Les genres: leur évolution et leurs plus notables représentants 1934 DEUXIEME PARTIE - HISTOIRE INTERNE Les Genres Poétiques et leurs Principaux Représentants CHAPITRE I LE PLUS ANCIEN DES TROUBADOURS: GUILLAUME IX, DUC D'AQUITAINE I. vie et caractère de Guillaume IX. II. Ses poésies jongleresques. III. Ses poésies courtoises. Existait-il avant lui une tradition poétique? I Les œuvres de Guillaume IX sont les plus anciens vers lyriques qui aient été écrits dans une langue moderne: par une chance exceptionnelle, nous connaissons, avec une suffisante précision, le caractère et la vie de l'auteur. Saisissons donc avec empressement cette occasion de confronter l'homme et l'œuvre. Né en 1071, il avait hérité, à seize ans, d'immenses domaines, plus étendus que ceux du roi de France lui-même. La nature l'avait comblé de ses dons: il était beau et brave, nous disent ses contemporains (1), gai et spirituel, ses œuvres nous l'attestent. Mais c'était un esprit fantasque, un brouillon, incapable de desseins suivis. Aussi son règne ne fut-il qu'une succession d'entreprises mal conçues et vouées à l'échec: en 1098, pendant que Raimon de Saint-Gilles, son beau-frère, était à la croisade, il tenta sur le Toulousain un coup de main qui ne lui rapporta rien et ne lui fit pas honneur. En 1101 il se croisa à son tour et conduisit en Terre Sainte une immense armée qui fondit en route, et dont les restes furent détruits par les Sarrasins dans les plaines de l'Asie mineure. -
Songs in Fixed Forms
Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain. -
The Troubadours
The Troubadours H.J. Chaytor The Project Gutenberg EBook of The Troubadours, by H.J. Chaytor This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Troubadours Author: H.J. Chaytor Release Date: May 27, 2004 [EBook #12456] Language: English and French Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE TROUBADOURS *** Produced by Ted Garvin, Renald Levesque and the Online Distributed Proofreading Team. THE TROUBADOURS BY REV. H.J. CHAYTOR, M.A. AUTHOR OF "THE TROUBADOURS OF DANTE" ETC. Cambridge: at the University Press 1912 _With the exception of the coat of arms at the foot, the design on the title page is a reproduction of one used by the earliest known Cambridge printer, John Siberch, 1521_ PREFACE This book, it is hoped, may serve as an introduction to the literature of the Troubadours for readers who have no detailed or scientific knowledge of the subject. I have, therefore, chosen for treatment the Troubadours who are most famous or who display characteristics useful for the purpose of this book. Students who desire to pursue the subject will find further help in the works mentioned in the bibliography. The latter does not profess to be exhaustive, but I hope nothing of real importance has been omitted. H.J. CHAYTOR. THE COLLEGE, PLYMOUTH, March 1912. CONTENTS PREFACE CHAP. I. INTRODUCTORY II. -
The Descending Diminished 7Ths in the Brass in the Intro
VCFA TALK ON ELLINGTON COMPOSITION TECHNIQUES FEB.2017 A.JAFFE 1.) Clarinet Lament [1936] (New Orleans references) https://www.youtube.com/watch?v=FS92-mCewJ4 (3:14) Compositional Techniques: ABC ‘dialectical’ Sonata/Allegro type of form; where C = elements of A + B combined; Diminution (the way in which the “Basin St. Blues” chord progression is presented in shorter rhythmic values each time it appears); play chord progression Quoting with a purpose (aka ‘signifying’ – see also Henry Louis Gates) 2.) Lightnin’ [1932] (‘Chorus’ form); reliance on distinctively individual voices (like “Tricky Sam” Nanton on trombone) – importance of the compositional uses of such voices who were acquired by Duke by accretion were an important element of his ‘sonic signature’ – the opposite of classical music where sonic conformity in sound is more the rule in choosing players for ensembles. https://www.youtube.com/watch?v=3XlcWbmQYmA (3:07) Techniques: It’s all about the minor third (see also discussion of “Tone Parallel to Harlem”) Motivic Development (in this case the minor 3rd; both harmonically and melodically pervasive) The descending diminished 7ths in the Brass in the Intro: The ascending minor third motif of the theme: The extended (“b9”) background harmony in the Saxophones, reiterating the diminished 7th chord from the introduction: Harmonic AND melodic implications of the motif Early use of the octatonic scale (implied at the modulation -- @ 2:29): Delay of resolution to the tonic chord until ms. 31 of 32 bar form (prefigures Monk, “Ask Me Now”, among others, but decades earlier). 3.) KoKo [1940]; A tour de force of motivic development, in this case rhythmic; speculated to be related to Beethoven’s 5th (Rattenbury, p.