DOCSLIB.ORG

The Cantigas of Pero Meogo Edited with Introduction and Commentary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Cantigas of Pero Meogo Edited with Introduction and Commentary The Cantigas of Pero Meogo Edited with Introduction and Commentary Rip Cohen The John Hopkins University 2014 The Cantigas of Pero Meogo Cohen Table of Contents Preliminary Note ........................................................................................................................... 2 Introduction ................................................................................................................................... 5 Synopses ....................................................................................................................................... 15 Text and Commentary ................................................................................................................ 16 1. O meu amig’, a que preito talhei.................................................................................. 17 2. Por mui fremosa, que sanhuda estou .......................................................................... 22 3. – Tal vai o meu amigo, con amor que lh’ eu dei ........................................................ 31 4. Ai cervas do monte, vin vos preguntar ....................................................................... 38 5. <Levou s’ aa alva>, levou s’ a velida ........................................................................... 41 6. Enas verdes ervas ........................................................................................................... 49 7. Preguntar vos quer’ eu, madre ..................................................................................... 55 8. Fostes, filha, eno bailar .................................................................................................. 59 9. – Digades, filha, mha filha velida ................................................................................ 66 Appendix 1: Serbian Material.................................................................................................... 71 Appendix 2: Origins and Development of the Cantiga d’amigo; Sequences ........................ 74 Figure 1: Distribution of the Image of the Stag at the Fountain .................................................. 78 Appendix 3: Words Not Found Elsewhere in the Genre ...................................................... 80 Manuscripts and Works Cited .................................................................................................. 81 Preliminary Note This new edition of the cantigas d’amigo of Pero Meogo presents for the first time a full philological commentary on these poems.1 The text and critical apparatus, as well as the metrical analysis and translation, have been revised somewhat since Cohen 2013c. In the text of Meogo (but not in the citation of other texts) instances of elision and aphaeresis are marked by an underline: fonte_u (= font’ u); sanhuda_estou (= sanhuda ’stou). All inter-verbal vocalic encounters not marked in this way are cases of hiatus. Angle brackets are used for additions and for refrains copied incompletely after the first strophe. In the analysis of verses with cola, the inner colon boundary is signaled by the sign |. 1 Cantares d’amigo is equally valid. On philological method, see Stegagno Picchio 1982. Texts (sometimes modified) and numbering of other cantigas d’amigo, as well as the poets’ names, are taken from Cohen 2003 (but Martin de Gĩizo [for Giinzo]). Punctuation has been altered and tils have been added where historical phonology predicts them and 13th century manuscripts of the lyric provide them. Given Mettmann’s odd numeration, references to CSM are to strophes, not verses. [This project was carried out under the aegis of The Johns Hopkins University with a research grant from the Calouste Gulbenkian Foundation. Thanks to Mariña Arbor Aldea, Rachele Fassanelli, Manuel Ferreiro, Yara Frateschi Vieira, Robert A. Kaster, Pär Larson, Harvey Sharrer, Djordjina Trubarac and Michael Weiss for corrections and comments.] 2 © 2014 Virtual Center for the Study of Galician-Portuguese Lyric The Cantigas of Pero Meogo Cohen Photographs of the manuscripts are furnished by Canettieri and Longo (with transcriptions and other materials) and by Lopes and Ferreira. Bibliography can be found at the BITAGAP site. Other electronic resources are mentioned in the commentary. The texts of Meogo begin in B on folio 252r (no. 1184) and end on folio 253v (no. 1192); in V they begin on folio 124r (no. 789) and continue to folio 125v (no. 797). They are preceded by the cantigas d’amigo of Juião Bolseiro and Martin Campina and followed by texts in the same genre by Martin de Caldas and Nuno Treez, appearing in a compilation of Galician jograres (Oliveira 1994: 199-205) whose internal structure remains unclear. These nine cantigas were published in the paleographic edition of the Vatican codex by Monaci (1875) and subsequently edited by Braga (1878), Bell (1922), Nunes (1926-1928), Machado and Machado (1949-1964), Mendez Ferrín (1966), Azevedo Filho (1974) and Cohen (2003, 2013). For information and bibliography on the manuscript tradition and previous editions, see Cohen 2003: 31-37. Almost nothing can be said about the life of Meogo (or Moogo). Recently Souto Cabo (2012: 280-281, 291) published a document from the Cathedral of Santiago de Compostela dated 1260, where “Petrus Moogus, clericus de Sancto Simeone” is a witness along with, apparently, another poet-clericus, Sancho Sanchez. If, as seems likely, this is our poet, he was a priest in the parish of San Simón de Ons de Cacheira, near Compostela. But he would have been active well before 1260––perhaps by the 1230s, if Johan Soarez Coelho imitates him.2 In relation to these songs, a word on methods of interpretation is in order. Aiming to elucidate “the methodological assumptions that structure the discourse of philology,” Glenn Most (1994: 133) says that “at least three principles and two canons of evidence tend to guide interpretation.” The first and most important principle is: “Economy of consumption: of two interpretations, the one that makes thriftier use of the text at hand, subsuming more of it as argumentative evidence and wasting less of it as irrelevant or counterproductive, is preferable.” The second principle Most calls “Economy of expense: of two interpretations, the one that adds fewer ad hoc hypotheses to the necessary minimum is preferable.” And the third is labeled the “Economy of scope: of two interpretations, the one that can be applied to a wider range of texts or problems beyond the one in question without producing trivial results is preferable. A coherent interpretation of a text which results in that text’s becoming anomalous within its author’s oeuvre, or an author anomalous within his culture, is suspect.” The two canons of evidence are: “Parallelism: a hypothesis’ plausibility is thought to be strengthened by parallels and weakened by their lack;” and “Centripetality: The closer to the text the parallel or other supportive evidence is, the greater its explanatory power is thought to 2 See notes on fremosa and sanhuda at 2.1; on del rei at 3.2, 4; on velida at 4.3, 6; and at 5.2 lavar; 6.7 elos; 6.11 garcetas. Johan Soarez Coelho is documented from 1235 (Ron Fernández 2005: 154-158). 3 © 2014 Virtual Center for the Study of Galician-Portuguese Lyric The Cantigas of Pero Meogo Cohen be…” The ranking would be: a text by the same author in the same genre; by another author in the same genre; by the same author in another genre; by another author in another genre; and so forth. A parallel from another language, period or culture would carry less weight. And what Most says about Classical philology should hold for medieval Romance philology as well. The application of these principles and canons does not (Most concedes) guarantee the correctness of an interpretation, but one that ignores them is more likely to go astray. And this is what sometimes occurs in studies on Pero Meogo.3 With their focus on symbolism, they use select parts of the text, leaving the rest largely out of the discussion.4 Some readings supply numerous ad hoc suppositions for which there is no warrant in the text and they have little bearing on other cantigas d’amigo, since are no stags elsewhere in the genre and a fountain appears in only two other poems. Still, the motif of a girl who tells her mother, as an alibi for a tryst, that a stag stirred up the water is such an extreme rarity in European poetry and folklore (Meogo 9 is one of two examples) that philologists and anthropologists have naturally sought parallels in other languages, periods and cultures. Some of that work is unquestionably relevant to the interpretation of these texts and has been taken into account, but here the songs of Pero Meogo are handled as cantigas d’amigo. I summarize scholarly consensus on symbols, argue the case for ritual language (but not for any magical, religious, mythical, or cosmological meaning), and cite two extraordinary parallels from Serbian oral poetry (one, from a ballad, is the only other example of the motif mentioned above; the other, a ritual song, clarifies the language of the ballad and is a close match for Meogo 5; see Appendix 1). But with those exceptions, parallel passages are drawn almost entirely from the cantigas d’amigo and few are taken from outside Galician-Portuguese lyric. My aim here is to elucidate the poetics of these songs in the context of this genre. 3 The thorough review of bibliography on the poems of Pero Meogo (and on diverse interpretations of their symbolism) by Trubarac (2011: 30-167) has spared me
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • El Corpus Medieval De La Lírica Popular Catalana Con Voz Femenina*
    EL CORPUS MEDIEVAL DE LA LÍRICA POPULAR CATALANA CON VOZ FEMENINA* Rafael M. Mérida Jiménez [email protected] Universitat de Lleida 1. Contextos críticos A lo largo de la segunda mitad del siglo xx, las investigaciones dedicadas a la cultura literaria en la Europa medieval han ido re- cuperando y vindicando el legado de nuestras antepasadas, escasa- mente valorado hasta entonces. En especial desde las disciplinas his- toriográficas y filológicas, el estudio sobre las mujeres de aquellas centurias ha ido ampliando nuestro conocimiento y ha favorecido el desarrollo de nuevas aproximaciones que han enriquecido los mode- los interpretativos para una mejor comprensión de la multiplicidad de papeles que interpretaban. En la actualidad, podemos afirmar que sabemos mucho más de ellas que hace relativamente poco tiempo, sobre sus actividades y representaciones, sobre los espacios socia- les y políticos que ocupaban o sobre su creatividad, según demues- tra implícitamente, por ejemplo, un repertorio bibliográfico en tor- no al espacio ibérico medieval1. A nadie debe sorprender que haya sido desde perspectivas directa o indirectamente inspiradas por el feminismo que más se haya trabajado para explorar este territorio menospreciado por cierta crítica; Alan Deyermond casi iniciaba su ponencia para el congreso de la Asociación Hispánica de Literatura Medieval celebrado en Granada (1993) afirmando: Hace poco más de veinte años pareció excéntrico, hasta perverso, el dedicar un espacio mínimo a las autoras medievales castellanas: Antonio Antelo, reseñando la edición inglesa de mi historia de la literatura medieval, se quejó del espacio concedido a dichas autoras, cuando se podría dedicar a un estudio más amplio de autores realmente importantes (todos masculinos, desde luego)2.
    [Show full text]
  • Dipartimento Di Filologia, Letteratura E Linguistica
    DIPARTIMENTO DI FILOLOGIA, LETTERATURA E LINGUISTICA CORSO DI LAUREA MAGISTRALE IN LETTERATURE E FILOLOGIE EUROPEE TESI DI LAUREA L’Io Femminile nella Letteratura Romanza Medievale CANDIDATA RELATORE Hannah Bianca Schiavano Prof. Fabrizio Cigni CONTRORELATORE Prof.ssa Maria Grazia Capusso ANNO ACCADEMICO 2015/2016 Ad Andrea Indice 1 Introduzione................................................................................................................5 1.1 Definizione del campo e obiettivi....................................................................5 1.2 Gli studi recenti...................................................................................................7 2 La donna nel Medioevo...........................................................................................13 2.1 Giudizi e teorie del passato.............................................................................13 2.2 Istituzione familiare, patrimoniale e giuridica.............................................15 2.3 Lo spazio femminile.........................................................................................17 2.4 Educazione e formazione...............................................................................19 2.5 Mecenatismo.....................................................................................................21 2.6 L'approccio alla scrittura: il caso di Maria di Francia.................................24 3 Canzone di donna in lingua d'oc............................................................................27
    [Show full text]
  • Parodia Y Debate Metaliterarios En La Edad Media
    www.ahlm.es Mercedes Brea, Esther Corral Díaz, Miguel A. Pousada Cruz (eds.) Parodia y debate metaliterarios en la Edad Media Edizioni dell'Orso Alessandria www.ahlm.es ©2013 Copyright by Edizioni dell'Orso s.r.l. 15121 Alessandria, via Rattazzi 47 Tel. 0131.252349 - Fax 0131.257567 E-mail: [email protected] http: //www.ediorso.it Impaginazione a cura di Francesca Gattina E vietata la ripmduzione, anche parziale, non autorizzata, con qualsiasi mezzo effettuata, com- presa la fotocopia, anche a uso interno e didattico. L'illecito sarà penalmente perseguibile a norma dell'art. 171 della Legge n. 633 del 22.04.1941 ISBN 978-88-6274-497-3 www.ahlm.es A dialéctica do trobar na lírica románica medieval, con especial atención á lírica galego-portuguesa* ESTHER CORRAL DÍAZ Universidade de Santiago de Compostela 1. O diálogo na lírica románica medieval Linda Paterson, cando estuda os xéneros dialogados na lírica occitana, afirma que "toute la poesie des troubadours est une poésie de dialogue".' Efectivamen- te, o diálogo está presente baixo diferentes formas na lírica. En concreto, na líri- ca galego-portuguesa obsérvase que na cantiga de amigo a súa frecuencia aproxí- mase a un 10% do corpus^ constituíndo unha fórmula estética do código.' Os con- textos nos que se insire son variados: a amiga que conversa en discurso directo co * Este traballo enmárcase ñas actividades dos proxectos de investigación: El debate metaliterario en la lírica románica medieval (FFI2011-26785), financiado polo Ministe- rio de Economía y Competitividad, e Os xéneros dialogados na lírica galego-portuguesa (PGIDIT INCITE09 204 068 PR), financiado pola Xunta de Galicia.
    [Show full text]
  • Las Formas Con Estribillo En La Lírica Oral Del Medioevo
    LAS FORMAS CON ESTRIBILLO EN LA LÍRICA ORAL DEL MEDIOEVO Vicenç BELTRAN Universitat de Barcelona^ Abstract This essay analyses the musical and stanza forms pertaining to the most archaic poetical categories to be found in the romance languages, in relation to the Medieval oral tradition and to non-cortes literary texts. Recourse to the "zejel", apart from its obvious Arabic origins, can be traced in Provencal to the pre-troubadour period ("Laissatz estar lo gazel"), and the first known instances of "rotrouenge" appeared in the X century in the Alba de Fleury, and the "rondeau", in its simplest form (strophic verses alternating with a refrain), appeared in the works of the writer Hilario el Inglés, a disciple of Abelardo. All the latter refer to hybrid texts, either in Latin (Arabic, where "moaxajas" are concerned) or some early romance tongue or other, which is difficult to identify at times; however, there is no doubt that we can plainly discern the essential traits of what these forms would resemble during the troubadour period and throughout the whole of the Lower Middle Ages. Resum En este trabajo se estudian las formas estróficas y musicales de los géneros poéticos más arcaicos en las letras romances, vinculados a la tradición oral del Medioevo y a registros literarios no corteses. El zéjel, además de sus conocidos precedentes árabes, remonta en provenzal al período pretrovadoresco ("Laissatz estar lo gazel"), el ejemplo más antiguo de rotrouenge remonta hasta el siglo X en el Alba de Fleury y el rondeau, en su forma más simple (versos de estrofa que alter­ nan con versos de estribillo) aparece en la obra del escritor Hilario el Inglés, discípulo de Abelardo.
    [Show full text]
  • Tese O Amor Pela Forma No Cancioneiro Geral De Garcia De
    UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS CLÁSSICAS E VERNÁCULAS PROGRAMA DE PÓS-GRADUAÇÃO EM LITERATURA PORTUGUESA O AMOR PELA FORMA NO CANCIONEIRO GERAL DE GARCIA DE RESENDE Geraldo Augusto Fernandes [email protected] São Paulo 2011 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS CLÁSSICAS E VERNÁCULAS PROGRAMA DE PÓS-GRADUAÇÃO EM LITERATURA PORTUGUESA O AMOR PELA FORMA NO CANCIONEIRO GERAL DE GARCIA DE RESENDE Geraldo Augusto Fernandes Tese apresentada ao Programa de Pós-Graduação em Literatura Portuguesa, do Departamento de Letras Clássicas e Vernáculas da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para obtenção do título de Doutor em Literatura Portuguesa Orientadora: Profª Drª Lênia Márcia de Medeiros Mongelli São Paulo 2011 2 Este estudo é dedicado à minha família, aos meus amigos, suportes que são das minhas alegrias e de minhas agruras. 3 Lênia Márcia de Medeiros Mongelli, magistra amantissima, repito o que escrevi durante meu Mestrado – agradeço imensamente pelos ensinamentos e pela paciência. Maria Isabel Morán Cabanas e Leticia Erín Garcia, pela ajuda e carinho a distância. Fernando Maués de Faria Júnior, Michel Sleiman e Raúl Cesar Gouveia Fernandes, pelo apoio. 4 RESUMO Para se descobrir uma “poética” do Cancioneiro Geral de Garcia de Resende é necessário que se analise a Compilação não somente pelo seu conteúdo, mas principalmente pela sua forma, constituída de ritmo, de rima e de métrica, e, sobretudo, de estruturas estróficas e de recursos retóricos. Esta Tese propõe definir uma ars poetica implícita na Compilação levada a cabo por Garcia de Resende, que, de 1449 a 1516, reuniu poemas, registrando neles uma época denominada “Pré-Renascimento”.
    [Show full text]
  • Repetitio Versuum En La Lírica Gallego-Portuguesa*
    REVISTA DE FILOLOGÍA ESPAÑOLA (RFE), LXXXVI, 1.o, 2006, págs. 161-208, ISSN: 0210-9174 REPETITIO VERSUUM EN LA LÍRICA GALLEGO-PORTUGUESA* GERARDO PÉREZ BARCALA Universidad de Santiago de Compostela A Mercedes Brea. Son demasiadas razones Cualquier estudio sobre la poesía gallego-portuguesa suele llevar implícita la tácita aceptación de que se trata de un discurso poético que tiene en la re- petición el principio esencial de su construcción 1: el paralelismo (con sus dife- rentes variedades) 2 y el refrán (modalidad compositiva que cuenta con mayor número de ocurrencias) 3 constituyen, en efecto, los pilares básicos de la com- posición y dan lugar a una poética donde la progresión semántica de los textos se reduce considerablemente. A esas técnicas hay que sumar toda una serie de procedimientos repetitivos en los que se ven implicadas unidades de diversa entidad y que contribuyeron a conseguir esa preciada meestria en la que los trovadores y juglares ibéricos se manejaron con destreza a fin de alcanzar el reconocimiento literario en una época en que —como prueban la redacción de textos como la Supplicatio de Guiraut Riquier y la correspondiente Declaratio de Alfonso X 4 o las continuas pullas dirigidas, sobre todo, a juglares, atacados * Este artículo es resultado del proyecto de investigación PGIDIT03SIN20401PR, dirigido por Mercedes Brea y subvencionado por la Dirección Xeral de I+D de la Xunta de Galicia. 1 Vid., p. ej., V. Beltrán, A cantiga de amor, Vigo, Xerais, 1995, págs. 189-238; P. Lorenzo Gradín, «Repetitio trobadorica», en Estudios galegos en homenaxe ó profesor Giuseppe Tavani, coord. E.
    [Show full text]
  • A Lo Largo De Los Últimos Años Ha Tenido Lugar Una Especie De Revolución En La Comprensión Y La Interpretación De La Música Medieval
    A lo largo de los últimos años ha tenido lugar una especie de revolución en la comprensión y la interpretación de la música medieval VOCES DEL PASADO EN MEDIOS DEL FUTURO: Un panorama del interés por la lírica medieval y su traducción a los media y lenguajes audiovisuales de principios del siglo XXI. Lucía Díaz Marroquín State University of New York, Stony Brook INTRODUCCIÓN A lo largo de los últimos años ha tenido lugar una especie de revolución en la 1 comprensión y la interpretación del repertorio lírico medieval. Las razones han sido varias, pero entre ellas destacan tres: •el perfeccionamiento y generalización de los medios de difusión audiovisuales, que ha permitido poner a la disposición de un público más amplio un repertorio que antes pertenecía prácticamente al terreno del esoterismo. •el creciente interés de los músicos, musicólogos y ciertos intérpretes especializados en el repertorio popular por recuperar, editar, interpretar y grabar las obras recogidas en las fuentes medievales. •la noción, cada día más extendida entre los investigadores, de que para comprender el significado de una manifestación artística nada resulta tan útil como situarla en relación con el resto de las manifestaciones culturales contemporáneas. Este trabajo está basado en esta última idea de interdisciplinariedad; tanto la que a lo largo de los últimos años ha animado a colaborar a intérpretes musicales y a investigadores, como la que a partir de ahora pueden llegar a establecer los investigadores de la literatura y los músicos. LA CURIOSIDAD POR LA LÍRICA MEDIEVAL 1) La Literatura ... Tanto en Europa como en Estados Unidos los departamentos de Literatura y 2 Música llevan ya años interesándose por el repertorio de la lírica medieval tradicional.
    [Show full text]
  • Romańska Alba Tradycyjna. Między Pieśnią Ludową a Dworską
    Grażyna Urban-Godziek TERMINUS t. 22 (2020) z. 2 (55) s. 103–122 www.ejournals.eu/ Romańska alba tradycyjna Terminus Między pieśnią ludową a dworską Abstract Keywords Romanic Traditional Alba—Between Popular Poetry and Courtly One This paper initiates a series of texts devoted to genres of love songs that combine alba, kharja, the motif of a parting or meeting of lovers at the break of dawn. It is a genological cantiga de amigo, introduction to the classification of Polish poems of this kind from the 16th and popular lyric, 17th centuries (Chapter 1. Introduction. Premises for this cycle of studies). Morning courtly lyric, love songs—here referred to as albas or alboradas—appeared at the very beginning Nuno Fernandes of mediaeval Romance lyricism, that is, at the turn of the 10th and 11th centuries Torneol (Moz arabic kharja). Although they originated from folk ‘women’s songs’, they were soon included in the repertoire of troubadours and incorporated into their genre system. The first study is devoted to works focusing on lovers parting in the morning. It investigates the functioning of this type of lyric on the borderline between the tra- ditional and courtly registers (Chapter 2. Controversy. Folk and learned albas; Chan- sone de femme and grand chant courtois) and presents a traditional version of alba (Chapter 3. Traditional alba (popular, folk)). The traditional alba is a thematic genre, focused on the scene of lovers parting at dawn. It is distinguished from the courtly alba (the troubadour type) by the important role of nature. The lovers meet outside the city, in natural scenery, and are awakened by the singing of morning birds (there are no guards, spies, or jealous husbands lurking in the background).
    [Show full text]
  • The Development of a Keyboard Theory Curriculum Utilizing a Chronological, Comprehensive Approach to Reinforce Theory Skills of First Semester College Music Majors
    THE DEVELOPMENT OF A KEYBOARD THEORY CURRICULUM UTILIZING A CHRONOLOGICAL, COMPREHENSIVE APPROACH TO REINFORCE THEORY SKILLS OF FIRST SEMESTER COLLEGE MUSIC MAJORS By CAROL PIATNEK MCCOY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Carol Piatnek McCoy 2 To the memory of my dear mother, Ida Margaret Walton Piatnek (1927-2005) who sacrificed many of her own dreams that I might realize mine, To my three much-loved children, Sean, Katie (KT), and Kevin, in hopes that all their dreams come true, and, above all earthly loves, To God alone be the Glory 3 ACKNOWLEDGMENTS I must first thank my outstanding committee who has supported me through these tumultuous years and encouraged me every step of the way. It is my honor and privilege to have such a distinguished and highly emulated faculty supporting my doctoral studies and freely dedicating their time and many talents to my efforts. I hold them all in the highest regard, professionally, as educators and leaders of quality and integrity in their own fields, but more importantly, in their own lives, as wonderful, intelligent, good-natured and compassionate individuals. They have been my role models for more than many years and I have never been disappointed. My deepest gratitude and most heartfelt thanks go to Dr. James Paul Sain, chair, who has gone far and beyond the requirements of advising. I deeply appreciate his gifts of patience, understanding, empathy, advice, and unflinching support.
    [Show full text]
  • Contrafactum Y Adaptación De La Canción De Malmaridada En La Península Ibérica
    Décimas Jornadas Internacionales de Literatura Medieval y de Homenaje al Quinto Centenario del Cancionero General de Hernando del Castillo, CABA, 2011. Contrafactum y adaptación de la canción de malmaridada en la Península Ibérica: del Cancionero del rey Don Denis al Cancionero para cantar la noche de Navidad de Francisco Ocaña. María Gimena del Rio Riande y Germán Pablo Rossi. Cita: María Gimena del Rio Riande y Germán Pablo Rossi (Agosto, 2011). Contrafactum y adaptación de la canción de malmaridada en la Península Ibérica: del Cancionero del rey Don Denis al Cancionero para cantar la noche de Navidad de Francisco Ocaña. Décimas Jornadas Internacionales de Literatura Medieval y de Homenaje al Quinto Centenario del Cancionero General de Hernando del Castillo, CABA. Dirección estable: https://www.aacademica.org/gimena.delrio.riande/137 Esta obra está bajo una licencia de Creative Commons. Para ver una copia de esta licencia, visite https://creativecommons.org/licenses/by-nc-nd/4.0/deed.es. Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: https://www.aacademica.org. Revista de la Facultad de Filosofía y Letras de la Pontificia Universidad Católica Argentina Santa María de los Buenos Aires 65 - 66 Enero - Diciembre 2012 AUTORIDADES DE LA FACULTAD Decano Dr. NÉSTOR ÁNGEL CORONA Director del Departamento de Letras Dr. JAVIER ROBERTO GONZÁLEZ AUTORIDADES DE LA REVISTA Directora Dra. SOFÍA M. CARRIZO RUEDA Secretarios de Redacción Dr.
    [Show full text]