25Th International Congress on Medieval Studies
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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. -
F472aab6-Ca7c-43D1-Bb92-38Be9e2b83da.Pdf
NR TITEL ARTIEST 1 Hotel California Eagles 2 Bohemian Rhapsody Queen 3 Dancing Queen Abba 4 Stayin' Alive Bee Gees 5 You're The First, The Last, My Everything Barry White 6 Child In Time Deep Purple 7 Paradise By The Dashboard Light Meat Loaf 8 Go Your Own Way Fleetwood Mac 9 Stairway To Heaven Led Zeppelin 10 Sultans Of Swing Dire Straits 11 Piano Man Billy Joel 12 Heroes David Bowie 13 Roxanne Police 14 Let It Be Beatles 15 Music John Miles 16 I Will Survive Gloria Gaynor 17 Born To Run Bruce Springsteen 18 Nutbush City Limits Ike & Tina Turner 19 No Woman No Cry Bob Marley & The Wailers 20 We Will Rock You Queen 21 Baker Street Gerry Rafferty 22 Angie Rolling Stones 23 Whole Lotta Rosie AC/DC 24 I Was Made For Loving You Kiss 25 Another Brick In The Wall Pink Floyd 26 Radar Love Golden Earring 27 You're The One That I Want John Travolta & Olivia Newton-John 28 Wuthering Heights Kate Bush 29 Born To Be Alive Patrick Hernandez 30 Imagine John Lennon 31 Your Song Elton John 32 Denis Blondie 33 Mr. Blue Sky Electric Light Orchestra 34 Lola Kinks 35 Don't Stop Me Now Queen 36 Dreadlock Holiday 10CC 37 Meisjes Raymond Van Het Groenewoud 38 That's The Way I Like It KC & The Sunshine Band 39 Love Hurts Nazareth 40 Black Betty Ram Jam 41 Down Down Status Quo 42 Riders On The Storm Doors 43 Paranoid Black Sabbath 44 Highway To Hell AC/DC 45 Y.M.C.A. -
Las Mocedades Del Cid
CRITICÓN, 72, 1998, pp. 93-123. Romancero y reescritura dramática: Las Mocedades del Cid Françoise Cazal Universidad de Toulouse-Le Mirail La reciente publicación de una nueva edición crítica de Las Mocedades del Cid de Guillen de Castro proporciona a los aficionados a esta obra la grata sensación de que se ha adelantado por fin un gran paso en lo que toca al tema de la reelaboración del Romancero en dicha pieza. El autor de esta nueva edición, Stefano Arata, ya no enumera impávidamente todos los romances cidianos existentes y ya no los considera automáticamente como fuentes posibles de la obra, sino que parece querer ceñirse de modo más preciso a la génesis romanceril de la obra, del mismo modo que enumera con ejemplar claridad sus antecedentes cronísticos y dramáticos. Sin embargo, a pesar de su voluntad de corregir las imprecisiones en las que se estancó la crítica desde hace tiempos inmemoriales, nos parece que se muestra aún tímido a la hora de prescindir del lastre de sus antecesores. Cierto es que reduce el número de romances que se «incorporan» en el texto dramático a doce textos (p. XLII), lo que representa, desde luego, un progreso repecto a las afirmaciones de C. Faliu que citaba veintinueve romances como fuentes aprovechadas por el dramaturgo ( Un dramaturge espagnol du Siècle d'Or: Guillen de Castro, Toulouse, 1989, p. 163). Cierto es también que los romances que S. Arata considera como incorporados proceden sólo de cinco colecciones, mientras que los romances citados por C. Faliu salían de ocho colecciones1 y eso sin contar los pliegos sueltos y la tradición oral. -
Enri Ue Uinto
414 LAS MOCEDADES ENRI UE UINTO. COMEDIA EN TRES ACTOS. PERSONAS. )( Enrique , heredero de Inglaterra. iniarn, ayuda de cámara de Enrique. El Conde de Rechester, , su favorito. , favorita de la Prin- y el Eduardo , page de Enrique. cesa. Q/ Copp, .Capitan corsario. 41i6Bety,e sobrina de Copp. .(3'40:>.c>u›cc>c(>4;c4>(>4»..4><>4c<>":~(>cc>4 4 ‹:› La Escena en Londres, Capital de Inglaterra. El Acto primero y tercero en el Palacio del Principe, y en la casa de Vinos de Copp_ el segundo. ACTO PRIMERO: El Teatro fisura una sala de l'alado. -ESCENA PRIMERA. á los esposos que aman sus mugeres , y en fin, Aliladi - Clara y el Conde. esos chistes y esas gracias propias de vuestro carácter, Clara.Sí, Conde: nuestra Princesa dan muy suficiente causa OS mira como la causa para que todos os miren de la irregular conducta como un hombre de extremada de su esposo. malicia, y muy peligroso. Con14. Cosa extraña! Cond. Peligroso? amable Clara, impido yo á su marido eso es darme vanidad. que la quiera? Ciar. Entendámonos; yo hablaba Ciar. No se trata en quanto á la sociedad. de que vos se lo impidais Cond. Y bien, porque se acompaña 4irectamente , mas vaya nuestro Príncipe conmigo, 9tie vuestro genio satírico, porque me permite vaya vuestra favorita maña con su Alteza á. todas partes, de poner siempre en ridículo donde diversiones halla, X Las Mocedades . me juzgais cómplice suyo y que el Príncipe es... en sus extravíos? Vaya, Cond. Amable, - Seria cosa graciosa generoso, siempre anda que yo á su lado tratara con jóvenes calaberas, de ser un grave Caton, y en esto 4Ieva ventaja y, censurar quanti() laza. -
Instruments and Their Music in the Middle Ages
Instruments and their Music in the Middle Ages Edited by Timothy J. McGee ASHGATE Contents Acknowledgements vii Series Preface xi Introduction xiii PART I CLASSIFICATIONS AND LISTS OF INSTRUMENTS 1 Edmund A. Bowles (1954), 'Haut and Bas: The Grouping of Musical Instruments in the Middle Ages', Musica Disciplina, 8, pp. 115—40. 3 2 Christopher Page (1982), 'German Musicians and Their Instruments: A 14th- century Account by Konrad of Megenberg', Early Music, 10, pp. 192-200. 29 3 Joscelyn Godwin (1977),'Mains divers acors\ Early Music, -5, pp. 148-59, [39-52], 39 4 Anthony Baines (1950), 'Fifteenth-Century Instruments in Tinctoris's De Inventione et Usu Musicae\ The Galpin Society Journal, 3, pp. 19-26. 53 5 Richard Rastall (1974), 'Some English Consort-Groupings of the Late Middle Ages', Music and Letters, 55, pp. 179-202. 61 PART II KEYBOARDS 6 Edmund A. Bowles (1966), 'On the Origin of the Keyboard Mechanism in the Late Middle Ages', Technology and Culture, 7, pp. 152-62. 87 7 Edwin M. Ripin (1975), 'Towards an Identification of the Chekker', The Galpin Society Journal, 28, pp. 11-25. 105 8 David Kinsela (1998), 'The Capture of the Chekker', The Galpin Society Journal, 51, pp. 64-85. 123 9 Edwin M. Ripin (1974), 'The Norrlanda Organ and the Ghent Altarpiece', in Gustaf Hillestrom_(ed.), Festschrift to Ernst Emsheimer, Studia instrumentorum musicae popularis, III, Stockholm: Nordiska Musikforlager, pp. 193-96, 286—88, [145-55]. 145 PART III PLUCKED STRINGS 10 Howard Mayer Brown (1983), 'The Trecento Harp', in Stanley Boorman (ed.), Studies in the Performance of Late Medieval Music, Cambridge: Cambridge University Press, pp. -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind. -
Songs by Title
Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C. -
Chapter 2: Secular and Cathedral Music in the High Middle Ages I
Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example. -
Enkelhedens Harmonik
Harmonikkens enkelhed - enkelhedens harmonik Droner og dronestrukturer i techno, metal rap og ny elektronisk fo lkemusik HENRIK MARSTAL 1. Forbemærkning Jo mere populærmusikvidenskaben igennem de seneste 15-20 år har etableret sig som en selvstændig gren af musikvidenskaben, jo mere har diskussionen af spørgsmålet vedrørende dens tilhørsforhold til den såkaldt traditionelle musikvidenskab optaget dens udøvere. Hvor nogle har søgt at søgt at opstille konstruktive modeller for hvordan de to bedst lader sig forene og gensidigt inspirere hinanden, l har andre adva ret mod at den traditionelle musikvidenskab metodisk influerer popu lærmusikvidenskaben. 2 Andre igen har direkte udtrykt mistillid til den traditionelle musikvidenskab, idet den af disse opfattes som værende konservativ, elitær og verdensfjern. 3 Derfor har populærmusikvidenska ben tilsyneladende kun en chance, nemlig at køre sit eget løb og ikke lade sig lokke ind i de blindgyder, som den traditionelle musikviden skab allerede befinder sig i. Der er ganske vist en række videnskabsteoretiske forhold der er funda mentalt anderledes for populærmusikken end for kunstmusikken. Og det er vigtigt at disse forhold til stadighed bliver diskuteret og betragtet som en del af den populærmusikvidenskabelige dagsorden. Men den ofte meget pointerede måde hvorpå det hidtil er blevet gjort, gør det nødvendigt samtidig at stille sig selv spørgsmålet: hvad vil populærmu sikvidenskaben egentlig - vil den virkelig gøre op med den mere tradi tionelle musikvidenskab ved at reformulere dens metoder og vokabula- 129 rium, eller vil den fortsætte i de mange forskellige retninger og spor, som den traditionelle musikvidenskab har afstukket? Vil den virkelig af skære kontakten med den musikvidenskab hvis udøvere af dens hårde ste kritikere betegnes som værende 'perverted by musical training' (McClary/Walser 1990:283), eller vil den på konstruktiv vis drage nyt te af musikvidenskabens store erfaring? Måske burde det slet ikke være nødvendigt at formulere den slags spørgsmål. -
Adam DE LA HALLE Le Jeu De Robin Et De Marion
557337 bk Robin US 13/2/06 17:19 Page 12 1 Motet: Mout / Robins m’aime / PORTARE 1:03 Scene 3 Adam 2 Pilgrim’s Prologue after LI JUS DU PELERIN 2:46 ¢ Robin rounds up guests for the party. 1:54 ∞ Motet: Mout / Robins m’aime / PORTARE 1:02 DE LA HALLE LI GIEUS DE ROBIN ET DE MARION Scene 4 Scene 1 § The Knight returns to find his bird... 2:09 Marion is happily minding her own business... ¶ J’oi Robin flagoler (Marion) 0:21 Le Jeu de Robin et de Marion 3 Robins m’aime (Marion) 3:02 • ...beats up Robin and kidnaps Marion... 2:35 4 Je me repairoie (Knight) 0:39 ª Hé resveille toi Robin (Gautiers li Testus) 0:37 5 Hé Robin (Marion) 0:22 º ...but Robin is aroused to the point of valour. 1:03 TONUS PEREGRINUS 6 ...when along comes a Knight on the lookout... 4:33 ⁄ Rondeau III: Hareu 0:41 7 Vous perdés vo paine (Marion) 0:22 8 ...but Marion means no when she says so... 0:30 Scene 5 9 Bergeronnete sui (Marion) 0:22 ¤ Marion sees off the Knight, her friends roll up... 3:54 0 ...and the Knight leaves empty-handed. 0:12 ‹ Aveuc tele compaignie (tous) 1:01 ! Trairi deluriau (Marion + Knight) 2:07 › ...and it’s time for all kinds of party games. 10:21 @ Rondeau II: Li dous regars 1:04 # Rondeau XV: Tant con je vivrai 1:40 Scene 6 fi Robin rescues a sheep, declares his love... 4:54 Scene 2 fl J’ai encore un tel pasté (Robin) 0:29 Robin makes his way to Marion.. -
New Oxford History of Music Volume Ii
NEW OXFORD HISTORY OF MUSIC VOLUME II EDITORIAL BOARD J. A. WESTRUP (Chairman) GERALD ABRAHAM (Secretary) EDWARD J. DENT DOM ANSELM'HUGHES BOON WELLESZ THE VOLUMES OF THE NEW OXFORD HISTORY OF MUSIC I. Ancient and Oriental Music ii. Early Medieval Music up to 1300 in. Ars Nova and the Renaissance (c. 1300-1540) iv. The Age of Humanism (1540-1630) v. Opera and Church Music (1630-1750) vi. The Growth of Instrumental Music (1630-1750) vn. The Symphonic Outlook (1745-1790) VIIL The Age of Beethoven (1790-1830) ix. Romanticism (1830-1890) x. Modern Music (1890-1950) XL Chronological Tables and General Index ' - - SACRED AND PROFANE MUSIC (St. John's College, MS. B. Cambridge, 18.) Twelfth century EARLY MEDIEVAL MUSIC UP TO BOO EDITED BY DOM ANSELM HUGHES GEOFFREY CUMBERLEGE OXFORD UNIVERSITY PRESS LONDON NEWYORK TORONTO 1954 Oxford University Press, Amen House, London E.C.4 GLASGOW NEW YORK TORONTO MELBOURNE WELLINGTON BOMBAY CALCUTTA MADRAS KARACHI CAPE TOWN IBADAN Geoffrey Cumberlege, Publisher to the University PRINTED IN GREAT BRITAIN GENERAL INTRODUCTION THE present work is designed to replace the Oxford History of Music, first published in six volumes under the general editorship of Sir Henry Hadow between 1901 and 1905. Five authors contributed to that ambitious publication the first of its kind to appear in English. The first two volumes, dealing with the Middle Ages and the sixteenth century, were the work of H. E. Wooldridge. In the third Sir Hubert Parry examined the music of the seventeenth century. The fourth, by J. A. Fuller-Maitland, was devoted to the age of Bach and Handel; the fifth, by Hadow himself, to the period bounded by C. -
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).