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Romance and Writing: Interpreting the Lyric Domnas of Occitania
Trends in Historiography Romance and Writing: Interpreting the Lyric Domnas of Occitania by Aubri E. Thurmond “I’ll ask you this: when a lady freely loves a man, should she do as much for him as he for her, according to the rules of courtly love?”1 These words are attributed to Maria de Ventadorn, a woman composing in the lyric tradition of the troubadours. From 1100-1300 A.D., Occitania (Southern France) produced over 400 troubadours whose poetry shaped the concepts of romantic love in the West. Their poems, written in langue d’oc, were expressions of fin’ amor, or courtly love.2 According to Paul Zumthor, “Fin’ amor strives toward a desired but unnamed good, bestowable only by a lady, herself identified only by an emblematic pseudonym: a dialogue without reply, pure song, turning into poetry the movements of a heart contemplating an object whose importance as such is minimal.”3 The troubadour was symbolically dependent on the favor of his lady, therefore seemingly giving her power and humbling himself.4 Fin ‘amor was the source of all courtly values.5 However, there were also women troubadours, called trobairitz, in Southern France. The name trobairitz comes from the root trobar, meaning to compose and the feminine suffix –airitz, literally meaning “a woman who composes.”6 The female troubadours did not refer to themselves as trobairitz. In fact, the term trobairitz is only found once in 13th century literature: in the romance Flamenca, when the heroine calls her maid 1 As quoted in Meg Bogin, The Women Troubadours (Scarborough, England: Paddington Press Ltd., 1976), 99. -
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. -
TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources. -
Fra Andrea Dei Servi Organista E Compositore Del Trecento (?-1415)
FRA ANDREA DEI SERVI ORGANISTA E COMPOSITORE DEL TRECENTO (?-1415) P. RAFFAELE TAUCCI La storia della musica del trecento è rimasta la più indietro di tutte nel risveglio degli studi storici dei nostri tempi; e se sì mette a confronto, non dico della storia delle altre Belle Arti, al paragone della quale è poco più che bambina, ma anche a quella della musica stessa di altri periodi, sebbene più remoti, che è stata illustrata con maggior cura e maggior successo di questo, si vede quanto sia maggiormente piena di incognite e di lacune. Erano secoli che si era perduto la chiave per interpretare quei segni enigmatici; e chi era curioso di penetrarne il secreto, era costretto a rassegnarsi a far la parte dì colui che non sa leggere, e che «videt litteras in codice optime scripto, et laudat quidam apicum pulcritudinem, sed quid sibi velint, quid indicent illi apices, nescit, et est oculis laudator, mente non cognitor». L‟oblio infatti che aveva ricoperto quei canti annunziatori del Rinascimento italiano era incominciato poco dopo che se n‟era spenta l‟eco, e che s‟erano dileguati gli applausi appassionati dell‟entusiasmo suscitato fra i contemporanei, come ce ne attestano numerosi scritti dell‟epoca: ed era stato tanto profondo che perfino il più illustre fra essi, Francesco Landini, il cieco, che nel 1364 durante le feste fatte a Venezia per il riacquisto di Candia, presente Francesco Tetrarca e il doge Lorenzo Celsi, fu incoronato dal re di Cipro, Pietro il Grande, di una corona d‟alloro, come il massimo degli organisti, e che fu anche celebrato -
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. -
240 Personen (90 Diagrammatiker) Microtonality (1285-1360) Al-Maraghi (Um 1423) Quellen-Kritik Lehrte Musiktheorie
1000 1200 1400 1500 1600 1700 1800 1900 Philippus de Caserta P. Tallanderius M. Schanppecher Johann Nikolaus Forkel (1749-1818) Robert Smith M Leos Janacek (1854-1928) (spätes 14. Jhd) (15. Jhd.) P. Aaron (16.Jhd.) Athanasius Musurgia Begründete Musikwissenschaft als Carl Dahlhaus (ca.1480-1545) Hochschuldisziplin (1772) Göttingen Vollständige Harmonielehre Johannes dictus J. De Olomons Kircher Universalis 1650 (1928 – 1989) Balloce (13.Jhd.) (1380-1443) M. Agricola S. Vanneo (1602 – 1680) C.G. Kratzenstein Kempelen Thomas Young Physiker M Harry Partch Erv Wilson Odo von Cluny (878-942) (16. Jhd) G.A. Bontempi Andreas (ca.1486-1556) (1723-1795) Naturforscher (1791) (1773-1829) 1863 physiologische E. Salomo um 1274) John Napier (1624-1705) J. S. Bach Eduard Sievers (1901 - 1974) (1928 – JJ) Aurelianus Reomensis H. Glareanus (1488-1563) (a,e,i,o,u) M Grundlagen für die Heinricus Ornithoparchus (1550-1617) (1685 – 1750) (1850-1932) (800 – 865) Theorie der Musik Augustensis Frutolfus (1490 – JJ) G. Dresseler Michael Mathematiker Sprachmelodie Carl Andreas Eitz Max Planck (1533-1585) ptolomäischer Kosmos (JJ - 1083) (JJ - 1103) J. Gallicus de Praetorius (1614 Logarithmus Adolf Alexandre-Théophile Lautphysiologie (1848 - 1924) (1858 – 1947) J. Wolter- Vandermonde M Akustiker Salzburg um 820 Franco of Cologne Mantua Robert (1571 – 1621) als Begriff) Scheibe Tanaka Shohei (1862-1945) (um 1470) storpius (1735-1796) Mathematiker Musica enchiriadis Joachim von Fiore (13. Jhd.) (1508-1554) Fludd Wohltemperierte Stimmung Robert Willis (1800-1875) (1574 – 1637) 1778 theory of music Hermann von Eduard Brandt Gilles Baroin (900) (1130/35-1202) Kopernikus Ramos de Pareja (Musik als Kunst) (2011) Dasia-Notation Keine Funde 1473-1543 S. -
Read Program
KAIJA SAARIAHO l’amour de loin conductor Opera in five acts Susanna Mälkki Libretto by Amin Maalouf production Robert Lepage Saturday, December 10, 2016 PM associate director 1:00–3:35 Sybille Wilson New Production set and costume designer Michael Curry lighting designer Kevin Adams lightscape image designer Lionel Arnould The production of L’Amour de Loin was made sound designer Mark Grey possible by a generous gift from the Francis Goelet Trusts Additional funding for this production was received from The H.M. Agnes Hsu-Tang, PhD. and Oscar Tang Endowment Fund general manager Peter Gelb music director emeritus James Levine Co-production of the Metropolitan Opera and L’Opéra de Québec principal conductor Fabio Luisi In collaboration with Ex Machina 2016–17 SEASON The 3rd Metropolitan Opera performance of KAIJA SAARIAHO’S This performance l’amour is being broadcast live over The Toll Brothers– de loin Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Susanna Mälkki America’s luxury ® in order of vocal appearance homebuilder , with generous long-term jaufré rudel support from Eric Owens The Annenberg Foundation, The the pilgrim Neubauer Family Tamara Mumford* Foundation, the Vincent A. Stabile clémence Endowment for Susanna Phillips Broadcast Media, and contributions from listeners worldwide. There is no Toll Brothers– Metropolitan Opera Quiz in List Hall today. This performance is also being broadcast live on Metropolitan Opera Radio on SiriusXM channel 74. Saturday, December 10, 2016, 1:00–3:35PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. -
Madrigal, Lauda, and Local Style in Trecento Florence
Madrigal, Lauda, and Local Style in Trecento Florence BLAKE McD. WILSON I T he flowering of vernacular traditions in the arts of fourteenth-century Italy, as well as the phenomenal vitality of Italian music in later centuries, tempts us to scan the trecento for the earliest signs of distinctly Italianate styles of music. But while the 137 cultivation of indigenous poetic genres of madrigal and caccia, ac- corded polyphonic settings, seems to reflect Dante's exaltation of Italian vernacular poetry, the music itself presents us with a more culturally refracted view. At the chronological extremes of the four- teenth century, musical developments in trecento Italy appear to have been shaped by the more international traditions and tastes associated with courtly and scholastic milieux, which often combined to form a conduit for the influence of French artistic polyphony. During the latter third of the century both forces gained strength in Florentine society, and corresponding shifts among Italian patrons favored the importation of French literary and musical culture.' The cultivation of the polyphonic ballata after ca. 1370 by Landini and his contem- poraries was coupled with the adoption of three-part texture from French secular music, and the appropriation of certain French nota- tional procedures that facilitated a greater emphasis on syncopation, Volume XV * Number 2 * Spring 1997 The Journal of Musicology ? 1997 by the Regents of the University of California On the shift in patronage and musical style during the late trecento, see Michael P. Long, "Francesco Landini and the Florentine Cultural Elite," Early Music History 3 (1983), 83-99, and James Haar, Essays on Italian Poetry and Music in the Renaissance, 1350-1600 (Berkeley, CA, 1986), 22-36. -
![Bernart De Ventadorn [De Ventador, Del Ventadorn, De Ventedorn] (B](https://docslib.b-cdn.net/cover/6126/bernart-de-ventadorn-de-ventador-del-ventadorn-de-ventedorn-b-1026126.webp)
Bernart De Ventadorn [De Ventador, Del Ventadorn, De Ventedorn] (B
Bernart de Ventadorn [de Ventador, del Ventadorn, de Ventedorn] (b Ventadorn, ?c1130–40; d ?Dordogne, c1190–1200). Troubadour. He is widely regarded today as perhaps the finest of the troubadour poets and probably the most important musically. His vida, which contains many purely conventional elements, states that he was born in the castle of Ventadorn in the province of Limousin, and was in the service of the Viscount of Ventadorn. In Lo temps vai e ven e vire (PC 70.30, which survives without music), he mentioned ‘the school of Eble’ (‘l'escola n'Eblo’) – apparently a reference to Eble II, Viscount of Ventadorn from 1106 to some time after 1147. It is uncertain, however, whether this reference is to Eble II or his son and successor Eble III; both were known as patrons of many troubadours, and Eble II was himself a poet, although apparently none of his works has survived. The reference is thought to indicate the existence of two competing schools of poetic composition among the early troubadours, with Eble II as the head and patron of the school that upheld the more idealistic view of courtly love against the propagators of the trobar clos or difficult and dark style. Bernart, according to this hypothesis, became the principal representative of this idealist school among the second generation of troubadours. The popular story of Bernart's humble origins stems also from his vida and from a satirical poem by his slightly younger contemporary Peire d'Alvernhe. The vida states that his father was either a servant, a baker or a foot soldier (in Peire's version, a ‘worthy wielder of the laburnum bow’), and his mother either a servant or a baker (Peire: ‘she fired the oven and gathered twigs’). -
La Caccia Nell'ars Nova Italiana
8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16. -
Mouvance and Authorship in Heinrich Von Morungen
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Songs of the Self: Authorship and Mastery in Minnesang Permalink https://escholarship.org/uc/item/87n0t2tm Author Fockele, Kenneth Elswick Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Songs of the Self: Authorship and Mastery in Minnesang by Kenneth Elswick Fockele A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and Medieval Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Niklaus Largier, chair Professor Elaine Tennant Professor Frank Bezner Fall 2016 Songs of the Self: Authorship and Mastery in Minnesang © 2016 by Kenneth Elswick Fockele Abstract Songs of the Self: Authorship and Mastery in Minnesang by Kenneth Elswick Fockele Doctor of Philosophy in German and Medieval Studies University of California, Berkeley Professor Niklaus Largier, Chair Despite the centrality of medieval courtly love lyric, or Minnesang, to the canon of German literature, its interpretation has been shaped in large degree by what is not known about it—that is, the lack of information about its authors. This has led on the one hand to functional approaches that treat the authors as a class subject to sociological analysis, and on the other to approaches that emphasize the fictionality of Minnesang as a form of role- playing in which genre conventions supersede individual contributions. I argue that the men who composed and performed these songs at court were, in fact, using them to create and curate individual profiles for themselves. -
Compositeur Naissance Décès Période Notker Balbulus C
Compositeur Naissance Décès Période Notker Balbulus c. 840 912 Médiévale Odo of Cluny c. 878 942 Médiévale Guido da Arezzo c. 991 c. 1033 Médiévale Hermann of Reichenau 1013 1054 Médiévale Guillaume d'Aquitaine 1071 1126 Médiévale Petrus Abaelardus 1079 1142 Médiévale Hildegard von Bingen 1098 1179 Médiévale Bernart de Ventadorn c. 1130 a. 1230 Médiévale Léonin 1135 1201 Médiévale Pérotin 1160 1225 Médiévale Philippe le Chancelier c. 1160 1236 Médiévale Pierre de Molins 1170 c. 1220 Médiévale Walther von der Vogelwide c. 1170 c. 1230 Médiévale Alfonso el Sabio 1221 1284 Médiévale Adam de la Halle c. 1235 1288 Médiévale Petrus de Cruce c. 1260 a. 1302 Médiévale Philippe de Vitry 1291 1361 Médiévale Guillaume de Machaut c. 1300 1377 Médiévale Francesco Landini c. 1325 1397 Médiévale Johannes Ciconia c. 1335 1412 Médiévale/Renaissance Jacopo da Bologna Bologna c. 1340 c. 1386 Médiévale Zacara da Teramo c. 1350 c. 1413 Médiévale/Renaissance Leonel Power c. 1370 1445 Médiévale/Renaissance Oswald von Wolkenstein c. 1376 1445 Médiévale/Renaissance John Dunstaple c. 1390 1453 Renaissance Guillaume Dufay 1397 1474 Renaissance Gilles Binchois c. 1400 1460 Renaissance Johannes Ockeghem c. 1410 1497 Renaissance Gilles Joye c. 1424 1483 Renaissance Antoine Busnois c. 1430 1492 Renaissance Alexander Agricola c. 1446 1506 Renaissance Heinrich Isaac c. 1450 1517 Renaissance Loyset Compère c. 1450 1518 Renaissance Josquin des Prez c. 1450 1521 Renaissance Jacob Obrecht c. 1457 1505 Renaissance Jean Mouton c. 1459 1522 Renaissance Antoine Brumel c. 1460 c. 1513 Renaissance Pierre de la Rue c. 1460 1518 Renaissance Robert Fayrfax 1464 1521 Renaissance William Cornysh 1465 1523 Renaissance Francisco de Penalosa c.