Troubadours, Trouvères and Jongleurs

Total Page:16

File Type:pdf, Size:1020Kb

Troubadours, Trouvères and Jongleurs TROUBADOURS, TROUVÈRES AND JONGLEURS The vast majority of music in the beginning of the Middle Ages was written and performed for the religious services of the Roman Catholic church. Toward the end of the Middle Ages, however, a substantial amount of secular music, or music that could be sung outside of the church, appeared. This music was performed by groups of musicians known as troubadours, trouvères, and jongleurs. The troubadours and trouvères were active in France, the troubadours to the south and the trouvères to the north. They were medieval poet musicians that catered to the upper class, or the nobility. These musicians presented original and new material that was vastly different from the music sung in the churches of the day, and their names, troubadour and trouvère even meant "finder" or "inventor." Poems of the troubadours and trouvères ranged from simple ballad love songs to political and moral tunes, from war songs to laments to dance songs. Jongleurs were a class of musicians who wandered from town to town and were very versatile entertainers. Many played instruments, sang and danced, juggled, showed tricks and animal acts, and performed plays. To the common folk of the Middle Ages, the jongleurs functioned as a sort of traveling newspaper, passing on gossip and news to each new town. The jongleurs, however, were viewed as vagabonds and lived on the fringe of society. To medieval court life, secular music was very important. It provided entertainment before, during, and after dinner – and also accompanied dancing. It was also important to the ceremonies that welcomed visiting dignitaries and helped strengthen the spirits of warriors departing on the Crusades. .
Recommended publications
  • 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.
    [Show full text]
  • 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]
  • Middle Ages Declarative Knowledge
    Middle Ages Declarative Knowledge Comparison between Middle Ages and Renaissance Middle Ages Renaissance Long, asymmetrical Shorter, balanced Melody Texted melodies often melismatic Texted melodies often syllabic Smoother, more regular Rhythm Restless and active Often tied to rhythm or words Based on triads Based on fifths and octaves Dissonance less harsh, usually on weak Harmony Unexpected, pungent beats dissonances More adventurous in late Renaissance in portraying emotions Often a cappella or purely Voices and instruments mixed instrumental Sound Bright colors, freely mixed Softer tone colors, ensembles of similar instruments (consorts) Monophonic and polyphonic Mostly polyphonic Texture Non-imitative Often imitative Often based on cantus firmus or Some isorhythm, but usually based on isorhythm text or dance forms Form Vocal refrain forms (virelay, Through-composed vocal pieces rondeau) (madrigal and motet) Sacred Music of the Middle Ages I. Liturgy: Set Structure of Christian Church Service 1. Pope Gregory the Great (r. 590–604) codified church music 2. Gregorian chant (plainchant, plainsong) 1. vocal monophony, nonmetric, sung in Latin, conjunct melody 2. over 3,000 melodies anonymously composed 3. text settings: syllabic, neumatic, melismatic 4. early chant: handed down through oral tradition 5. notated by neumes: square notes on four-line staff 6. modes: precede major and minor scales II. The Mass: Reenactment of the Sacrifice of Christ 1. Most solemn ritual of the Catholic church 1. Proper: variable portions 2. Ordinary: fixed portions 3. offices: not part of the Mass, worship in monasteries http://ibscrewed4music.blogspot.com/ III. A Gregorian Melody: Kyrie 1. Kyrie: first in the Ordinary 1. Greek prayer in three parts 2.
    [Show full text]
  • Troubadour Poetry: an Intercultural Experience
    Troubadour Poetry: An Intercultural Experience By Said I. Abdelwahed Professor of English Literature English Department Faculty of Arts, Al-Azhar University Gaza - Palestine ABSTRACT: This is a reading of the intercultural experience of the medieval poetry known as the Troubadour poetry. It’s a study of the origin, meaning, music and structure of the lyric love poetry which appeared in medieval Spain, in the period from (3rd to 7th centuries A.H / 9th to 13th centuries AD), with special reference to the Muwwashah and the Kharja. It expanded to southern France, then to northern France. The early troubadour was a wondering singer or minstrel who traveled from place to place singing for gaining his living. But the French troubadours were mostly of noble birth that wrote and sang for the upper-class audience. The troubadours wrote their songs and poems of a metrical form mainly on themes of courtly love. Their poetry was influenced by Arabic poetry and it became a literary phenomenon that historians of Western literature and culture could not ignore. This paper highlights the primary role played by the Arabs in medieval poetry issues and it alludes to some salient elements of intercultural communication between the East and the West. INTRODUCTION: Generally speaking, scholars and historians of medieval Arabic literature divided the Arabic and Islamic culture and literature of medieval Spain into three major components. Scholars made divisions of that culture but Gerard Wiegers made the clearest division as follows: I. Works on religion (fiqh, tafsir, prayer books, pious miscellanies, religious polemics magic, popular medicine, and treatises).
    [Show full text]
  • The Aquitanian Sacred Repertoire in Its Cultural Context
    THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces.
    [Show full text]
  • The World of Troubadours and Trobairitz II: Poems, Songs, and Music WEST TISBURY LIBRARY
    Suggested Reading List and Websites Akehurst, F. R. P. and Davis, Judith. M., eds. A Handbook of the Toubadours, WEST TISBURY LIBRARY Berkeley, 1995 Aubrey, Elizabeth. The Music of the Troubadours, Bloomington, 1996 Bruckner, Matilda. T., Shepard, Laurie. and White, Sarah., eds. Songs of the Women Troubadours, NewYork, 1995 presents... Kehew, Robert. ed., Translated by Pound, Ezra, Snodgrass, W. D. and Kehew, Robert. Lark in the Morning: The Verses of the Troubadours, Chicago, 2005 Oldenbourg, Zoe. Massacre at Montségur: A History of the Albigensian Crusade, London, 1961 Paden, William D. and Paden, Francis Freeman. Troubadour Poems from the South of France, D. S. Brewer, Cambridge, 2007 O’Shea, Stephen. The Perfect Heresy: The Revolutionary Life and Death of the Medieval Cathars, New York, 2000 Patterson, Linda. The World of the Troubadours: Medieval Occitania Society, c. 1100-1300, Cambridge, 1993 Troubadour Web Sites http://www.trobar.org/ -List of troubadour and trobairitz poems http://www.midi-france.info/1904_troubadours.htm -An introduction to the Troubadours Video: Troubadour Ensemble http://vimeo.com/10697422 -Performance of Troubadour Poems The World of Troubadours and 1042 State Rd Trobairitz II: 508-693-3366 westtisburylibrary.org Poems, Songs, and Music The World of Troubadours Sunday, July 10th and Trobairitz II: at 3 pm Poems, Songs, and Music Howes House featuring Jessica Goodenough Heuser soprano Marisa Galvez, Ph.D Assistant Professor in French and Italian Stanford University Musicians Deborah Forest Hart recorder and hammer dulcimer Carol Loud recorder Andy Wiener hammer dulcimer Troubadours Acknowledgement Jonathan Revere, Joe Eldredge, John Alley, Paul Levine This program is supported in part by a grant from the MV Cultural Council, Trobairitz a local agency which is supported by the Massachusetts Cultural Council, a state agency.
    [Show full text]
  • 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]
  • August Troubadour
    FREE SAN DIEGO ROUBADOUR Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news January 2007 www.sandiegotroubadour.com Vol. 6, No. 4 what’s inside Welcome Mat ………3 Contributors Michael Cleveland Full Circle.. …………4 Apex Music Recordially, Lou Curtiss Front Porch... ………6 Kev Rones/S.D. Guitar Society Kite Flying Society Parlor Showcase …8 Emerging Young Artists Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Highway’s Song. …12 Dixie Dregs/Steve Morse Of Note. ……………13 Grand Canyon Sundown Peggy Lebo Renata Youngblood Jennifer Jayden Dee Ray ‘Round About ....... …14 January Music Calendar The Local Seen ……15 Photo Page Phil Harmonic Sez: “To be a warrior is to learn to be genuine in every moment of your life.” — Chögyam Trungpa JANUARY 2007 SAN DIEGO TROUBADOUR welcome mat e r i u Michael Cleveland G c M SAN DIEGO m i J ROUBADOUR : o Brings Flaming Hot t Alternative country, Americana, roots, folk, o h Tblues, gospel, jazz, and bluegrass music news Bluegrass to San Diego P MISSION CONTRIBUTORS by Dwight Worden Bill Monroe, Jim and Jesse To promote, encourage, and provide an FOUNDERS alternative voice for the great local music that McReynolds, Ralph Stanley, Mac Ellen and Lyle Duplessie hat do you get when you Weisman, Doc Watson, Larry Sparks, is generally overlooked by the mass media; Liz Abbott put a blow torch to the Doyle Lawson, Dale Ann Bradley, namely the genres of alternative country, Kent Johnson W Michael Cleveland Americana, roots, folk, blues, gospel, jazz, and bow of a fiddle? Red hot Rhonda Vincent, and JD Crowe among bluegrass.
    [Show full text]
  • Troubadour Song As Performance: a Context for Guiraut Riquier’S “Pus Sabers No’M Val Ni Sens”
    Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens” Susan Boynton The songs of the troubadours present the fundamental challenge of under- standing poetry as music. Although the Old Occitan lyric corpus was a sung tradition from its origins in the twelfth century, we do not know exactly how it sounded; the poetry and musical notation of troubadour song are only skeletal vestiges awaiting completion by the imagination. Miniature biographies of the troubadours known as vidas, which combine elements of fact and fiction, describe some poets as performers who sang and played instruments, while others apparently did not.1 Most manuscript sources of troubadour song lack musical notation; the few chansonniers that do include it provide the pitches and text underlay for one strophe of melody, with the remaining strophes of text laid out in prose format. The absence of music from so much of the written transmission of the corpus can be attributed to factors such as predominantly oral transmis- sion of the melodies (resulting in their loss as the tradition waned) and the circumstances of compilation, which favored the presentation of the songs as poems.2 The repertory travelled in the thirteenth century to northern France, Italy, the Iberian peninsula and beyond through the movement of poets, singers, patrons, and not least, the formation of the manuscript tradition. As Marisa Galvez notes, the very concept of a troubadour corpus as an authorial tradition emerged from the chansonniers. The constitution of poetic personae in these manuscripts stands in for the construction of poetic agency and voice that would have occurred in performance (2012: 59–64).
    [Show full text]
  • The Question of Compositional Process in the Music of Hildegard Von Bingen
    The question of compositional process in the music of Hildegard von Bingen Catherine jefieys The Symphonia hamzoniae caelestium revelationum by Hildegard's compositions appear. .as proc- Hildegard von Bingen (1098-1179) occupies a unique esses that entail the shaping of the melody in conjunctionwith the delivery of the text, that and uncertain position in music history. This cycle of involve the formal unfolding of each phrase seventy-seven liturgical items and a liturgical drama, and of the piece as a whole.5 the Ordo virtutum,l exists on the periphery of chant scholarship, although it is occasionally, albeit tenta- A study of Hildegard's compositional process tively, included in discussions of the Latin religious should necessarily involve as many areas of considera- song of the twelfth century. For musicologists, two tion as possible. The present assessment will take into consequences of this uncertain position have been the consideration two areas of concern commonly over- continued treatment of the Symphonia as if it existed in looked by scholars: the musical language in which an historical vacuum and the consideration of Hildegard Hildegard was immersed and its relation to contempo- I I the composer as if she were peerless. The uncertainty rary theory; and the most frequently dismissed and , surrounding one issue in particular, that of Hildegard's least understood aspect of the Symphonia, the notation I I compositional process, can only compromise efforts to used to preserve Hildegard's melodies. ! place Hildegard within a musical tradition. Two twelfth-century manuscript copies of the To date, musicological studies of the Symphonia Symphonia cycle survive: Dendermonde St.-Pieters & have depended upon the analysis of musical structure Paulusabdji MS.
    [Show full text]
  • Troubadour Lyric in a Global Poetics Creating Worlds Through Desire
    Troubadour Lyric in a Global Poetics Creating Worlds Through Desire Marisa Galvez Stanford University, USA The troubadours were poet-performers of varied social status active in aristocratic courts of southern France, northern Italy, and northern Spain during the twelfth and thirteenth centuries. Around 2500 songs of the troubadours exist, and we have the names of more than 400 troubadours. The lyric was refined entertainment for an elite audience during a time that Occitan – as opposed to the French language of the north – was a signifi- cant poetic language of Europe. Transmitted orally as a musical composition of isometric stanzas followed by an ending half-strophe called the tornada, the dominant lyric genre the canso repeats a melody to the metrical pattern of each strophe. Eventually the lyric texts were written down, in mid-thirteenth century songbooks (chansonniers; 95 extant, four with music) commissioned by aristocratic patrons seeking to confirm their cultural status. The troubadours made vernacular poetry a true competitor of Latin, then the official language of the church and the medium of cultural knowledge. They created an art for dis- cussing feudal service and status as matters for verbal and artistic negotiation. This poetic language articulated the desire for a precious good bestowed by an unnamed highborn lady. Through subtle combinations of meter, melody, and verbal play, troubadour lyric maintained the ambivalence, frustration, and worthiness of desire as a poetic discipline of self-improvement. In sum, the troubadours invented a poetry that celebrated illicit love, a desiring subject in a world where spiritualized love took priority over earthly, bodily plea- sures, marriage was primarily an economic transaction, and courtly love a threat to familial alliances essential to the functioning of feudal society.
    [Show full text]
  • MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W.
    [Show full text]