Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 "Los motz e.l so": words melody, and their interaction in the songs of Folquet de Marseille Nancy Ellen Washer Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Washer, Nancy Ellen, ""Los motz e.l so": words melody, and their interaction in the songs of Folquet de Marseille" (2002). LSU Doctoral Dissertations. 1055. https://digitalcommons.lsu.edu/gradschool_dissertations/1055 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “LOS MOTZ E.L SO”: WORDS, MELODY, AND THEIR INTERACTION IN THE SONGS OF FOLQUET DE MARSEILLE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The College of Music and Dramatic Arts by Nancy Ellen Washer B.S., Cornell University, 1982 M.S., University of Florida, 1986 December 2002 ©Copyright 2002 Nancy Ellen Washer All rights reserved ii Acknowledgments I would first like to thank my committee–Jan Herlinger, Gregory Stone, Alison McFarland, Thomas Neff, and David Smyth–for all their helpful suggestions on improving the dissertation. I would also like to thank previous members of the committee–Wallace MacKenzie and Jennifer Brown–who were so helpful in the earliest phases of my doctoral work. I would also like to thank Elizabeth Aubrey of the University of Iowa, Adelaide Russo, Jeff Perry, Richard Kaplan, Steven Beck, and all the other members of the Louisiana State University faculty who provided intellectual and moral support. I could not have completed my work without consulting manuscripts or microfilms at the Biblioteca Ambrosiana in Milan, the Bibliothèque Nationale in Paris, the Pierpont Morgan Library in New York, the Ambrosiana Collection in the Medieval Institute Library at Notre Dame, and Sibley Music Library in Rochester. My references would have been much less complete without the help of Bob Gilliam at Drake Library at SUNY Brockport. Next, I need to thank all my friends in Baton Rouge, Brockport, and Rochester who provided tremendous moral support during the dissertation process. I need to mention my fellow graduate students: Linda Cummins, Ed Eanes, Melissa Goldsmith, Nigel Gwee, and Steve Isaac; inhabitants of the Library porch; the Jimmy Mac’s crowd; the Park Avenue neighbors; members of the Baton Rouge Consort of Viols; members of the Mean-tone Consort in Rochester; and my colleagues in the Earth Sciences Department and Delta College at SUNY Brockport. Finally, it could not have been accomplished without the support of my parents, Betty and Bob Washer; my cat, Mimi (who suggested many changes to the manuscript); and my husband, Whitney Autin. iii Table of Contents Acknowledgments . iii List of Tables. vi List of Figures . .viii List of Manuscripts. .xi Abstract . xii Chapter 1. Introduction . .1 Folquet de Marseille. 6 Assessments of His Works. .6 Biography . .11 Scope of the Dissertation . .17 Materials . .17 Editorial Procedure . 24 Analytical Model . .26 Chapter 2. Poetry . 30 Lectio . .30 Versification . .30 Meter . 35 Rhymes . 42 Punctuation . 56 Classical and Medieval Ways to Divide the Sentence . .57 Divisions in Folquet’s Songs . 63 Ennarratio . .71 Proverbs . .72 Chapter 3. Pitch Structure . 88 Melodic Notation and Classification . .91 Modern Scholarship . .91 Medieval Writers . .93 The Gamut . .93 Classification . .94 The Note between a and c' . .100 Classification of Folquet’s Melodies . .108 Range . .109 Finals . 110 Notated and Unnotated b-flats . .110 Modal Classification . .113 iv Compositional Suggestions . .124 Beginnings and Endings . .124 Pitch Hierarchies . .126 Pitch Structure in Folquet’s Songs . .130 Chapter 4. Musical Form and Melodic Repetition . 142 Repetition of the Same Music for Every Stanza . .143 Repetition of Complete Melodic Lines . .146 Repetition of Melodic Lines in Folquet’s Songs . .149 Identification . .149 Classification . .162 Repetition of Shorter Melodic Segments . .171 Structural Linguistic Theory . .171 Troubadour Scholars’ Discussions of Motivic Repetition . .178 Medieval Discussions . .180 Motivic Repetition in Folquet’s Melodies . .188 Chapter 5. Relationships between the Music and the Words . .200 Musical Form and Versification . .200 Musical and Verbal Syntax . .223 The Cesura . .226 Musical Expression of the Cesura . 226 Melodic Contour . .. .240 Longer Units . .245 Conclusions . .258 Bibliography . .. 259 Appendix A. Vida and Razos in Manuscript R. 272 Appendix B. Other Songs in Manuscript G . .275 Appendix C. Other Songs in Manuscript R . ..