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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-26,543 ARTIS, Ann«Marie Jos^Jie, 1925- THE CHANSONS OT THIBAUT, COUNT OF CHAMPAGNE, KING OF NAVAPRÇ. CVOUMES I AND II). The C M o State University, Ph.D., 1975 MÜSÎC Xerox University Miorofiims, Ann Arbor, Michigan 481 oe 'Copyright by Anne-Marie Josephe Artis 1975 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE CHANSONS OF THIBAUT, COUNT OF CHAMPAGNE, KING OF NAVARRE Volume I DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Anne-Marie Josephe Artis, M.A. ***** The Ohio State University 1975 Reading Committee: Approved By Prof. Herbert S. Livingston Prof. Norman Phelps Prof. Richard Hoppin Adviser' Department of Music PREFACE Thibaut de Champagne was one of the most famous and most prolific trouvères in the first half of the thirteenth century. But, refined and successful as his poetry was, it could not compete with the new develop­ ments of the fourteenth century, and, like all twelfth- and thirteenth-century lyrics, Thibaut's chansons were temporarily forgotten. It was not until the sixteenth century that Estienne Pasquier mentioned Thibaut's poetry and pub­ lished some passages of his poems.^ In the same century, Claude Fauchet devoted a chapter to Thibaut in his study of the origin of the French language and poetry. Fauchet 2 included passages from ten chansons. Not until the eighteenth century (1742) was a complete edition of Thibaut's chansons published by Levesque de la Ravaliere.^ According to WallenskOld, the edition was defective in ^Estienne Pasquier, Recherches de la France. I, VIII (Paris, 1560), Chapter V. 2 Claude Fauchet, Recueil de l'origine de la langue et poésie françoise. II (Paris, n.d.). Chapter XV. ^Levesque de la Ravalière, Les poésies du roy de Navarre. II (Paris, 1742), 305-17. 11 many ways, but it had the advantage of giving the melo­ dies of nine chansons.^ In the nineteenth century, Thibaut's chansons were the object of several studies. Among the works published. Prosper Tarbe's Chansons de Thibaut IV. comte de Champagne et de Brie was the most scholarly.^ It served as a basis for later studies on Thibaut, including those of WallenskOld and Paulin Paris, who in the Histoire littéraire de la France gives a detailed analysis of the trouvère's poetry.^ At the beginning of the twentieth century a few chansons were published individually. In collaboration with literary scholars, Pierre Aubry published the music for Thibaut's 7 8 only lai, and his chansons de croisade. The jeux- partis appeared without music in Recueil général de Teux-partis.4 .- 9 WallenskOld's study, published in 1925, is now the definitive work on Thibaut's poetry. The text of ^Chansons I, VI, XV, XVI, XXIX, XLVI, LII, LVI, LIX. ^Prosper Tarbé, Chansons de Thibaut IV, comte de Champagne et de Brie (Reims, 1851). ^Paulin Paris, Histoire littéraire de la France XXIII (Paris, 1856), 765-804. ^Alfred Qeanroy and Pierre Aubry, Lais et descorts français du XlIIeme siecle (Paris, 1901). ®Joseph Bedier and Pierre Aubry, Les chansons de croisade (Paris, 1909). ^Alfred Langfors, Recueil général de jeux-partis (Paris, 1910). iii each chanson is provided with complete critical notes and historical comments. In addition, the work contains a short biography of Thibaut and a detailed explanation of the relationship of the manuscripts according to philo­ logical evidence. The object of this dissertation is the study and analysis of the music of Thibaut's chansons and its rela­ tion to the texts. The first volume begins with a short biography of Thibaut, followed in Chapter II by a discus­ sion of the manuscripts in which his chansons are preserved. Chapter III deals with types and forms of the poems and the way Thibaut treats them in his chansons. Chapter IV discusses the forms of Thibaut's melodies and Chapter V their musical style with special emphasis on their rela­ tionship with the chants of the Church and Thibaut's techniques of relating and contrasting phrases within a melody. Chapter VI deals with oral and written tradi­ tions in medieval music and with contraposita and contra- facta connected with Thibaut's chansons and jeux-partis. Chapter VII is concerned with modality and Thibaut's use of modes and deviations from them. The rhythm in trouvère melodies, the different ways it has been inter­ preted by scholars, and the rhythm of the poetic line Alfred WallenskOld, Les chansons du roi de Navarre. Edition critique. Société des Anciens Textes français (Paris, 1925). iv are dealt with in Chapter VIII. The poetic and musical structures of Thibaut's religious lai are the subject of Chapter IX. In general, the musical examples are from the Mt manuscript except when the melody was not copied or when the Mt version contains obvious scribal errors. In these cases, the version of manuscript K is used. Volume II contains the lai and the fifty-eight chanson melodies that have been preserved. These melo­ dies are arranged in the order of WallenskOld's edition and are given with the first stanza of the chanson text. The complete central melodies appear first on the page. Only the variants in different manuscripts are noted underneath, except when the text has been given another melody (contrapositum). The writer is grateful to the members of the read­ ing committee; she thanks them for the valuable sugges­ tions and careful examination of this dissertation. She especially thanks Professor Hans A. Keller, of the Depart­ ment of Romance Languages and Literatures, for his advice in the Old French and Old Occitan languages, and Professor Richard H. Hoppin, of Music History, for his guidance and thorough criticism. VITA January 30, 1925 .... Born - Pompey, M-Melle, France 1942-1950 ........... .. University of Nancy, School of Music, Nancy, France 1943-1945 .............. Teaching Assistant, Solfeggio, University of Nancy, Nancy, France 1956-1961 .............. Instructor, University of Maryland (Overseas Program), Department of Romance Languages, Heidelberg, Germany 1967 ..................... M.A., School of Music, The Ohio State University, Columbus, Ohio 1970-1972 .............. Teaching Assistant, School of Music, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Music History: Professors Richard H. Hoppin and Herberst S. Livingston History of Music Theory: Professors Norman F. Phelps and B. William Poland VI TABLE OF CONTENTS Page PREFACE .......................... ii VITA ................................................ vi LIST OF T A B L E S ........................ xi Chapter I. THIBAUT DE CHAMPAGNE .................... 1 Biography ................................ 1 II. M A N U S C R I P T S ................................ 13 Manuscripts Containing Thibaut's Melodies................................ 14 Chansonnier du roi de Navarre .... 15 Manuscrit du Roi ....................... 19 Manuscripts of the Arsenal Group . 20 Manuscript Filiation.................... 24 Contents of the Manuscripts ........... 25 Text Variants ........................... 27 Musical Variants......................... 29 III. THIBAUT OF CHAMPAGNE COURTLY POET .... 33 Courtly Love ............................. 33 Thibaut's Poetry......................... 35 Poetic Types............................. 36 Love S o n g ............................. 36 J e u - p a r t i .................... 41 The Tenso or Débat.................... 45 Pastourelle ..... ................ 49 Chanson de Croisade .................. 52 Religious Songs ....................... 56 Serventois........... 56 Songs to