It has been suggested that the art of the troubadour is original primarily in its exercise of choice within a relatively strictly limited field and that, if art results from the tension between freedom and restraint, then the two poles of this dialectic are the exercise of choice of expression and the limitation of the field in terms of subject-matter and linguistic register.
The troubadours have been credited as giving birth to the lyrical poetry of modern European languages. Emerging in France, they were predominantly male composers from parts of Western Europe during the High Middle Ages
Like many people – if not most – I had heard about the troubadours, but I had no idea that the tradition included women.
The height of their popularity was in the 12th-13th Centuries, and they wrote songs about people, politics, and religion, but most of all, love. Let’s take five minutes to talk about troubadours.
French royal courts in the late twelfth century were absolutely smitten with love. Troubadaours traveled from place to place reciting stories of knights and the ladies they wooed.
While words are powerful tools that can invoke emotions ranging from jubilation to revulsion, could they be the cause of a rebellion against Henry II of England by his children and wife, Eleanor of Aquitaine? Could the words of a mere troubadour drive the revolt of a family against their king?
What was the purpose of insulting, aggressive exchanges between nobles and joglars/troubadours in the Occitan courts?
Since we have melodies for both songs, the question of what “feminine” voices we are hearing is a musi- cal as well as a poetic issue.
This study asks: how did jongleurs professionalize over the course of the thirteenth and fourteenth centuries and incorporate themselves into society as legitimate, productive members?
In this dissertation I delve into the songs of the late twelfth-century troubadour Folquet de Marseille whose thirteen songs surviving with their melodies provide a varied collection of a suitable size to permit intensive analysis of poetic and musical compositional practices and the interactions between the two.
There are at least two reasons why the search for the Anglo-Saxon oral poet is worth reopening. To begin with, current thinking about oral poetry and poetics in the Anglo-Saxon period has been indelibly stamped by the classic Parry/Lord thesis, well known in its evolution from the 1950s to more recent years,
A valid alternative is to attempt to understand the reason for the existence of the different versions and to use this knowledge in the choice of a version.
Ancient Rome is remembered as one of the greatest military powers in history, its fame derived from the fearsome reputation of the empire’s legionnaires. Lost in the telling, however, is the important role that espionage played in Rome’s ascent to empire
What is common to these artists is the way how they define and express their belonging to their own ethnic group. The characteristics of their ethnic identity 2 are above all else language, home territory, and history.
Medieval French literature provides the modern researcher with references to the healing arts in many passages that are incorporated into prose or poetic works.
Lyric poetry of the Middle Ages may seem far removed from subgroups of the symmetric group or primitive roots of finite fields. However, one piece of medieval poetry has led to work in these mathematical disciplines, namely a sestina written in the Romance language of Old Occitan by a troubadour named Arnaut Daniel
This video was recorded for students in the Fall 2011 GER 160D ‘Eroticism and Love in the Middle Ages’ class.
Stanford Assistant Professor Marisa Galvez has written a book about medieval songbooks, pointing to troubadours as the models for modern poets. The poem…
New Relationships in Old Music: Is there a Connection Between the Music of Medieval Spain and the Music of the French Troubadours? Dirks, Christine…
In the twelfth and thirteenth centuries women troubadours in southern France called trobairitz participated in dialogue or debate poems called tensons with male troubadours.