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Jehan Le Cuvelier D'Arras
Jehan le Cuvelier d'Arras (''fl''. ''c''. 1240–70) was a trouvère associated with the so-called "school of Arras". He may be the same person as Johannes Cuvellarius from Bapaume, a suburb of Arras, who is mentioned in documents of 1258. He was the respondent in nine '' jeux partis'' and judge of six; he also composed six '' chansons courtoises''. His six ''chansons'' are: * * * * * * This last one can be approximately dated, since it is dedicated to Wagon Wion, sheriff (''échevin'') of Arras in 1265 and dead by February 1273. Cuvelier's ''chansons'' are predominantly heptasyllabic, although one (''Pour la meillour'') is decasyllabic and there are pentasyllabic lines in the others. All are in bar form with the exception of ''Amours est'', which is AA'BB'CC'DE. The use of motives in the '' caudae'' is typical. Unusual for his place and time he favoured plagal modes, save for the authentic ''J'ai une dame''. In the readings of the music for ''Amours est'', ''Mout me plaisen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trouvère
''Trouvère'' (, ), sometimes spelled ''trouveur'' (, ), is the Northern French (''langue d'oïl'') form of the ''langue d'oc'' (Occitan) word ''trobador'', the precursor of the modern French word ''troubadour''. ''Trouvère'' refers to poet-composers who were roughly contemporary with and influenced by the ''trobadors'', both composing and performing lyric poetry during the High Middle Ages, but while the ''trobadors'' composed and performed in Old Occitan, the ''trouvères'' used the northern dialects of France. One of the first known ''trouvère'' was Chrétien de Troyes ( 1160s–1180s) and the ''trouvères'' continued to flourish until about 1300. Some 2130 ''trouvère'' poems have survived; of these, at least two-thirds have melodies. Etymology The etymology of the word ''troubadour'' and its cognates in other languages is disputed, but may be related to ''trobar'', "to compose, to discuss, to invent", cognative with Old French ''trover'', "to compose something in ve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chansonnier Cangé
A chansonnier ( ca, cançoner, oc, cançonièr, Galician and pt, cancioneiro, it, canzoniere or ''canzoniéro'', es, cancionero) is a manuscript or printed book which contains a collection of chansons, or polyphonic and monophonic settings of songs, hence literally " song-books"; however, some manuscripts are called chansonniers even though they preserve the text but not the music, for example, the Cancioneiro da Vaticana and Cancioneiro da Biblioteca Nacional, which contain the bulk of Galician-Portuguese lyrics. The most important chansonniers contain lyrics, poems and songs of the troubadours and trouvères used in the medieval music. Prior to 1420, many song-books contained both sacred and secular music, one exception being those containing the work of Guillaume de Machaut. Around 1420, sacred and secular music was segregated into separate sources, with large choirbooks containing sacred music, and smaller chansonniers for more private use by the privileged. Chansonniers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theodore Karp
Theodore Cyrus Karp (17 July 1926 – 5 November 2015) was an American musicologist. His principal area of study was Secular music, mainly mediaeval monophony, especially the music of the trouvères. He was a major contributor in this area to the '' Grove Dictionary of Music and Musicians''. Biography Born in New York, New York, he attended Queens College of the City University of New York, where he received his B.A. in 1947. He later attended the Juilliard School of Music and, from 1949 to 1950, the Catholic University of Leuven. He returned to New York University, where he studied under Curt Sachs and Gustave Reese. He received his PhD from New York University in 1960. In 1963 he was taken on as a faculty member by the University of California at Davis and in 1971 became a music professor. He moved to Northwestern University in 1973, where he was dean of the department until 1988 and a professor until his retirement in 1996. Besides trouvère monophony, Karp wrote arti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adam De La Halle
Adam de la Halle (1245–50 – 1285–8/after 1306) was a French poet-composer ''trouvère''. Among the few medieval composers to write both monophonic and polyphonic music, in this respect he has been considered both a conservative and progressive composer, resulting in a complex legacy: he cultivated admired representatives of older trouvère genres, but also experimented with newer dramatic works. Adam represented the final generation of the ''trouvère'' tradition and "has long been regarded as one of the most important musical and literary figures of thirteenth-century Europe". Adam's literary and musical works include chansons and jeux-partis (poetic debates) in the style of the ''trouvères''; polyphonic rondel and motets in the style of early liturgical polyphony; and a musical play, '' Jeu de Robin et Marion'' (), which is considered the earliest surviving secular French play with music. He was a member of the Confrérie des jongleurs et bourgeois d'Arras, a frat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lambert Ferri
Lambert Ferri (fl. c. 1250–1300) was a trouvère and cleric at the Benedictine monastery at Saint-Léonard, Pas-de-Calais. By 1268 he was a canon and a deacon of the monastery; he is last associated with the monastery in 1282. He was a popular partner for '' jeux partis'', of which some twenty-seven survive between him and other composers, including Jehan Bretel, Jehan le Cuvelier d'Arras, Jehan de Grieviler, Jehan de Marli, Phelipot Verdiere, Robert Casnois, and Robert de La Pierre.Michelle F. Stewart (1979), "The Melodic Structure of Thirteenth-Century ''Jeux-Partis''," ''Acta Musicologica'', 51(1), 86–107. Eleven of his songs have surviving melodies, including seven of the ''jeux partis'', three ''chansons'', and one Marian Marian may refer to: People * Mari people, a Finno-Ugric ethnic group in Russia * Marian (given name), a list of people with the given name * Marian (surname), a list of people so named Places * Marian, Iran (other) * Marian, Queens ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jehan Bretel
Jehan Bretel (''c''.1210 – 1272) was a trouvère. Of his known oeuvre of probably 97 songs, 96 have survived. Judging by his contacts with other trouvères he was famous and popular. Seven works by other trouvères ( Jehan de Grieviler, Jehan Erart, Jaques le Vinier, Colart le Boutellier, and Mahieu de Gant) are dedicated to Bretel and he was for a time the "Prince" of the Puy d'Arras. Bretel held the hereditary post of sergeant at the Abbey of Saint Vaast in Arras, in which capacity he oversaw the rights of the abbacy on the river Scarpe. He is referred to as ''sergens iretavles de la riviere Saint-Vaast'' in a document of 1256. His father, Jehan, had held this same post from 1241 (at the latest) until his death in 1244. His grandfather, Jacques, was described as ''sergent héréditaire'' around the turn of the century, when there were eight such officials associated with the abbey. The trouvère and his brother were modestly wealthy property owners near Arras, where Jeha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jehan De Grieviler
Jehan de Grieviler (''Floruit, fl.'' mid- to late 13th century) was an Arras, Artesian cleric and trouvère. Jehan was probably born at Grévillers near Arras. A certain "Grieviler" is mentioned in the necrology (''registre'') of the Confrérie des jongleurs et des bourgeois d'Arras under 1254. Elizabeth Aubrey argues that since Jehan was a known member of the Puy d'Arras, he cannot be identified with the "Grieviler" of the necrology. More recent work on these institutions by Carol Symes has suggested they were in fact the same.Carol Symes, A Common Stage: Theatre and Public Life in Medieval Arras. Ithaca, 2007 Nonetheless, a further piece of evidence for establishing his chronology are the songs he is known to have composed with Adam de la Halle, who was very young in the 1250s. Probably Jehan was one of the sixteen unordained married clerics in minor orders who petitioned the Bishop of Arras on 28 January 1254 to exempt them from secular taxation. They were evidently involved in t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ligature (music)
In music notation, a ligature is a graphic symbol that tells a musician to perform two or more notes in a single gesture, and on a single syllable. It was primarily used from around 800 to 1650 AD. Ligatures are characteristic of neumatic (chant) and mensural notation. The notation and meaning of ligatures has changed significantly throughout Western music history, and their precise interpretation is a continuing subject of debate among musicologists. History Plainchant The early notation of plainchant, particularly Gregorian chant, used a series of shapes called neumes, which served as reminders of music that was taught by rote rather than as an exact record of which notes to sing. Neumes were in use from the 9th through the 11th centuries AD for most plainsong, and differed by region. Due to their malleable nature, there were no hard and fast rules for the lengths each note was supposed to last, or even how high or low the intervals between notes were to be. ''De mensurabili ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rhythmic Mode
In medieval music, the rhythmic modes were set patterns of long and short durations (or rhythms). The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a "ligature", and by the position of the ligature relative to other ligatures. Modal notation was developed by the composers of the Notre Dame school from 1170 to 1250, replacing the even and unmeasured rhythm of early polyphony and plainchant with patterns based on the metric feet of classical poetry, and was the first step towards the development of modern mensural notation. The rhythmic modes of Notre Dame Polyphony were the first coherent system of rhythmic notation developed in Western music since antiquity. History Though the use of the rhythmic modes is the most characteristic feature of the music of the late Notre Dame school, especially the compositions of Pér ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Authentic Mode
A Gregorian mode (or church mode) is one of the eight systems of pitch organization used in Gregorian chant. History The name of Pope Gregory I was attached to the variety of chant that was to become the dominant variety in medieval western and central Europe (the diocese of Milan was the sole significant exception) by the Frankish cantors reworking Roman ecclesiastical song during the Carolingian period. The theoretical framework of modes arose later to describe the tonal structure of this chant repertory, and is not necessarily applicable to the other European chant dialects ( Old Roman, Mozarabic, Ambrosian, etc.). The repertory of Western plainchant acquired its basic forms between the sixth and early ninth centuries, but there are neither theoretical sources nor notated music from this period. By the late eighth century, a system of eight modal categories, for which there was no precedent in Ancient Greek theory, came to be associated with the repertory of Gregorian chant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
