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Moniot De Paris
Moniot de Paris (fl. post-1250) was a trouvère and probably the same person as the Monniot who wrote the ''Dit de fortune'' in 1278. He was once thought to have flourished around 1200, but his dates have been pushed back. Moniot wrote nine surviving pieces: three ''pastourelles'', one '' chanson de rencontre'', one '' chanson de la malmariée'', and four enigmatic '' rotrouenges'' that are not of the ''grand chant'' variety. Throughout, his work represents a blurring of the traditional boundaries between genres. One modern scholar, J. Frappier, has gone so far as to identify in him a new conception of courtly love: ''une courtoisie embourgeoisée'' (a bourgeoisie courtliness). Moniot represents a "low style" or "less refined lyricism". His themes, both lyric and musical, are light in tone. He uses refrains (such as the onomatopoeic "Vadu, vadu, vadu, va!") in nearly all his works and his melodies are simple in the extreme, with repeated notes, repeated phrases, and small interval ... [...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] |
Pastourelle
The pastourelle (; also ''pastorelle'', ''pastorella'', or ''pastorita'' is a typically Old French lyric form concerning the romance of a shepherdess. In most of the early pastourelles, the poet knight meets a shepherdess who bests him in a battle of wit and who displays general coyness. The narrator usually has sexual relations, either consensual or rape, with the shepherdess, and there is a departure or escape. Later developments moved toward pastoral poetry by having a shepherd and sometimes a love quarrel. The form originated with the troubadour poets of the 12th century and particularly with the poet Marcabru (pastorela). This troubadour form melded with goliard poetry and was practiced in France and Occitania until the ''Carmina Burana'' of ''c.'' 1230. In Spanish literature, the pastourelle influenced the '' serranilla'', and fifteenth century pastourelles exist in French, German, English, and Welsh. One short Scots example is ''Robene and Makyne''. Adam de la Halle's ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chanson De Rencontre
A (, , french: chanson française, link=no, ; ) is generally any lyric-driven French song, though it most often refers to the secular polyphonic French songs of late medieval and Renaissance music. The genre had origins in the monophonic songs of troubadours and trouvères, though the only polyphonic precedents were 16 works by Adam de la Halle and one by Jehan de Lescurel. Not until the '' ars nova'' composer Guillaume de Machaut did any composer write a significant number of polyphonic chansons. A broad term, the word "chanson" literally means "song" in French and can thus less commonly refers to a variety of (usually secular) French genres throughout history. This includes the songs of chansonnier, '' chanson de geste'' and Grand chant; court songs of the late Renaissance and early Baroque music periods, '' air de cour''; popular songs from the 17th to 19th century, '' bergerette'', ''brunette'', '' chanson pour boire'', ''pastourelle'', and vaudeville; art song ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chanson De La Malmariée
A (, , french: chanson française, link=no, ; ) is generally any lyric-driven French song, though it most often refers to the secular polyphonic French songs of late medieval and Renaissance music. The genre had origins in the monophonic songs of troubadours and trouvères, though the only polyphonic precedents were 16 works by Adam de la Halle and one by Jehan de Lescurel. Not until the '' ars nova'' composer Guillaume de Machaut did any composer write a significant number of polyphonic chansons. A broad term, the word "chanson" literally means "song" in French and can thus less commonly refers to a variety of (usually secular) French genres throughout history. This includes the songs of chansonnier, '' chanson de geste'' and Grand chant; court songs of the late Renaissance and early Baroque music periods, '' air de cour''; popular songs from the 17th to 19th century, '' bergerette'', ''brunette'', '' chanson pour boire'', ''pastourelle'', and vaudeville; art song ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rotrouenge
In the Middle Ages, the ''rotrouenge'' (Old French) or ''retroencha'' (Old Occitan) was a recognised type of lyric poetry, although no existing source defines the genre clearly. There are four conserved troubadour poems, all with refrains and three by Guiraut Riquier with music, that are labelled ''retronchas'' in the chansonniers. Six ''rotrouenges'' survive, but only one with music, and four of them are attributed to one trouvère, Gontier de Soignies. Medieval Occitan treatises state that the ''retroencha'' always has a refrain, but modern scholars have found no other distinguishing characteristic. Pioneering work in singling out and identifying the ''rotroencha'' was made by Alfred Jeanroy. In the twentieth century, the German scholars Friedrich Gennrich and Hans Spanke developed two distinct theories about the textual and melodic form of the ''rotrouenge'', implicitly suggesting in the process that some of the few specimens of lyric labelled as such in the manuscripts are in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Grand Chant
The ''grand chant'' (''courtois'') or, in modern French, (''grande'') ''chanson courtoise'' or ''chanson d'amour'', was a genre of Old French lyric poetry devised by the trouvères. It was adopted from the Occitan ''canso'' of the troubadours, but scholars stress that it was a distinct genre. The predominant theme of the ''grand chant'' was courtly love, but topics were more broad than in the ''canso'', especially after the thirteenth century. The monophonic ''grand chant'' of the High Middle Ages (12th–13th centuries) was in many respects the predecessor of the polyphonic ''chanson'' of the Late Middle Ages The Late Middle Ages or Late Medieval Period was the Periodization, period of European history lasting from AD 1300 to 1500. The Late Middle Ages followed the High Middle Ages and preceded the onset of the early modern period (and in much of Eur ... (14th–15th centuries). Reference works *O'Neill, Mary (2006). ''Courtly Love Songs of Medieval France: Transmissi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Courtly Love
Courtly love ( oc, fin'amor ; french: amour courtois ) was a medieval European literary conception of love that emphasized nobility and chivalry. Medieval literature is filled with examples of knights setting out on adventures and performing various deeds or services for ladies because of their "courtly love". This kind of love is originally a literary fiction created for the entertainment of the nobility, but as time passed, these ideas about love changed and attracted a larger audience. In the high Middle Ages, a "game of love" developed around these ideas as a set of social practices. "Loving nobly" was considered to be an enriching and improving practice. Courtly love began in the ducal and princely courts of Aquitaine, Provence, Champagne, ducal Burgundy and the Norman Kingdom of Sicily at the end of the eleventh century. In essence, courtly love was an experience between erotic desire and spiritual attainment, "a love at once illicit and morally elevating, passionate and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Refrain
A refrain (from Vulgar Latin ''refringere'', "to repeat", and later from Old French ''refraindre'') is the line or lines that are repeated in music or in poetry — the "chorus" of a song. Poetic fixed forms that feature refrains include the villanelle, the virelay, and the sestina. In popular music, the refrain or chorus may contrast with the verse melodically, rhythmically, and harmonically; it may assume a higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly. Usage in history In music, a refrain has two parts: the lyrics of the song, and the melody. Sometimes refrains vary their words slightly when repeated; recognizability is given to the refrain by the fact that it is always sung to the same tune, and the rhymes, if present, are preserved despite the variations of the words. Such ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Onomatopoeic
Onomatopoeia is the process of creating a word that phonetically imitates, resembles, or suggests the sound that it describes. Such a word itself is also called an onomatopoeia. Common onomatopoeias include animal noises such as ''oink'', ''meow'' (or ''miaow''), ''roar'', and ''chirp''. Onomatopoeia can differ between languages: it conforms to some extent to the broader linguistic system; hence the sound of a clock may be expressed as ''tick tock'' in English, in Spanish and Italian (shown in the picture), in Mandarin, in Japanese, or in Hindi. The English term comes from the Ancient Greek compound ''onomatopoeia'', 'name-making', composed of ''onomato''- 'name' and -''poeia'' 'making'. Thus, words that imitate sounds can be said to be onomatopoeic or onomatopoetic. Uses In the case of a frog croaking, the spelling may vary because different frog species around the world make different sounds: Ancient Greek (only in Aristophanes' comic play ''The Frogs'') probably ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrafacta
In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". The earliest known examples of this procedure (sometimes referred to as ''adaptation''), date back to the 9th century used in connection with Gregorian Chant. Categories Translations meant for singing are not usually intentional "substitution". Types of contrafacta that are wholesale substitution of a different text include the following: Poems set to music An existing tune already possessing secular or sacred words is given a new poem, which often happens in hymns, and sometimes, more than one new set of words is created over time. Examples include: * The words of ''What Child Is This?'' were fitted to the tune of the folksong "Greensleeves". * The Charles Wesley hymn text Hark! The Herald Angels Sing was fitted by William Hayman Cummings to a tune from Mendelssohn's Gutenberg cantata Festgesang. * The hymn tune "Dix" has been giv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
