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Tibors De Sarenom
Tibors de Sarenom (French ''Tiburge''; c. 1130 – aft. 1198) is the earliest attestable trobairitz, active during the classical period of medieval Occitan literature at the height of the popularity of the troubadours. Biography Tibors is one of eight trobairitz with ''vidas'', short Occitan biographies, often more hypothetical than factual. Research into Tibors' the poet's identification with an independently recorded individual is hampered by the popularity of her name in Occitania during the period of her life. Tibors was the daughter of Guilhem d'Omelas and Tibors d'Aurenga, who brought her husband the castle of ''Sarenom'', probably Sérignan-du-Comtat in Provence or perhaps Sérignan in the Roussillon. Sadly for historians and Occitanists, Tibors and Guilhem had two daughters, both named Tibors, after their mother. It is possible but unlikely that Tibors d'Aurenga was herself the trobairitz. Since she was married in 1129 or 1130 and her daughters were married by 1150, ...
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Tibors D'Aurenga
Tiburge of Orange (died 1150), was a suo jure ruling countess regnant of Orange from 1115 to 1150. Jacques de Font-Réaulx, Le testament de Tiburge d'Orange et la cristallisation de la principauté, p. 41-58, dans Provence historique, tome 6, Hors série : Mélanges Busquet. Questions d'histoire de Provence (xie – xixe siècle), 1956 She was born to Raimbaut II, Count of Orange, and married William of Aumelas, who became her co-ruler jure uxoris. William and Tiburge had three children: *Raimbaut of Orange (or Raimbaut d'Aurenja) who became lord of Orange and Aumelas and was a major troubadour. He died childless. *Tiburge, who in 1147 married Adhemar (Adémar) de Murvieux, from Murviel near Montpellier. They had two daughters, Tiburge and Sibylle, who (after the death of their uncle Raimbaut) became joint possessors of Aumelas, eventually ceding it in 1199 to William VIII of Montpellier. *Tiburge (''autre Tiburge'', according to her father's will), who married **Firstly Geoffr ...
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Raimbaut D'Orange
Raimbaut of Orange (c. 1147 – 1173) or, in his native Old Provençal, Raimbaut d'Aurenga, was the lord of Orange and Aumelas. His properties included the towns of Frontignan and Mireval. He was the only son of William of Aumelas and of Tiburge, Countess of Orange, daughter of Raimbaut, count of Orange. After the early death of Raimbaut's father, his guardians were his uncle William VII of Montpellier and his elder sister Tibors. He was a major troubadour, having contributed to the creation of ''trobar ric'', or articulate style, in troubadour poetry. Abouforty of his workssurvive, displaying a gusto for rare rhymes and intricate poetic form. His death in 1173 is mourned in a ''planh'' (lament) by Giraut de Bornelh, and also in the only surviving poem of the trobairitz Azalais de Porcairagues, who was the lover of Raimbaut's cousin Gui Guerrejat. It seems possible that Azalais's poem was composed in an earlier form while Raimbaut was still alive, because in his poem ''A mon ...
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Medieval French Women Musicians
In the history of Europe, the Middle Ages or medieval period lasted approximately from the late 5th to the late 15th centuries, similar to the post-classical period of global history. It began with the fall of the Western Roman Empire and transitioned into the Renaissance and the Age of Discovery. The Middle Ages is the middle period of the three traditional divisions of Western history: classical antiquity, the medieval period, and the modern period. The medieval period is itself subdivided into the Early, High, and Late Middle Ages. Population decline, counterurbanisation, the collapse of centralized authority, invasions, and mass migrations of tribes, which had begun in late antiquity, continued into the Early Middle Ages. The large-scale movements of the Migration Period, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. In the 7th century, North Africa and the Middle East—most recently part of the Eastern Roman ( ...
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12th-century French Troubadours
1 (one, unit, unity) is a number representing a single or the only entity. 1 is also a numerical digit and represents a single unit of counting or measurement. For example, a line segment of ''unit length'' is a line segment of length 1. In conventions of sign where zero is considered neither positive nor negative, 1 is the first and smallest positive integer. It is also sometimes considered the first of the infinite sequence of natural numbers, followed by  2, although by other definitions 1 is the second natural number, following  0. The fundamental mathematical property of 1 is to be a multiplicative identity, meaning that any number multiplied by 1 equals the same number. Most if not all properties of 1 can be deduced from this. In advanced mathematics, a multiplicative identity is often denoted 1, even if it is not a number. 1 is by convention not considered a prime number; this was not universally accepted until the mid-20th century. Additionally, 1 is the s ...
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Trobairitz
The ''trobairitz'' () were Occitan female troubadours of the 12th and 13th centuries, active from around 1170 to approximately 1260. ''Trobairitz'' is both singular and plural. The word ''trobairitz'' is first attested in the 13th-century romance '' Flamenca''. It comes from the Provençal word ''trobar'', the literal meaning of which is "to find", and the technical meaning of which is "to compose". The word ''trobairitz'' is used very rarely in medieval Occitan, as it does not occur in lyrical poetry, grammatical treatises or in the biographies (''vidas'') of the ''trobairitz'' or troubadours.Paden It does occur in the treatise ''Doctrina d'acort'' by Terramagnino da Pisa, written between 1282 and 1296. He uses it as an example of a word the plural and singular of which are the same.Elizabeth W. Poe, "Cantairitz e Trobairitz: A Forgotten Attestation of Old Provençal »Trobairitz«," ''Romanische Forschungen'', 114, 2 (2002), pp. 206–215, at 207: "which are correctly used on ...
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Ballad
A ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French ''chanson balladée'' or ''ballade'', which were originally "dance songs". Ballads were particularly characteristic of the popular poetry and song of Britain and Ireland from the Late Middle Ages until the 19th century. They were widely used across Europe, and later in Australia, North Africa, North America and South America. Ballads are often 13 lines with an ABABBCBC form, consisting of couplets (two lines) of rhymed verse, each of 14 syllables. Another common form is ABAB or ABCB repeated, in alternating eight and six syllable lines. Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century, the term took on the meaning of a slow form of popular love song and is often used for any love song, particularly the sentimental ballad of pop or roc ...
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Razo
A ''razo'' (, literally "cause", "reason") was a short piece of Occitan prose detailing the circumstances of a troubadour composition. A ''razo'' normally introduced an individual poem, acting as a prose preface and explanation; it might, however, share some of the characteristics of a ''vida'' (a biography of a troubadour, describing his origins, his loves, and his works) and the boundary between the two genres was never sharp. In the ''chansonniers'', the manuscript collections of medieval troubadour poetry, some poems are accompanied by a prose explanation whose purpose is to give the reason why the poem was composed. These texts are occasionally based on independent sources. To that extent, they supplement the ''vidas'' in the same manuscripts and are useful to modern literary and historical researchers. Often, however, it is clear that assertions in the ''razos'' are simply deduced from literal readings of details in the poems. Most of the surviving ''razo'' corpus is the work ...
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Canso (song)
The ''canso'' or ''canson'' or ''canzo'' () was a song style used by the troubadours. It was, by far, the most common genre used, especially by early troubadours, and only in the second half of the 13th century was its dominance challenged by a growing number of poets writing ''coblas esparsas''. The ''canso'' became, in Old French, the ''grand chant'' and, in Italian, the ''canzone''. Structure A ''canso'' usually consists of three parts. The first stanza is the ''exordium'', where the composer explains his purpose. The main body of the song occurs in the following stanzas, and usually draw out a variety of relationships with the ''exordium''; formally, aside from the ''envoi''(''s''), which are not always present, a ''canso'' is made of stanzas all having the same sequence of verses, in the sense that each verse has the same number of metrical syllables. This makes it possible to use the same melody for every stanza. The sequence can be extremely simple, as in ''Can vei la ...
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William I Of Baux
William I of Baux ( oc, italic=yes, Guilhèm dei Bauç, archaic ''Guillem'' or ''Guilhem dels Baus'', french: italic=yes, Guillaume des Baux or ''du Baus'', la, Guillelmus de Balcio; c. 1155 – June 1218) was the Prince of Orange from 1182 until his death. He was an important Provençal nobleman. William was the son of , the first Prince of Orange a major patron of Occitan poetry, and Tibors de Sarenom, a sister of Raimbaut d'Aurenga and herself a trobairitz. In 1215 when the Emperor Frederick II sought to make his power effective in the Kingdom of Burgundy, he granted to William at Metz the whole "Kingdom of Arles and Vienne", probably referring to the viceroyalty of the kingdom. William was imprisoned in Avignon in the summer of 1216 and remained there until his death in June 1218. William's descendants continued to claim the Kingdom of Arles until 1393. William was a man of letters and a troubadour, inheriting his love of lyric poetry from his patron-composer parents. Two ...
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Raymond II Of Baux
Raymond is a male given name. It was borrowed into English from French (older French spellings were Reimund and Raimund, whereas the modern English and French spellings are identical). It originated as the Germanic ᚱᚨᚷᛁᚾᛗᚢᚾᛞ (''Raginmund'') or ᚱᛖᚷᛁᚾᛗᚢᚾᛞ (''Reginmund''). ''Ragin'' (Gothic) and ''regin'' (Old German) meant "counsel". The Old High German ''mund'' originally meant "hand", but came to mean "protection". This etymology suggests that the name originated in the Early Middle Ages, possibly from Latin. Alternatively, the name can also be derived from Germanic Hraidmund, the first element being ''Hraid'', possibly meaning "fame" (compare ''Hrod'', found in names such as Robert, Roderick, Rudolph, Roland, Rodney and Roger) and ''mund'' meaning "protector". Despite the German and French origins of the English name, some of its early uses in English documents appear in Latinized form. As a surname, its first recorded appearance in Bri ...
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Bertrand II Of Baux
Bertrand may refer to: Places * Bertrand, Missouri Bertrand is a city in Mississippi County, Missouri, Mississippi County, Missouri, United States. The population was 718 at the 2020 United States census, 2020 census. History Bertrand was platted in 1859. The community has the name of one Mr. Ber ..., US * Bertrand, Nebraska, US * Bertrand, New Brunswick, Canada * Bertrand Township, Michigan, US * Bertrand, Michigan * Bertrand, Virginia, US * Bertrand Creek, state of Washington * Saint-Bertrand-de-Comminges, France * Bertrand (1981–94 electoral district), in Quebec * Bertrand (electoral district), a provincial electoral district in Quebec Other * Bertrand (name) * Bertrand (programming language) * Bertrand (steamboat), ''Bertrand'' (steamboat), an 1865 steamboat that sank in the Missouri River * Bertrand Baudelaire, a fictional character in ''A Series of Unfortunate Events'' * Bertrand competition, an economic model where firms compete on price * Bertrand's theorem, a theo ...
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Barral Of Baux
Barral of Baux (died 1268) was Viscount of Marseilles and Lord of Baux. He was the son of Hugh III of Baux, Viscount of Marseilles, and Barrale. Career Barral came to oppose the Albigensian Crusade, and invaded the Comtat Venaissin in 1234 in support of Raymond VII of Toulouse. In 1239, Barral entered negotiations to have his daughter Cecile marry Guigues VII, Dauphin of Viennois, another supporter of Toulouse. Under pressure from Philip of Savoy, Barral reneged on the engagement, saying he had only agreed to it in fear of his life. In 1244, Barral helped arbitrate the latest conflict between Savoy and Provence on one side and the dauphin and Aymar III of Valentinois on the other. In December of that year, Cecile married the Count of Savoy, firmly pulling Baux into the Savoy alliances. In 1246, Barral joined his son-in-law and family in bringing an army to the rescue of Beatrice of Savoy and her daughter Beatrice of Provence, who had recently inherited the county of Prove ...
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