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Trobadour
A troubadour (, ; oc, trobador ) was a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350). Since the word ''troubadour'' is etymologically masculine, a female troubadour is usually called a ''trobairitz''. The troubadour school or tradition began in the late 11th century in Occitania, but it subsequently spread to the Italian and Iberian Peninsulas. Under the influence of the troubadours, related movements sprang up throughout Europe: the Minnesang in Germany, ''trovadorismo'' in Galicia and Portugal, and that of the trouvères in northern France. Dante Alighieri in his ''De vulgari eloquentia'' defined the troubadour lyric as ''fictio rethorica musicaque poita'': rhetorical, musical, and poetical fiction. After the "classical" period around the turn of the 13th century and a mid-century resurgence, the art of the troubadours declined in the 14th century and around the time of the Black Death (1348) it died out. The texts of troubado ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trobar Ric
The ''trobar ric'' (), or rich form of poetry, was a trobadour style. It was distinguished by its verbal gymnastics; its best exponent was Arnaut Daniel. Despite the fact that it outlasted trobar clus it always played a secondary role to trobar leu. See also *''Trobar leu'' *''Trobar clus ''Trobar clus'' (), or closed form, was a complex and obscure style of poetry used by troubadours for their more discerning audiences, and it was only truly appreciated by an elite few. It was developed extensively by Marcabru and Arnaut Daniel, bu ...'' External links Cunnan wiki source (GFDL) {{Western medieval lyric forms Occitan literature Western medieval lyric forms ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trope (music)
A trope or tropus may refer to a variety of different concepts in medieval, 20th-, and 21st-century music. The term ''trope'' derives from the Greek (''tropos''), "a turn, a change", related to the root of the verb (''trepein''), "to turn, to direct, to alter, to change". The Latinised form of the word is ''tropus''. In music, a trope is adding another section, or trope to a plainchant or section of plainchant, thus making it appropriate to a particular occasion or festival. Medieval music From the 9th century onward, trope refers to additions of new music to pre-existing chants in use in the Western Christian Church. Three types of addition are found in music manuscripts: # new melismas without text (mostly unlabelled or called "trope" in manuscripts) # addition of a new text to a pre-existing melisma (more often called ''prosula'', ''prosa'', ''verba'' or ''versus'') # new verse or verses, consisting of both text and music (mostly called trope, but also ''laudes'' or ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phonetic Change
A sound change, in historical linguistics, is a change in the pronunciation of a language. A sound change can involve the replacement of one speech sound (or, more generally, one phonetic feature value) by a different one (called phonetic change) or a more general change to the speech sounds that exist (phonological change), such as the merger of two sounds or the creation of a new sound. A sound change can eliminate the affected sound, or a new sound can be added. Sound changes can be environmentally conditioned if the change occurs in only some sound environments, and not others. The term "sound change" refers to diachronic changes, which occur in a language's sound system. On the other hand, " alternation" refers to changes that happen synchronically (within the language of an individual speaker, depending on the neighbouring sounds) and do not change the language's underlying system (for example, the ''-s'' in the English plural can be pronounced differently depending on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Late Latin
Late Latin ( la, Latinitas serior) is the scholarly name for the form of Literary Latin of late antiquity.Roberts (1996), p. 537. English dictionary definitions of Late Latin date this period from the , and continuing into the 7th century in the Iberian Peninsula. This somewhat ambiguously defined version of Latin was used between the eras of Classical Latin and Medieval Latin. Scholars do not agree exactly when Classical Latin should end or Medieval Latin should begin. Being a written language, Late Latin is not the same as Vulgar Latin. The latter served as ancestor of the Romance languages. Although Late Latin reflects an upsurge of the use of Vulgar Latin vocabulary and constructs, it remains largely classical in its overall features, depending on the author who uses it. Some Late Latin writings are more literary and classical, but others are more inclined to the vernacular. Also, Late Latin is not identical to Christian patristic Latin, used in the theological writings of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wace
Wace ( 1110 – after 1174), sometimes referred to as Robert Wace, was a Medieval Norman poet, who was born in Jersey and brought up in mainland Normandy (he tells us in the ''Roman de Rou'' that he was taken as a child to Caen), ending his career as Canon of Bayeux. Life All that is known of Wace's life comes from autobiographical references in his poems. He neglected to mention his birthdate; some time between 1099 and 1111 is the most commonly accepted period for his birth. The name ''Wace'', used in Jersey until the 16th century, appears to have been his only name; surnames were not universally used at that time. It was quite a common first name in the Duchy of Normandy, derived from the Germanic personal name ''Wasso''. The spelling and the pronunciation of this name were rendered different ways in the texts, according to the place where the copyists were from. In the various versions of the ''Roman de Rou'', his name appears five times as ''Wace'', then ''Gace'' (once), ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nominative
In grammar, the nominative case (abbreviated ), subjective case, straight case or upright case is one of the grammatical cases of a noun or other part of speech, which generally marks the subject of a verb or (in Latin and formal variants of English) the predicate noun or predicate adjective, as opposed to its object or other verb arguments. Generally, the noun "that is doing something" is in the nominative, and the nominative is often the form listed in dictionaries. Etymology The English word ''nominative'' comes from Latin ''cāsus nominātīvus'' "case for naming", which was translated from Ancient Greek ὀνομαστικὴ πτῶσις, ''onomastikḗ ptôsis'' "inflection for naming", from ''onomázō'' "call by name", from ''ónoma'' "name". Dionysius Thrax in his The Art of Grammar refers to it as ''orthḗ'' or ''eutheîa'' "straight", in contrast to the oblique or "bent" cases. Characteristics The reference form (more technically, the ''least marked'') of ce ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oblique Case
In grammar, an oblique (abbreviated ; from la, casus obliquus) or objective case (abbr. ) is a nominal case other than the nominative case, and sometimes, the vocative. A noun or pronoun in the oblique case can generally appear in any role except as subject, for which the nominative case is used. The term ''objective case'' is generally preferred by modern English grammarians, where it supplanted Old English's dative and accusative. When the two terms are contrasted, they differ in the ability of a word in the oblique case to function as a possessive attributive; whether English has an oblique rather than an objective case then depends on how "proper" or widespread one considers the dialects where such usage is employed. An oblique case often contrasts with an unmarked case, as in English oblique ''him'' and ''them'' versus nominative ''he'' and ''they''. However, the term ''oblique'' is also used for languages without a nominative case, such as ergative–absolutive langua ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cercamon
Cercamon (, fl. 1135-1145) was one of the earliest troubadours. His true name and other biographical data are unknown. He was apparently a Gascony-born jester of sorts who spent most of his career in the courts of William X of Aquitaine and perhaps of Eble III of Ventadorn. He was the inventor of the ''planh'' (the Provençal dirge), of the ''tenso'' (a sort of rhymed debate in which two poets write one stanza each) and perhaps of the ''sirventes''. Most of the information about Cercamon's life is nothing but rumour and conjecture; some of his contemporaries credit him as Marcabru's mentor, and some circumstantial evidence points to his dying on crusade as a follower of Louis VII of France. About seven of his lyrics survive, but not a single melody; the works that most contributed to his fame among his contemporaries, his '' pastorelas'' or pastourelles, are lost. ''Cercamon'' means "world searcher" in medieval Occitan. The fossil primate ''Cercamonius'' was named after him. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean De Nostredame
Jean de Nostredame (1522–1576/7) was a Provençal historian and writer. He was the younger brother of Michel de Nostredame. He was baptised at Saint-Rémy-de-Provence on 19 February 1522. He followed the footsteps of his father, Jaume de Nostredame, as a notary public and served as a procurator of the Cour de Parlement of Provence in Aix. Nostredame's major work is ''Les vies des plus célèbres et anciens Poètes provensaux, qui ont floury du temps des comtes de Provence'' (Lyon: Alexandre Marsilij, 1575). It presents itself as a history of the troubadours. Today it is regarded as largely fantasy, though nuggets of historical truth remain. Nostredame lists three sources for his accounts, but none of these survive. In the eighteenth century Giovanni Mario Crescimbeni Giovanni Mario Crescimbeni (October 9, 1663March 8, 1728) was an Italian critic and poet. Crescimbeni was a founding member and leader of the erudite literary society of Accademia degli Arcadi in Rome. Bio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenso
A ''tenso'' (; french: tençon) is a style of troubadour song. It takes the form of a debate in which each voice defends a position; common topics relate to love or ethics. Usually, the tenso is written by two different poets, but several examples exist in which one of the parties is imaginary, including God (Peire de Vic), the poet's horse (Gui de Cavalhon) or his cloak (Bertran Carbonel). Closely related, and sometimes overlapping, genres include: * the ''partimen'', in which more than two voices discuss a subject * the ''cobla esparsa'' or ''cobla exchange'', a tenso of two stanzas only * the ''contenson'', where the matter is eventually judged by a third party. Notable examples *Marcabru and Uc Catola''Amics Marchabrun, car digam'' possibly the earliest known example. *Cercamon and Guilhalmi''Car vei finir a tot dia'' another candidate for the earliest known example. *Raimbaut d'Aurenga and Giraut de Bornelh''Ara·m platz, Giraut de Borneill'' where major exponents of the two ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sirventes
The ''sirventes'' or ''serventes'' (), sometimes translated as "service song", was a genre of Old Occitan lyric poetry practiced by the troubadours. The name comes from ''sirvent'' ('serviceman'), from whose perspective the song is allegedly written. Sirventes usually (possibly, always) took the form of parodies, borrowing the melody, metrical structure and often even the rhymes of a well-known piece to address a controversial subject, often a current event. The original piece was usually a canso, but there are sirventes written as contrafacta of (at least) sestinas and pastorelas. They were always opinionated, being either highly complimentary or, more often, oozing with vitriol; however, these features are not unique to the sirventes, so a piece can be positively identified as one only if its nature is explicitly stated in the text (which it often is) or the original piece it is based on has been preserved (which is also often the case: for a parody to work, it had to target a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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