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Trovadorismo
In the Middle Ages, the Galician-Portuguese lyric, also known as ''trovadorismo'' in Portugal and ''trobadorismo'' in Galicia, was a lyric poetic school or movement. All told, there are around 1680 texts in the so-called secular lyric or ''lírica profana'' (see Cantigas de Santa Maria for the religious lyric). At the time Galician-Portuguese was the language used in nearly all of Iberia for lyric (as opposed to epic) poetry. From this language derives both modern Galician and Portuguese. The school, which was influenced to some extent (mainly in certain formal aspects) by the Occitan troubadours, is first documented at the end of the twelfth century and lasted until the middle of the fourteenth, with its zenith coming in the middle of the thirteenth century, centered on the person of Alfonso X, ''The Wise King''. It is the earliest known poetic movement in Galicia or Portugal and represents not only the beginnings of but one of the high points of poetic history in both countr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancioneiro Da Ajuda
The ''Cancioneiro da Ajuda'' (, ; "Ajuda Songbook") is a collection of Galician-Portuguese lyric poems probably dating from the last quarter of the 13th-century. It is the oldest of the Galician-Portuguese ''cancioneiros'' with secular music. Description The ''Cancioneiro'' is kept in the library of the Ajuda National Palace, a former royal residence located in Lisbon. It consists of a parchment codex written in Gothic script by three hands and containing illuminated miniatures. Both the text and the miniatures remained unfinished and not a note of music was written in the space left for it. The whole codex contains 310 poems, nearly all of them ''cantigas de amor'' (male-voiced love songs, though a few are satiric and there are a few male/female dialogs). History The first (crude) edition dates from 1823, but a monumental critical edition, still a standard work, was published by the German-born Romance philologist Carolina Michaëlis de Vasconcellos Carolina may refer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
King Dinis Of Portugal
Denis (, ; 9 October 1261 – 7 January 1325 in Santarém), called the Farmer King (''Rei Lavrador'') and the Poet King (''Rei Poeta''), was King of Portugal. The eldest son of Afonso III of Portugal by his second wife, Beatrice of Castile, and grandson of Afonso II of Portugal, Denis succeeded his father in 1279. His marriage to Elizabeth of Aragon, who was later canonised as a saint of the Roman Catholic Church, was arranged in 1281 when she was 10 years old. Denis ruled Portugal for over 46 years. He worked to reorganise his country's economy and gave an impetus to Portuguese agriculture. He ordered the planting of a large pine forest (that still exists today) near Leiria to prevent the soil degradation that threatened the region and to serve as a source of raw materials for the construction of the royal ships. He was also known for his poetry, which constitutes an important contribution to the development of Portuguese as a literary language. Reign In 1290, Denis began to p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
João Soares De Paiva
João Soares de PaivaHis name appears in medievaal sources as ''Johã soarez de pauha'', ''Johã Soares de Paiva'', ''Johan Soarez de panha'', ''Joham Soares de Pavha'', or ''Joan Soares de Pávha''. Paiva is variously spelled Pavia, Pávia, Pavha, Pauha, Panha, and Paulia; Soares can also be Soarez; and João is Portuguese for John, from the Latin ''Iohannes''/''Johannes''. (born c. 1140) was a Portuguese poet (''trovador'') and nobleman; often recognised as the first author in the Galician-Portuguese language. He held lands in northern Portugal near the falls of the river Paiva and also in Aragon, near Monzón, Tudela, and Pamplona, near the border with Navarre, as fiefs of the King of Aragon. While the Aragonese sovereign was in Provence, João's Aragonese territories were invaded by Sancho VII of Navarre. He wrote a '' cantiga d'escarnho'' entitled ''Ora faz ost'o senhor de Navarra'' attacking the king of Navarre for this. The dating of this ''cantiga'' is problematic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alfonso XI Of Castile
Alfonso XI (13 August 131126 March 1350), called the Avenger (''el Justiciero''), was King of Castile and León. He was the son of Ferdinand IV of Castile and his wife Constance of Portugal. Upon his father's death in 1312, several disputes ensued over who would hold regency, which were resolved in 1313. Once Alfonso was declared an adult in 1325, he began a reign that would serve to strengthen royal power. His achievements include the victory in the Battle of Río Salado over Granadans and Marinids and the Castilian control over the Strait of Gibraltar. Life Minority Born on 13 August 1311 in Salamanca, he was the son of King Ferdinand IV of Castile and Constance of Portugal. His father died when Alfonso was one year old. His grandmother, María de Molina, his mother Constance, his granduncle Infante John of Castile, son of King Alfonso X of Castile and uncle Infante Peter of Castile, son of King Sancho IV assumed the regency. His mother died first on 18 November 1313, fo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantiga De Amigo
''Cantiga de amigo'' (, ) or ''cantiga d'amigo'' (Galician-Portuguese spelling), literally "friend song", is a genre of medieval lyric poetry, apparently rooted in a female-voiced song tradition native to the northwest quadrant of the Iberian Peninsula. According to Rip Cohen, “In 98% of the poems, the speaker is a girl, her mother, the girl’s girlfriend, or a boy (who is given a voice only in dialogues with the girl—which she begins). The girl can speak to any of the other three personae, but they can only address her (there is no directly represented communication between the other three personae: mother, girlfriend and boy do not speak with one another onstage). There are a dozen cantigas with an outside narrative voice, but most of them include words from a girl’s song.” Much has been made of nature symbolism in this genre, but “Erotic symbolism, though it has rightly attracted attention is not as common as might be imagined. All told, a few dozen poems make ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantiga De Amor
''Cantiga de amor'' ( Portuguese and Galician) or ''cantiga d'amor'' ( Galician-Portuguese), literally "love song", is a type of literary composition from the Middle Ages, typical of the medieval Galician-Portuguese lyric. A male-voiced love lyric, they on average have more complex forms, many never found in '' cantigas de amigo'' and some highly complex ones that were directly inspired by Occitan and Old French lyrics. On the other hand, ''cantigas de amor'' have a lack of variation in personae – with the man almost always speaking to or about a woman – and of situations. Usually the man is courting the woman, complaining that she is being cruel to him, despite his love and loyalty, though sometimes he is leaving or coming back, is away from her, and, seldom, the man gets so frustrated, angry or jealous that he gives up on her and even insults the woman. Obscenity and open sexual references are taboo on this lyric. ''Cantigas de amor'' have a more complex rhetoric, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancioneiro Da Vaticana
The ''Cancioneiro da Vaticana'' (, ; ''Vatican Songbook'') is a compilation of troubadour lyrics in Galician-Portuguese. It was discovered c. 1840 in the holdings of the Vatican Library and was first transcribed by D. Caetano Lopes de Moura in 1847, sponsored by Viscount of Carreira, and again by Ernesto Monaci in 1875. The songbook contains 228 folios with a total of 1205 lyrics that date from the 13th and 14th centuries. Nearly all the poems belong to the three principal genres of secular cantigas: the ''cantigas de amigo'', '' cantigas de amor'' and ''cantigas de escárnio e maldizer''. Even though the texts were meant to be sung, there is no musical notation—nor space left for it (see Cancioneiro da Ajuda). The ''Cancioneiro da Vaticana'', together with the ''Cancioneiro da Biblioteca Nacional'' (kept in Lisbon), were copied from an earlier manuscript (or manuscripts) around 1525, in Rome Italy at the behest of the Italian humanist Angelo Colocci. The two songbooks are eit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancioneiro Colocci-Brancuti
The ''Cancioneiro da Biblioteca Nacional'' (, ; "The National Library Songbook"), commonly called ''Colocci-Brancuti'', is a compilation of Galician-Portuguese lyrics by both troubadours and ''jograes'' (non-noble performers and composers) . These '' cantigas'' (songs) are classified, following indications in the poems themselves and in the manuscript tradition, into three main genres: ''cantigas de amigo'' (female-voiced love songs, about a boyfriend), ''cantigas de amor'' (male-voiced love songs) and ''cantigas de escárnio e mal-dizer'' (songs of mockery and insult). The poems were copied in Italy (presumably from a manuscript from Portugal or Spain) around 1525-1526 by the order of humanist Angelo Colocci (1467-1549), who numbered all the songs, made an index (commonly called the ''Tavola Colocciana'' olocci's table, and annotated the codex. In the 19th century the ''cancioneiro'' belonged to Count Paolo Brancuti di Cagli, from Ancona, in whose private library it was di ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trova
''Trova'' is a style of Cuban popular music originating in the 19th century. Trova was created by itinerant musicians known as ''trovadores'' who travelled around Cuba's Oriente province, especially Santiago de Cuba, and earned their living by singing and playing the guitar. According to nueva trova musician Noel Nicola, Cuban trovadors sang original songs or songs written by contemporaries, accompanied themselves on guitar, and aimed to feature music that had a poetic sensibility. This definition fits best the singers of boleros, and less well the Afrocubans singing funky sones ( El Guayabero) or even guaguancós and abakuá (Chicho Ibáñez). It rules out, perhaps unfairly, singers who accompanied themselves on the piano. ''Trova'' musicians have played an important part in the evolution of Cuban popular music. Collectively, they have been prolific as composers, and have provided a start for many later musicians whose career lay in larger groupings. Socially, they reached ev ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jongleur
A minstrel was an entertainer, initially in medieval Europe. It originally described any type of entertainer such as a musician, juggler, acrobat, singer or fool; later, from the sixteenth century, it came to mean a specialist entertainer who sang songs and played musical instruments. Description Minstrels performed songs which told stories of distant places or of existing or imaginary historical events. Although minstrels created their own tales, often they would memorize and embellish the works of others. Frequently they were retained by royalty and high society. As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets; a decline in their popularity began in the late 15th century. Minstrels fed into later traditions of travelling entertainers, which continued to be moderately strong into the early 20th century, and which has some continuity in the form of today's bu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pergaminho Sharrer
The Pergaminho Sharrer (; gl, Pergamiño Sharrer {{IPA-gl, peɾɣaˈmiɲʊ ˈʃarɪɾ}; "Sharrer Parchment") is a mediaeval parchment fragment containing seven songs by King Denis of Portugal, with lyrics in the Galician-Portuguese language and musical notation. The fragment was discovered in 1990 by American scholar Harvey L. Sharrer, of University of California, Santa Barbara. Sharrer was analysing documents in the Torre do Tombo archive in Lisbon, when he found the folio in the binding of a 16th-century book. Before Sharrer's discovery, the only known Galician-Portuguese mediaeval manuscript with love (non-religious) songs and musical notation was the Vindel Parchment, which contains seven songs by troubadour Martim Codax. Several songbooks covering the period exist, but all of them lack musical notation except the ''Cantigas de Santa Maria'', which are religious in tone. The text and musical notation of the Sharrer Parchment are fragmentary, due to damage done to the fol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pergaminho Vindel
Martin Codax or Codaz, Martín Codax () or Martim Codax () was a Galician medieval ''joglar'' (non-noble composer and performer, as opposed to a ''trobador''), possibly from Vigo, Galicia in present-day Spain. He may have been active during the middle of the thirteenth century, judging from scriptological analysis. He is one of only two out of a total of 88 authors of ''cantigas d'amigo'' who used ''only'' the archaic strophic form ''aaB'' (a rhymed distich followed by a refrain). He employed an archaic rhyme-system whereby ''i~o / a~o'' were used in alternating strophes. In addition Martin Codax consistently utilised a strict parallelistic technique known as ''leixa-pren'' (see the example below; the order of the third and fourth strophes is inverted in the Pergaminho Vindel but the correct order appears in the Cancioneiro da Biblioteca Nacional in Portugal, and the Cancioneiro da Vaticana). There is no documentary biographical information concerning the poet, dating the wor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
