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Table 1.4. Standard Incipit, Catalogue and Edition Numbers, and Genre for Each Song Standard incipit Pillet and Carstens Stronski Squillacioti Genre Amors, merce! 155, 1 9 5 canso Ay! tan gen vens 155, 3 10 6 canso Ben an mort 155, 5 1 1 canso Chantan volgra 155, 6 6 17 canso Chantars mi torn 155, 7 18 14 crusade En chantan 155, 8 5 11 canso Greu fera 155, 10 13 12 canso Ja no.s cug hom 155, 11 14 13 canso Mout i fez 155, 14 8 4 canso Oimais no.i conosc 155, 15 19 18 crusade Per Dieu! Amors 155, 16 12 8 canso S’al cor plagues 155, 18 7 3 canso Si cum sel 155, 20 17 21 planh Sitot me sui 155, 21 11 7 canso Tan m’abellis 155, 22 2 2 canso Tan mou 155, 23 3 9 canso Tostemps 155, 24 15 24 tenso Vermillion 155, 25 16 25 cobla Us volers 155, 27 4 10 canso For my analyses I considered each version of each song separately, for two main reasons. First, it is likely that no version provides Folquet’s original words and melody. The earliest version is provided by manuscript W; yet this manuscript postdates Folquet’s compositional career by some fifty or sixty years. Manuscripts R and G were copied over a century after his compositional career. Although Folquet’s songs may have circulated in written form before they 25
were copied into manuscripts, they also certainly were transmitted orally in performances by joglars and jongleurs. Furthermore, it is possible that texts and melodies circulated separately, so that text and melody of a song in one manuscript may have been copied from different exemplars. Too little is understood of the transmission of these songs to permit a truly critical edition. Second, some scholars (notably Gossen) have found the variant versions of troubadour songs useful in understanding the relationship between the melody and the words, indeed, have proposed that variants in the words may have inspired some of the differences in their melodies. So instead of trying to retrieve Folquet’s original works, I have decided to consider them to be late thirteenth- and early fourteenth-century versions, legitimate works in their own right. The musical notation indicates nothing about the rhythm except the alignment of syllables and neumes. Throughout the dissertation the word “neume” refers to whatever melodic element corresponds to a syllable in the words; a neume may consist of a single pitch or several pitches. The notation of accidentals, discussed further in Chapter 3, is enigmatic in this repertory, and the logic behind it differs considerably from that of the modern system. Analytical Model I begin with Aubrey’s philosophy that the words and melody should be evaluated first separately to appraise the separate dispositions of poetic and musical materials; thus, I examine poetic factors in Chapter 2 and musical factors in Chapters 3 and 4. In Chapter 5 I examine some interactions between the music and poetry. The thread that ties the dissertation together is a medieval grammatical theory that encompasses both verbal and musical grammar. 89 89 This is the overview; each chapter includes more detailed discussions. 26
Page 1 and 2: “LOS MOTZ E.L SO”: WORDS, MELOD
Page 3 and 4: Acknowledgments I would first like
Page 5 and 6: Compositional Suggestions . . . . .
Page 7 and 8: 5.2. “Tan m’abellis,” Versifi
Page 9 and 10: 4.10. “En chantan” in manuscrip
Page 11 and 12: List of Manuscripts Troubadour Manu
Page 13 and 14: their separation from the overall f
Page 15 and 16: Although medieval composers, critic
Page 17 and 18: duration, regardless of how many pi
Page 19 and 20: Folquet de Marseille In this disser
Page 21 and 22: Yet in the twentieth century schola
Page 23 and 24: Other literary scholars, however, a
Page 25 and 26: manuscripts, including ones of sout
Page 27 and 28: King Richard of England in the Thir
Page 29 and 30: ecounts that he entered Torondet bu
Page 31 and 32: manuscript progressed. 75 The manus
Page 33 and 34: occur in authorial collections, but
Page 35 and 36: Manuscript W, copied between 1254 a
Page 37: Table 1.3. Order of Folquet’s Son
Page 41 and 42: The science of interpretation was d
Page 43 and 44: Chapter 2. Poetry Folquet’s poeti
Page 45 and 46: hundred different meters for the tw
Page 47 and 48: each aspect in detail primarily as
Page 49 and 50: Folquet uses verses of four, five,
Page 51 and 52: Dante also describes stanza form as
Page 53 and 54: combinations of seven-syllable paro
Page 55 and 56: of different lengths has a certain
Page 57 and 58: Table 2.2 Continued Oimais no.i con
Page 59 and 60: S’al cor plagues ben for’oi mai
Page 61 and 62: Here, desconiscenza in line 1.4 for
Page 63 and 64: of the stanza into four lines plus
Page 65 and 66: sounds suggests that for the old Fr
Page 67 and 68: Table 2.4. Shifting of Rhyme Sounds
Page 69 and 70: order. This feature is irrelevant t
Page 71 and 72: much of the sentence remains, as mu
Page 73 and 74: final pause anywhere in the verse.
Page 75 and 76: This sentence is complete enough, b
Page 77 and 78: similar things. Car, pois, and si u
Page 79 and 80: emphasized through con at the begin
Page 81 and 82: This type of enjambment is truly ne
Page 83 and 84: Here the cesura occurs between the
Page 85 and 86: grammatica, Isidore of Seville’s
Page 87 and 88: converted into narrative situations
Page 89 and 90:
topic. Numerous scholars have ident
Page 91 and 92:
harm.” 111 Most, however, have so
Page 93 and 94:
point where he is no longer allowed
Page 95 and 96:
they say, ‘What begins badly ends
Page 97 and 98:
qar cel qui plus fort de si desmesu
Page 99 and 100:
26.12. The other double proverb is
Page 101 and 102:
Music. Chapter 3. Pitch Structure A
Page 103 and 104:
and polyphonic music, heard in Pari
Page 105 and 106:
allows non-specialists to distingui
Page 107 and 108:
and Grocheio take this set of pitch
Page 109 and 110:
ules of the modes but are varied in
Page 111 and 112:
and authentic tetrardus are also id
Page 113 and 114:
cofinal. Transposition is effected
Page 115 and 116:
Aubrey generally concurs with van d
Page 117 and 118:
call soft or round, but which by so
Page 119 and 120:
a note to be sung as fa and >before
Page 121 and 122:
correct the tritone with the final.
Page 123 and 124:
Finals. The numbers of songs ending
Page 125 and 126:
fourth neume according to Marchetto
Page 127 and 128:
at the transposed location. Guido a
Page 129 and 130:
Table 3.5. Modal Characteristics an
Page 131 and 132:
Figure 3.5. continued. The end of t
Page 133 and 134:
Figure 3.7. “Amors, merce!” in
Page 135 and 136:
R end on c or d. The versions of
Page 137 and 138:
Compositional Suggestions All the w
Page 139 and 140:
Table 3.6. Beginning and Ending Not
Page 141 and 142:
constitute a part of song; and one
Page 143 and 144:
Similarly when the song pauses on t
Page 145 and 146:
In eight 86 the final ends more ver
Page 147 and 148:
verbal units form a nested hierarch
Page 149 and 150:
The final does not end any verse ex
Page 151 and 152:
the end of line 3, in which the fin
Page 153 and 154:
Figure 3.12. “Tan m’abellis”
Page 155 and 156:
Chapter 4. Musical Form and Melodic
Page 157 and 158:
seven concords is determined to be
Page 159 and 160:
from stanza to stanza, a topic expl
Page 161 and 162:
create their diagrams accordingly.
Page 163 and 164:
Table 4.1. Five Scholars’ Assessm
Page 165 and 166:
melody. 18 Because Dante and his co
Page 167 and 168:
4.2. The fourth neume in line 1 con
Page 169 and 170:
All three indicate that line 3 of
Page 171 and 172:
Figure 4.7. “Per Dieu! Amors” i
Page 173 and 174:
identical in the two lines, so the
Page 175 and 176:
epetition as part of a formal desig
Page 177 and 178:
Gennrich covers two types of canzon
Page 179 and 180:
categories. 32 Vanin subdivides the
Page 181 and 182:
Table 4.3. Musical Forms Song35 No
Page 183 and 184:
Although this articulation is the e
Page 185 and 186:
aligned vertically. He imposes the
Page 187 and 188:
However, like Ruwet’s original pr
Page 189 and 190:
no.s cug hom” begins on the third
Page 191 and 192:
Troubadour Scholars’ Discussions
Page 193 and 194:
syllables; sometimes it begins a me
Page 195 and 196:
units end on and the final for the
Page 197 and 198:
Guido, however, describes several a
Page 199 and 200:
Marchetto aligns his species logica
Page 201 and 202:
The authors who discuss melodies mo
Page 203 and 204:
Figure 4.16. “En chantan” in ma
Page 205 and 206:
create a continuous species of fift
Page 207 and 208:
Figure 4.18. “Amors, merce!” in
Page 209 and 210:
fourth line, however, counters this
Page 211 and 212:
These three pitches then begin the
Page 213 and 214:
Chapter 5. Relationships between th
Page 215 and 216:
How and to what extent does Folquet
Page 217 and 218:
the song reveals more complex inter
Page 219 and 220:
Figure 5.1. “Ben an mort,” Comp
Page 221 and 222:
Ieu ioc c’oguan per flor. I joke
Page 223 and 224:
Table 5.7. “Sitot me sui,” Vers
Page 225 and 226:
Si tot me sui a trat apercenbuz. Al
Page 227 and 228:
Uns volers oltracuidaz. One outrage
Page 229 and 230:
Figure 5.4. “S’al cor plagues,
Page 231 and 232:
de ma chanso so que.m veda razos. i
Page 233 and 234:
Figure 5.5. “Greu fera,” Comple
Page 235 and 236:
different ways. This would correspo
Page 237 and 238:
Or surely they are called tones bec
Page 239 and 240:
first phrase, which ends on a pitch
Page 241 and 242:
how the cesura is articulated by le
Page 243 and 244:
fourth or the fourth and fifth syll
Page 245 and 246:
In other lines the vertical stroke
Page 247 and 248:
prevented by a stroke after the fou
Page 249 and 250:
Lines in a few songs have vertical
Page 251 and 252:
line of verse into two equal parts,
Page 253 and 254:
Melodic Contour. The indication of
Page 255 and 256:
Although ascending lines most often
Page 257 and 258:
stanza, however, is not a normal, m
Page 259 and 260:
so that every line in the manuscrip
Page 261 and 262:
The occasional melodic and verbal e
Page 263 and 264:
Figure 5.17. “Per Dieu! Amors,”
Page 265 and 266:
eginning of this line. This is the
Page 267 and 268:
Aa qant gen venz et a qant pauc d
Page 269 and 270:
antithetical results of the differe
Page 271 and 272:
Conclusions A close examination of
Page 273 and 274:
Other Classical and Medieval Writin
Page 275 and 276:
Quintilian. Instituto Oratoria. Edi
Page 277 and 278:
Cabau, Patrice. “Foulque, marchan
Page 279 and 280:
Kivy, Peter. “The Fine Art of Rep
Page 281 and 282:
Pesce, Dolores. The Affinities and
Page 283 and 284:
Squillacioti, Paolo. “Folchetto d
Page 285 and 286:
Appendix A. Vida and Razos in Manus
Page 287 and 288:
3. Razo for “Tan mou” Folquet s
Page 289 and 290:
Amors merce no muora tan soven. Lov
Page 291 and 292:
Ben an mort mi e lor Indeed they ha
Page 293 and 294:
4. 155, 8. “En chantan” 280
Page 295 and 296:
Q’ar si la deignaz ascoltar. For
Page 297 and 298:
Ja no.s cuich hom q’eu cange mas
Page 299 and 300:
Molt i fez granz pecat amors. Love
Page 301 and 302:
8. 155, 16. “Per dieu! Amors” o
Page 303 and 304:
A zo conosc q’eu sui nemps pauros
Page 305 and 306:
Ab bel senblan qe fals amors aduz.
Page 307 and 308:
Ben sai que tot qan faiz es dreiz n
Page 309 and 310:
Tant mou de cortesa razon. So much
Page 311 and 312:
13. 155, 27. “Us volers” 298
Page 313 and 314:
Mas pero chantar no.m plaz. But to
Page 315 and 316:
Per qu’er peccatz amors so sabetz
Page 317 and 318:
Palimpsest Melody (separation aided
Page 319 and 320:
3. 155, 5. “Ben an mort” on pag
Page 321 and 322:
5. 155, 14. “Mout i fez” 308
Page 323 and 324:
6. 155, 16. “Per dieu! Amors” P
Page 325 and 326:
7. 155, 18. “S’al cor plagues
Page 327 and 328:
9. 155, 23. “Tan mou” 314
Page 329 and 330:
E si merces no.m ten pro. And if Me
Page 331 and 332:
Us volers otracuiatz One presumptuo
Page 333 and 334:
1. 155, 10. “Greu fera. Appendix
Page 335 and 336:
2. 155, 21. “Sitot me sui” 1. .
Page 337 and 338:
3. 155, 22. “Tan m’abellis” M
Page 339 and 340:
Tan mot de corteise raison. It begi
Page 341:
Vita Nancy Washer was born in New Y
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