LOS MOTZ EL SO - Electronic Thesis and Dissertation Library ...

More documents

Recommendations

Info

Table of Contents Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii List of Tables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi List of Figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .viii List of Manuscripts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xi Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Folquet de Marseille. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Assessments of His Works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Scope of the Dissertation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Editorial Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Analytical Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Chapter 2. Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Lectio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 Versification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Rhymes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Punctuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Classical and Medieval Ways to Divide the Sentence . . . . . . . . . . . . . . . .57 Divisions in Folquet’s Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Ennarratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Proverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 Chapter 3. Pitch Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Melodic Notation and Classification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 Modern Scholarship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 Medieval Writers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 The Gamut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 Classification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 The Note between a and c' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100 Classification of Folquet’s Melodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109 Finals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Notated and Unnotated b-flats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110 Modal Classification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113 iv
Compositional Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 Beginnings and Endings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 Pitch Hierarchies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 Pitch Structure in Folquet’s Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130 Chapter 4. Musical Form and Melodic Repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Repetition of the Same Music for Every Stanza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143 Repetition of Complete Melodic Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146 Repetition of Melodic Lines in Folquet’s Songs . . . . . . . . . . . . . . . . . . . . . . . . . .149 Identification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149 Classification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162 Repetition of Shorter Melodic Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171 Structural Linguistic Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171 Troubadour Scholars’ Discussions of Motivic Repetition . . . . . . . . . . . . . . . . . .178 Medieval Discussions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180 Motivic Repetition in Folquet’s Melodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188 Chapter 5. Relationships between the Music and the Words . . . . . . . . . . . . . . . . . . . . . . . . . . . .200 Musical Form and Versification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200 Musical and Verbal Syntax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .223 The Cesura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226 Musical Expression of the Cesura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Melodic Contour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . .240 Longer Units . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245 Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . 259 Appendix A. Vida and Razos in Manuscript R. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 Appendix B. Other Songs in Manuscript G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275 Appendix C. Other Songs in Manuscript R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301 Appendix D. Songs in Manuscript W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Vita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328 v
Page 1 and 2: “LOS MOTZ E.L SO”: WORDS, MELOD
Page 3: Acknowledgments I would first like
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 and 38: Table 1.3. Order of Folquet’s Son
Page 39 and 40: were copied into manuscripts, they
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
show all

LOS MOTZ EL SO - Electronic Thesis and Dissertation Library ...

Create successful ePaper yourself

Delete template?

Save as template?