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isometric stanzas, he indicates that stanzas can be heterometric. The only heterometric stanzas he illustrates consist of principal verses mixed with very short lines, called biocatz (shortened), which have four or fewer syllables. 21 Table 2.1. Metrical Properties of Folquet’s Songs Song Number of Lines Meter Stanza Type Rarity Amors, merce! 7 10 10' 10 10' 10' 10 10 isometric two other songs Ay! tan gen vens 8 10 10 10 10 10 10 10 10 isometric common Ben an mort 10 6 6 6 6 6 6 8 8 10 10 heterometric one other song Chantan volgra* 9 10 10 10 10 10' 10 10 10 10 isometric unique Chantars mi torn* 12 7 7 7 7 7 7 7' 7 7 7 7 7 isometric unique En chantan 10 8 8 10 4 8 10 4 8 10 10 heterometric unique Greu fera 9 7' 7 7 7' 7' 7 7 7' 7' isometric one other song Ja no.s cug hom 8 10 10 10' 10 10' 10' 10 10 isometric unique Mout i fez 10 8 8 8 8 8 8 8 8 8 8 isometric common Oimais no.i conosc* 11 7 7 7 7 7 10 10 10 10 10 10 heterometric one other song Per dieu! Amors 8 10 10 10 10 10' 10 10 10' isometric common S’al cor plagues 10 10 10 10 10 10 10 10 10 10 10 isometric common Si cum sel* 11 7 7 7 7 7 7 7 7 8 8 8 heterometric unique Sitot me sui 8 10 10' 10' 10 10' 10' 10 10' isometric two other songs Tan m’abellis 8 10 10' 10 10 10' 10' 10 10 isometric unique Tan mou 12 8 8 8 8 8 8 4 8 4 8 8 8 heterometric unique Tostemps* 10 8 8 8 8 7' 8 8 8 8 7' heterometric one other song Vermillion* 6 12' 12' 12' 12' 12' 12' isometric seven other songs Us volers 10 7 7 7 7 5 7 7 7 5 7 heterometric one other song 21 “Bordos biocatz apela hom aquel quom pauza en la fi dalqun autre bordo. sos assaber aprop lo complimen del principal bordo.” Molinier, Leys d’amors; Gatien-Arnoult, 1: 128. 37
Dante also describes stanza form as the arrangement of lines with different numbers of syllables. He greatly prefers eleven-syllable lines (corresponding to ten-syllable lines in Old Occitan) and suggests that the best poems use only eleven-syllable lines. 22 In stanzas with mixed line lengths, eleven-syllable lines should begin the stanza and predominate; 23 in the terms of the Leys d’amors, they should be the principal verses. Folquet uses a different combination of numbers of lines and line lengths for each song, although some songs have closely related meters, as listed in Table 2.1. “Ay tan gens” and “S’al cor plagues,” for example, consist of isometric stanzas compiled from ten-syllable verses; but the stanza of “Ay! tan gen vens” is comprised of eight verses, whereas that of “S’al cor plagues” is comprised of ten verses. Folquet demonstrates his ingenuity through his creations of new meters. Seven songs use meters not found in any other known troubadour song, 24 and seven other songs use meters found in only one or two other songs. 25 Only four songs, “Ay! tan gen vens,” Mout i fez,” “Per Dieu! Amors,” and “S’al cor plagues,” use meters commonly used by other troubadours. 22 “Horum prorsus, cum tragice poetari conamur, endacasillabum propter quandam excellentiam in contextu vincendi privilegium promeretur.” Dante, De vulgari eloquentia 2.12.3; Mengaldo, 54; Shapiro, 85. 23 “Et sicut quedam stantia est uno solo eptasillabo conformata, sic duobus, tribus, quatuor, quinque videtur posse contexi, dummodo in tragico vincat endecasillabum et principiet.” Dante, De vulgari eloquentia 2.12.5; Mengaldo, 54; Shapiro, 85. 24 “Chantan volgra,” “Chantars mi torn,” “En chantan,” “Ja no.s cug hom,” “Si cum sel,” “Tan m’abellis,” and “Tan mou.” 25 “Amors, merce!” “Ben an mort,” “Greu fera,” “Oimais no.i conosc,” “Sitot me sui,” “Tostemps,” and “Us volers.” 38
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 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: Folquet uses verses of four, five,
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
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Music. Chapter 3. Pitch Structure A
Page 103 and 104:
and polyphonic music, heard in Pari
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allows non-specialists to distingui
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and Grocheio take this set of pitch
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ules of the modes but are varied in
Page 111 and 112:
and authentic tetrardus are also id
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cofinal. Transposition is effected
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Aubrey generally concurs with van d
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call soft or round, but which by so
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a note to be sung as fa and >before
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correct the tritone with the final.
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Finals. The numbers of songs ending
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fourth neume according to Marchetto
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at the transposed location. Guido a
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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
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R end on c or d. The versions of
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Compositional Suggestions All the w
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Table 3.6. Beginning and Ending Not
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constitute a part of song; and one
Page 143 and 144:
Similarly when the song pauses on t
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In eight 86 the final ends more ver
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verbal units form a nested hierarch
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The final does not end any verse ex
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the end of line 3, in which the fin
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Figure 3.12. “Tan m’abellis”
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Chapter 4. Musical Form and Melodic
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seven concords is determined to be
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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
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melody. 18 Because Dante and his co
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4.2. The fourth neume in line 1 con
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All three indicate that line 3 of
Page 171 and 172:
Figure 4.7. “Per Dieu! Amors” i
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identical in the two lines, so the
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epetition as part of a formal desig
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Gennrich covers two types of canzon
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categories. 32 Vanin subdivides the
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Table 4.3. Musical Forms Song35 No
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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
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no.s cug hom” begins on the third
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Troubadour Scholars’ Discussions
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syllables; sometimes it begins a me
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units end on and the final for the
Page 197 and 198:
Guido, however, describes several a
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Marchetto aligns his species logica
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The authors who discuss melodies mo
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Figure 4.16. “En chantan” in ma
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create a continuous species of fift
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Figure 4.18. “Amors, merce!” in
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fourth line, however, counters this
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These three pitches then begin the
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Chapter 5. Relationships between th
Page 215 and 216:
How and to what extent does Folquet
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the song reveals more complex inter
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Figure 5.1. “Ben an mort,” Comp
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Ieu ioc c’oguan per flor. I joke
Page 223 and 224:
Table 5.7. “Sitot me sui,” Vers
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Si tot me sui a trat apercenbuz. Al
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Uns volers oltracuidaz. One outrage
Page 229 and 230:
Figure 5.4. “S’al cor plagues,
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de ma chanso so que.m veda razos. i
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Figure 5.5. “Greu fera,” Comple
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different ways. This would correspo
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Or surely they are called tones bec
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first phrase, which ends on a pitch
Page 241 and 242:
how the cesura is articulated by le
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fourth or the fourth and fifth syll
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In other lines the vertical stroke
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prevented by a stroke after the fou
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Lines in a few songs have vertical
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line of verse into two equal parts,
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Melodic Contour. The indication of
Page 255 and 256:
Although ascending lines most often
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stanza, however, is not a normal, m
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so that every line in the manuscrip
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The occasional melodic and verbal e
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Figure 5.17. “Per Dieu! Amors,”
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eginning of this line. This is the
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Aa qant gen venz et a qant pauc d
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antithetical results of the differe
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Conclusions A close examination of
Page 273 and 274:
Other Classical and Medieval Writin
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Quintilian. Instituto Oratoria. Edi
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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
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3. Razo for “Tan mou” Folquet s
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Amors merce no muora tan soven. Lov
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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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