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Courtly Love Songs of Medieval France (Oxford Monographs on by Mary O'Neill

By Mary O'Neill

Mary O'Neill examines the legacy of the medieval poet composers of Northern France, the trouvères. for a few years difficulties and problems in regards to the surviving melodies have avoided us from gaining access to those songs. lots of those difficulties are addressed right here, bringing us toward a real knowing of the repertoire.

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Extra resources for Courtly Love Songs of Medieval France (Oxford Monographs on Music)

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Fr. 847 Paris, BNF f. fr. 1109, fos. 311–25 Paris, BNF f. fr. 1591 (Noailles) Paris, BNF f. fr. 20050 (St-Germain-des-Pre´s) Paris, BNF f. fr. 24406 (La Vallie`re) Paris, BNF f. fr. 25566 (Adam de la Halle) (Fos. 2r–9v of W Paris, BNF n. a. fr. 36 (Siena) Vatican City, Biblioteca Apostolica Vaticana, Reg. lat. 1: 1. K, N, P, X, to which L and the first half of V (fos. 1–119) are also related;3 2. M, T, A, and a (the first two and the last two being closely related). 4 It should be pointed out, however, that these groupings do not hold for all portions of the repertoire transmitted within the sources, even in the relatively homogeneous KNPX group.

Jeanroy, Bibliographie sommaire des chansonniers franc¸ais du moyen ˆage (CFMA 18; Paris, 1918), and for a detailed discussion of, and complement to, Jeanroy see F. Gennrich, ‘Die beiden neuesten Bibliographien altfranzo¨sischer und altprovenzalischer Lieder’, ZRPh 61 (1921), 289–346; R. W. , 1979). Because of heavy editing and re-editing of the notation (and some of the texts) of the trouve`re songs transmitted on fos. 98–117v and fo. 131r–v of London, British Library, MS Eg. 274 (F), it will be excluded from the discussion which follows.

The only real refinement of generic presentation in a lies in providing a separate category for pastourelles: in all the other sources pastourelles were presented along with the chansons within the individual author corpora. 20 It also becomes increasingly apparent in fourteenth-century anthologies of trouve`re poetic texts. A classic example is the Oxford chansonnier Bodleian, Douce 308 (I). In this manuscript, compiled in the first quarter of the fourteenth century, the poems, whose authors are not acknowledged, are arranged as follows:21 fos.

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