In French, it is easy to navigate and provides links to a host of research sites of use to troubadour and trouvère scholarship.
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NNNThis is a free online site providing bibliography on medieval authors and texts. Switten and Chickering 2001 provides an appealing multimedia, interdisciplinary model for introducing college students and medieval enthusiasts to the troubadours and trouvères.ĪRLIMA: Archives de littérature du Moyen Âge. Aubry 1981 and Aubrey 2009 introduce the troubadour and trouvère repertory and its performative essence, and Stevens 1986 stresses the relationship of prosody to melody in the repertory. Essays in Van Deusen 1994 help provide a cultural context and musical background for the troubadours and trouvères within their social history. Source studies such as McGee 1998 and Seay 1974 help to reveal the performance practices and music analyses contemporaneous with the era. To facilitate finding relevant sources both general and specific, the online resource ARLIMA: Archives de littérature du Moyen Âge can be a good start. Among the philologists, musicologists, paleographers, and historians who are devoted to this repertory, a high degree of specialization and cross-disciplinary cooperation is required.īecause of the cross-disciplinary nature of troubadour and trouvère research, general sources on medieval history, literature, and music are necessary to lay the groundwork for serious study of the repertory. Today cogent research on the troubadours and trouvères requires an interdisciplinary approach. Barring unexpected discoveries, the repertory is well established now and scholarship has turned toward evaluating the repertory within its known parameters. Into the 19th century it was largely focused on finding and cataloguing the manuscript sources. The tradition of published scholarship on the troubadours and trouvères dates back to the 14th century, at least to Dante’s De Eloquentia. By the 14th century, as the viable tradition of both the troubadours and the trouvères withered, societies and academies were established to preserve and promote the art. Meanwhile the trouvères experienced great social change as feudalism waned in the 13th century and gradually more trouvères began leaving the aristocratic courts and estates to work in burgeoning urban centers such as Arras. At that time many troubadours left to find havens at courts in Italy, Spain, and as far east as Hungary. The troubadour art had reached its high point by the end of the 12th century and suffered a near-fatal blow with the destruction of many Occitan courts, sources of troubadour patronage, during the Albigensian Crusade ( c. 1209–1229). By mid-12th century, troubadour ideals had spread north, spawning the trouvère movement. Guilhem (b. 1071–d. 1126), seventh count of Poitou and ninth duke of Aquitaine, emerged as the first troubadour.
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The historical era of the troubadours and trouvères is fairly well defined. Although the repertories of the troubadours and trouvères appear to have much in common, i.e., themes of love and betrayal, similar poetic genres and even melodies, the songs reflect the considerable differences in politics, religion, and social history between the two contiguous regions. The trouvères lived in the north of France, writing poetry in Old French.
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The troubadours, considered the earliest vernacular song composers, resided in the south of what is largely now France, spoke the regional vernacular now known as “Occitan,” and chiefly wrote their texts in the Old Provençal dialect. The study of this repertory is often divided along geographic and linguistic lines. Their legacy is vast, existing today in many dozens of late medieval manuscripts that contain thousands of poems and hundreds of melodies largely attributed to individual troubadours and trouvères. The troubadours and trouvères were medieval poet-musicians who created one of the first repertories of vernacular song to be written down.