Troubadours

Sonograms are images produced by sound; more specifically, they are produced by ultrasound—sound waves vibrating at frequencies well above the range of what humans can hear, but suitable for producing maps below surfaces such as skin or oceans. Long before scientific devices transduced vibrating air waves into graphics, cultural devices such as voices, instruments, pens and parchment, transmitted sounds in the form of love songs that had an ultrasonic function to produce sonograms that mapped subjects and objects of desire. This essay unites musicology’s concerns with the discursive force of organized sound, and sound studies’ concern with the discursive force sonic environments, recording formats, and media networks, to consider how the widely transmitted medieval song Lanqan li jorn son lonc en mai  by Jaufre Rudel, with its famous refrain of amor de lonh  (“love from afar”) and evocations of the Saracen kingdom, reverberates across time and space to map subjects and objects of desire below skin and across oceans. The first half of the essay examines Lanqan li jorn son lonc en mai  in the context the transcultural sound networks, medieval notions of global geography, and the material formatting of songs. The second half of this essay turns to two modern-day resoundings of Jaufre’s song of distant love:  these are the 1977 recording by the Clemencic Consort directed by René Clemencic; and the 2000 opera by Finish composer Kaija Saariaho called L’amour de loin with a libretto by the Lebanese author Amin Maalouf.  In both cases the song, and the medieval legend that sprung from it, are sonically reimagined to express twentieth-century strife in the Middle East.  Thus while the notes of Jaufre’s medieval song have all but disappeared from these reformattings, its ultrasonic function continues to produce sonograms of desire born of distance.

CONTENTS

October 17th, 2011 [pages 6-15]
I
Persecution and the Art of Writing or Towards a Hermeneutics of Suspicion
from interpretation of the meaning between lines to explanation of the transcendental effect of forms

1. ‘PERSECUTION’: from the threat of philosophical truth to the subversion of the verisimilitude of fiction

2. ‘THE ART OF WRITING’: protection for the author and selective communication with accomplices

i. The protective output: the censor’s impasse and authority outwitted

ii. The communicational output: separation of readerships and selective training in the subversive knowledge

3. The ‘ART OF READING’: from interpretation of the implicit message to explanation of the transcendental revolution in forms

i. The ‘interpretation’ stage: moving from the explicit sense to the implicit intended meaning—criteria for recognizing and reconstructing the concealed message.
  * First stage: criteria for recognizing anomalies that give grounds to suspect second intentions
  * Second stage: reconstruction criteria allowing the implicit meaning to be established

ii. The stage of ‘explanation’: from the sociology of knowledge to transcendental stylistics

October 18th, 2011 [pages 16-31]
II
The Latin Erotic Elegy and the Case of Propertius
from subversion of the Augustan imperial ethos to the metaphysics of dissimulatio

1. Introduction. From the elegiac paradox (irrepressible passion-love in an interruptive texture) to an art of writing between the lines

2. A historico-literary context of substitution: the Roman erotic elegy between poetic dissimulatio and Augustan auctoritas

i. Literary elements that contribute to ‘recognition’ of the elegiac art of writing: from literature as imitatio to irony as dissimulatio

ii. Political elements that contribute to the ‘reconstruction’ of the implied message: elegiac values versus the values of Augustan auctoritas—Propertius’ authorial situation vis-à-vis the vates, Horace and Virgil.

3. Interpretation: an amatory façade for the subversion of imperial values—progressive dissimulatio in Propertius’ writing

i. Propertius’ independence in the Monobiblos: from amatory etiology to the sphragis of political resistance

ii. Propertius’ precautions in Maecenas’ circle, or the art of writing in Books 2 and 3: from the amatory mask to the mask of literary rivalry
  * The love mask: frontal subversion of Augustan moral reforms and marriage laws sheltered in the imperative of ‘irregular elegiac passion’
  * The mask of literary rivalry in the programmatic elegies: from urban recusatio, the refusal to write epic on national themes, to subversion of the Augustan ideals expressed in the official poetry of Horace and Virgil.
  -Subversion of the imperial ideals in Virgil’s poetry: mocking the claims of the Aeneid. Propertius 2.34.
  -Subversion of Horace’s public stances in the Odes. Propertius 3.1-2.
  * The final mask: the use of hyperbole, bad taste and mythological harmonics to subvert the political values and legitimated triumphs of the imperial authority

iii. Propertius under Augustus’ eye: the final dissimulatio in Book 4—subversion by deliberate bad taste and allusion by mythological harmonics.

4. Explanation: from the counterworld of the elegiac fiction to the metaphysics of dissimulatio

i. The sociology of discourse: the counterworld of the elegiac fiction, or the Dionysiac inversion of Apollonian values

ii. Transcendental poetics: the metaphysics of dissimulatio


October 19th, 2011 [pages 32-56]
III
The Love Poetry of the Provençal Troubadours
from the sensualism of the gai saber to the synthesis of sound against the totalitarianism of vision

1. Introduction. A paradoxical contrast – the monotony of the motives of idealized love versus the originality of the couplings of rhyme – as promotion of the queen in a game of warfare

2. A historico-literary context of substitution. Troubadour joi: from the gai saber of Occitan dispersion to the linguistic joculum of the couplings of rhyme

i. The philosophico-discursive side: the naturalistic sensualism of the gai saber vs. Christian orthodox ontotheology

ii. The poetico-literary aspect: the promotion of musical joculum in the couplings of rhyme

3. Interpretation. The naturalistic sensualism of the gai saber: a provocative defense of ‘sensory passion’ in a ‘world governed by chance’

i. The trobar prim (naturau e cortes) of William of Aquitaine (1071-1126): from the paradox of a ‘double-faced poet’ to the game of con in a world of chance
  * The contradictions of a ‘double-faced poet.’ A reading in context
  * The natural register in the companion songs: a pornographic imaginary behind the explicit defense of natural passion.
  * The invention of the ‘courtly love’ register: a confession of unsatisfied desire and submission to the domna as a parody of the new ideals of monastic asceticism.
  * The pseudo-metaphysical register in Farai un vers de dreit nien: an ‘Enigma about Nothingness’ as a parody of the Hyperessence, or immanent naturalism against negative theology.

* Conclusion regarding the interwoven registers at the origin of the trobar: the promotion of passion-love in the immanence of the world behind the defensive façade of courtly love.

ii. Marcabrú’s trobar brau: the paradox of a moralizing but obscene condemnation of love as a parody of preachers that awakens desire.

iii. The courtly trobar or the classic canso in anamorphosis: from confession of a belligerent confrontation over sensory passion to staging of the experience of joi

iv. Arnaut Daniel’s trobar clus: concealment and final communication of the gai saber in the arts of the miglior fabbro del parlar materno
  * The trobar leu and the arrival of the trobar clus: the case of Arnaut Daniel’s trobar ric.
  * The concealment of meanings in the trobar clus.
  * Lexicon and images: the dir strano e bello or the subversion of the metaphorical order
  * Linguistic Marranism and barbarolexia: the Provençal parody of official Latin
  * Impossible images and dream allegories: subversion of the metaphorical order.
  * Verbal music: from the sensory materialization of the joi of the world to the experience of pleasure in the arts of delay
  * Daniel’s characteristic consonance: the song of nature as an invitation to joi
  * The cobla ‘dissoluta’: the arts of amatory delay, intensification of desire by deferred satisfaction, in the sensory field of rhyme. (Sim fos amors de joi donar tan larga).
  * The last stage of the trobar (Lo ferm voler qu’el cor m’intra): linguistic, sexual and metaphysical dissemination in the ‘sestina.’
-The involution of the sestina as the final stage of experimentation in the arts of delay of the trobar (mot refranh, rims estrams, permutations).
-The linguistic dissemination of the words in the poem: from the banal motifs of courtly love to the martial imagery and sensory experience of the pleasures of delay
-The sexual dissemination of images: the pornographic double meaning behind the mask of courtly love
-Metaphysical dissemination in the formal device: the imperative of a ‘game of chance’

4. Explanation. From the foundation of the space of modern lyrical fiction to the synthesis of sound against the totalitarianism of vision

i. Sociology of discourse: the forms of meaning of the trobar as the foundation for the sphere of modern lyrical fiction – from concealment of enjoyment in form to promotion of independent enjoyment of form

ii. Emancipation of the synthesis of hearing versus the totalitarianism of vision and the diurnal image
  * The oral forms of meaning of the Romance tongues versus the written Latinitas
  * From reversal of the hierarchy between material sound and spiritual light to the synthesis of listening vs. the epistemology of vision
  * The significant detail of the ‘alba’: explicit defense of natural passion in the context of a musical and nocturnal perception that turns away from the diurnal vision of the opponents of joi

* Coda. A detective’s art of reading of selective application

This monograph arose from thinking about the literary tradition as described by the Anglo-American modernist writers Ezra Pound and T. S. Eliot. In their view, the tradition of European love-lyrics crystallized in the work of the medieval Occitan troubadours, who represented the cultural and political milieu of the Occitanie of that period and whose work reflected the religious influences of Judaism, Christianity, and Islam. The main subject of their poetry was the worship of a divinized feminine character resembling the Virgin Mary, the Gnostic Sophia, or the ancient Mother Goddess. Their literary preoccupations further flourished in Tuscany, as well as among the German Minnesängers, and at the court of the Sicilian King Frederick II (1194–1250), from where they infiltrated into English literature during the Renaissance. In this period, Classical literature, in combination with troubadour poetry, became the cornerstone of English artistic production. However, it is not so well known that troubadour poetry took as its model the medieval poetry written in Andalusian Arabic. This enigmatic essence is what makes this literature so relevant as it is the first instance of the synthesizing of religions, mythologies, philosophies, literatures, symbols, and motifs coming from cultures other than our own. Nowadays, it is not surprising that contemporary artists draw on the troubadour poets and that they are even contrasted with them by critics. Such is the case of Leonard Cohen, who, during his career, revealed erudition in medieval poetry and religion and whose work shows many parallels with the work of his Occitan and Andalusian predecessors. For this reason, the book presents a comparison of the texts and motifs present in their works and refers to another important facet of their œuvre: religion and mysticism. The purpose is to highlight the importance of troubadour poetry in the rise of popular culture in the second half of the 20th century.

(Fr) : Cette étude vise  à  analyser  la  prise  de  conscience  de  l’existence  d’une tradition littéraire des troubadours de la première moitié du XVIe  siècle en France. On ne trouve, parmi les traités de ce temps, que des allusions mineures au passé des troubadours, même dans les œuvres relativement bien connues et influentes. Nous tenterons d’esquisser un panorama de ces passages qui, si bref soit-il, pourrait bien illustrer le climat culturel dans lequel intervint Jehan de Nostredame avec ses Vies.

Published in "Les Cahiers du Bazadais", no. 152 (2006).
This article is about the political song written by the late troubadour Pey de Ladils of the town of Bazas (now in département Gironde, France) about the conflict in Gascony between the king of England and the king of France. Ladils criticizes there the inaction of the king of England (probably Edward II) against the attacks of the king of France. He underlines the fidelity of the Gascons towards the king of England.

The Middle Ages greatly valued originality and creativity, although these qualities were not only linked in the long chain of imagination (as we usually do today), but they were also framed in the field of memory. Therefore, the usual assumption that memory is an exclusive resource of an oral society does not seem to be entirely satisfactory: in the Middle Ages the memory was equally present in the more cultured and literary social strata. In fact, during the medieval period, the influence of an inherited pedagogy (from Classical rhetorical roots) meant that the cultivated memory (and the affective appropiation of preexistent material) remained fundamental to medieval literary culture because it was understood as essential not only to reading and composition, but also to the formation of character. This paper suggest some thoughts and sacred and profane examples on this issue.

The use of feudal vocabulary is the most innovative feature of twelfth- and thirteenth-century Occitan troubadour love lyric. The Catalan and Valencian poets who continued and reworked this tradition over the fourteenth and fifteenth centuries preserved this convention with varying degrees of fidelity. The aim of this paper is to identify trends in the use of feudal vocabulary in the works of Catalan and Valencian poets, and to interpret these tendencies in the light of contemporary historic developments. The poets’ choices in selecting materials from the previous tradition provide valuable information about their strategies of adaptation to the requirements of their audiences. This analysis will allow delimitating similarities and differences between classical troubadour lyric and the works of later Catalan and Valencian poets, an essential step towards the definition of Catalan poetry in the late Middle Ages. The specific identity of this poetic expression has yet to be outlined, since it has traditionally been described in the context of disparaging comparisons with other earlier and contemporary poetic traditions.

A presente dissertação tem como objetivo principal analisar os jograis como sujeitos políticos nas cortes régias e senhoriais em Leão, Castela e Portugal, no século XIII. Identificamos, no decorrer da pesquisa, as várias tendências historiográficas, das mais variadas nacionalidades, que se detêm sobre o assunto jogralesco e, em estreito diálogo com esses autores, buscamos aprofundar as suas especificidades no contexto ibérico. A hipótese que propomos é a de que, no trovadorismo peninsular, os jograis registrados nos cancioneiros são, através de sua produção de cantigas de escárnio e maldizer, agentes politicamente ativos. Especificamente, procuraremos estabelecer as características gerais do jogral peninsular; investigar as redes de poder às quais estavam relacionados com o intuito de mapear as ligações que mantinham com o poder régio e senhorial; conceituar o jogral ibérico como agente politicamente ativo através da produção satírica. As fontes com as quais trabalhamos são, principalmente, as cantigas de escárnio e maldizer dos próprios jograis e as tenções nas quais tenham participado, com o auxílio de documentos de ordem político-jurídica, como Las Siete Partidas del Rey Don Alfonso El Sabio e o Regimento da Casa Real de 1258 de Afonso III de Portugal, e de fontes teológicas, como a Suma Teológica, de Tomás de Aquino (1225-1274), e Príncipes y Juglares, de Raimundo Lúlio (1232-1315).

WILLIAM IX THE TROUBADOUR (1071-1126) AND ISLAM

The first troubadour, whose songs are preserved, was as duke of Aquitaine the most important French prince around 1100. His military activity was, at least three times, directed against the Muslims. Her aunts and sisters were married to Iberian Christian kings, whom he defended against Almoravid invasion. In 1100-1102, he participated in Holy Land to a failed crusade. During these expeditions, he had several contacts with Arab courts, in particular with Imâd al-Dawla,  the last emir of Saragossa of Banu Hudi dynasty, expelled of his capital by Almoravids. They were together in the troupe of the king of Aragon fighting them in Cutanda battle (1120). Imâd gave to him the so-called “Vase d’Aliénor d’Aquitaine”, his grand-daughter. It was preserved in Saint-Denis abbey and is nowadays in Louvre Museum. This precious crystal and silver object is not the only gift William IX received from a Muslim prince. At least one of his poems (V, Pasero ed.) seems to contain some Arabic words. Other elements show a possible influence of Hispanic-Arabic poetry in his own work. They nourish the debate on the ‘origins’ of Courtly Love. ‘Origins’ is not probably the good word, but better ‘polygenesis’ or Michel Foucault’s ‘conditions of possibility’. Thus, the study of the relations between William IX and Islam has to be done in an interdisciplinary way, which takes account of political and social history, of art history or of literature and linguistics.

Coniugando i dati provenienti dallo studio della tradizione manoscritta a quelli desumibili dall’analisi di testi particolarmente significativi, questo articolo traccia un profilo critico delle modalità con le quali la tradizione manoscritta trobadorica si è diffusa in area toscana nel corso del Duecento. Si individua cosí un canale di accesso privilegiato alla regione attivo almeno dagli anni Sessanta del XIII secolo in corrispondenza dell’asse Monferrato-Genova-Malaspina. In relazione a questo itinerario fondamentale si definiscono inoltre le tracce di tradizioni minoritarie e si individua un ancora piú antico sostrato di produzione trobadorica legata a quest’area.

Beginning with Occitan troubadour poetry and then focussing on the Galician-Portuguese medieval cantigas, the author argues that troubadour song means not only what it says but it also communicates-both by verbal and non-verbal means-cultural horizons, social belonging, gender hierarchy, literary authority, and individual artistry. The relationship with its male audience, which was permitted to be actively responsive to performance, is modulated through stylistic choices that sometimes value obscurity or ambiguity; and while bluntness reigns in vicious jokes, oblique expression is especially prized when fuelling the erotic imagination. Songs are also the rhetorical stage for social negotiation of creative roles between jongleurs and troubadours, and for criticism of political or poetical choices. In both cases, song form is an integral part of the intended message.

Bob Dylan and the other singer-songwriters of the 1960s are often lazily compared to the troubarours, the poet-composers of Provence in the early Middle Ages. However, the poetic and musical styles of these two periods do indeed have striking features in common. The paper charaacterises both the troubadouts themselves, the related schools in other parts of Western Europe and rhe similarities to the ashik/ashugh traditions of Central Asia. It highlights specific parallels in social context, music, versification patterns and range of topics and concludes the similarities are genuine.

En el horizonte de una aproximación comparativa a los rendimientos trascendentales del poema –las formas poéticas como exploración y síntesis de mundos posibles–, el seminario examinará las revoluciones de la representación en el legado de Ezra Pound.

Tras una introducción bajo la rúbrica Traduttore/traditore, un primer momento estará dedicado a articular una reflexión sobre las relaciones entre las revoluciones del lenguaje poético y las revoluciones de la representación de lo real, con especial atención al evento que constituye el encuentro entre poéticas como encuentro entre configuraciones metafísico-temporales de mundo.

En un segundo momento, con la atención puesta en los modos en que la poética de Pound insemina el lenguaje a partir de una serie de encuentros creativos con una variedad de literaturas –francesa y alemana modernas (Laforgue, Rimbaud, Heine), anglosajona, italiana y provenzal medievales (Cavalcanti, A. Daniel), china clásica (Wang Wei, Li Po), griega y latina clásicas (Homero, Propercio, Horacio)–, se evaluará hasta qué punto el injerto y desarrollo de nuevas formas de síntesis poética redefine las condiciones de posibilidad de la representación metafísica e histórica heredadas de la modernidad tardía, con especial énfasis en el desarrollo de formas perspectivistas e interruptivas mediante las cuales se proyecta una nueva concepción de la trascendencia en la inmanencia y un nuevo orden de sincronía histórica.

Rossell, Antoni, “La lírica trovadoresca: una estrategia métrico-melódica (oral) para la difusión de ideas y noticias en la Edad Media,” en La voz y la noticia. Palabras y mensajes en la tradición hispánica, Fundación Joaquín Díaz (Urueña, España, 2007), pp. 146–81.

(Fr): Jehan de Nostredame, l'auteur d'une paraphrase des biographies des troubadours médiévaux (les Vies des plus célèbres et anciens poëtes provensaux, publiées en 1575) dans laquelle il s'attache à présenter la majorité des troubadours comme « provensaux », origine cependant fausse pour nombre d'entre eux. C'est que l'auteur des Vies a délibérément changé tantôt les lieux de naissance, tantôt les noms des personnages ou recouru à d'autres subterfuges. À ces libertés prises avec les faits s'ajoutent des biographies de troubadours complètement inventés, dont certains portent des noms ou des caractéristiques de personnages de l'élite administrative et aristocratique de la Provence et de l'Italie du XVIe siècle. Ces procédés utilisés par Jehan de Nostredame constituent-ils un ingénieux jeu littéraire destiné à un lecteur averti ? Ou l'auteur des Vies n'est-il qu'un « imposteur » immoral ? Ou encore les particularités de cette oeuvre dérivent-elles des règles du XVI siècle qui forment le genre de la littérature historiographique et prosopographique ? Dans la présente recherche nous tentons de répondre à ces questions.

RIASSUNTO: L'articolo presenta per la prima volta il corpus dei 39 testi trobadorici composti seguendo lo schema delle coblas dissolutas. Con la nuova analisi dei dati desumibili dal Répertoire métrique de la poésie des troubadours di István Frank, l'autore evidenzia i punti in comune e le differenze fra le liriche, delineando così 11 sottogruppi e mettendo in rilievo la centralità della figura di Arnaut Daniel per lo sviluppo del metro.

The present article, the first installment of a mini-series of two episodes detailing Pound’s travels in Provence aims to improve on Sieburth’s map, by providing a more detailed and helpful online version of the 1912 tour; a second installment will propose a map for the 1919 tour: this journey has been retraced by Wilhelm and Moody mostly on the basis of Pound’s postcards and letters but no map has been proposed for it yet. Both articles aim to tie the cities and towns Pound chose to visit (and eventually re-visit) with the vidas, biographies, of the troubadours who lived in them.

E' davvero sorprendente notare come tenebre e oscurità, bianco e nero, siano le principali antinomie su cui si basa la lirica dei trovatori. E' altrettanto sorprendente notare come la menzione ai colori caldi e ai colori freddi determinino l'asprezza o la levità del canto. In prossimità della chiarezza, il canto dei trovatori diventa 'lieve' (trobar leu) mentre in prossimità dell'oscurità, il loro canto diventa 'chiuso' (trobar clus).
Bisogna, inoltre, riconoscere che la lirica dei trovatori è basata su termini ricorrenti, che quasi disegnano un'algebra fatta di simboli e suoni in perfetta contraddizione e in perfetta sintesi.

La réalité historique de Jaufré Rudel est difficle à saisir faute de sources. L'examen de ses chansons et la comparaison avec d'autres documents, notamment l'Histoire des comtes et des évêques d'Angoulême, permet cependant de revenir sur plusieurs aspects de sa biographie, en particulier ses relations délicates avec les ducs d'Aquitaine. Ce texte forme la matrice d'une présentation effectuée lors du XIIe congrès de l'Association Internationale des Etudes Occitanes, tenu en 2017 à Albi.

This study is a historical-analytical attempt to demonstrate the influence and contribution of Arab Islamic Mawashahat and Zajal on the Provencal lyrical poets – the Troubadours that sprang in south of France during the eleventh century. The study consists of three parts in which the first part represents the main part. It sheds light on the influence of Muwashashah and Zajal on the poetry of troubadours. The second part deals with the nature of troubadours and their relation with the poetry of Muwashashah and Zajal. It is supported with five troubadour poets. The last part goes back to the beginning of the European Renaissance in the twelfth century. The European Renaissance started in Italy decades after translations of Islamic heritage, literature and science from Arabic into Latin then from Latin to other European languages. The eighth through the eleventh centuries witnessed the glorious ages of Islamic civilization and sciences in which great portion of it was shifted t o Italy during and after the crusades. Thence, different parts of Europe were enlivened with the movement of translation and multi travels and cultural exchange. One of the changing factors is poetry as a branch of literature.

En este artículo (transcipción de la conferencia realizada en el curso de verano de la Universidad del País
Vasco el año 1993 y por tanto sin ningún añadido posterior a esa fecha) el autor trata la lírica de los trovadores
en su aspecto musical sin dejar de lado el textual. Después de hacer una contextualización lingüística e ideológica
se abordan los problemas tradicionales de la música de los trovadores: los manuscritos con notación musical
y la paleografía, la forma musical y las estructuras melódicas y la variabilidad melódica desde una perspectiva
oral. El ritmo y su transcripción se trata desde una perspectiva medieval, o sea sin imponer patrones rítmicos
ajenos a las melodías sino buscando el verdadero significado de la paleografía a través de la semiología.
Se incluyen una bibliografía y una discografía.
Artikulu honetan (1993ko Euskal Herriko Unibertsitateko udako ikastaroan emandako hitzaldiaren transkripzioa
eta ondoren ezer erantsi gabea), egileak trobadoreen lirikaren musika alderdia ukitzen du, baina testu alderdia
alde batera utzi gabe. Hizkuntza eta ideologiaren testuingurua oroitu ondoren, trobadoreen musikaren
arazo tradizionalak tratatzen dira: musika notazioa duten eskuizkribuak eta paleografia, musika forma eta doinuegiturak
eta doinuen aldakortasuna ahozkoaren ikuspegitik. Erritmoa eta haren transkripzioa Erdi Aroari dagokion,
ikuspegi batetik aztertzen dira, hots, doinuez kanpoko patroi erritmikoak ikuspegi batetik aztertzen dira,
hots, doinuez kanpoko patroi erritmikoak ezarri gabe baizik eta, semiologia bitarte, paleografiaren benetako esanahia
bilatuz. Bibliografia eta diskografia erasten dira.
Dans cet article (transcription de la conférence réalisée pendant le cours d’été de l'Université du Pays
Basque en 1993 -et par conséquent sans aucun ajout postérieur à cette datte-) I’auteur traite la poésie lyrique
des troubadours en son aspecto musical sans négliger le texte. Après avoir fait une “contextualisation” linguistique
et idéologique, on aborde les problèmes traditionnels de la musique des troubadours: les manuscrits avec
notation músicale et la paléographie, la forme musicale et les structures mélodiques et la variabilité mélodique
depuis une perspective orale. Le rytme et sa transcription sont traités depuis une perspective médiévale, c’està-
dire sans imposer de patrons rytmiques étrangers aux mélodies mais de chercer la vraie signification de la
paléographie à travers la sémiologie. Une bibliographie et une discographie sont inclues.

Rossell, Antoni, “Oralidad y recursos orales en la lírica trovadoresca: texto y melodía. La oralidad, un paradigma eficiente,” en La voz y la memoria. Palabras y mensajes en la tradición hispánica, Fundación Joaquín Díaz (Urueña, España, 2006), pp. 36–65.

Il contributo analizza le forme con le quali la contaminazione si manifesta con maggiore frequenza nella tradizione manoscritta trobadorica, offrendone un’ampia casistica che viene studiata nei suoi significati culturali e nei suoi riflessi operativi sulla prassi ecdotica.

This article focuses on the features of contamination in Troubadours' manuscript tradition, offering a general survey that makes it possible to examine them in their cultural meaning and in their effects on the application of the principles of textual criticism.

Identification of Joan de Castellnou with a member of the Royal Chapelle of Pere III of Aragon (king 1336-1387) and his wife Lionor de Sicília (queen 1349-1375). Biographical and literary consequencies of this identification in the 14th-century occitanocatalan tradition.

The musical production of the troubadours is transmitted to us through about forty manuscripts of which only four contain musical notation.  Rhythmic information is not sufficiently provided because those manuscripts are all written in non-mensural notation.  This paper proposes an alternative for the rhythmic interpretation of Raimbaut de Vaqueiras’ estampida “Kalenda Maya” in light of the theories of rhythm for the music of the troubadours.  In order to understand some of the criteria used to edit this kind of music, a brief survey of the rhythmic theories for the troubadours' repertoire, including some renditions of "Kalenda Maya" derived from those theories, is provided.

William,  Ninth  Duke  of  Aquitaine  (1071-1127)  was  one  of  the  most  powerful  feudal lords of his day. Probably inspired by the intricate verse forms he discovered in Arabic Spain and
Syria,  he  seems  to  have  created  the  first  troubadour  lyrics  (in  his  own  words,  “a  chansoneta nueva”  (new  song),  “un vers  ...  totz  mesclatz  d'amor e  de joy  e  de  joven” (a verse  ... all mixed with love and joy and youth)).

The  fact  that  he  shared  courtly  values  and  behaved  himself  has  never  been  called  in question in historiography. The cornerstone problem of  this  research is as follows: how and for what reason did William apply the specific feudal formulas in his poetry. In his canzones one can face  a  number  of  turns  which  were  then  recorded  by  later  troubadours  and  became  a  kind  of clichés  displaying  the  ceremonies  practiced  in  the  South  French  society  and  connected  to  the formation of feudal system, especially to relations between vassal and his lord.