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in Troubadour Song
© Claudio Vanin 1994
The following is an html version of my PhD dissertation, submitted as part of the requirements for the doctorate in systematic musicology from the Faculty of Music at the University of Western Ontario. Apart from minor corrections and changes in formatting it is unchanged and unrevised, so the research and bibliography are current only to 1994. The music examples were originally drawn by hand, and in order to make them available I scanned the printed sheets and converted them to gif images, which are viewable by clicking the appropriate links, either through the table of contents below, or from the main text.
ABSTRACT
The aim of this study is to lay the groundwork for an
eventual codification of musical form and style in the
troubadour songs. To that end, it concentrates on two of
the broadest musical parameters, form and tonal
structure. A new catalogue of all attributed songs is
provided with the study, which is intended to remedy the
deficiencies of Gennrich's, the only complete one
available until now. It is based on descriptive and
logical, rather than historical, principles, and the
graphing procedure employed is designed to provide more
information than the standard ones, by showing
connections at the sub-phrase level. The songs are
grouped into five large categories, based on the kind of
phrase repetition found in their musical forms, and
these categories then serve as a tool in the detailed
examination of the nature and role of musical form in
the repertoire. It is found that the troubadours'
acknowledged fascination with structure for its own
sake, as evidenced in their versification, can also be
seen in their musical forms. Indeed, there is an
intimate and dynamic interaction between the two kinds
of form, which can serve as a paradigm for the
understanding of music/text relations in the canso. The
analysis of selected examples demonstrates some of the
many ways in which the troubadours created subtle and
finely articulated formal designs in their music; this
contradicts the view that they were unskilled as
composers and relied only on simple standard formulas
for their music. The chapter on tonal structure examines the songs for evidence of functional tonal centres, and looks at the role of the final in relation to these. It is found that both the medieval modal system and the notion of interval chains are useful in shedding light on the characteristic tonal features of troubadour songs, and that a significant percentage of the finals can be considered functionally related to the tonal centre of the song, where this is clearly established.
TABLE OF CONTENTS
CHAPTER I — THE TROUBADOURS AND MUSICOLOGY 1. Introduction 2. Overview of Research CHAPTER II — APPROACHES TO THE STUDY OF FORM IN THE TROUBADOUR SONGS 1. Twentieth-Century Studies 2. Secondary Medieval Sources 3. Formal Analysis: Principles and Methodology CHAPTER III — MUSICAL FORMS IN THE TROUBADOUR REPERTOIRE 1. Oda Continua Forms 2. Forms with One Repeated Phrase 3. ABAB Forms 4. Symmetrical Forms 5. Irregular Forms CHAPTER IV — TONAL STRUCTURE IN THE TROUBADOUR SONGS CHAPTER V — CONCLUSION APPENDIX I — SUMMARY OF TROUBADOUR SONG FORMS APPENDIX II — CATALOGUE OF TROUBADOUR SONG FORMS APPENDIX III — TONAL FEATURES BIBLIOGRAPHY LIST OF EXAMPLES 1. Bernart de Ventadorn, P-C 70,12, from Gennrich, Nachlass, #21 2. From Ruwet, "Methods," 3. Peire d'Alvergne, P-C 323,15 4. Gaucelm Faidit, P-C 167,43 5. Folquet de Marseille, P-C 155,22 6. Peire Vidal, P-C 364,42 7. Arnaut de Mareuil, P-C 30,3 8. Peire Vidal, P-C 364,40 9. Pons de Capdoill, P-C 375,19 10. Folquet de Marseille, P-C 155,8 11. Bernart de Ventadorn, P-C 70,1, ll. 1-4 12. Gaucelm Faidit, P-C 167,56, ll. 2, 4, 8 13. P-C 10,27; P-C 406,15 14. Gui d'Uisel, P-C 194,3, ll. 6-9 15. Guiraut Riquier, P-C 248,83 16. Peire Vidal, P-C 364,37, ll. 1-4 17. Guillem Ademar, P-C 202,8 18. Guiraut de Borneill, P-C 242,64, ll. 1-2 19. Peire Vidal, P-C 364,36, ll. 1-2 20. Gaucelm Faidit, P-C 167,30, ll. 1-5 21. Pons de Capdoill, P-C 375,27, ll. 1-4 22. Pons d'Ortafas, P-C 379,2, ll. 1-5 23. Uc de Saint Circ, P-C 457,26, ll. 1-5 24. Peirol, P-C 366,3 25. P-C 406,2 and P-C 406,13, ll. 1 and 3 26. Berenguier de Palazol, P-C 47,5 27. Raimon de Miraval, P-C 406,20 28. Arnaut de Mareuil, P-C 30,16 29. Raimon de Miraval, P-C 406,24 30. Raimon de Miraval, P-C 406,21 31. Peirol, P-C 366,26 32. Raimon de Miraval, P-C 406,7 33. Guiraut Riquier, P-C 248,26 34. Guiraut Riquier, P-C 248,69 35. Monge de Montaudo, P-C 305,6 36. Bertran de Born, P-C 80,37 37. Berenguier de Palazol, P-C 47,7 38. Marcabru, P-C 293,18 and P-C 293,30 39. Gaucelm Faidit, P-C 167,17 40. Peire Vidal, P-C 364,31 41. Bernart de Ventadorn, P-C 70,23 and P-C 70,39, ll. 1-4 42. Raimon de Miraval, P-C 406,44 43. From Sachs, 150 44. Jaufre Rudel, P-C 262,2 45. Arnaut de Mareuil, P-C 30,19 46. Pons de Capdoill, P-C 375,27 47. Peirol, P-C 366,21 48. Guiraut Riquier, P-C 248,55 49. Berenguier de Palazol, P-C 47,12 |