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 having access to those songs. a lot of those difficulties are addressed right here, bringing us towards a real realizing of the repertoire.
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Extra info for Courtly Love Songs of Medieval France (Oxford Monographs on Music)
Including preliminary tables and the transcription of a collection of songs from other manuscripts at the end of O). For a consideration of other forces of organization within the alphabetical letter groups of O, see Le Chansonnier Cange´, ed. Beck, ii, p. . The Manuscript Tradition 20 sources which do preserve melodies, only two have an overall organizational method based on genre: W (the so-called Adam de la Halle chansonnier) and a (the Vatican chansonnier). 15 In W the material is ordered as follows: fos.
For a consideration of other forces of organization within the alphabetical letter groups of O, see Le Chansonnier Cange´, ed. Beck, ii, p. . The Manuscript Tradition 20 sources which do preserve melodies, only two have an overall organizational method based on genre: W (the so-called Adam de la Halle chansonnier) and a (the Vatican chansonnier). 15 In W the material is ordered as follows: fos. 10–23 fos. 23–32 fos. 32v–34 fos. 34v–37 fos. 16 This somewhat exceptional collection of Adam’s works apart, there is only one extant trouve`re source (namely, a) preserving both music and text, in which a substantial repertoire, by a large number of trouve`res, is organized into groups under ‘generic’ titles.
While graphic variation in individual notational symbols will not be addressed here in any great detail, a marked preference for individual symbols or a noticeable exclusion of others will occasionally be highlighted. Very occasionally two single notes, on the same pitch, are set to a single syllable, as, for instance, on the last syllable of ‘failliz’ in Pl. 10 (ﬁfth system). Plicae. The plica is one of the most intriguing symbols in medieval music notation. On the question of its interpretation, medieval theorists offer conﬂicting information.