A trouvère was a poet-composer from Northern France during the High Middle Ages. They were roughly contemporary with and influenced by the troubadours of Southern France, composing and performing lyric poetry.

How does the term 'trouvère' relate to 'troubadour'?

The term 'trouvère' is the Northern French (langue d'oïl) equivalent of the Occitan (langue d'oc) word 'trobador', which is the precursor to the modern French word 'troubadour'. Both terms refer to poet-composers of lyric poetry in medieval times.

In which regions did trouvères and troubadours compose their poetry?

Troubadours composed and performed in Old Occitan (langue d'oc), primarily in Southern France. Trouvères, on the other hand, used the northern dialects of France, known as langue d'oïl.

During which historical period did trouvères flourish?

Trouvères flourished during the High Middle Ages, with their activity extending until approximately 1300 AD.

Who is considered one of the first known trouvères?

Chrétien de Troyes, who was active from the 1160s to the 1180s, is identified as one of the earliest known trouvères.

How many trouvère poems have survived, and what is known about their melodies?

Approximately 2,130 trouvère poems have survived. Of these, at least two-thirds are known to have associated melodies.

What is the etymological origin of the word 'trouvère'?

The word 'trouvère' is derived from the Occitan word 'trobar', which means 'to compose, to discuss, or to invent'. This is cognate with the Old French word 'trover', meaning 'to compose something in verses'.

What is the common popular image of a troubadour or trouvère, and how does it differ from reality?

The common image is that of an itinerant musician with a lute on their back, wandering from town to town. In reality, while itinerant performers existed (known as jongleurs or minstrels), true troubadours and trouvères were often of higher social status, sometimes aristocrats themselves, and their creative work was part of the courtly tradition rather than a trade.

What was the social standing of most troubadours and trouvères compared to jongleurs and minstrels?

Troubadours and trouvères were typically of higher social class, often belonging to or supported by the aristocracy. Jongleurs and minstrels, conversely, were professional entertainers usually of a somewhat lower social status.

What were the primary themes found in the songs of trouvères?

The songs often featured idealized treatments of courtly love (known as 'fine amors' or 'grand chant') and religious devotion. However, other themes included more direct or 'earthy' looks at love, debate songs called 'jeu-partis', dance songs, and 'chansons de femme' (songs from a female perspective).

What is 'fine amors' in the context of trouvère poetry?

'Fine amors' is the Old Occitan term for courtly love, a central theme in the lyric poetry of both troubadours and trouvères, often explored through the genre known as 'grand chant'.

What is a 'jeu-parti' as mentioned in relation to trouvère works?

A 'jeu-parti' is a genre of song found in the works of trouvères, characterized by being a debate song, where two or more characters engage in a lyrical argument or discussion.

What musical characteristics are typical of surviving trouvère music?

Surviving trouvère music is predominantly vocal, monophonic (featuring a single melodic line), and mostly syllabic (with one or a few notes per syllable of text). Rhythm is often not explicitly notated, and instrumentation is not specified.

How was rhythm interpreted in trouvère music, given it was often not explicitly recorded?

Modern scholars and performers interpret trouvère rhythm in various ways, including using a free rhythmic approach, applying relatively equal note values, deriving rhythm from the text, or adapting rhythmic modes found in contemporary polyphonic music.

What role might instruments have played in the performance of trouvère songs?

While not always specified in the notation, narrative and visual evidence suggests that instruments were likely used in the performance of some trouvère songs. They may have accompanied the vocal line or been performed unaccompanied.

What does it mean for trouvère music to be 'strophic'?

Strophic music means that a single verse of music is repeated for multiple verses of text. This was a common structure for trouvère songs.

What is a refrain in the context of trouvère songs?

A refrain in a trouvère song is a repeated one- or two-line section of text and music that appears within or at the end of each stanza. Some refrains were even used across different songs, creating a network of references.

What is known about the authorship of songs by women trouvères?

There are no surviving trouvère songs where a woman explicitly claims authorship by naming herself. However, evidence suggests women's involvement through poems where a woman is named as the author in a manuscript's rubric, or through female voices participating in debate poems ('jeu parti').

What is the term sometimes used for women trouvères?

The term 'troveresse' has sometimes been used to refer to women trouvères.

How did the lexicographer Frédéric Godefroy define 'trouverresse'?

Frédéric Godefroy defined the Old French word 'trouverresse' as 'she who composes, invents', citing its use in a manuscript related to Robert of Auxerre's Chronicle.

What evidence supports the existence of women trouvères, even without explicit self-naming?

Evidence includes poems where women are identified as authors in manuscript rubrics, instances where female voices participate in 'jeu parti' (debate poems), and numerous songs written from a female perspective, which may have been composed by women.

How many named male trouvères are known to exist?

There are 256 named male trouvères known.

Can you name a few prominent male trouvères mentioned in the list?

Some prominent male trouvères mentioned include Adam de la Halle, Chrétien de Troyes, Blondel de Nesle, Gautier de Coincy, and Thibaut le Chansonnier (Theobald I of Navarre).

What is a 'chansonnier' in the context of trouvère studies?

A 'chansonnier' is a manuscript that contains the texts and/or music of trouvère songs. These manuscripts are often identified by specific sigla (like 'A', 'B', 'C', etc.) for reference.

What do the sigla (e.g., 'A', 'B', 'M') represent in the list of chansonniers?

The sigla are standard abbreviations used in trouvère studies to identify specific manuscripts that contain trouvère texts and music. For example, 'M' refers to the 'Chansonnier du Roi'.

What is the significance of the Chansonnier du Roi (siglum M)?

The Chansonnier du Roi, identified by the siglum 'M', is a significant manuscript containing trouvère songs, as indicated by its inclusion in the list of chansonniers.

What other types of poet-composers or related figures are mentioned in the 'See also' section?

The 'See also' section lists figures like Ashik, Bard, Bhāts, Filí, Griot, Minstrels, Skald, Dziady (wandering beggars), Lirnyk, and Troubadour, highlighting various traditions of oral poetry and music across different cultures.

According to Johannes de Grocheio, what was the purpose of 'grand chants' composed by kings and nobles?

Johannes de Grocheio, a Parisian musical theorist, believed that 'grand chants' inspired kings and noblemen to achieve great deeds. He stated these songs were customarily composed by and sung in the presence of royalty and princes to move their minds towards boldness, fortitude, magnanimity, and liberality.

What does the term 'monophonic' mean in relation to trouvère music?

Monophonic music means it consists of a single melodic line, without any accompanying harmony or counterpoint. This was the typical structure of surviving trouvère music.

What does the term 'syllabic' mean when describing trouvère music?

Syllabic in music means that the text is set with only one or a few musical notes per syllable. This contrasts with melismatic settings, where a single syllable might be sung over many notes.

What is the relationship between trouvères and the 'langue d'oïl'?

Trouvères used the northern French dialects, collectively known as the 'langue d'oïl', for their poetry and songs, distinguishing them from the troubadours who used the Occitan language.

What genres of songs, besides courtly love and religious devotion, are associated with trouvères?

Other genres include 'jeu-partis' (debate songs), 'pastourelles' (songs about shepherds or encounters with shepherdesses), dance songs, and 'chansons de femme' (songs told from a woman's perspective).

What does the image at the beginning of the article depict?

The image shows a trouvère song from the 13th century within the 'Chansonnier du Roi'. The specific trouvère depicted is identified as Count Theobald II of Bar.

What is the significance of the citation regarding 'Grove Music Online'?

The citation indicates that the information about trouvère poetry is sourced from Grove Music Online, a reputable musicological resource, and provides a DOI for further reference.

What does the asterisk (*) next to some names in the Medieval music navbox signify?

The asterisk (*) next to names like Hucbald, Odo of Cluny, and Johannes Ciconia indicates that they are also noted as music theorists, in addition to their roles as composers or performers.

What does the term 'Ars antiqua' refer to in the context of medieval music?

'Ars antiqua' refers to a period and style of music in the High Middle Ages, roughly from the mid-12th to the late 13th century, characterized by developments like polyphony and rhythmic notation, particularly associated with the Notre-Dame school.

'Ars nova' (New Art) was a style of music that emerged in the 14th century, evolving from the traditions of Ars antiqua and Ars subtilior, and is associated with composers like Guillaume de Machaut and Philippe de Vitry.

What does the term 'Trecento' refer to in music history?

Trecento refers to the 14th century in Italian music history, a period characterized by the development of new musical forms and styles, often associated with the Italian 'Ars nova'.

What is 'Ars subtilior'?

'Ars subtilior' (more subtle art) was a highly complex and refined musical style that flourished in the late 14th century, particularly in the courts of France and Avignon, known for its intricate rhythms and notation.

Who was William IX, Duke of Aquitaine, in relation to troubadours?

William IX, Duke of Aquitaine, was a significant figure as one of the earliest known troubadours, composing poetry and songs during the 11th and 12th centuries.

What is the 'Contenance angloise' mentioned in relation to John Dunstaple?

Contenance angloise ('English guise') was a style of polyphonic music originating in England in the early 15th century, characterized by its smooth harmonies and consonant intervals, and it influenced continental music, including the work of composers like John Dunstaple.

What is the purpose of the 'Authority control' section at the end of the article?

The 'Authority control' section provides links to databases that catalog and manage information about the subject, such as national library catalogs, helping to ensure consistency and provide further resources for research.

What does the Wikimedia Commons link at the end of the article offer?

The Wikimedia Commons link provides access to related media files, such as images, audio, or video, pertaining to Trouvères, allowing users to explore visual and auditory aspects of the topic.

What is the significance of the 'Encyclopædia Britannica' reference?

The reference to the 1911 Encyclopædia Britannica indicates that the topic of Trouvères was considered significant enough for inclusion in a major, early 20th-century encyclopedia, providing historical context for the subject's study.

What types of musical forms are listed in the Medieval music sidebar?

The sidebar lists various musical forms including Antiphon, Canso, Carol, Chanson, Chant, Conductus, Estampie, Formes fixes (Ballade, Rondeau, Virelai), Geisslerlied, Gregorian chant, Lai, Liturgical drama, Madrigal, Motet, Organum, and Planctus.

What does the term 'formés fixes' refer to in medieval French music?

Formes fixes (fixed forms) are specific poetic and musical structures that were highly popular in 14th and 15th-century French secular music. The main examples are the Ballade, Rondeau, and Virelai.

What is the 'langue d'oïl'?

The 'langue d'oïl' refers to the group of northern French dialects spoken in the medieval period, which served as the linguistic basis for the poetry and songs of the trouvères.

What is the primary difference between a trouvère and a jongleur?

A trouvère was typically a poet-composer, often of noble birth or associated with the aristocracy, who created and performed their own work as part of courtly tradition. A jongleur, on the other hand, was a professional itinerant entertainer, usually of lower social standing, who performed music and other acts, often learned from others.

What is the 'Chansonnier du Roi'?

The 'Chansonnier du Roi' (Songbook of the King) is a significant manuscript, identified by the siglum 'M', that contains trouvère texts and melodies from the 13th century.

What does the term 'floruit' (fl.) indicate when associated with a trouvère's name?

The term 'floruit', often abbreviated as 'fl.', indicates the period during which an individual was known to be active or flourishing. It is used when precise birth and death dates are unknown.

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What is a Trouvère?

Poetic Innovators

A Trouvère was a composer and performer of Old French lyric poetry during the High Middle Ages. Contemporary with and influenced by the Occitan trobadors, Trouvères utilized the northern dialects of France. Their work represents a significant contribution to the development of vernacular literature and music.

Aristocratic Roots

Unlike itinerant jongleurs or minstrels, Trouvères were often members of the aristocracy or were supported by it. This social standing influenced their themes and performance contexts, distinguishing them from professional entertainers and embedding their art within the courtly tradition.

Enduring Legacy

Approximately 2,130 Trouvère poems have survived, with over two-thirds accompanied by their original melodies. This rich corpus offers invaluable insights into the musical and literary landscape of medieval Europe.

Etymology

Roots in Creation

The term "Trouvère" is derived from the Old French trover, meaning "to find," "to compose," or "to invent." This is cognate with the Occitan word trobar, which shares a similar etymological root related to the act of poetic and musical creation.

Historical Context

Courtly Traditions

The Trouvère tradition flourished primarily during the High Middle Ages, with significant activity noted from the late 12th century until around 1300. Their compositions often reflected the ideals and practices of courtly society, exploring themes of love, chivalry, and devotion.

Early figures like Chrétien de Troyes (fl. 1160s–1180s) exemplify the nascent Trouvère movement. Their songs, often monophonic and syllabic, were typically strophic, with melodies sometimes featuring refrains that created intertextual connections. While instruments were likely used, specific instrumentation is rarely indicated in surviving manuscripts.

Manuscript Traditions

The visual representation of a Trouvère, such as the depiction of Count Theobald II of Bar in the 13th-century Chansonnier du Roi, offers a glimpse into the era's artistic conventions. These manuscripts, known as chansonniers, are crucial sources for studying Trouvère poetry and music.

Poetic Genres

Courtly Love and Beyond

Trouvère poetry encompassed a variety of genres, reflecting diverse thematic concerns:

Courtly Love (Fine Amors): Idealized romantic and chivalric devotion.
Jeu-Parti: Debate songs on various topics, often involving a dialogue between the poet and another persona.
Pastourelle: Narrative poems depicting encounters between a knight and a shepherdess.
Chanson de Femme: Songs presented from a woman's perspective.
Dance Songs: Compositions intended for dancing.

Musical Characteristics

Melodic and Rhythmic Features

Trouvère music is predominantly monophonic, featuring a single melodic line. The texts are often set syllabically, with one or few notes per syllable. While rhythm is not always explicitly notated, scholarly interpretations vary, employing free rhythm, text-derived rhythms, or rhythmic modes.

Most compositions are strophic, repeating the same musical structure for each verse of text. Some employ refrains, which could be repeated within stanzas or across different songs, creating a network of musical and textual references. Instrumentation is inferred rather than explicitly stated, suggesting potential for both accompanied and unaccompanied performances.

Women Trouvères

Voices from the Margins

While explicit self-attribution is rare, evidence suggests the presence of women composers, sometimes referred to as troveresses. These women contributed poems, participated in poetic debates (jeux partis), and wrote from female perspectives, expanding the tradition's scope.

Eight women are known by name or title, including Blanche of Castile, Dame Margot, and Sainte des Prez. Further research continues to identify anonymous works potentially composed by women, challenging earlier assumptions about their exclusion from this artistic sphere.

Known Women Trouvères:

Blanche of Castile
Dame de la Chaucie
Dame de Gosnai
Gertrude of Dagsburg
Lorete
Margot
Maroie de Diergnau
Sainte des Prez

Key Lists

Trouvère Compilations

The surviving musical and poetic heritage is preserved in various manuscripts known as chansonniers. These collections provide the primary source material for understanding the Trouvère repertoire.

Over 250 male Trouvères are known. Here are a few prominent figures:

Adam de la Halle
Blondel de Nesle
Chrétien de Troyes
Colin Muset
Gace Brulé
Gautier de Coincy
Guiot de Dijon
Jehan Erart
Moniot d'Arras
Perrin d'Angicourt
Philippe de Rémi
Raoul de Soissons
Thibaut le Chansonnier

(See full list in the source article for comprehensive details.)

Chansonnier Catalog

The manuscripts containing Trouvère works are often designated by sigla. These chansonniers are vital for textual and musical analysis.

Major chansonniers include:

A: Chansonnier d'Arras
M: Chansonnier du Roi
K: Chansonnier de l'Arsenal
F: Biblioteca Medicea-Laurenziana, Pluteus 29.1
I: Bodleian Library, Douce 308
N: BnF fr. 845
P: BnF fr. 847
T: Chansonnier de Noailles

(A comprehensive list of sigla and associated manuscripts is available in scholarly resources.)

Scholarly Foundations

Bibliographical Resources

The study of Trouvères relies on critical editions, musicological analyses, and historical research. Key works provide essential context and detailed information on their lives, poetry, and music.

Key bibliographical references include:

Akehurst & Davis, A Handbook of the Troubadours
Butterfield, "Monophonic song: questions of category"
Corrigan, "Modal rhythm and the interpretation of 'trouvère' song"
Doss-Quinby et al., Songs of the Women Trouvères
Goldin, Lyrics of the Troubadours and Trouvères
Hasenohr & Zink, Dictionnaire des lettres françaises: Le Moyen Age
McGee, Medieval and Renaissance Music: A Performer's Guide
O'Neill, Courtly Love Songs of Medieval France
Page, "Listening to the trouvères"

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References

Doss-Quinby et al. 2001, pp. 1â14.

Doss-Quinby et al. 2001, p. 70 n.17.

A full list of references for this article are available at the Trouvère Wikipedia page

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This page was generated by an Artificial Intelligence and is intended for informational and educational purposes only. The content is based on a snapshot of publicly available data from Wikipedia and may not be entirely accurate, complete, or up-to-date.

This is not professional academic or historical advice. The information provided on this website is not a substitute for scholarly research or consultation with experts in medieval musicology or literature. Always refer to primary sources and established academic works for definitive understanding.

The creators of this page are not responsible for any errors or omissions, or for any actions taken based on the information provided herein.

Echoes of the Court: The Trouvère Tradition

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What is a Trouvère? ℹ️

✒️ Poetic Innovators

👑 Aristocratic Roots

🎶 Enduring Legacy

Etymology 🔍

🗣️ Roots in Creation

Historical Context 📜

🏰 Courtly Traditions

🖼️ Manuscript Traditions

Poetic Genres 📖

❤️ Courtly Love and Beyond

Musical Characteristics 🎵

🎼 Melodic and Rhythmic Features

Women Trouvères 👩‍🎨

🎤 Voices from the Margins

Key Lists 📋

👥 Trouvère Compilations

📚 Chansonnier Catalog

Scholarly Foundations 📚

📖 Bibliographical Resources

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Dive in with Flashcard Learning!

What is a Trouvère?

Poetic Innovators

Aristocratic Roots

Enduring Legacy

Etymology

Roots in Creation

Historical Context

Courtly Traditions

Manuscript Traditions

Poetic Genres

Courtly Love and Beyond

Musical Characteristics

Melodic and Rhythmic Features

Women Trouvères

Voices from the Margins

Key Lists

Trouvère Compilations

Chansonnier Catalog

Scholarly Foundations

Bibliographical Resources

Engage and Learn

Interactive Learning

Test Your Knowledge

Assess Your Comprehension

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Disclaimer

Important Notice