Wiki2Web Studio

Create complete, beautiful interactive educational materials in less than 5 minutes.

Print flashcards, homework worksheets, exams/quizzes, study guides, & more.

Export your learner materials as an interactive game, a webpage, or FAQ style cheatsheet.

Unsaved Work Found!

It looks like you have unsaved work from a previous session. Would you like to restore it?

Robert de Reins La Chievre: A Study of Trouvère Songs and Motets

At a Glance

Title: Robert de Reins La Chievre: A Study of Trouvère Songs and Motets

Total Categories: 4

Category Stats

  • Robert de Reins La Chievre: Biography and Scholarly Context: 6 flashcards, 12 questions
  • Musical Forms and Interrelationships: Songs and Motets: 6 flashcards, 14 questions
  • Cataloging Systems and Terminology: 3 flashcards, 6 questions
  • Analysis of Attributed Works: Songs and Motets: 11 flashcards, 25 questions

Total Stats

  • Total Flashcards: 26
  • True/False Questions: 29
  • Multiple Choice Questions: 28
  • Total Questions: 57

Instructions

Click the button to expand the instructions for how to use the Wiki2Web Teacher studio in order to print, edit, and export data about Robert de Reins La Chievre: A Study of Trouvère Songs and Motets

Welcome to Your Curriculum Command Center

This guide will turn you into a Wiki2web Studio power user. Let's unlock the features designed to give you back your weekends.

The Core Concept: What is a "Kit"?

Think of a Kit as your all-in-one digital lesson plan. It's a single, portable file that contains every piece of content for a topic: your subject categories, a central image, all your flashcards, and all your questions. The true power of the Studio is speed—once a kit is made (or you import one), you are just minutes away from printing an entire set of coursework.

Getting Started is Simple:

  • Create New Kit: Start with a clean slate. Perfect for a brand-new lesson idea.
  • Import & Edit Existing Kit: Load a .json kit file from your computer to continue your work or to modify a kit created by a colleague.
  • Restore Session: The Studio automatically saves your progress in your browser. If you get interrupted, you can restore your unsaved work with one click.

Step 1: Laying the Foundation (The Authoring Tools)

This is where you build the core knowledge of your Kit. Use the left-side navigation panel to switch between these powerful authoring modules.

⚙️ Kit Manager: Your Kit's Identity

This is the high-level control panel for your project.

  • Kit Name: Give your Kit a clear title. This will appear on all your printed materials.
  • Master Image: Upload a custom cover image for your Kit. This is essential for giving your content a professional visual identity, and it's used as the main graphic when you export your Kit as an interactive game.
  • Topics: Create the structure for your lesson. Add topics like "Chapter 1," "Vocabulary," or "Key Formulas." All flashcards and questions will be organized under these topics.

🃏 Flashcard Author: Building the Knowledge Blocks

Flashcards are the fundamental concepts of your Kit. Create them here to define terms, list facts, or pose simple questions.

  • Click "➕ Add New Flashcard" to open the editor.
  • Fill in the term/question and the definition/answer.
  • Assign the flashcard to one of your pre-defined topics.
  • To edit or remove a flashcard, simply use the ✏️ (Edit) or ❌ (Delete) icons next to any entry in the list.

✍️ Question Author: Assessing Understanding

Create a bank of questions to test knowledge. These questions are the engine for your worksheets and exams.

  • Click "➕ Add New Question".
  • Choose a Type: True/False for quick checks or Multiple Choice for more complex assessments.
  • To edit an existing question, click the ✏️ icon. You can change the question text, options, correct answer, and explanation at any time.
  • The Explanation field is a powerful tool: the text you enter here will automatically appear on the teacher's answer key and on the Smart Study Guide, providing instant feedback.

🔗 Intelligent Mapper: The Smart Connection

This is the secret sauce of the Studio. The Mapper transforms your content from a simple list into an interconnected web of knowledge, automating the creation of amazing study guides.

  • Step 1: Select a question from the list on the left.
  • Step 2: In the right panel, click on every flashcard that contains a concept required to answer that question. They will turn green, indicating a successful link.
  • The Payoff: When you generate a Smart Study Guide, these linked flashcards will automatically appear under each question as "Related Concepts."

Step 2: The Magic (The Generator Suite)

You've built your content. Now, with a few clicks, turn it into a full suite of professional, ready-to-use materials. What used to take hours of formatting and copying-and-pasting can now be done in seconds.

🎓 Smart Study Guide Maker

Instantly create the ultimate review document. It combines your questions, the correct answers, your detailed explanations, and all the "Related Concepts" you linked in the Mapper into one cohesive, printable guide.

📝 Worksheet & 📄 Exam Builder

Generate unique assessments every time. The questions and multiple-choice options are randomized automatically. Simply select your topics, choose how many questions you need, and generate:

  • A Student Version, clean and ready for quizzing.
  • A Teacher Version, complete with a detailed answer key and the explanations you wrote.

🖨️ Flashcard Printer

Forget wrestling with table layouts in a word processor. Select a topic, choose a cards-per-page layout, and instantly generate perfectly formatted, print-ready flashcard sheets.

Step 3: Saving and Collaborating

  • 💾 Export & Save Kit: This is your primary save function. It downloads the entire Kit (content, images, and all) to your computer as a single .json file. Use this to create permanent backups and share your work with others.
  • ➕ Import & Merge Kit: Combine your work. You can merge a colleague's Kit into your own or combine two of your lessons into a larger review Kit.

You're now ready to reclaim your time.

You're not just a teacher; you're a curriculum designer, and this is your Studio.

This page is an interactive visualization based on the Wikipedia article "Robert de Reins La Chievre" (opens in new tab) and its cited references.

Text content is available under the Creative Commons Attribution-ShareAlike 4.0 License (opens in new tab). Additional terms may apply.

Disclaimer: This website is for informational purposes only and does not constitute any kind of advice. The information is not a substitute for consulting official sources or records or seeking advice from qualified professionals.


Owned and operated by Artificial General Intelligence LLC, a Michigan Registered LLC
Prompt engineering done with Gracekits.com
All rights reserved
Sitemaps | Contact

Export Options





Study Guide: Robert de Reins La Chievre: A Study of Trouvère Songs and Motets

Study Guide: Robert de Reins La Chievre: A Study of Trouvère Songs and Motets

Robert de Reins La Chievre: Biography and Scholarly Context

Robert de Reins La Chievre was a medieval poet-composer from northern France, known as a trouvère, who wrote lyric poetry in Old French and was likely active in the thirteenth century.

Answer: True

The source identifies Robert de Reins La Chievre as a trouvère from northern France, active in the thirteenth century, who composed lyric poetry in Old French.

Related Concepts:

  • Who was Robert de Reins La Chievre, and what was his primary profession?: Robert de Reins La Chievre, also known as Rains or Reims, was a trouvère, which is a medieval poet-composer from northern France who wrote lyric poetry in Old French. He was likely active during the thirteenth century.

Robert de Reins La Chievre is believed to have originated from the Provence region of France.

Answer: False

The source indicates Robert de Reins La Chievre originated from the Île de France region, not Provence.

Related Concepts:

  • From what region was Robert de Reins La Chievre believed to originate?: Robert de Reins La Chievre was from the Île de France region, which is the area surrounding Paris in France.

Robert de Reins La Chievre may have been a member of the La Chievre family, which was documented in Reims during the thirteenth and fourteenth centuries.

Answer: True

The source states that Robert de Reins La Chievre may have belonged to the La Chievre family, documented in Reims during the thirteenth and fourteenth centuries.

Related Concepts:

  • What family might Robert de Reins La Chievre have belonged to, and where was this family documented?: Robert de Reins La Chievre may have been a member of the La Chievre family, which was documented in Reims during the thirteenth and fourteenth centuries.

The Roman de Renart attributed a poem about King Arthur to a 'Chievre de Reins,' potentially Robert de Reins La Chievre.

Answer: False

The Roman de Renart attributed a poem about *Tristan* to a 'Chievre de Reins,' not King Arthur.

Related Concepts:

  • What literary work attributed a poem to a 'Chievre de Reins,' and what was the poem's subject?: The Roman de Renart, a collection of medieval French animal fables, attributed a poem about Tristan to a figure named 'Chievre de Reins,' who might be Robert de Reins La Chievre.

Wilhelm Mann concluded that Robert de Reins La Chievre was active before 1300, basing his assessment on the attribution in the Roman de Renart.

Answer: True

Wilhelm Mann's conclusion that Robert de Reins La Chievre was active before 1300 was based on the attribution found in the Roman de Renart.

Related Concepts:

  • What was Wilhelm Mann's conclusion regarding Robert de Reins La Chievre's period of activity, and what evidence did he use?: Based on the attribution in the Roman de Renart, Wilhelm Mann concluded that Robert de Reins La Chievre was active before 1300. The Roman de Renart is a medieval literary cycle, and its attribution provided a chronological anchor for Mann's assessment.

Some scholars disagree with Wilhelm Mann's dating of Robert de Reins La Chievre's activity, arguing for an earlier period based on linguistic evidence.

Answer: False

Scholars disagree with Mann's dating, arguing for a *later* period (after 1300) based on linguistic evidence, not an earlier one.

Related Concepts:

  • Why do some scholars disagree with Wilhelm Mann's dating of Robert de Reins La Chievre's activity?: Other scholars have argued that Robert de Reins La Chievre must have been writing later than 1300, basing their arguments on linguistic grounds, which suggests that the language used in his works points to a later period.

What was the primary profession of Robert de Reins La Chievre?

Answer: A trouvère, a medieval poet-composer

Robert de Reins La Chievre was a trouvère, a medieval poet-composer from northern France.

Related Concepts:

  • Who was Robert de Reins La Chievre, and what was his primary profession?: Robert de Reins La Chievre, also known as Rains or Reims, was a trouvère, which is a medieval poet-composer from northern France who wrote lyric poetry in Old French. He was likely active during the thirteenth century.

From which region of France was Robert de Reins La Chievre believed to originate?

Answer: Île de France

The source states that Robert de Reins La Chievre was from the Île de France region.

Related Concepts:

  • From what region was Robert de Reins La Chievre believed to originate?: Robert de Reins La Chievre was from the Île de France region, which is the area surrounding Paris in France.

What family might Robert de Reins La Chievre have belonged to, and where was this family documented?

Answer: The La Chievre family, documented in Reims

Robert de Reins La Chievre may have been a member of the La Chievre family, documented in Reims during the thirteenth and fourteenth centuries.

Related Concepts:

  • What family might Robert de Reins La Chievre have belonged to, and where was this family documented?: Robert de Reins La Chievre may have been a member of the La Chievre family, which was documented in Reims during the thirteenth and fourteenth centuries.

Which literary work attributed a poem about Tristan to a 'Chievre de Reins'?

Answer: The Roman de Renart

The Roman de Renart attributed a poem about Tristan to a 'Chievre de Reins'.

Related Concepts:

  • What literary work attributed a poem to a 'Chievre de Reins,' and what was the poem's subject?: The Roman de Renart, a collection of medieval French animal fables, attributed a poem about Tristan to a figure named 'Chievre de Reins,' who might be Robert de Reins La Chievre.

What was Wilhelm Mann's conclusion regarding Robert de Reins La Chievre's period of activity?

Answer: He was active before 1300, based on the Roman de Renart attribution.

Wilhelm Mann concluded that Robert de Reins La Chievre was active before 1300, based on the attribution in the Roman de Renart.

Related Concepts:

  • What was Wilhelm Mann's conclusion regarding Robert de Reins La Chievre's period of activity, and what evidence did he use?: Based on the attribution in the Roman de Renart, Wilhelm Mann concluded that Robert de Reins La Chievre was active before 1300. The Roman de Renart is a medieval literary cycle, and its attribution provided a chronological anchor for Mann's assessment.

Why do some scholars disagree with Wilhelm Mann's dating of Robert de Reins La Chievre's activity?

Answer: They base their arguments on linguistic grounds, suggesting a later period.

Other scholars argue for a later period (after 1300) based on linguistic evidence in his works.

Related Concepts:

  • Why do some scholars disagree with Wilhelm Mann's dating of Robert de Reins La Chievre's activity?: Other scholars have argued that Robert de Reins La Chievre must have been writing later than 1300, basing their arguments on linguistic grounds, which suggests that the language used in his works points to a later period.

Musical Forms and Interrelationships: Songs and Motets

Robert de Reins La Chievre is associated with the early development of the madrigal, a polyphonic vocal form.

Answer: False

Robert de Reins La Chievre is associated with the early development of the motet, not the madrigal.

Related Concepts:

  • What significant musical development is Robert de Reins La Chievre associated with?: Robert de Reins La Chievre is associated with the early development of the motet, a polyphonic vocal musical form that emerged in the 13th century, often based on a pre-existing tenor line.

The source suggests that trouvères associated with the early development of the motet, such as Robert de Reins La Chievre, were fewer in number than previously believed.

Answer: False

The source suggests that trouvères associated with the early development of the motet may be *more* numerous than previously thought.

Related Concepts:

  • How numerous were trouvères associated with the early development of the motet, according to the source?: The source suggests that trouvères associated with the early development of the motet, such as Robert de Reins La Chievre and Richard de Fournival, may be more numerous than previously thought.

A significant characteristic of several of Robert de Reins La Chievre's attributed songs is that their first stanza is enhanced by a liturgical tenor in an anonymously appearing polyphonic motet.

Answer: True

The source states that no fewer than four of his attributed songs have their first stanza enhanced by a liturgical tenor in an anonymously appearing polyphonic motet.

Related Concepts:

  • What is a significant characteristic of several of Robert de Reins La Chievre's attributed songs in relation to motets?: A significant characteristic is that no fewer than four of his attributed songs have their first stanza enhanced by a liturgical tenor in a motet, which appears anonymously in a polyphonic source. A liturgical tenor is a pre-existing melody, often from plainchant, used as the structural foundation for a polyphonic composition like a motet.

A clausula is a self-contained, discant-style section within a larger organum, and three of Robert de Reins La Chievre's motets are preserved this way.

Answer: False

While the definition of a clausula is correct, only *two* of Robert de Reins La Chievre's motets are preserved as liturgical clausulae.

Related Concepts:

  • What is a clausula in the context of Robert de Reins La Chievre's motets, and how many are preserved this way?: A clausula is a self-contained, discant-style section within a larger organum, often featuring rhythmic and melodic repetition. Two of Robert de Reins La Chievre's motets, specifically L'autrier de jouste un rivage and Quant voi le dous tens venir, are preserved as liturgical clausulae.

Three of Robert de Reins La Chievre's motets (numbers 2-4 in the list) share the same music and text as their corresponding song versions.

Answer: True

The source explicitly states that three of these motets (numbers 2-4) share the same music and text as their song versions.

Related Concepts:

  • How do three of Robert de Reins La Chievre's motets relate to their song versions in terms of music and text?: Three of these motets (numbers 2-4 in the list) share the same music and text as their corresponding song versions. This indicates a direct musical and lyrical relationship between the secular song and its sacred, polyphonic adaptation.

A contrafact Latin text refers to an original Latin text set to new secular music.

Answer: False

A contrafact Latin text is a *new*, often sacred, Latin text set to *pre-existing secular music*, not an original Latin text set to new secular music.

Related Concepts:

  • What is a contrafact Latin text, and which of Robert de Reins La Chievre's motets features one?: A contrafact Latin text refers to a new, often sacred, Latin text set to pre-existing secular music. One of Robert de Reins La Chievre's motets has the same music as its song version but transmits a contrafact Latin text, meaning the original French lyrics were replaced with new Latin ones.

A liturgical tenor is a pre-existing melody, often from plainchant, used as the structural foundation for a polyphonic composition like a motet.

Answer: True

The source defines a liturgical tenor as a pre-existing melody, often from plainchant, serving as the structural foundation for a polyphonic composition such as a motet.

Related Concepts:

  • What is a significant characteristic of several of Robert de Reins La Chievre's attributed songs in relation to motets?: A significant characteristic is that no fewer than four of his attributed songs have their first stanza enhanced by a liturgical tenor in a motet, which appears anonymously in a polyphonic source. A liturgical tenor is a pre-existing melody, often from plainchant, used as the structural foundation for a polyphonic composition like a motet.

With what significant musical development is Robert de Reins La Chievre associated?

Answer: The early development of the motet

Robert de Reins La Chievre is associated with the early development of the motet.

Related Concepts:

  • What significant musical development is Robert de Reins La Chievre associated with?: Robert de Reins La Chievre is associated with the early development of the motet, a polyphonic vocal musical form that emerged in the 13th century, often based on a pre-existing tenor line.

According to the source, how numerous might trouvères associated with the early development of the motet be?

Answer: More numerous than previously thought

The source suggests that trouvères associated with the early development of the motet may be more numerous than previously thought.

Related Concepts:

  • How numerous were trouvères associated with the early development of the motet, according to the source?: The source suggests that trouvères associated with the early development of the motet, such as Robert de Reins La Chievre and Richard de Fournival, may be more numerous than previously thought.

What is a significant characteristic of at least four of Robert de Reins La Chievre's attributed songs in relation to motets?

Answer: Their first stanza is enhanced by a liturgical tenor in an anonymously appearing polyphonic motet.

No fewer than four of his attributed songs have their first stanza enhanced by a liturgical tenor in an anonymously appearing polyphonic motet.

Related Concepts:

  • What is a significant characteristic of several of Robert de Reins La Chievre's attributed songs in relation to motets?: A significant characteristic is that no fewer than four of his attributed songs have their first stanza enhanced by a liturgical tenor in a motet, which appears anonymously in a polyphonic source. A liturgical tenor is a pre-existing melody, often from plainchant, used as the structural foundation for a polyphonic composition like a motet.

What is a clausula in the context of Robert de Reins La Chievre's motets, and how many are preserved this way?

Answer: A self-contained, discant-style section within a larger organum; two motets

A clausula is defined as a self-contained, discant-style section within a larger organum, and two of his motets are preserved as liturgical clausulae.

Related Concepts:

  • What is a clausula in the context of Robert de Reins La Chievre's motets, and how many are preserved this way?: A clausula is a self-contained, discant-style section within a larger organum, often featuring rhythmic and melodic repetition. Two of Robert de Reins La Chievre's motets, specifically L'autrier de jouste un rivage and Quant voi le dous tens venir, are preserved as liturgical clausulae.

How do three of Robert de Reins La Chievre's motets (numbers 2-4) relate to their song versions in terms of music and text?

Answer: They share the same music and text as their corresponding song versions.

Three of these motets (numbers 2-4) share the same music and text as their corresponding song versions.

Related Concepts:

  • How do three of Robert de Reins La Chievre's motets relate to their song versions in terms of music and text?: Three of these motets (numbers 2-4 in the list) share the same music and text as their corresponding song versions. This indicates a direct musical and lyrical relationship between the secular song and its sacred, polyphonic adaptation.

What is a contrafact Latin text?

Answer: A new, often sacred, Latin text set to pre-existing secular music.

A contrafact Latin text refers to a new, often sacred, Latin text set to pre-existing secular music.

Related Concepts:

  • What is a contrafact Latin text, and which of Robert de Reins La Chievre's motets features one?: A contrafact Latin text refers to a new, often sacred, Latin text set to pre-existing secular music. One of Robert de Reins La Chievre's motets has the same music as its song version but transmits a contrafact Latin text, meaning the original French lyrics were replaced with new Latin ones.

Which of Robert de Reins La Chievre's motets has the same music as its song version but transmits a contrafact Latin text?

Answer: The source mentions one of his motets, but does not specify which one by name.

The source states that 'one of Robert de Reins La Chievre's motets has the same music as its song version but transmits a contrafact Latin text,' without specifying the name of the motet.

Related Concepts:

  • What is a contrafact Latin text, and which of Robert de Reins La Chievre's motets features one?: A contrafact Latin text refers to a new, often sacred, Latin text set to pre-existing secular music. One of Robert de Reins La Chievre's motets has the same music as its song version but transmits a contrafact Latin text, meaning the original French lyrics were replaced with new Latin ones.

Cataloging Systems and Terminology

The RS number in the standard catalogue for songs identifies specific refrains within medieval French songs.

Answer: False

The RS number identifies and categorizes medieval French songs, while the vdB number identifies specific refrains.

Related Concepts:

  • What does the RS number signify in the standard catalogue for songs related to Robert de Reins La Chievre's works?: The RS number is a reference found in the standard catalogue for songs, specifically Hans Spanke's Raynaud's Bibliographie des altfranzösisches Liedes, used to identify and categorize medieval French songs.

The vdB number refers to the catalogue of refrains compiled by Nico van den Boogaard.

Answer: True

The vdB number is indeed a reference to the catalogue of refrains compiled by Nico van den Boogaard.

Related Concepts:

  • What does the vdB number represent in the list of Robert de Reins La Chievre's works?: The vdB number refers to the catalogue of refrains compiled by Nico van den Boogaard in his work Rondeaux et refrains du XIIe siècle au début du XIVe, used to identify specific refrains within the songs.

Motet voice numbers are references found in standard catalogues for motets, used to identify specific motet compositions or individual voices within them.

Answer: True

Motet voice numbers serve as references in standard catalogues to identify specific motet compositions or their individual voices.

Related Concepts:

  • What do the motet voice numbers indicate in the context of Robert de Reins La Chievre's compositions?: The motet voice numbers are references found in the standard catalogues for motets, such as those by Friedrich Ludwig and Hendrik van der Werf, used to identify specific motet compositions or individual voices within them.

What does the RS number signify in the standard catalogue for songs related to Robert de Reins La Chievre's works?

Answer: A reference in Hans Spanke's Raynaud's Bibliographie des altfranzösisches Liedes to identify medieval French songs.

The RS number is a reference in Hans Spanke's Raynaud's Bibliographie des altfranzösisches Liedes, used to identify and categorize medieval French songs.

Related Concepts:

  • What does the RS number signify in the standard catalogue for songs related to Robert de Reins La Chievre's works?: The RS number is a reference found in the standard catalogue for songs, specifically Hans Spanke's Raynaud's Bibliographie des altfranzösisches Liedes, used to identify and categorize medieval French songs.

What does the vdB number represent in the list of Robert de Reins La Chievre's works?

Answer: The catalogue of refrains compiled by Nico van den Boogaard.

The vdB number refers to the catalogue of refrains compiled by Nico van den Boogaard.

Related Concepts:

  • What does the vdB number represent in the list of Robert de Reins La Chievre's works?: The vdB number refers to the catalogue of refrains compiled by Nico van den Boogaard in his work Rondeaux et refrains du XIIe siècle au début du XIVe, used to identify specific refrains within the songs.

What do the motet voice numbers indicate in the context of Robert de Reins La Chievre's compositions?

Answer: References in standard catalogues for motets to identify compositions or individual voices.

Motet voice numbers are references in standard catalogues for motets, used to identify specific motet compositions or individual voices within them.

Related Concepts:

  • What do the motet voice numbers indicate in the context of Robert de Reins La Chievre's compositions?: The motet voice numbers are references found in the standard catalogues for motets, such as those by Friedrich Ludwig and Hendrik van der Werf, used to identify specific motet compositions or individual voices within them.

Analysis of Attributed Works: Songs and Motets

Ten songs are attributed to Robert de Reins La Chievre in the provided source.

Answer: False

Nine songs are attributed to Robert de Reins La Chievre, not ten.

Related Concepts:

  • How many songs are attributed to Robert de Reins La Chievre?: Nine songs are attributed to Robert de Reins La Chievre.

The songs 'L'autrier de jouste un rivage' and 'Quant voi le dous tens venir' are specifically noted for having their first stanza enhanced by a liturgical tenor in a motet.

Answer: True

These two songs, along with 'Main s'est levee Aëlis' and 'Quant fueillissent li buisson,' are explicitly listed as having this characteristic.

Related Concepts:

  • Which specific songs by Robert de Reins La Chievre are noted for having their first stanza enhanced by a liturgical tenor in a motet?: The four songs noted for this characteristic are numbers 1-4 in the provided list of works: L'autrier de jouste un rivage, Quant voi le dous tens venir, Main s'est levee Aëlis, and Quant fueillissent li buisson.

The song 'L'autrier de jouste un rivage' (RS35) is found in TrouvX f.189v and includes refrain vdB1424 in stanza III.

Answer: False

The song 'L'autrier de jouste un rivage' (RS35) includes refrain vdB1424 in *stanza II*, not stanza III.

Related Concepts:

  • Describe the song L'autrier de jouste un rivage (RS35) and its associated motet forms.: L'autrier de jouste un rivage (RS35) is a song with three stanzas, found in TrouvX f.189v, and includes refrain vdB1424 in stanza II. It also exists as a motet with the text Virgo gignit and Tenor DOMINO QUONIAM (M13) in W2 f.190r, and as a 2-voice clausula in motet MS F f.156r.

The song 'Quant voi le dous tens venir' (RS1485) appears as a 3-voice motet with Triplum En mai quant rose in the Montpellier Codex.

Answer: True

The source confirms that 'Quant voi le dous tens venir' (RS1485) appears as a 3-voice motet with Triplum En mai quant rose in the Montpellier Codex.

Related Concepts:

  • Provide details about the song Quant voi le dous tens venir (RS1485) and its polyphonic adaptations.: Quant voi le dous tens venir (RS1485) is a song found in TrouvK p. 190, TrouvN f.91r, and Trouv X fol.135r, consisting of three stanzas with refrain vdB1149 in stanza I and vdB1580 in stanza II. It was adapted into a 2-voice motet, Qant voi le douz (Motet voice 235), with tenor LATUS (M14) in W2 f.245r. Additionally, it appears as a 3-voice motet with Triplum En mai quant rose (Motet voice 236) in the Montpellier Codex f.203v and f.167v, and Paris, Bibliothèque Nationale de France, n.a.fr.13521 f.382v. It is also preserved as a 2-voice clausula in F f.158v.

The song 'Main s'est levee Aëlis' (RS1510) is found in TrouvX f.190v and features refrain vdB689 in stanza II.

Answer: False

The song 'Main s'est levee Aëlis' (RS1510) features refrain vdB689 in *stanza I*, not stanza II.

Related Concepts:

  • What information is available about the song Main s'est levee Aëlis (RS1510) and its motet versions?: Main s'est levee Aëlis (RS1510) is a song with two stanzas, found in TrouvX f.190v, featuring refrain vdB689 in stanza I. It also exists as motets titled Main s'est levee (Motet voice 565a) with tenor MANSUETUDINEM (M71), appearing in the Munich fragments f.A7r, Noailles Chansonnier (TrouvT f.184v), and Chansonnier du roi (TrouvM f.206r).

The motet version of 'Quant fueillissent li buisson' (RS 1852) is titled 'Quant florissent li buisson' and uses tenor DOMINO QUONIAM (M13).

Answer: True

The source confirms that the motet version of 'Quant fueillissent li buisson' is titled 'Quant florissent li buisson' and uses tenor DOMINO QUONIAM (M13).

Related Concepts:

  • Describe the song Quant fueillissent li buisson (RS 1852) and its motet form.: Quant fueillissent li buisson (RS 1852) is a song with two stanzas, found in TrouvX f.190r, which includes refrain vdB670 in stanza I and vdB1242 in stanza II. It is also found as a motet titled Quant florissent li buisson (Motet voice 137) with tenor DOMINO QUONIAM (M13) in Montpellier f.244v.

The song 'Plaindre m'estuet de la bele en chantant' (RS319) is preserved in the Berne Chansonnier (Trouv C) and TrouvK, among others.

Answer: True

The source lists Trouv C (Berne Chansonnier) and TrouvK as manuscripts preserving 'Plaindre m'estuet de la bele en chantant' (RS319).

Related Concepts:

  • In which manuscripts is the song Plaindre m'estuet de la bele en chantant (RS319) preserved?: The song Plaindre m'estuet de la bele en chantant (RS319) is preserved in several manuscripts, including Trouv C (the Berne Chansonnier f.215r), TrouvK p. 188, TrouvN f.90r, TrouvP f.113r, and TrouvX f.134r.

The song 'Jamais pour tant' (RS383) typically consists of three or four stanzas.

Answer: False

The song 'Jamais pour tant' (RS383) typically consists of *five or six* stanzas.

Related Concepts:

  • Where can the song Jamais pour tant (RS383) be found, and how many stanzas does it typically have?: The song Jamais pour tant (RS383) is found in TrouvM f.175v, TrouvT f.153r, and the Saint Germain-des-Pres Chansonnier (TrouvU f.32r), and it typically consists of five or six stanzas.

The song 'Touse (Bergier) de vile' (RS957) is noted as having two stanzas.

Answer: False

The song 'Touse (Bergier) de vile' (RS957) is noted as having *three* stanzas.

Related Concepts:

  • Which manuscripts contain the song Touse (Bergier) de vile (RS957), and how many stanzas are noted?: The song Touse (Bergier) de vile (RS957) is found in Trouva f.124 (index only, as the folio is missing), TrouvK p. 401, and TrouvX f.190r, and it is noted as having three stanzas.

The song 'Bien s'est Amours honie' (RS1163) is preserved in TrouvC, TrouvK, TrouvN, TrouvP, TrouvX, and TrouvU.

Answer: True

The source lists TrouvC, TrouvK, TrouvN, TrouvP, TrouvX, and TrouvU as manuscripts preserving 'Bien s'est Amours honie' (RS1163).

Related Concepts:

  • List the manuscript sources for the song Bien s'est Amours honie (RS1163) and its stanza count.: The song Bien s'est Amours honie (RS1163) is preserved in TrouvC f.30v, TrouvK p. 188, TrouvN f.89v, TrouvP f.71v, Trouv X f.133v, and TrouvU f.33v, and it typically has four or six stanzas.

The song 'Qui bien veut Amours descrivre' (RS1655) is notable for including refrain vdB710 in only some of its sources.

Answer: False

The song 'Qui bien veut Amours descrivre' (RS1655) is notable for including refrain vdB710 in *all* its sources.

Related Concepts:

  • Which manuscripts preserve the song Qui bien veut Amours descrivre (RS1655), and what is notable about its refrain?: The song Qui bien veut Amours descrivre (RS1655) is preserved in Trouva f.102v, TrouvC f.113r, TrouvF f.115r, TrouvH f.223v, the Cangé Chansonnier (TrouvO f.115v), TrouvK p. 189, TrouvP f.72r, TrouvN f.90v, TrouvX f.134v, TrouvM f.174v, and TrouvU f.37r. It is notable for including refrain vdB710 in all its sources, and it typically has four, five, or six stanzas.

The Montpellier Codex is a significant source for 2-voice motets by Robert de Reins La Chievre.

Answer: False

The Montpellier Codex is mentioned as a source for a *3-voice* motet ('Quant voi le dous tens venir'), not specifically 2-voice motets by Robert de Reins La Chievre.

Related Concepts:

  • Provide details about the song Quant voi le dous tens venir (RS1485) and its polyphonic adaptations.: Quant voi le dous tens venir (RS1485) is a song found in TrouvK p. 190, TrouvN f.91r, and Trouv X fol.135r, consisting of three stanzas with refrain vdB1149 in stanza I and vdB1580 in stanza II. It was adapted into a 2-voice motet, Qant voi le douz (Motet voice 235), with tenor LATUS (M14) in W2 f.245r. Additionally, it appears as a 3-voice motet with Triplum En mai quant rose (Motet voice 236) in the Montpellier Codex f.203v and f.167v, and Paris, Bibliothèque Nationale de France, n.a.fr.13521 f.382v. It is also preserved as a 2-voice clausula in F f.158v.

The song 'Quant voi le dous tens venir' (RS1485) has refrains vdB1149 in stanza I and vdB1580 in stanza II.

Answer: True

The source confirms that 'Quant voi le dous tens venir' (RS1485) includes refrain vdB1149 in stanza I and vdB1580 in stanza II.

Related Concepts:

  • Provide details about the song Quant voi le dous tens venir (RS1485) and its polyphonic adaptations.: Quant voi le dous tens venir (RS1485) is a song found in TrouvK p. 190, TrouvN f.91r, and Trouv X fol.135r, consisting of three stanzas with refrain vdB1149 in stanza I and vdB1580 in stanza II. It was adapted into a 2-voice motet, Qant voi le douz (Motet voice 235), with tenor LATUS (M14) in W2 f.245r. Additionally, it appears as a 3-voice motet with Triplum En mai quant rose (Motet voice 236) in the Montpellier Codex f.203v and f.167v, and Paris, Bibliothèque Nationale de France, n.a.fr.13521 f.382v. It is also preserved as a 2-voice clausula in F f.158v.

How many songs are attributed to Robert de Reins La Chievre?

Answer: Nine

Nine songs are attributed to Robert de Reins La Chievre.

Related Concepts:

  • How many songs are attributed to Robert de Reins La Chievre?: Nine songs are attributed to Robert de Reins La Chievre.

Which of the following songs by Robert de Reins La Chievre is NOT listed as having its first stanza enhanced by a liturgical tenor in a motet?

Answer: Plaindre m'estuet de la bele en chantant

The songs 'L'autrier de jouste un rivage,' 'Quant voi le dous tens venir,' 'Main s'est levee Aëlis,' and 'Quant fueillissent li buisson' are listed as having this characteristic. 'Plaindre m'estuet de la bele en chantant' is not among them.

Related Concepts:

  • Which specific songs by Robert de Reins La Chievre are noted for having their first stanza enhanced by a liturgical tenor in a motet?: The four songs noted for this characteristic are numbers 1-4 in the provided list of works: L'autrier de jouste un rivage, Quant voi le dous tens venir, Main s'est levee Aëlis, and Quant fueillissent li buisson.

Which refrain is found in stanza II of the song 'L'autrier de jouste un rivage' (RS35)?

Answer: vdB1424

The song 'L'autrier de jouste un rivage' (RS35) includes refrain vdB1424 in stanza II.

Related Concepts:

  • Describe the song L'autrier de jouste un rivage (RS35) and its associated motet forms.: L'autrier de jouste un rivage (RS35) is a song with three stanzas, found in TrouvX f.189v, and includes refrain vdB1424 in stanza II. It also exists as a motet with the text Virgo gignit and Tenor DOMINO QUONIAM (M13) in W2 f.190r, and as a 2-voice clausula in motet MS F f.156r.

The song 'Quant voi le dous tens venir' (RS1485) is adapted into a 2-voice motet with which tenor?

Answer: Tenor LATUS (M14)

The song 'Quant voi le dous tens venir' (RS1485) was adapted into a 2-voice motet with tenor LATUS (M14).

Related Concepts:

  • Provide details about the song Quant voi le dous tens venir (RS1485) and its polyphonic adaptations.: Quant voi le dous tens venir (RS1485) is a song found in TrouvK p. 190, TrouvN f.91r, and Trouv X fol.135r, consisting of three stanzas with refrain vdB1149 in stanza I and vdB1580 in stanza II. It was adapted into a 2-voice motet, Qant voi le douz (Motet voice 235), with tenor LATUS (M14) in W2 f.245r. Additionally, it appears as a 3-voice motet with Triplum En mai quant rose (Motet voice 236) in the Montpellier Codex f.203v and f.167v, and Paris, Bibliothèque Nationale de France, n.a.fr.13521 f.382v. It is also preserved as a 2-voice clausula in F f.158v.

In which stanza of 'Main s'est levee Aëlis' (RS1510) is refrain vdB689 featured?

Answer: Stanza I

Refrain vdB689 is featured in stanza I of 'Main s'est levee Aëlis' (RS1510).

Related Concepts:

  • What information is available about the song Main s'est levee Aëlis (RS1510) and its motet versions?: Main s'est levee Aëlis (RS1510) is a song with two stanzas, found in TrouvX f.190v, featuring refrain vdB689 in stanza I. It also exists as motets titled Main s'est levee (Motet voice 565a) with tenor MANSUETUDINEM (M71), appearing in the Munich fragments f.A7r, Noailles Chansonnier (TrouvT f.184v), and Chansonnier du roi (TrouvM f.206r).

What is the title of the motet form of 'Quant fueillissent li buisson' (RS 1852)?

Answer: Quant florissent li buisson

The motet version of 'Quant fueillissent li buisson' (RS 1852) is titled 'Quant florissent li buisson'.

Related Concepts:

  • Describe the song Quant fueillissent li buisson (RS 1852) and its motet form.: Quant fueillissent li buisson (RS 1852) is a song with two stanzas, found in TrouvX f.190r, which includes refrain vdB670 in stanza I and vdB1242 in stanza II. It is also found as a motet titled Quant florissent li buisson (Motet voice 137) with tenor DOMINO QUONIAM (M13) in Montpellier f.244v.

Which of the following manuscripts is NOT listed as preserving the song 'Plaindre m'estuet de la bele en chantant' (RS319)?

Answer: TrouvM

The source lists Trouv C, TrouvK, TrouvN, TrouvP, and TrouvX as preserving 'Plaindre m'estuet de la bele en chantant' (RS319), but not TrouvM.

Related Concepts:

  • In which manuscripts is the song Plaindre m'estuet de la bele en chantant (RS319) preserved?: The song Plaindre m'estuet de la bele en chantant (RS319) is preserved in several manuscripts, including Trouv C (the Berne Chansonnier f.215r), TrouvK p. 188, TrouvN f.90r, TrouvP f.113r, and TrouvX f.134r.

How many stanzas does the song 'Jamais pour tant' (RS383) typically have?

Answer: Five or six stanzas

The song 'Jamais pour tant' (RS383) typically consists of five or six stanzas.

Related Concepts:

  • Where can the song Jamais pour tant (RS383) be found, and how many stanzas does it typically have?: The song Jamais pour tant (RS383) is found in TrouvM f.175v, TrouvT f.153r, and the Saint Germain-des-Pres Chansonnier (TrouvU f.32r), and it typically consists of five or six stanzas.

Which manuscript contains 'Touse (Bergier) de vile' (RS957) but only as an index entry due to a missing folio?

Answer: Trouva

Trouva f.124 contains 'Touse (Bergier) de vile' (RS957) as an index entry, with the folio itself missing.

Related Concepts:

  • Which manuscripts contain the song Touse (Bergier) de vile (RS957), and how many stanzas are noted?: The song Touse (Bergier) de vile (RS957) is found in Trouva f.124 (index only, as the folio is missing), TrouvK p. 401, and TrouvX f.190r, and it is noted as having three stanzas.

How many stanzas does 'Bien s'est Amours honie' (RS1163) typically have?

Answer: Four or six

The song 'Bien s'est Amours honie' (RS1163) typically has four or six stanzas.

Related Concepts:

  • List the manuscript sources for the song Bien s'est Amours honie (RS1163) and its stanza count.: The song Bien s'est Amours honie (RS1163) is preserved in TrouvC f.30v, TrouvK p. 188, TrouvN f.89v, TrouvP f.71v, Trouv X f.133v, and TrouvU f.33v, and it typically has four or six stanzas.

What is notable about the refrain vdB710 in the song 'Qui bien veut Amours descrivre' (RS1655)?

Answer: It is present in all its sources.

The song 'Qui bien veut Amours descrivre' (RS1655) is notable for including refrain vdB710 in all its sources.

Related Concepts:

  • Which manuscripts preserve the song Qui bien veut Amours descrivre (RS1655), and what is notable about its refrain?: The song Qui bien veut Amours descrivre (RS1655) is preserved in Trouva f.102v, TrouvC f.113r, TrouvF f.115r, TrouvH f.223v, the Cangé Chansonnier (TrouvO f.115v), TrouvK p. 189, TrouvP f.72r, TrouvN f.90v, TrouvX f.134v, TrouvM f.174v, and TrouvU f.37r. It is notable for including refrain vdB710 in all its sources, and it typically has four, five, or six stanzas.

The song 'L'autrier de jouste un rivage' (RS35) is found in which manuscript?

Answer: TrouvX f.189v

The song 'L'autrier de jouste un rivage' (RS35) is found in TrouvX f.189v.

Related Concepts:

  • Describe the song L'autrier de jouste un rivage (RS35) and its associated motet forms.: L'autrier de jouste un rivage (RS35) is a song with three stanzas, found in TrouvX f.189v, and includes refrain vdB1424 in stanza II. It also exists as a motet with the text Virgo gignit and Tenor DOMINO QUONIAM (M13) in W2 f.190r, and as a 2-voice clausula in motet MS F f.156r.

Home | Sitemaps | Contact | Terms | Privacy