Troubadours and Trouvères

In the 12th and 13th centuries, the troubadours in Occitania and the trouvères in northern France composed songs with texts in the vernacular and monophonic melodies. For the troubadours, the vernacular was Old Occitan; for their northern counterparts, Old French. This difference in idiom is sometimes held to mark a distinction between two separate but analogous traditions of medieval song. The medieval practices of compiling multilingual lyric anthologies and of borrowing melodies seem instead to affirm the contiguity of song culture across different languages. The term “lyric” during this period typically designates a text set to melody, but not all manuscripts of troubadour and trouvère lyric preserve song melodies. Music survives for nearly half of the trouvère repertory (about three thousand songs) but only about 10 percent of the twenty-six hundred extant troubadour songs. The compositional period for troubadours and trouvères is conventionally defined rather rigidly as 1100–1300, and the songs themselves as strophic and monophonic. However, the troubadours and trouvères also composed in non-strophic genres (lais and descorts), and the trouvères composed in non-musical lyric genres (congés, dits) as well as in polyphonic forms. Adam de la Halle and Jehan de Lescurel, for example, produced small but significant collections of single-text polyphonic pieces. Of course, the composition of French and Occitan song also continued beyond 1300, albeit in different social and cultural contexts, by which point the long history of its study and reception had already begun. Some of the most important reference works, such as the Pillet-Carstens Bibliographie, date from the early 20th century and come from France and Germany, while Anglophone publications on troubadour and trouvère music only began to emerge in the second half of the 20th century. Modern scholars continually renew this material by bringing it into conversation with critical theory (Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut, cited under General Studies), feminist theory (Songs of the Women Trouvères, cited under Anthologies), and social history (The Owl and the Nightingale: Musical Life and Ideas in France 1100–1300, cited under Musical, Literary, Social, and Political Studies; The World of the Troubadours: Medieval Occitan Society, c. 1100-c.1300 and Parler d’amour au puy d’Arras: Lyrique en jeu, both cited under Regional Studies). The vibrancy in troubadour and trouvère scholarship also comes from interdisciplinary collaboration and exchange among musicologists, historians, paleographers, and literary scholars. Despite their shared primary sources, the fields of musicology and of literary studies have approached troubadour and trouvère material differently, and with different emphases. In part, these differences can be ascribed to the difficulty of defining a corpus of study, which does not always overlap for the two fields. The organization of this article echoes some of these tensions between older but fundamental reference works and newer directions of inquiry, and the sometimes separate, sometimes unified, treatment of troubadour and trouvère song.

Clause Structure and Illocutionary Force in Medieval Gallo-Romance: Clitic Position in Old Occitan and Early Old French Sentential Coordination

This paper analyzes the position of object and adverbial clitic pronouns in coordinated affirmative verb-first declaratives introduced by e(t) “and” in Old Occitan and early Old French, a context in which clitics are variably preverbal or postverbal. An empirical study reveals that this variation is principled and reflects semantico-discursive properties in the same way in these two related and grammatically similar medieval Gallo-Romance varieties. On a theoretical level, I posit that preverbal clitics occur when conjunction occurs at the TP level, and postverbal clitics occur when conjunction occurs at the CP level, and that the choice of clause structure (TP vs. CP) for second conjunct clauses depends on illocutionary force, which in turn depends on discourse coherence relations and the semantics of verba dicendi (verbs of utterance).

Clause Structure and Illocutionary Force in Medieval Gallo-Romance: Clitic Position in Old Occitan and Early Old French Sentential Coordination

This paper analyzes the position of object and adverbial clitic pronouns in coordinated affirmative verb-first declaratives introduced by e(t) “and” in Old Occitan and early Old French, a context in which clitics are variably preverbal or postverbal. An empirical study reveals that this variation is principled and reflects semantico-discursive properties in the same way in these two related and grammatically similar medieval Gallo-Romance varieties. On a theoretical level, I posit that preverbal clitics occur when conjunction occurs at the TP level, and postverbal clitics occur when conjunction occurs at the CP level, and that the choice of clause structure (TP vs. CP) for second conjunct clauses depends on illocutionary force, which in turn depends on discourse coherence relations and the semantics of verba dicendi (verbs of utterance).

Cumbersome paths to indefiniteness. Evidence from an Old Occitan customary

The central problem of this paper is the evolution of common nouns assumed to have turned into indefinite pronouns. The linguistic data have been retrieved from the Costuma d’Agen, a 13th-century Occitan Customary. The choice of this text is warranted by multiple relations obtaining between the architecture of legal codices and the presence of indefinite expressions. In this text, the contexts in which re (< Lat. acc. rem), ‘anything’ or ‘nothing’ occurs have been identified. This word is shown to be pervasive in Negative Concord (NC; under the scope of no(n), the expression of clausal negation), thereby meeting the requirements imposed upon negative polarity items (NPIs). Outside NC, re appears in conditional protases and temporal clauses introduced by ‘before’. Irrespective of the context in which it appears, Old Occitan re turns out to be fairly advanced on the grammaticalization scale: unlike its etymon, it no longer inflects for number, it does not take determiners and fails to function as a subject in the Costuma d’Agen. Comparative evidence from Gascon 13th century texts proves that, although the descendants of rem of that period occur in the same structural environments (all of them are, by then, free-choice items, FCIs), they do not evolve at the same pace as their Occitan cognate. In other words, even in neighboring linguistic zones, these expressions differ with respect to the degree of persistence of syntactic properties inherent to Latin common nouns. Finally, re is matched against other FCIs, such as hom or home ‘anybody’ or ‘nobody’ and autrui ‘someone else’ or ‘someone else’s’. Compared to re, the medieval developments of these items are far more diversified and retain more original features of their etymons. The difference is traced back to the greater conceptual salience of the animate domain.

Clitic position in Old Occitan affirmative verb-first declaratives coordinated by e

This paper offers a variationist analysis of object and adverbial clitic position in coordinated affirmative verb-first main declaratives introduced by e(t) “and” in Old Occitan. In this context, clitics occur in either preverbal (e·l vestit “and clothed him”) or postverbal position (e perdonet li “and pardoned him”). Following recent work on Medieval Romance coordination, I posit that proclitic and enclitic examples reflect different coordination structures at the underlying syntactic level. Data from complete analyses of five major 13th- and 14th-century texts, analyzed in a variationist approach using logistic regression, reveal that the choice between coordination structures – and hence, between proclisis and enclisis – is principled rather than random and depends on the degree of continuity or rupture/discontinuity between the conjuncts.

A step forward in understanding pas: the post-verbal negator in Old Occitan from the perspective of communication and rhetorical strategizing

In recent years, within the cognitive linguistics approach there has been a trend of scholarly research committed to exploring the motivation for language change. The way in which people use language in communication, together with principles of human categorization, are the locus where language change and innovations are to be found. Interactional contexts in particular, seen as playing a crucial role in bringing about syntactic change (Traugott 2010b), have figured prominently in recent contributions on diachronic micro-changes, bringing to the fore the role played by dialogue as both the manifestation of the participants’ own voices and the realization of the constant negotiation that characterizes human communication. Against this background, this contribution focuses on a particular use of the Occitan post-verbal negator pas in negative rhetorical questions, which was very productive in fifteenth-century collections of religious theatrical texts. It is claimed that these dialogic contexts allowed a polyphonic use of pas, crucially restricted to this post-verbal negator, which is key to identifying the reasons behind the eventual establishment of pas as the generalized sentential negator in the modern language.

Resumptive structures in a Gallo-Romance perspective

Old French and old Occitan both have access to the resumptive particle SI that occurs in second position of the clause, between a fronted constituent and the finite verb. In this paper, the information-structural properties of the particle are compared and it is shown that it may be used to introduce new information in old Occitan, an option that is not available in old French. Further, an analysis for SI is proposed. It is suggested that SI may be both a head and a phrase, something which has consequences for the analysis of the fronted element of the clause.

Medieval Music

Medieval music generally refers to western European music between the late 8th and early 15th centuries, although topics concerning Christian liturgy and plainchant reach further back into history. The Latin-Christian realms considered here include Britain ranging from England to St. Andrews, Scotland, the Frankish Empire from France to central Europe, the Spanish territories of Galicia, León, Castile, and Catalonia, the Mediterranean region, Sicily, and the Italian peninsula. Questions of how the music of these peoples was composed, conceived, performed, and preserved during this lengthy period are as many and diverse as the backgrounds and interests of those seeking answers. During the early Middle Ages, music was transmitted orally and the churches of different regions had distinctive liturgies and chants. With the unification of the Christian Church under the Carolingians around the turn of the 9th century, chant came to be written down, early musical notation serving as a memory aid. The relationship of Frankish and other regional chant repertories to that of the papal city of Rome, various attempts to regularize Western plainchant, and the music theory that developed to comprehend it are among the most extensively studied topics of chant scholarship. Religious songs other than chant were also sung, often outside of Church services, in Latin or such vernacular languages as Galician, German, Czech, English, Italian, and Hebrew. Numerous love songs were written in Old Occitan, French, and German. Starting in the 9th century, polyphonic arrangements of chants called organum emerged. In the 12th century, one encounters polyphonic settings of strophic Latin poems called versus and conductus. Sacred polyphony was by then performed at a number of centers, although the organum and conductus composed for Notre Dame Cathedral in Paris in the late 12th and early 13th centuries were the most widely disseminated and stylistically influential genres of their time. Toward the end of the Middle Ages, new genres of polyphonic composition emerged, notably the motet, various French and Italian secular songs, and Mass Ordinary movements. Instrumental music had existed since earliest times but it came to be notated only in the late 13th century in the form of monophonic dance tunes. Most composers of medieval sacred monophony are unknown except for certain authors of hymns, sequences, and chants. The courtly troubadours, trouvères, and Minnesänger are however often identified in manuscript song collections. By the 12th century, composers of polyphony like Leonin and Perotin were known and praised.

Occitan (Velay) prounseau et prounsean ‘sorte de grive’ : deux inconnus du FEW (dont un en langage des animaux)

The purpose of this contribution is to give an etymology to two Occitan words regarded as of unknown origin by the FEW. Velay prounseau ‘a kind of thrush’ is a regular issue of Old Occitan proensal ‘of Provence’. The nasalized form prounsean is a phono-stylistic and zoolectal variant of prounseau.