Influences on the musical style of the troubadours of twelfth and thirteenth century southern France.

Abstract

The purpose of the study is to determine some of the principal influences on the transmission and preservation of the extant troubadour melodies. By separating the idiosyncratic elements of different notational systems, manuscripts, individual troubadours, genres, and forms from the more stable elements of the repertory, a better understanding of troubadour melodic style is achieved. Theorists and writers contemporaneous with the troubadours are consulted for information on compositional practices. The troubadour melodies are analyzed in terms of evolving medieval modal theory, and more recent empirically based systems of analysis are discussed. The implications of oral composition on troubadour melodies are also explored. The study begins with the premise that troubadour song primarily concerns the relationship of words to music. The notated songs are examined to determine how two logical systems, poetry and music, influence each other. The peculiarities of the Old Provencal language and the poetic conventions of the troubadours are examined for possible influences on the music. The application of musical form to the strophic form of the poetry is demonstrated in relation to a variety of song genres. The notion of a distinct troubadour melodic style is tested through scrutiny of the troubadours best represented in the extant musical manuscripts. Comparing multiple versions of their melodies reveals the possible influences of the scribes and the effects of an essentially oral transmission process. The comparison also leads to a better understanding of the individual troubadour's contribution to melodic style. An attempt is made to reconcile ecclesiastical modal theory with the style of troubadour melody. The repertory is examined in light of the practical writings of Guido, Johannes de Grocheo, and Marchettus of Padua. The final part of the study concentrates on the practice of modeling and imitation among the troubadours and between the troubadours and composers of other classes of medieval monophonic music. Here the notion of melody types is explored. The study reveals strong melodic relationships between widely differing song repertories which may share poetic form, imagery, and modal conformity.