Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-fbnjt Total loading time: 0 Render date: 2024-11-12T22:50:57.106Z Has data issue: false hasContentIssue false

12 - Vernacular Song I: Lyric

from Volume I

Published online by Cambridge University Press:  04 August 2018

Mark Everist
Affiliation:
University of Southampton
Thomas Forrest Kelly
Affiliation:
Harvard University, Massachusetts
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Alfonso, X el Sabio. Cantigas de Santa María: Edición facsímil del códice T.i.1 de la Biblioteca de San Lorenzo el Real de El Escorial, siglo xiii. Madrid: Edilán, 1979.Google Scholar
Anglés, Higini, ed. La musica de las cantigas de Santa Maria del Rey Alfonso El Sabio, Facsimil, transcripcion y estudio critico, 3 vols. Barcelona: Diputación Provincial de Barcelona, Biblioteca Central, 1943, 1958, and 1964.Google Scholar
Arlt, Wulf. “Secular Monophony,” in Performance Practice: Music Before 1600, ed. Brown, Howard Mayer and Sadie, Stanley, The Norton/Grove Handbooks in Music. London and New York: Macmillan, 1989, 5578.Google Scholar
Aubrey, Elizabeth. “The Dialectic between Occitania and France in the Thirteenth Century,” Early Music History 16 (1997), 153.Google Scholar
Aubrey, Elizabeth. “Genre as a Determinant of Melody in the Songs of the Troubadours and the Trouvères,” in Medieval Lyric: Genres in Historical Context, ed. Paden, William D. Urbana and Chicago: University of Illinois Press, 2000, 273–96.Google Scholar
Aubrey, Elizabeth. “Introduction: Poets, Singers, Scribes and Historians,” in Poets and Singers: Latin and Vernacular Monophonic Song, ed. Aubrey, Elizabeth, Music in Medieval Europe. Aldershot: Ashgate, 2009, xixxxvi.Google Scholar
Aubrey, Elizabeth. “Issues in the Musical Analysis of the Troubadour Descorts and Lays,” in The Cultural Milieu of the Troubadours, and Trouvères, ed. Deusen, Nancy Van. Ottawa: Institute of Mediaeval Music, 1994, 6798.Google Scholar
Aubrey, Elizabeth. The Music of the Troubadours, Music: Scholarship and Performance. Bloomington and Indianapolis: Indiana University Press, 1996.Google Scholar
Aubrey, Elizabeth. “Non-Liturgical Monophony: French,” in A Performer’s Guide to Medieval Music, ed. Duffin, Ross W.. Bloomington and Indianapolis: Indiana University Press, 2000, 134–43.Google Scholar
Aubrey, Elizabeth. “Non-Liturgical Monophony: Introduction,” in A Performer’s Guide to Medieval Music, ed. Duffin, Ross W.. Bloomington and Indianapolis: Indiana University Press, 2000, 105–14.Google Scholar
Aubrey, Elizabeth. “Non-Liturgical Monophony: Occitan,” in A Performer’s Guide to Medieval Music, ed. Duffin, Ross W.. Bloomington and Indianapolis: Indiana University Press, 2000, 122–33.Google Scholar
Aubrey, Elizabeth. “Reconsidering ‘High Style’ and ‘Low Style’ in Medieval Song,” Journal of Music Theory 52 (2008), 75122.Google Scholar
Aubrey, Elizabeth. “References to Music in Old Occitan Literature,” Acta Musicologica 61 (1989), 110–49.CrossRefGoogle Scholar
Aubrey, Elizabeth. “Sources, MS, §III, 3: Secular Monophony: Occitan,” in NG2, vol. xxiii: 848–51.Google Scholar
Aubrey, Elizabeth. “Sources, MS, §III, 4: Secular Monophony: French,” in NG2, vol. xxiii: 851–60.Google Scholar
Aubrey, Elizabeth. ed. Poets and Singers: Latin and Vernacular Monophonic Song, Music in Medieval Europe. Aldershot: Ashgate, 2009.Google Scholar
Aubry, Pierre. La rythmique musicale des troubadours et des trouvères. Paris: Honoré Champion, 1907.Google Scholar
Aubry, Pierre. ed., with an introduction by Jeanroy, Alfred. Le chansonnier de l’Arsenal (trouvères du XIIe–XIIIe siècle): reproduction phototypique du manuscrit 5198 de la Bibliothèque de l’Arsenal, 2 vols., Publications de la Société Internationale de Musique. Paris: P. Geuthner, 1909–12.Google Scholar
Avalle, D’Arco Silvio. I manoscritti della letteratura in lingua d’oc, new ed. Turin: Piccola Biblioteca Einaudi, 1993.Google Scholar
Barr, Cyrilla. “Lauda Singing and the Tradition of the Disciplinati Mandato: A Reconstruction of Two Texts of the Office of Tenebrae,” in L’Ars nova italiana del trecento 4: La musica al tempo del Boccaccio e i suoi rapporti con la letteratura, Siena-Certaldo, 19–22 luglio 1975, ed. Ziino, Agostino. Certaldo: Edizioni Centro di Studi sull’ Ars Nova Italiana del Trecento, 1978, 2144.Google Scholar
Barr, Cyrilla. The Monophonic Lauda and the Lay Religious Confraternities of Tuscany and Umbria in the Late Middle Ages, Early Drama, Art, and Music Monographs 10. Kalamazoo: Medieval Institute, Western Michigan University, 1988.Google Scholar
Bec, Pierre. La lyrique française au moyen âge (XIIe-XIIIe siècle): Contribution à une typologie des genres poétiques médiévaux, 2 vols., Centre d’Etudes Supérieures de Civilisation Médiévale de l’Université de Poitiers 6–7. Paris: A. and J. Picard, 1977–78.Google Scholar
Beck, Jean-Baptiste. Die Melodien der Troubadours, nach dem gesamten handschriftlichen Material zum erstenmal bearbeitet und herausgegeben, nebst einer Untersuchung über die Entwicklung der Notenschrift (bis um 1250) und das rhythmisch-metrische Prinzip der mittelalterlich-lyrischen Dichtungen, so wie mit Übertragung in moderne Noten der Melodien der Troubadours und Trouvères. Straßbourg: K. J. Trübner, 1908.Google Scholar
Beck, Jean-Baptiste. “Die modale Interpretation der mittelalterliche Melodien der Troubadours und der Trouvères,” Caecilia 24 (1907), 97105.Google Scholar
Beck, Jean-Baptiste. La musique des troubadours: étude critique. 2nd ed. Paris: Henri Laurens, 1928.Google Scholar
Beck, Jean-Baptiste. ed. Les chansonniers des troubadours et des trouvères: publiés en facsimilé et transcrits en notation moderne, 2 vols. Vol. i, pt. 1: Reproduction phototypique du Chansonnier Cangé, Paris, Bibliothèque Nationale, ms. français no. 846. Vol. 1, pt. 2: Transcription des chansons du Chansonnier Cangé, notes et commentaires. Corpus Cantilenarum Medii Aevi, i/1. Paris and Philadelphia: Honoré Champion and University of Pennsylvania Press, 1927.Google Scholar
Beck, Jean-Baptiste and Beck, Louise, eds. Les chansonniers des troubadours et des trouvères, 2 vols. Vol. ii, pt. 1: Le Manuscrit du Roi, fonds français no. 844 de la Bibliothèque nationale. Vol. ii, pt. 2: Analyse et description raisonnées du manuscrit restauré. Corpus Cantilenarum Medii Aevi, i/2. Philadelphia: University of Pennsylvania Press, 1938.Google Scholar
Bischoff, Bernhard, ed. Carmina Burana, 2 vols. Vol. i: Einführung zur Faksimile-Ausgabe der Benediktbeuer Liederhandschrift. Vol. ii: Faksimile. Munich: Prestel, 1970.Google Scholar
Botterill, Steven, ed. and trans. Dante: De vulgari eloquentia. Cambridge University Press, 1996.Google Scholar
Boulton, Maureen Barry McCann. The Song in the Story: Lyric Insertions in French Narrative Fiction, 1200–1400. Philadelphia: University of Pennsylvania Press, 1993.Google Scholar
Brothers, Thomas. Chromatic Beauty in the Late Medieval Chanson: An Interpretation of Manuscript Accidentals. Cambridge University Press, 1997.Google Scholar
Bruckner, Matilda Tomaryn, Shepard, Laurie, and White, Sarah, eds. Songs of the Women Troubadours. Garland Library of Medieval Literature A, 97. New York and London: Garland, 1995.Google Scholar
Brunner, Horst. “Meißner,” in MGG2 Personenteil, vol. xi: cols. 1485–86.Google Scholar
Brunner, Horst, Müller, Ulrich, and Spechtler, Franz Viktor, eds. Walther von der Vogelweide: Die gesamte Überlieferung der Texte und Melodien: Abbildungen, Materialien, Melodietranskriptionen. Göppingen: Verlag Alfred Kümmerle, 1977.Google Scholar
Butterfield, Ardis. Poetry and Music in Medieval France: From Jean Renart to Guillaume de Machaut. Cambridge University Press, 2002.Google Scholar
Carapezza, Francesco. Il canzoniere occitano G (Ambrosiano R 71 sup.), Romanica Neapolitana 34. Naples: Liguori, 2004.Google Scholar
Carruthers, Mary. The Book of Memory: A Study of Memory in Medieval Culture, 2nd ed., Cambridge Studies in Medieval Literature. Cambridge University Press, 2008.Google Scholar
Cohen, Joel. “Peirol’s Vielle: Instrumental Participation in the Troubador [sic] Repertory,” Historical Performance 3 (1990), 7377.Google Scholar
Doss-Quinby, Eglal. The Lyrics of the Trouvères: A Research Guide (1970–1990), Garland Medieval Bibliographies 17. New York: Garland, 1994.Google Scholar
Doss-Quinby, Eglal. Les refrains chez les trouvères du XIIe siècle au début du XIV, American University Studies ii 17. New York: Peter Lang, 1984.Google Scholar
Doss-Quinby, Eglal, Grimbert, Joan Tasker, Pfeffer, Wendy, and Aubrey, Elizabeth, eds. and intro. Songs of the Women Trouvères. New Haven, CT and London: Yale University Press, 2001.Google Scholar
Dragonetti, Roger. La technique poétique des trouvères dans la chanson courtoise: Contribution à l’étude de la rhétorique médiévale, Werken uitgegeven door de Faculteit van de Letteren en wijsbegeerte 127° Aflevering. Bruges: Rijksuniversiteit Gent, 1960.Google Scholar
Duffin, Ross W., ed. A Performer’s Guide to Medieval Music. Early Music America Performer’s Guides to Early Music. Bloomington and Indianapolis: Indiana University Press, 2000.Google Scholar
Fallows, David. “Sources, MS, §III, 1: Secular Monophony: General,” in NG2, vol. xxiii: 846–47.Google Scholar
Fallows, David. “Sources, MS, §III, 7: Secular Monophony: Italian,” in NG2, vol. xxiii: 866.Google Scholar
Fallows, David and Ferreira, Manuel Pedro. “Sources, MS, §III, 6: Secular Monophony: Galego-Portuguese,” in NG2, vol. xxiii: 865–66.Google Scholar
Fallows, David and Welker, Lorenz. “Sources, MS, §III, 5: Secular Monophony: German,” in NG2, vol. xxiii: 860–65.Google Scholar
Ferrante, Joan. “Cortes’Amor in Medieval Texts,” Speculum 55 (1980), 686–95.CrossRefGoogle Scholar
Ferreira, Manuel Pedro. “Andalusian Music and the Cantigas de Santa Maria,” in Cobras e son. Papers from a Colloquium on Text, Music and Manuscripts of the “Cantigas de Santa Maria,” ed. Parkinson, Stephen. Oxford: Legenda, 2000, 719.Google Scholar
Ferreira, Manuel Pedro. “Bases for Transcription: Gregorian Chant and the Notation of the Cantigas de Santa Maria,” in Los instrumentos del Pórtico de la Gloria: Su reconstrucción y la musica de su tiempo, ed. López-Calo, José. La Coruña: Fundación Pedro Barrié de la Maza, Conde de Fenosa, 1993, vol. ii: 595621Google Scholar
Ferreira, Manuel Pedro. Cantus coronatus: 7 cantigas d’El-Rei Dom Dinis/by King Dinis of Portugal, trans. Cranmer, David and Cohen, Rip, DeMusica 10. Kassel: Reichenberger, 2005.Google Scholar
Ferreira, Manuel Pedro. “The Layout of the Cantigas: A Musicological Overview,” Galician Review 2 (1998), 4761.Google Scholar
Ferreira, Manuel Pedro. O som de Martin Codax [The Sound of Martin Codax]. Lisbon: Unisys Imprensa Nacional – Casa de Moeda, 1986.Google Scholar
Ferreira, Manuel Pedro. “Rondeau and Virelai: The Music of Andalus and the Cantigas de Santa Maria,” Plainsong and Medieval Music 13 (2004), 127–40.Google Scholar
Frank, István. Répértoire métrique de la poésie des troubadours, 2 vols., Bibliothèque de l’école des hautes études, ive Section, Sciences historiques et philologiques, 302 and 308. Paris: Honoré Champion, 1953.Google Scholar
Gennrich, Friedrich. Rondeaux, Virelais und Balladen aus dem Ende des xii., dem xiii. und dem ersten Drittel des xiv. Jahrhunderts, mit den überlieferten Melodien, 2 vols., Gesellschaft für romanische Literatur 43 and 47. Dresden; Göttingen: Gedruckt für die Gesellschaft für romanische Literatur, 1921; 1927.Google Scholar
Gennrich, Friedrich. ed. Die Colmarer Handschrift: Faksimile-Ausgabe ihrer Melodien, Summa Musicae Medii Aevi 18. Langen-bei-Frankfurt: The Author, 1967.Google Scholar
Gennrich, Friedrich. ed. Die Jenaer Liederhandschrift: Faksimile-Ausgabe ihrer Melodien. Summa Musicae Medii Aevi 11. Langen-bei-Frankfurt: The Author, 1963.Google Scholar
Heinen, Hubert. “Thwarted Expectations: Medieval and Modern Views of Genre in Germany,” In Medieval Lyric: Genres in Historical Context, ed. Paden, William D.. Urbana and Chicago: University of Illinois Press, 2000, 334–46.Google Scholar
Hult, David F.Gaston Paris and the Invention of Courtly Love,” in Medievalism and the Modernist Temper, ed. Block, R. H. and Nichols, S. G.. Baltimore, MD: The Johns Hopkins University Press, 1996, 192224.Google Scholar
Huot, Sylvia. “Voices and Instruments in Medieval French Secular Music: On the Use of Literary Texts as Evidence for Performance Practice,” Musica Disciplina 43 (1989), 63113.Google Scholar
Jammers, Ewald. Aufzeichnungsweisen der einstimmigen ausserliturgischen Musik des Mittelalters, Paläographie der Musik i/4. Cologne: Arno Volk-Verlag, 1975.Google Scholar
Jammers, Ewald. Ausgewählte Melodien des Minnesangs: Einführung, Erläuterungen und Übertragung, Altdeutsche Textbibliothek, Ergänzungsreihe 1. Tübingen: Max Niemeyer, 1963.Google Scholar
Jeanroy, Alfred. Bibliographie sommaire des chansonniers français du moyen âge (manuscrits et éditions), Classiques français du moyen âge 18. Paris: Honoré Champion, 1916.Google Scholar
Jeanroy, Alfred. Bibliographie sommaire des chansonniers provençaux (manuscrits et éditions), Classiques français du moyen âge 16. Paris: Honoré Champion, 1916.Google Scholar
Jeanroy, Alfred. ed. Le chansonnier d’Arras: Reproduction en phototypie. Société des anciens textes français. Paris: Droz, 1925.Google Scholar
Jeanroy, Alfred and Aubry, Pierre, eds. Le chansonnier de l’Arsenal (trouvères du XIIe et XIIIe siècles): Reproduction phototypique du manuscrit 5198 de la Bibliothèque de l’Arsenal, 2 vols., Publications de la Société internationale de musique, Section de Paris. Paris: P. Geuthner, 1909–12.Google Scholar
Katz, Israel J., Keller, John E., Armistead, Samuel G., and Snow, Joseph T., eds. Studies on the “Cantigas de Santa Maria”: Art, Music, and Poetry: Proceedings of the International Symposium on the “Cantigas de Santa Maria” of Alfonso X, El Sabio (1221–1284) in Commemoration of Its 700th Anniversary Year, 1981 (New York, November 19–21). Madison, WI: Hispanic Seminary of Medieval Studies, 1987.Google Scholar
Kippenberg, Burkhard. Der Rhythmus im Minnesang: Eine Kritik der literar- und musikhistorischen Forschung mit einer Übersicht über die musikalischen Quellen. Münchner Texte und Untersuchungen zur deutschen Literatur des Mittelalters 3. Munich: C. H. Beck, 1962.Google Scholar
Kippenberg, Burkhard and Welker, Lorenz. “Spervogel,” in NG2, vol. xxiv: 176.Google Scholar
Kulp-Hill, Kathleen, trans., with an introduction by Scarborough, Connie L.. Songs of Holy Mary of Alfonso X, the Wise: A Translation of the Cantigas de Santa Maria. Tempe, AZ: Medieval and Renaissance Texts and Studies, 2000.Google Scholar
Linker, Robert White. A Bibliography of Old French Lyrics, Romance Monographs 3. University, MI: Romance Monographs, 1979.Google Scholar
Linker, Robert White. Music of the Minnesinger and Early Meistersinger: A Bibliography. University of North Carolina Studies in the Germanic Languages and Literatures 32. New York: AMS Press, 1970.Google Scholar
Liuzzi, Fernando, ed. La lauda e i primordi della melodia italiana, 2 vols. Rome: La Libreria dello stato, 1935.Google Scholar
López Serrano, Matilde, Valverde, José Filguera, Lovillo, José Guerrero, and Lloréns Cisteró, José Maria. El “Códice Rico” de las Cantigas de Alfonso X el Sabio: ms. T.I.1 de la Biblioteca de San Lorenzo el Real de El Escorial, siglo xiii. Códices artísticos, edición facsímil, núm. 2, ser. B. Madrid: Edilán, 1979.Google Scholar
Lucchi, Luigi, ed. Il laudario di Cortona. Vicenza: Libreria internazionale edizioni francescane, 1987.Google Scholar
Maillard, Jean. Évolution et esthétique du lai lyrique des origines à la fin du XIV siècle. Paris: Centre de Documentation Universitaire et SEDES, 1963.Google Scholar
Marshall, John H., ed. The “Razos de trobar” of Raimon Vidal and Associated Texts. London: Oxford University Press, 1972.Google Scholar
McGee, Timothy J.Medieval Dances: Matching the Repertory with Grocheio’s Descriptions,” Journal of Musicology 7 (1989), 498517.Google Scholar
Meyer, Paul and Raynaud, Gaston, eds. Le chansonnier français de Saint-Germain-des-Prés (Bibl. nat. fr. 20050): Reproduction phototypique avec transcription, 2 vols., Société des anciens textes français 31. Paris: Firmin Didot, 1892.Google Scholar
Mölk, Ulrich and Wolfzettel, Friedrich. Répertoire métrique de la poésie lyrique française des origines à 1500. Munich: Wilhelm Fink, 1972.Google Scholar
Moser, Hugo and Tervooren, Helmut, eds. Des Minnesangs Frühling, unter Benutzung der Ausgaben von Karl Lachmann und Moriz Haupt, Friedrich Vogt und Carl Von Kraus, 3 vols. Stuttgart: S. Hirzel, 1982.Google Scholar
Mullally, Robert. “Cançon de carole,” Acta Musicologica 58 (1986), 224–31.Google Scholar
Mullally, Robert. “Johannes de Grocheo’s ‘Musica vulgaris,’Music & Letters 79 (1998), 126.Google Scholar
Müller, Karl K., ed. Die Jenaer Liederhandschrift. Jena: F. Strobel, 1896.Google Scholar
Page, Christopher. “Court and City in France, 1100–1300,” in Antiquity and the Middle Ages: From Ancient Greece to the 15th Century, ed. McKinnon, James. London: Macmillan, 1990: 197217.Google Scholar
Page, Christopher. “Johannes de Grocheio on Secular Music: A Corrected Text and a New Translation,” Plainsong and Medieval Music 2 (1993), 1741.Google Scholar
Page, Christopher. “Music and Chivalric Fiction in France, 1150–1300,” Proceedings of the Royal Musical Association 111 (1984–1985), 127.Google Scholar
Page, Christopher. The Owl and the Nightingale: Musical Life and Ideas in France, 1100–1300. Berkeley: University of California Press, 1989.Google Scholar
Page, Christopher. Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France 1100–1300. Berkeley: University of California Press, 1986.Google Scholar
Paris, Gaston. “Études sur les romans de la table ronde: Lancelot du Lac,” Romania 10 (1881), 465–96; 12 (1883), 459534.Google Scholar
Parkinson, Stephen, ed. Cobras e Son: Papers on the Text, Music and Manuscripts of the “Cantigas de Santa Maria.” Oxford: Legenda, 2000.Google Scholar
Ribera y Tarragó, Julian. La musica de las cántigas: estudio sobre su origen y naturaleza con reproducciones fotográficas del texto y transcripción moderna, 2 vols., Las publica la Real academia española 3. Madrid: Tip. de la Revista de archivos, 1922.Google Scholar
Rohloff, Ernst, ed. Die Quellenhandschriften zum Musiktraktat des Johannes de Grocheio, im Faksimile herausgegeben nebst Übertragung des Textes und Übersetzung ins Deutsche, dazu Bericht, Literaturschau, Tabellen und Indices. Leipzig: Deutscher Verlag für Musik, 1967.Google Scholar
Sesini, Ugo, ed. Le melodie trobadoriche nel canzoniere provenzale della Biblioteca Ambrosiana (R.71 Sup.). Turin: G. Chiantore, 1942.Google Scholar
Sharrer, Harvey L.The Discovery of Seven cantigas d’amor by Dom Dinis with Musical Notation,” Hispania 74 (1991), 459–61.Google Scholar
Spanke, Hans. G. Raynauds Bibliographie des altfranzösischen Liedes, erster Teil, ergänzt mit einer Diskographie und einem Register der Lieder nach Anfangsbuchstaben hergestellt, ed. Bahat, A.. Leiden: Brill, 1980.Google Scholar
Stevens, John. Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050–1350, Cambridge Studies in Music. Cambridge University Press, 1986.Google Scholar
Strayer, Joseph R. The Albigensian Crusades, with a New Epilogue by Lansing, Carol. Ann Arbor: The University of Michigan Press, 1992.CrossRefGoogle Scholar
Sumption, Jonathan. The Albigensian Crusade. London: Faber and Faber, 1978.Google Scholar
Switten, Margaret L. Music and Poetry in the Middle Ages: A Guide to Research on French and Occitan Song, 1100–1400, Garland Medieval Bibliographies 19. New York and London: Garland, 1995.Google Scholar
Taylor, Robert A. Bibliographic Guide to the Study of the Troubadours and Old Occitan Literature. Kalamazoo, MI: Medieval Institute Publications, 2015.Google Scholar
Taylor, Ronald J. The Art of the Minnesinger: Songs of the Thirteenth Century Transcribed and Edited with Textual and Musical Commentaries, 2 vols. Cardiff: University of Wales Press, 1968.Google Scholar
Tervooren, Helmut and Müller, Ulrich, eds. Die Jenaer Liederhandschrift in Abbildung, mit einem Anhang: Die Basler und Wolfenbüttler Fragmente. Göppingen: A. Kümmerle, 1972.Google Scholar
van den Boogaard, Nico. Rondeaux et refrains du XIIe siècle au début du XIV, Bibliothèque française et romane D/3. Paris: Klincksieck, 1969.Google Scholar
van der Werf, Hendrik. “Accentuation and Duration in the Music of the Cantigas de Santa Maria,” in Studies on the “Cantigas de Santa Maria”: Art, Music, and Poetry: Proceedings of the International Symposium on the “Cantigas de Santa Maria” of Alfonso X, El Sabio (1221–1284) in Commemoration of its 700th Anniversary Year, 1981 (New York, November 19–21), ed. Katz, Israel J., Keller, John E., Armistead, Samuel G. and Snow, Joseph T.. Madison, WI: Hispanic Seminary of Medieval Studies, 1987, 223–34.Google Scholar
Van der Werf, Hendrik. The Chansons of the Troubadours and Trouvères: A Study of the Melodies and Their Relation to the Poems. Utrecht: A. Oosthoek, 1972.Google Scholar
Van der Werf, Hendrik. “Concerning the Measurability of Medieval Music,” Current Musicology 10 (1970), 6973.Google Scholar
Van der Werf, Hendrik. “Deklamatorischer Rhythmus in den Chansons der Trouvères,” Die Musikforschung 20 (1967), 122–44.Google Scholar
Van der Werf, Hendrik. The Extant Troubadour Melodies: Transcriptions and Essays for Performers and Scholars. Rochester, NY: The Author, 1984.Google Scholar
Van der Werf, Hendrik. “The ‘Not-So-Precisely Measured’ Music of the Middle Ages,” Performance Practice Review 1 (1988), 4260.Google Scholar
Wakefield, Walter L. Heresy, Crusade, and Inquisition in Southern France 1100–1250. Berkeley: University of California Press, 1974.CrossRefGoogle Scholar
Wilson, Blake. “Madrigal, Lauda, and Local Style in Trecento Florence,” Journal of Musicology 15 (1997), 137–77.Google Scholar
Wilson, Blake. ed. The Florence Laudario: An Edition of Florence, Biblioteca Nazionale, Banco Rari 18, Recent Researches in the Music of the Middle Ages and Early Renaissance 2930. Madison, WI: A-R Editions, 1995.Google Scholar
Yudkin, Jeremy. Music in Medieval Europe. Englewood Cliffs, NJ: Pearson, 1989.Google Scholar
Zumthor, Paul. Essai de poétique médiévale. Paris: Editions du Seuil, 1972.Google Scholar
Zumthor, Paul. Langues et techniques poétiques à l’époque romane. Paris: Klincksieck, 1963.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×