[CUIUS IMPERIUM SUPER HUMERUM EIUS ET
VOCABITUR NOMEN EIUS]
Admirabilis consiliarius deus fortis princeps pacis
[MAGNI CONSILII ANGELUS.]
Let us rejoice today because God descended from
heaven to earth for our sakes
[A boy is born to us]
Whom long the prophets predicted
[and a son is given to us]
Now we know that this child was sent into the world
by the father
[upon whose shoulder dominion rests and his name
will be called]
wonderful counselor, mighty God, prince of peace
[angel of great counsel].
The interrelationships among the many trope manuscripts continue to pose difficulties:
texts and music were transmitted throughout the late 9th and early 10th centuries both
orally and in early, no longer extant written records. Consistent patterns of variants
capable of sustaining theories of transmission have not been uncovered as yet. Most
repertoires of Proper tropes died out during the 12th century in France and England, but a
few pieces survived this watershed in regions east of the Rhine.
Margot Fassler
[See also: TROPES, ORDINARY]
Björkvall, Gunilla, ed. Corpus Troporum V: Les deux tropaires d’Apt, mss. 17 et 18: inventaire
analytique des mss. et édition des textes uniques. Stockholm: Almqvist and Wiksell, 1986.
Björkvall, Gunilla, Gunilla Iversen, and Ritva Jonsson, eds. Corpus Troporum III: Cycles de
Pâques. Stockholm: Almqvist and Wiksell, 1982.
Reier, Ellen J., ed. The Introit Trope Repertory at Nevers: MSS Paris B.N. lat. 9449 and Paris B.N.
n.a. lat. 1235. Diss. University of California at Berkeley, 1981.
Evans, Paul. The Early Trope Repertory of Saint Martial de Limoges. Princeton: Princeton
University Press, 1970.
Jonsson, Ritva. Corpus troporum I: Cycle de Noël. Stockholm: Almqvist and Wiksell, 1975.
Planchart, Alejandro. The Repertory of Tropes at Winchester. 2 vols. Princeton: Princeton
University Press, 1977.
TROUBADOUR POETRY
. The lyric poets who wrote in Occitan (also called Provençal), the language of southern
France, during the 12th and 13th centuries left an extensive corpus of songs remarkable
for their diversity, quality, and influence. The troubadours made fin’amors, or “true
love,” known now also as “courtly love,” their subject of choice, and by singing of it with
passionate intensity inspired imitation across Europe: in northern France among the
trouvères (the word is the French form corresponding to “troubadour”); twice in Italy,
first in the Sicilian School of Frederick II Hohenstaufen early in the 13th century, then
Medieval france: an encyclopedia 1760