stanzas; and the remaining 500 are pastorelas, albas, planhs, crusade songs, tensos, and
minor genres. The music is preserved for about 250 songs.
William D.Paden
[See also: ALBA/AUBE; ARNAUT DANIEL; BERENGUER DE PALAZOL;
BERNART DE VENTADORN; BERTRAN DE BORN; CERCAMON; CERVERÍ DE
GIRONA; COURTLY LOVE; FOLQUET DE MARSELHA; GAUCELM FAIDIT;
GIRAUT DE BORNELH; GUILHEM IX; GUILHEM DE MONTANHAGOL;
GUIRAUT RIQUIER; JAUFRE RUDEL; LEYS D’AMORS; MARCABRU;
MONTAUDON, MONK OF; NOVAS; PASTOURELLE/PASTORELA; PEIRE
CARDENAL; PEIRE D’ALVERNHE; PEIRE VIDAL; PLANH/COMPLAINTE;
RAIMBAUT D’AURENGA; RAIMBAUT DE VAQUEIRAS; RAIMON DE
MIRAVAL; RHYTHM; RIGAUT DE BERBEZILH; SIRVENTES; SORDEL;
TENSO/DÉBAT; TROBAIRITZ; TROUVÈRE POETRY; VERSIFICATION; VIDAS
AND RAZOS]
Hill, Raymond Thompson, and T.G.Bergin, eds. Anthology of the Provençal Troubadours. 2nd ed.
rev. by T.G.Bergin with Susan Olson, William D.Paden, Jr., and Nathaniel Smith. 2 vols. New
Haven: Yale University Press, 1973.
Riquer, Martin de, ed. Los trovadores:historia literariay textos. 3 vols. Barcelona: Planeta, 1975.
Boase, Roger. The Origin and Meaning of Courtly Love: A Critical Study of European Scholarship.
Manchester: Manchester University Press, 1977.
Chambers, Frank M. An Introduction to Old Provençal Versification. Philadelphia: American
Philosophical Society, 1985.
Davenson, Henri (pseudonym of Henri-Irénée Marrou). Les troubadours. Paris: Seuil, 1961.
Jeanroy, Alfred. La poésie lyrique des troubadours. 2 vols. Toulouse: Privat, 1934.
Taylor, Robert A. La littérature occitane du moyen âge: bibliographie sélective et critique.
Toronto: University of Toronto Press, 1977.
van der Werf, Hendrik. The Chansons of the Troubadours and Trouvères: A Study of the Melodies
and Their Relation to the Poems. Utrecht: Oosthoek, 1972.
TROUVÈRE POETRY
. Well over 2,000 strophic songs for single voice have survived from the rich production
of the 12th- and 13th-century trouvères of northern France, preserved in about two dozen
chansonniers and other manuscript sources dating from the 13th and 14th centuries.
Almost half of the texts are unique, while the rest occur in up to ten or more versions;
about two-thirds survive with their music. The trouvères, like their Provençal
counterparts, the troubadours, were poet-composers who singlehandedly created both
poem and melody as a unified whole. However, the vagaries of oral and written
transmission, producing intended or unintended changes by performers (jongleurs) or
scribes, have left us numerous instances of significant variation among redactions. For
the same reasons, but also and more strikingly as a result of deliberate imitation or
borrowing among trouvères, we have many a poem with two or more musical settings
and many a melody accompanying two or more poems; in particular, many devotional
songs, contrafacta of secular compositions, fall into this last category. Opening with the
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