ouvert and clos—“open” and “shut”—in thirteenth century dance manuscripts; they correspond to, and
prefigure, what we would now call half and full cadences.) One genre that always affected a mock-
popular tone was the pastorela, in which a knight seduces (or tries to seduce) a shepherdess. The best-
known survivor of this genre is L’autrier jost’ una sebissa (“The other day by a hedge row”) by
Marcabru (or Marcabrun), one of the early troubadours, who served in his youth at the court of William of
Aquitaine and who memorialized his patron in a Crusader song (Pax! In nomine Domini, “Peace! In the
name of the Lord”) that actually mixes Latin verses with vernacular ones. Texts that do this are called
macaronic (“jumbled” like macaroni).
Another mock-popular genre was the balada, or dance-song, of which a rare surviving example is the
anonymous A l’entrada del tens clar (Ex. 4-2). This melody, of an altogether different character from the
preceding ones, seems to be a sophisticated imitation folk song with its call-and-response verses (ending
with “Eya,” Occitan for “Hey!”), its half and full cadences, and its lengthy refrain.
EX. 4-2 A l’entrada del tens clar (balada)