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A troubadour (English: / ˈ t r uː b ə d ʊər,-d ɔːr /, French: ⓘ; Occitan: trobador [tɾuβaˈðu] ⓘ) was a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350). Since the word troubadour is etymologically masculine, a female equivalent is usually called a trobairitz.
Trouvère refers to poet-composers who were roughly contemporary with and influenced by the trobadors, both composing and performing lyric poetry during the High Middle Ages, but while the trobadors composed and performed in Old Occitan, the trouvères used the northern dialects of France.
Women were generally the subject of the writings of troubadours, however: "No other group of poets give women so exalted a definition within so tightly circumscribed a context of female suppression." [ 13 ] The tension between the suppression of women present in the poetry of the troubadours and similar themes in the poetry of the trobairitz is ...
The best-known poet and composer of ars nova secular music and chansons was Guillaume de Machaut. (For more on music, see medieval music; for more on music in the period after Machaut, see Renaissance music). Selected French poets from the late 13th to the 15th centuries: Rutebeuf (d.1285) Guillaume de Machaut (1300–1377)
While these writers were all more or less academic, and appealed to the cultured few, four poets of the people addressed a far wider public: Verdi (1779–1820), of Bordeaux, who wrote comic and satirical pieces; Jean Reboul (1796–1864), the baker of Nîmes, who never surpassed his first effort, L'Ange et l'enfant (1828); Victor Gelu (1806 ...
Bernart de Ventadorn (also Bernard de Ventadour or Bernat del Ventadorn; c. 1130–1140 – c. 1190–1200) was an Occitan poet-composer troubadour of the classical age of troubadour poetry. [1] Generally regarded as the most important troubadour in both poetry and music, [ 1 ] his 18 extant melodies of 45 known poems in total is the most to ...
The modern French language does not have a significant stress accent (as English does) or long and short syllables (as Latin does). This means that the French metric line is generally not determined by the number of beats, but by the number of syllables (see syllabic verse; in the Renaissance, there was a brief attempt to develop a French poetics based on long and short syllables [see "musique ...
Two composers from Burgundy, Guillaume Du Fay and Gilles Binchois, who wrote so-called Burgundian chansons, [7] dominated the subsequent generation of chanson composers (c. 1420–1470). [8] Their chansons, while somewhat simple in style, are also generally in three voices with a structural tenor.