Idis 206

Front 1

canso

Back 1

courtly love song (fin amor). an idealist, golden age, longing for the past type of love song. most early songs and poems.

Front 2

retroncha

Back 2

love song, usually with a refrain

Front 3

dansa

Back 3

mock-popular song based on a dance form. rustic character song

Front 4

estampida

Back 4

dance or counting song; paired groups of verses

Front 5

descort

Back 5

discordant in verse form or feeling- unrequited love. something is bent. no true harmony

Front 6

escondig

Back 6

a lover's apologia

Front 7

gap

Back 7

a challenge

Front 8

pastorela

Back 8

light-hearted; an amorous encounter between a knight and a shepherdess. picturing events

Front 9

alba

Back 9

the coming of the dawn, which bring to an end a tryst

Front 10

planh

Back 10

a lament for the loss of a loved one

Front 11

sirventes

Back 11

satirical or serious discussion of a moral, political, or other abstract topic; may feature a borrowed melody.

Front 12

tenso, partimen, joc-partit

Back 12

songs of debate

Front 13

trobar leu

Back 13

straightforward, plain style of language. statements

Front 14

trobar clos

Back 14

obscure, esoteric expressions and structures. people in the know understand.

Front 15

vers

Back 15

simple and syllabic

Front 16

tornada

Back 16

closing formula (short closing stanza or two); names the messenger, sometimes with a senhal (secret name)

Front 17

razo

Back 17

an observation about the composition of a poem in accordance with an appropriate and unified sentiment throughout (from lat. ratio); an explanation of the poem's meaning

Front 18

vida

Back 18

a short, usually imaginative and fictionalized biography of the troubadour. late 13th century, very colorful.

Front 19

inventio

Back 19

imagined in the mind as an arrangement; compare "trobar"- to find, invent, compose. act of creation

Front 20

dispositio

Back 20

arrangement of materials in a poem intended to achieve coherence; logical and effective order, unless you are doing mock humor, ironic stuff. (like late night tv)

Front 21

elocutio

Back 21

expression; proper use and ordering of words, correct syntax, tropes and figures, adherence to rules governing meter and rhyme. Classical rhetoric. number of syllables per line matters.

Front 22

harmonious arrangement

Back 22

music is a harmonious arrangement of disparate elements and tomes- discordant concord or concordant discord. arranging notes in a harmonious way.

Front 23

coblas singulars

Back 23

each stanza has its own, different rhyme sound, but stanzas usually linked by common pattern of rhymes even if sounds change

Front 24

coblas unissonans

Back 24

no linking from on stanza to next; interior stanzas may shift around or be missing in some sources

Front 25

coblas redondas

Back 25

the rhyme scheme of the final stanza is linked to the rhymes of the first stanza creating a cyclic form

Front 26

coblas doblas and ternas

Back 26

rhyme sounds change for every two or three stnazas

Front 27

coblas capfinidas

Back 27

"head to end", repetition of final word in each stanza as the first word of the following one.

Front 28

AAB

Back 28

a basic structure in troubadour, trouvere, and Minnesinger songs. most common form

Front 29

ABACx (and variants)

Back 29

typically the melody for the first two verses is repeated for the second two verses (with opened or closed cadence formulas, typical of the estampida) while the remaining verses are sung to new melodic material (perhaps rounded, with a return of the C phrase at the end- A chantar)

Front 30

contrafactum (plural -a)

Back 30

use of a borrowed melody for a new song; wide range of possible variants.

Front 31

melismatic

Back 31

the melody is characterized by melismas- short segments in which many notes are sung on a single syllable

Front 32

neumatic

Back 32

the melody is characterized by the use of neumes- groupings of two or three notes in a single written sign in the musical notation

Front 33

syllabic

Back 33

the melody is characterized by a simple relationship of note to syllable, usually one note for each syllable

Front 34

motive

Back 34

the smallest recognizable unit of melody- usually a distinctive or characteristic gesture

Front 35

incipit

Back 35

opening formula ascending to a pitch that serves as a reciting tine for the melody

Front 36

mode

Back 36

in Medieval music ,a set of characteristic attributes of a melody that allow it to be categorized according to specific criteria- especially by final, range, and dominant. more generally, a way of grouping together certain features of a melody that make it expressive of a particular mentality for feeling.

Front 37

musica ficta

Back 37

modifying notes to avoid harsh intervals; notes "outside the hand"