A Study of the Origins, History, and Notation of the Troubadour Chansonnier Paris, Bibliotheque Nationale, F. Fr. 22543

481 Pages·1982·16.393 MB·English

by  Elizabeth Aubrey

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8227575
Aubrey, Elizabeth
A STUDY OF THE ORIGINS, HISTORY, AND NOTATION OF THE
TROUBADOUR CHANSONNIER PARIS, BIBLIOTHEQUE NATIONALE, F.
FR. 22543
University of Maryland Ph.D. 1982
University
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Copyright 1982
by
Aubrey, Elizabeth
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A STUDY OF THE ORIGINS, HISTORY, AND NOTATION
OF THE TROUBADOUR CHANSONNIER
PARIS, BIBLIOTHEQUE NATIONALE, F.FR. 22543
Elizabeth Aubrey
Dissertation submitted to the Faculty of the Graduate School
of the University of Maryland in partial fulfillment
of the requirements for the degree of
Doctor of Philosophy
1982
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APPROVAL SHEET
Title of Thesis: A Study of the Origins, History, and Notation of
the Troubadour Chansonnier Paris, Bibliotheque
nationale, f. fr. 22543
Name of Candidate: Elizabeth Aubrey
Doctor of Philosophy, 1982
Thesis and Abstract Approved:
Richard Wexler
Associate Professor
Department of Music
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ABSTRACT
Title of Dissertation: A Study of the Origins, History, and Notation
of the Troubadour Chansonnier Paris, Biblio-
thSque nationale, f. fr. 22543
Elizabeth Aubrey, Doctor of Philosophy, 1982
Dissertation directed by: Richard Wexler, Associate Professor,
Department of Music, University of Maryland
The chansonnier Paris, Bibliothfeque nationale, f. fr. 22543
(known as "R") has been recognized for over 200 years as a precious
repository of the literature of the medieval troubadours of southern
France. It transmits almost 950 lyric poems and 160 melodies, along with
many other important writings in the Occitan language, many of which are
mica.
The paleography, decoration, and dialect of the manuscript are
described thoroughly, and their distinctive features are seen to support
the hypothesis that R was compiled in northern Languedoc or western
Provence around 1300. While most of the texts of R were copied by one
scribe, the relatively few melodies it contains were probably notated by
at least four different copyists. Over eighty percent of the poems were
never supplied with their melodies, even though musical staves were
provided; these staves were left empty. The notation is in the style of
the so-called Notre Dame school of Paris, and the rhythms of the notes
are not apparent, although a few.seem to be in rudimentary mensural
notation.
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The manuscript contains some works of the troubadours of the
early twelfth century, and also a large number of works by late thirteenth-
century poets. By examining internal paleographical data and making com­
parisons with other extant codices, it is possible to offer suggestions
on the nature of the exemplars of this heterogeneous collection. The
problems of determining how the texts and melodies were transmitted are
investigated, including the issues of oral transmission, the lack of
extant autographs, the disparity in the origins of the surviving manu­
scripts, and the variant attributions. The musical transmission is
especially problematic, since only three other sources containing music
survive. The forty-five concordances that R shares with these other codices
are discussed.
A review of the modem history of the manuscript shows that the
earliest known owner was the Marquise d'Urfe of the early eighteenth
century. The commonly accepted belief that R was in the library of her
ancestor the poet Honore d'Urfe in the seventeenth century is found to
be unsupported by the available evidence.
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