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Trovadorismo
In the Middle Ages, the Galician-Portuguese lyric, also known as troubadorism, from ''trovadorismo'' in Portuguese and ''trobadorismo'' in Galician, was a lyric poetic school or movement. All told, there are around 1680 texts in the so-called secular lyric or ''lírica profana'' (see Cantigas de Santa Maria for the religious lyric). At the time Galician-Portuguese was the language used in nearly all of Iberia for lyric (as opposed to epic) poetry. From this language derives both modern Galician and Portuguese. The school, which was influenced to some extent (mainly in certain formal aspects) by the Occitan troubadours, is first documented at the end of the twelfth century and lasted until the middle of the fourteenth, with its zenith coming in the middle of the thirteenth century, centered on the person of Alfonso X, ''The Wise King''. It is the earliest known poetic movement in Galicia or Portugal and represents not only the beginnings of but one of the high points of poet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Troubadour
A troubadour (, ; ) 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''. The troubadour school or tradition began in the late 11th century in Occitania, but it subsequently spread to the Italian and Iberian Peninsulas. Under the influence of the troubadours, related movements sprang up throughout Europe: the Minnesang in Germany, '' trovadorismo'' in Galicia and Portugal, and that of the trouvères in northern France. Dante Alighieri in his '' De vulgari eloquentia'' defined the troubadour lyric as ''fictio rethorica musicaque poita'': rhetorical, musical, and poetical fiction. After the "classical" period around the turn of the 13th century and a mid-century resurgence, the art of the troubadours declined in the 14th century and around the time of the Black Death (1348) and since died out. The texts of troubado ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symphonia Cantigas Sta María 160
Symphonia (Greek ) is a much-discussed word, applied at different times to the bagpipe, the drum, the hurdy-gurdy, and finally a kind of clavichord. The sixth of the musical instruments enumerated in Book of Daniel, (verses 5, 10 and 15), translated "dulcimer" in the 17th-century King James Bible; in all probability it refers to the bagpipe. The symphonia, signifying drum, is mentioned in Isidore of Seville's ''Etymologiae'' under the entries for tympanum and sambuca. "Symphonia" or ''chifonie'' was applied during the 13th and 14th centuries, in the Latin countries more especially, to the hurdy-gurdy. "Symphonia" is applied by Praetorius to an instrument which he classed with the clavichord, cites spinet, regal and virginals The virginals is a keyboard instrument of the harpsichord family. It was popular in Europe during the Renaissance music, late Renaissance and early Baroque music, Baroque periods. Description A virginals is a smaller and simpler, rectangular o ... ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kingdom Of Castile
The Kingdom of Castile (; : ) was a polity in the Iberian Peninsula during the Middle Ages. It traces its origins to the 9th-century County of Castile (, ), as an eastern frontier lordship of the Kingdom of León. During the 10th century, the Castilian counts increased their autonomy, but it was not until 1065 that it was separated from the Kingdom of León and became a kingdom in its own right. Between 1072 and 1157, it was again united with León, and after 1230, the union became permanent. Throughout that period, the Castilian kings made extensive conquests in southern Iberia at the expense of the Islamic principalities. The Kingdoms of Castile and of León, with their southern acquisitions, came to be known collectively as the Crown of Castile, a term that also came to encompass overseas expansion. History 9th to 11th centuries: beginnings According to the chronicles of Alfonso III of Asturias, the first reference to the name "Castile" (Castilla) can be found in a documen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantigas De Escárnio E Maldizer
''Cantigas de escárnio e maldizer'' ( Portuguese), ''cantiga de escarnio e maldicir'' ( Galician) or ''cantigas d'escarnho e de maldizer'' ( Galician-Portuguese), are poems of insult, mockery and scorn – nearly always with comic intent – which constitute one of the three main genres of medieval Galician-Portuguese lyric. The Galician-Portuguese lyrical ''corpus'' has approximately 400 texts belonging to the genre. It is often incorrectly characterized as satire, the difference being that this genre normally insults named individuals, unlike the satire, that insults entire classes of people. The genre often has complex forms, with a variety of personae, and with the rhetoric being roughly in the middle of complexity in comparation to the '' cantiga de amor'' and the ''cantiga de amigo''. Insult or mockery are the essence, though techniques have a great variation, such as praising in order to blame, defending in order to accuse, thanking in order to insult. Obscenity is co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantiga De Amigo
''Cantiga de amigo'' (, ) or ''cantiga d'amigo'' ( Galician-Portuguese spelling), literally "friend song", is a genre of medieval lyric poetry, more specifically the Galician-Portuguese lyric, apparently rooted in a female-voiced song tradition native to the northwest quadrant of the Iberian Peninsula. According to Rip Cohen, “In 98% of the poems, the speaker is a girl, her mother, the girl’s girlfriend, or a boy (who is given a voice only in dialogues with the girl—which she begins). The girl can speak to any of the other three personae, but they can only address her (there is no directly represented communication between the other three personae: mother, girlfriend and boy do not speak with one another onstage). There are a dozen cantigas with an outside narrative voice, but most of them include words from a girl’s song.” Much has been made of nature symbolism in this genre, but “Erotic symbolism, though it has rightly attracted attention ��is not as common as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantiga De Amor
''Cantiga de amor'' ( Portuguese and Galician) or ''cantiga d'amor'' ( Galician-Portuguese), literally "love song", is a type of literary composition from the Middle Ages, typical of the medieval Galician-Portuguese lyric. A male-voiced love lyric, they on average have more complex forms, many never found in ''cantigas de amigo'' and some highly complex ones that were directly inspired by Occitan and Old French lyrics. On the other hand, ''cantigas de amor'' have a lack of variation in personae – with the man almost always speaking to or about a woman – and of situations. Usually the man is courting the woman, complaining that she is being cruel to him, Unrequited love">despite his love and loyalty, though sometimes he is leaving or coming back, is away from her, and, seldom, the man gets so frustrated, angry or jealous that he gives up on her and even insults the woman. Obscenity and Erotic literature, open sexual references are taboo on this lyric. ''Cantigas de amor'' h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancioneiro Da Vaticana
The ''Cancioneiro da Vaticana'' (, ; ''Vatican Songbook'') is a compilation of troubadour lyrics in Galician-Portuguese. It was discovered c. 1840 in the holdings of the Vatican Library and was first transcribed by D. Caetano Lopes de Moura in 1847, sponsored by the Viscount of Carreira, and again by Ernesto Monaci in 1875. The songbook contains 228 folios with a total of 1205 lyrics that date from the 13th and 14th centuries. Nearly all the poems belong to the three principal genres of secular cantigas: the '' cantigas de amigo'', '' cantigas de amor'' and '' cantigas de escárnio e maldizer''. Even though the texts were meant to be sung, there is no musical notation—nor space left for it (see Cancioneiro da Ajuda). The ''Cancioneiro da Vaticana'', together with the '' Cancioneiro da Biblioteca Nacional'' (kept in Lisbon), were copied from an earlier manuscript (or manuscripts) around 1525, in Rome Italy at the behest of the Italian humanist Humanism is a phil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancioneiro Colocci-Brancuti
The ''Cancioneiro da Biblioteca Nacional'' (, ; "The National Library Songbook"), commonly called ''Colocci-Brancuti'', is a compilation of Galician-Portuguese lyrics by both troubadours and ''jograes'' (non-noble performers and composers) . These '' cantigas'' (songs) are classified, following indications in the poems themselves and in the manuscript tradition, into three main genres: ''cantigas de amigo'' (female-voiced love songs, about a boyfriend), ''cantigas de amor'' (male-voiced love songs) and ''cantigas de escárnio e mal-dizer'' (songs of mockery and insult). The poems were copied in Italy (presumably from a manuscript from Portugal or Spain) around 1525-1526 by the order of humanist Angelo Colocci (1467-1549), who numbered all the songs, made an index (commonly called the ''Tavola Colocciana'' olocci's table, and annotated the codex. In the 19th century the ''cancioneiro'' belonged to Count Paolo Brancuti di Cagli, from Ancona, in whose private library it was disco ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancioneiro Da Ajuda
The ''Cancioneiro da Ajuda'' (, ; "Ajuda Songbook") is a collection of Galician-Portuguese lyric poems probably dating from the last quarter of the 13th-century. It is the oldest of the Galician-Portuguese ''cancioneiros'' with secular music. Description The ''Cancioneiro'' is kept in the library of the Ajuda National Palace, a former royal residence located in Lisbon. It consists of a parchment codex The codex (: codices ) was the historical ancestor format of the modern book. Technically, the vast majority of modern books use the codex format of a stack of pages bound at one edge, along the side of the text. But the term ''codex'' is now r ... written in Gothic script by three hands and containing illuminated miniatures. Both the text and the miniatures remained unfinished and not a note of music was written in the space left for it. The whole codex contains 310 poems, nearly all of them ''cantigas de amor'' (male-voiced love songs, though a few are satiric and ther ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trova
''Trova'' is a style of Music of Cuba, Cuban popular music originating in the 19th century. Trova was created by itinerant musicians known as ''trovadores'' who travelled around Cuba's Oriente Province, Oriente province, especially Santiago de Cuba, and earned their living by singing and playing the guitar. According to nueva trova musician Noel Nicola, Cuban trovadors sang original songs or songs written by contemporaries, accompanied themselves on guitar, and aimed to feature music that had a poetic sensibility. This definition fits best the singers of boleros, and less well the Afrocubans singing funky Son (music), sones (El Guayabero) or even guaguancós and abakuá (Chicho Ibáñez). It rules out, perhaps unfairly, singers who accompanied themselves on the piano. ''Trova'' musicians have played an important part in the evolution of Cuban popular music. Collectively, they have been prolific as composers, and have provided a start for many later musicians whose career lay in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jongleur
A minstrel was an entertainer, initially in medieval Europe. The term originally described any type of entertainer such as a musician, juggler, acrobat, singer or fool; later, from the sixteenth century, it came to mean a specialist entertainer who sang songs and played musical instruments. Description Minstrels performed songs which told stories of distant places or of existing or imaginary historical events. Although minstrels created their own tales, often they would memorize and embellish the works of others. Frequently they were retained by royalty and high society. As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets; a decline in their popularity began in the late 15th century. Minstrels fed into later traditions of travelling entertainers, which continued to be moderately strong into the early 20th century, and which has some continuity in the form of to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pergaminho Sharrer
The Pergaminho Sharrer (; ; "Sharrer Parchment") is a mediaeval parchment fragment containing seven songs by King Denis of Portugal, with lyrics in the Galician-Portuguese language and musical notation. The fragment was discovered in 1990 by United States, American scholar Harvey L. Sharrer, of University of California, Santa Barbara. Sharrer was analysing documents in the Torre do Tombo archive in Lisbon, when he found the folio in the bookbinding, binding of a 16th-century book. Before Sharrer's discovery, the only known Galician-Portuguese mediaeval manuscript with love (non-religious) songs and musical notation was the Vindel Parchment, which contains seven songs by troubadour Martim Codax. Several songbooks covering the period exist, but all of them lack musical notation except the ''Cantigas de Santa Maria'', which are religious in tone. The text and musical notation of the Sharrer Parchment are fragmentary, due to damage done to the folio during the centuries; but further ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
