317:
33:
2686:
2696:
668:
480:, later gathered together in a manuscript. Some of these were between men, and some were between a man and a woman. Some modern editors attribute these solely to the man who originated the exchange, and some attribute them to both the man and the woman involved. There is a long history of attributing these solely to men, even when all evidence points to the contrary.
388:. 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." The tension between the suppression of women present in the poetry of the troubadours and similar themes in the poetry of the
392:
is a major source of discussion for modern commentators. Trobairitz poetry pertaining to love tended to offer a less idealized conception of the subject than the poetry of their male counterparts, with a more conversational and less flourished style of writing intended to more closely emulate a more
515:
style, both in terms of physical longing and courtly admiration. This poem, if not clearly marked as by a woman, would be assumed to be by a man. Some controversy surrounds the works of the
Bieiris de Romans, as scholars have suggested that her canso expresses "lesbian desire." The troubadour would
287:
intact, "A chantar" by
Comtessa de Diá (see below). Some works which are anonymous in the sources are ascribed by certain modern editors to women, as are some works which are attributed to men in the manuscripts. For comparison, of the 460 male troubadours, about 2600 of their poems survive. Of
288:
these, about one in 10 survive with musical notation intact. Only two trobairitz have left us with more than one song apiece. Those two women are
Comtessa de Dia, who leaves us with four cansos, and Castelloza, with three cansos and a fourth that is anonymous.
348:
may also have arisen due to the power women held in southern France during the 12th and 13th centuries. Women had far more control over land ownership, and
Occitan society was far more accepting of women than were most other societies of the time. During the
471:
is estimated at thirty-two songs, but ranges anywhere from 23 to 46. There are a number of reasons why an exact number is not known. In the courtly love tradition it was common for poems to be written as an exchange of letters, or a debate, as in a
364:
as either amateurs or professionals. The distinction between these two roles was complicated in the medieval era, since professionals were generally lower class, and amateurs had as much time as professionals to devote to their craft.
483:
Since poetry was highly stylized, it is difficult to determine when a poet speaking as a woman actually was a woman, or a man speaking as a woman. This adds to the difficulty of attribution, especially of
921:
Earnshaw, Doris (1988). "The Female Voice in
Medieval Romance Lyric". American University Studies 68. New York: Peter Lang Inc., International Academic Publishers.
511:(also given as Beatritz), but the subject of the poem is another woman, Na Maria. In the poem "Na Maria" Beatritz expresses her love for Maria in the traditional
459:
stating that "Fin ioi me dona alegranssa/per qu'eu chan plus gaiamen," translated as "Happiness brings me pure joy/which makes me sing more cheerfully."
1072:
353:
many men were away, which left women with more administrative responsibility, and thus, power. Nevertheless, this society was not "feminist", nor was
516:
typically speak to the domna (woman); the fact that the lyrical dialogue takes place exclusively between one woman and another is an extreme rarity.
1319:
22:
1857:
1067:
263:
themselves. The names of about twenty female poets from the 12th and 13th centuries survive, with an estimated thirty-two works attributed to the
2349:
719:
2768:
1287:
1268:
769:
1349:
2758:
2748:
500:"spoke in her own voice as channeled through the voices of many others". By manipulating the strict constructs of troubadour lyric, the
2191:
1683:
681:
51:
1249:
1230:
1211:
1188:
1121:
214:
259:
are notoriously unreliable, since they frequently consisted of little more than romanticized extrapolations from the poems of the
50:
2733:
2531:
1344:
2743:
2738:
1812:
245:
1033:
Was Bieris de Romans
Lesbian?, Women's Relations with Each Other in the World of the Troubadours: The Voice of the Trobairitz
977:
2763:
2753:
2728:
1678:
337:(a debate or dialogue in the form of a poem). The cultivation of these womanly skills may have led to the writings of the
1797:
1712:
1312:
764:
Schulman, Jana K. (2002). The Rise of the
Medieval World 500–1300. Westport, Conn: Greenwood Publishing Group. pp. 111.
734:
239:
134:
113:
492:
represent genuine feminine voices, since they worked within the highly circumscribed conventions of the troubadours.
2676:
2541:
1339:
714:
153:, written between 1282 and 1296. He uses it as an example of a word the plural and singular of which are the same.
476:. Some of these may have been originally written by one poet; however, some were originally an actual exchange of
2573:
2536:
2211:
2206:
1852:
455:
closely linked the action of the singing to the action of loving. Comtessa de Dia demonstrates this in her poem
739:
525:
329:
Throughout the 13th century, women of the court were expected to be able to sing, play instruments, and write
249:(contextual explanations of the songs), the brief descriptions that were assembled in song collections called
2689:
2563:
2553:
2384:
1837:
1767:
1305:
557:
198:
275:
amounts to around 1 percent of those we have by the troubadours. The earliest surviving lyric written by a
2699:
2040:
1727:
1420:
791:, 2 (2002), pp. 206–215, at 207: "which are correctly used only with flexional endings in all numbers ...
614:
595:
218:
125:, the literal meaning of which is "to find", and the technical meaning of which is "to compose". The word
2640:
1955:
1663:
1520:
653:
534:
451:
songs, unlike their troubadour counterparts. Furthermore, in keeping with the troubadour tradition, the
194:
2102:
1807:
1732:
1658:
357:, which exalted women while at the same time circumscribing many aspects of their lives and behavior.
2452:
2447:
2354:
2171:
2158:
2107:
2076:
2025:
1916:
1762:
1592:
1577:
1562:
1505:
1455:
1415:
1372:
182:
150:
783:
Elizabeth W. Poe, "Cantairitz e
Trobairitz: A Forgotten Attestation of Old Provençal »Trobairitz«,"
2723:
2655:
2650:
2498:
2281:
2071:
1970:
1901:
1777:
1772:
1742:
1717:
1633:
1603:
1460:
1450:
1405:
1384:
1367:
619:
552:
539:
117:
42:
2695:
2609:
2599:
2568:
2379:
2359:
2201:
2097:
2045:
2005:
1990:
1906:
1757:
1668:
1440:
1167:
1159:
691:
639:
571:
202:
799:). Poe, 210, n. 15, notes that "TROBAIRITZ is the same in the singular and plural of all cases".
2481:
2369:
2339:
2299:
2246:
2181:
2092:
2087:
2035:
1995:
1932:
1911:
1817:
1802:
1752:
1613:
1572:
1500:
1410:
1283:
1264:
1245:
1226:
1207:
1184:
1151:
1117:
1050:
Chansonnier cangé (F-Pn fr. 845); F-Pn n.a.fr. 21677; F-AS 657 (c1278); V-CVbav Reg. Lat. 1490
973:
765:
648:
624:
585:
562:
508:
206:
21:
2558:
2493:
2241:
2164:
2117:
2081:
2051:
2030:
1722:
1707:
1466:
1143:
1131:
1109:
992:
590:
493:
316:
291:
The early chansonniers did not separate the works of the male troubadours from those of the
284:
130:
89:
2645:
2548:
2469:
2374:
2334:
2270:
2226:
1618:
1597:
1582:
1528:
1435:
696:
629:
222:
163:. They are exceptional in musical history as the first known female composers of Western
2604:
2578:
2474:
2464:
2344:
2275:
2236:
2216:
2196:
1926:
1896:
1869:
1782:
1638:
1608:
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1359:
1328:
813:
686:
604:
543:
2717:
2410:
2309:
2176:
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1921:
1747:
1567:
1445:
1428:
1200:
1171:
673:
427:
160:
2635:
2442:
2405:
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2329:
2304:
2289:
1787:
1623:
1398:
395:
385:
168:
49:
2630:
2625:
2420:
1822:
1792:
1737:
1699:
1643:
1491:
251:
1004:
Bruckner, Matilda
Tomaryn; et al. (1995). Songs of the Women Troubadours, xxxix
829:
The French phrase "bien trouvé" ("well found") still denotes an apt expression.
175:
were part of courtly society, as opposed to their lower class counterparts the
101:
of the 12th and 13th centuries, active from around 1170 to approximately 1260.
2221:
1891:
1587:
1548:
1515:
809:
663:
580:
210:
98:
70:
1155:
1013:
Bruckner, Matilda
Tomaryn; et al. (1995). Songs of the Women Troubadours, xv.
2432:
2294:
2112:
1847:
485:
443:
411:
296:
94:
1510:
667:
507:
There is one notable instance where clear attribution is given to a woman,
1065:
John Stevens, Ardis Butterfield, Theodore Karp. "Troubadours, trouvères",
133:, as it does not occur in lyrical poetry, grammatical treatises or in the
2594:
2514:
2437:
2400:
1883:
1673:
1653:
1628:
634:
350:
334:
177:
303:
were found in different sections than those of their male counterparts.
2508:
2486:
2457:
2415:
2186:
1842:
1390:
1377:
1163:
477:
164:
1134:(October 1992). "Fictions of the Female Voice:The Women Troubadours".
271:
as there are troubadours, and the number of surviving compositions by
2231:
2153:
1648:
369:
were lower class, professional composers far less respected than the
1147:
488:
writers. There is some debate as to whether or not the poems by the
699:- the only female composer from northern France: the northern term
233:
There are very few extant sources of information on the individual
2503:
2427:
728:
724:
433:
417:
401:
20:
1297:
1242:
The Voice of the Trobairitz:Perspectives on the Women Troubadours
237:. Almost all information which exists about them come from their
181:. Although troubadours sometimes came from humble origins—
1301:
504:
were able to create their own "fictions of the female voice".
393:
grounded vision of relationships. The trobairitz wrote in the
159:
composed, wrote verses, and performed for the Occitan noble
31:
1263:. Westport, Conn: Greenwood Publishing Group. p. 111.
941:
939:
859:
Kibler, William W. (1995). Medieval France: An Encyclopedia
797:
sol per us de parladura en totz los nombres ... trobayritz
18:
Occitan female troubadours of the 12th and 13th centuries
283:, written by Tibors around 1150. Only one survives with
185:
might have been the son of a castle's baker—the
995:; et al. (1995). Songs of the Women Troubadours, xii.
2618:
2587:
2524:
2393:
2322:
2263:
2142:
2064:
2018:
1983:
1963:
1954:
1881:
1868:
1698:
1547:
1489:
1476:
1358:
727:- female entertainers at Islamic courts, including
437:(dance songs). Judging by what survives today, the
1244:. Philadelphia: University of Pennsylvania Press.
1199:
873:
871:
869:
867:
865:
1282:. New York: Garland Publishing Inc. p. 927.
405:(debate poem) genres. Besides cansos and tensos,
167:music; all earlier known female composers wrote
1085:Maria V. Coldwell. "Azalais de Porcairagues",
1047:Manuscript du Roi (F-Pn fr. 844, c. 1246–1254)
145:or troubadours. It does occur in the treatise
61:which survives with music, by Comtessa de Diá.
1313:
909:, Cambridge University Press (New York, 1984)
8:
1071:, ed. L. Macy (accessed February 11, 2006),
189:were usually nobly born. The most important
917:
915:
2260:
2139:
2135:
2061:
2015:
1980:
1960:
1951:
1947:
1878:
1874:
1695:
1544:
1486:
1482:
1320:
1306:
1298:
1223:The Female Voice in Medieval Romance Lyric
1142:(4). Medieval Academy of America: 865–91.
885:
883:
1078:Judith Tick. "Women in music, 500–1500",
945:Judith Tick. "Women in music, 500–1500",
1206:. New York: Cambridge University Press.
1183:. New York: W. W. Norton & Company.
1053:Chansonnier de Noailles (F-Pn fr. 12615)
972:. W. W. Norton and Company. p. 13.
901:
899:
897:
895:
855:
853:
851:
849:
847:
1858:List of Galician-Portuguese troubadours
1261:The Rise of the Medieval World 500–1300
837:
835:
757:
25:A medieval depiction of Comtessa de Diá
467:The number of works attributed to the
425:(a love letter not in strophic form),
112:is first attested in the 13th-century
68:
1116:. New York: Garland Publishing, Inc.
1092:Elizabeth Aubrey. "Comtessa de Dia",
779:
777:
703:did not have a female equivalent (as
600:Vos qe’m semblatz dels corals amadors
88:
7:
567:A chantar m'er de so qu'eu no volria
360:There is difficulty in labeling the
1684:Other troubadours and trobairitz...
299:chansonniers that the works of the
295:. It was only in later Italian and
121:. It comes from the Provençal word
682:List of troubadours and trobairitz
267:There are about 5 percent as many
14:
1099:Maria V. Coldwell. "Castelloza",
2694:
2685:
2684:
1280:Medieval France: An Encyclopedia
1202:Women Writers of the Middle Ages
907:Women Writers of the Middle Ages
812:incorrectly believed it to be a
666:
315:
129:is used very rarely in medieval
69:Problems playing this file? See
47:
322:"A chantar" by Comtessa de Dia.
1179:Bogin, Magda (March 1, 1980).
1114:Songs of the Women Troubadours
105:is both singular and plural.
1:
1679:William IX, Duke of Aquitaine
644:Gui d'Uisel, be.m pesa de vos
576:Na Maria, pretz e fina valors
530:Na Carenza al bel cors avinen
2769:12th-century women composers
735:Medieval Arabic female poets
707:is the female equivalent of
548:Domna n’Almucs, si-us plages
307:Position in medieval society
57:The only existing song by a
1350:List of musical instruments
1278:Kibler, William W. (1995).
2785:
2759:13th-century women writers
2749:12th-century women writers
1259:Schulman, Jana K. (2002).
1240:Paden, William D. (1989).
740:Andalusian classical music
715:List of Medieval composers
457:Fin ioi me don'alegranssa,
2666:
2212:Matheus de Sancto Johanne
2207:Johannes Symonis Hasprois
2138:
1950:
1877:
1853:Galician-Portuguese lyric
1798:Jehan le Cuvelier d'Arras
1713:Andrieu Contredit d'Arras
1485:
1335:
1132:Bruckner, Matilda Tomaryn
1110:Bruckner, Matilda Tomaryn
993:Bruckner, Matilda Tomaryn
2242:Antonio Zacara da Teramo
1221:Earnshaw, Doris (1988).
958:"Troubadours, trouvères"
720:List of female composers
526:Alais Iselda and Carenza
2734:Medieval Occitan people
1768:Gillebert de Berneville
1345:List of music theorists
1075:(subscription access).
558:Azalais de Porcairagues
199:Azalais de Porcairagues
2744:13th-century composers
2739:12th-century composers
2041:Gherardello da Firenze
1728:Le Chastelain de Couci
1521:Philippe le Chancelier
1198:Dronke, Peter (1984).
1112:; et al. (1995).
785:Romanische Forschungen
615:Gormonda de Monpeslier
229:Sources of information
219:Gormonda de Monpeslier
86:Occitan pronunciation:
36:
26:
2350:Johannes de Garlandia
1664:Raimbaut de Vaqueiras
1181:The Women Troubadours
970:The Women Troubadours
535:Alamanda de Castelnau
376:Both troubadours and
195:Alamanda de Castelnau
90:[tɾuβajˈɾits]
35:
24:
2764:13th-century writers
2754:12th-century writers
2729:Medieval women poets
2671:Also music theorist*
2355:Johannes de Grocheio
2172:Conradus de Pistoria
2159:Philippus de Caserta
2108:Philippus de Caserta
2077:Antonello da Caserta
2026:Andreas de Florentia
1917:Guillaume de Machaut
1578:Bernart de Ventadorn
1563:Aimeric de Peguilhan
1506:Albertus Parisiensis
1456:Adam of Saint Victor
1416:Saint Martial school
1373:Notker the Stammerer
808:The Occitan scholar
692:Provençal literature
399:(strophic song) and
183:Bernart de Ventadorn
151:Terramagnino da Pisa
2282:Contenance angloise
2072:Bartolino da Padova
1971:Marchetto da Padova
1902:Magister Franciscus
1778:Guillaume le Vinier
1773:Gontier de Soignies
1718:Audefroi le Bastart
1604:Folquet de Marselha
1461:Wulfstan the Cantor
1451:Hildegard of Bingen
1421:Adémar de Chabannes
1406:Fulbert of Chartres
1368:Abbey of Saint Gall
1360:Early (before 1150)
968:Bogin, Meg (1980).
620:Guillelma de Rosers
596:Garsenda de Proença
540:Almucs de Castelnau
415:(political poems),
215:Garsenda de Proença
2610:Neo-Medieval music
2600:Medieval folk rock
2380:Berno of Reichenau
2360:Iacobus de Ispania
2202:Petrus de Goscalch
2103:Niccolò da Perugia
2098:Grazioso da Padova
2046:Lorenzo da Firenze
2006:Vincenzo da Rimini
1991:Giovanni da Cascia
1823:Other trouvères...
1808:Perrin d'Angicourt
1758:Gautier de Dargies
1733:Chrétien de Troyes
1669:Raimon de Miravalh
1659:Raimbaut d'Aurenga
1101:Grove Music Online
1094:Grove Music Online
1087:Grove Music Online
1080:Grove Music Online
1068:Grove Music Online
1031:Rieger, Angelica.
947:Grove Music Online
640:Maria de Ventadorn
572:Beatritz de Romans
520:List of trobairitz
496:suggests that the
431:(dawn songs), and
243:(biographies) and
203:Maria de Ventadorn
37:
27:
2709:
2708:
2677:Renaissance music
2385:Aurelian of Réôme
2370:Johannes de Muris
2340:Franco of Cologne
2318:
2317:
2300:Arnold de Lantins
2259:
2258:
2255:
2254:
2182:Johannes Cuvelier
2134:
2133:
2130:
2129:
2126:
2125:
2093:Giovanni Mazzuoli
2088:Matteo da Perugia
2060:
2059:
2036:Francesco Landini
2014:
2013:
1996:Jacopo da Bologna
1979:
1978:
1946:
1945:
1942:
1941:
1933:Philippe de Vitry
1912:Jehan de Lescurel
1833:
1832:
1818:Raoul de Soissons
1763:Gautier d'Espinal
1753:Gautier de Coincy
1694:
1693:
1614:Giraut de Bornelh
1593:Cerverí de Girona
1573:Arnaut de Mareuil
1543:
1542:
1539:
1538:
1501:Notre-Dame school
1411:Heriger of Lobbes
1340:List of composers
1289:978-0-313-30817-8
1270:978-0-313-30817-8
1059:Secondary sources
770:978-0-313-30817-8
649:Tibors de Sarenom
509:Bieiris de Romans
52:
2776:
2698:
2688:
2687:
2494:Liturgical drama
2261:
2168:
2165:Johannes Ciconia
2140:
2136:
2118:Zacara da Teramo
2082:Johannes Ciconia
2062:
2052:Paolo da Firenze
2031:Donato da Cascia
2016:
1981:
1961:
1952:
1948:
1936:
1879:
1875:
1870:Late (1300–1400)
1813:Philippe de Rémi
1743:Conon de Béthune
1723:Blondel de Nesle
1708:Adam de la Halle
1696:
1634:Peire d'Alvernha
1545:
1532:
1487:
1483:
1478:High (1150–1300)
1467:Wipo of Burgundy
1432:
1402:
1394:
1385:Stephen of Liège
1322:
1315:
1308:
1299:
1293:
1274:
1255:
1236:
1217:
1205:
1194:
1175:
1127:
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1005:
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990:
984:
983:
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943:
934:
928:
922:
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910:
903:
890:
887:
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860:
857:
842:
839:
830:
823:
817:
806:
800:
781:
772:
762:
676:
671:
670:
553:Azalais d'Altier
494:Matilda Bruckner
319:
285:musical notation
147:Doctrina d'acort
92:
87:
54:
53:
34:
2784:
2783:
2779:
2778:
2777:
2775:
2774:
2773:
2714:
2713:
2710:
2705:
2704:
2681:
2662:
2614:
2583:
2520:
2470:Gregorian chant
2389:
2375:Walter Odington
2335:Guido of Arezzo
2314:
2271:Johannes Alanus
2251:
2227:Jacob Senleches
2163:
2122:
2056:
2010:
1975:
1938:
1931:
1864:
1829:
1690:
1619:Guiraut Riquier
1598:Comtessa de Dia
1583:Bertran de Born
1551:
1535:
1529:Petrus de Cruce
1527:
1472:
1436:Notker Physicus
1427:
1397:
1389:
1354:
1331:
1326:
1296:
1290:
1277:
1271:
1258:
1252:
1239:
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1220:
1214:
1197:
1191:
1178:
1148:10.2307/2863471
1130:
1124:
1108:
1061:
1056:
1043:
1041:Primary sources
1038:
1030:
1026:
1021:
1017:
1012:
1008:
1003:
999:
991:
987:
980:
967:
966:
962:
957:
953:
944:
937:
930:Bruckner 1995,
929:
925:
920:
913:
905:Dronke, Peter.
904:
893:
888:
881:
876:
863:
858:
845:
840:
833:
825:Bruckner 1995,
824:
820:
807:
803:
782:
775:
763:
759:
755:
750:
697:Marie de France
672:
665:
662:
630:Lisa de Londres
609:Coblas e dansas
522:
465:
327:
326:
325:
324:
323:
320:
309:
281:Bels dous amics
231:
223:Comtessa de Diá
85:
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135:biographies (
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44:
23:
16:
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2641:Architecture
2513:
2465:Geisslerlied
2443:Formes fixes
2365:Notker Labeo
2330:Anonymous IV
2305:Leonel Power
2290:Thomas Fabri
2280:
2143:
1964:Predecessors
1882:
1788:Jehan Bretel
1624:Jaufre Rudel
1553:
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1399:Odo of Cluny
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58:
15:
2631:Middle Ages
2626:Early music
2588:Derivations
2421:Chansonnier
1793:Jehan Erart
1738:Colin Muset
1644:Peire Vidal
1492:Ars antiqua
1225:. P. Lang.
605:Gaudairença
463:Attribution
409:also wrote
331:jocs partis
279:is that of
265:trobairitz.
178:joglaressas
99:troubadours
2724:Trobairitz
2718:Categories
2656:Philosophy
2651:Literature
2619:Background
2525:Traditions
1892:F. Andrieu
1748:Gace Brulé
1588:Castelloza
1554:Trobairitz
1549:Troubadour
1441:St. Godric
979:0393009653
810:Pierre Bec
793:trobayritz
748:References
709:troubadour
705:trobairitz
581:Castelloza
513:fin' amors
502:trobairitz
498:trobairitz
490:trobairitz
469:trobairitz
453:trobairitz
444:pastorelas
439:trobairitz
421:(lament),
407:trobairitz
390:trobairitz
382:fin' amors
378:trobairitz
371:trobairitz
367:Joglaresse
362:trobairitz
346:trobairitz
339:trobairitz
301:trobairitz
293:trobairitz
277:trobairitz
273:trobairitz
269:trobairitz
261:trobairitz
235:trobairitz
221:, and the
211:Castelloza
191:trobairitz
187:trobairitz
173:trobairitz
157:Trobairitz
143:trobairitz
127:trobairitz
110:trobairitz
103:Trobairitz
81:trobairitz
71:media help
59:trobairitz
2569:Lithuania
2433:Conductus
2323:Theorists
2295:Roy Henry
2222:Rodericus
2113:Sant Omer
1848:Minnesang
1172:161976715
1156:0038-7134
486:anonymous
449:malmariee
441:wrote no
412:sirventes
380:wrote of
355:fin' amor
108:The word
2690:Category
2595:Bardcore
2574:Portugal
2542:Scotland
2515:Planctus
2499:Madrigal
2438:Estampie
2401:Antiphon
1956:Trecento
1884:Ars nova
1843:Goliards
1700:Trouvère
1674:Sordello
1654:Perdigon
1629:Marcabru
1136:Speculum
889:Stephens
701:trouvère
660:See also
654:Ysabella
635:Lombarda
625:Domna H.
478:epistles
351:Crusades
335:partimen
118:Flamenca
2559:Germany
2537:England
2509:Organum
2487:Tydorel
2458:Virelai
2453:Rondeau
2448:Ballade
2416:Chanson
2192:Egidius
2187:Egardus
1907:Grimace
1838:Casella
1516:Pérotin
1391:Hucbald
1378:Tuotilo
1164:2863471
729:Moorish
297:Catalan
165:secular
141:of the
131:Occitan
114:romance
97:female
95:Occitan
93:) were
2700:Portal
2646:Poetry
2554:France
2549:Cyprus
2264:Others
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171:. The
161:courts
123:trobar
2579:Spain
2564:Italy
2504:Motet
2428:Chant
2411:Carol
2406:Canso
1168:S2CID
1160:JSTOR
841:Paden
753:Notes
731:ones
725:Qiyan
474:tenso
418:planh
402:tenso
396:canso
384:, or
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257:vidas
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