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Throughout time, love has been a steady theme in music, literature, and film. Love is perhaps one of the most obvious emotions to portray and it can often be described as be sensual, sexual, spiritual or mystic, and divine. The tradition of courtly love began in the twelfth- century with the traveling songs of the performing troubadours and trouvères throughout Europe. Their songs of love were the source of all Western vernacular poetry and through the evolution of time developed into the popular chanson of the fifteenth and sixteenth- centuries. Perhaps the most common themes in Burgundian, Parisian and international chansons is that of fine amour or refined love. Due to the influence of culture and the progression of time, the subject matter and compositional style of the chanson changed as it moved through Burgundy, Paris and eventually spread internationally.
The Burgundian chanson, also know as Netherlandish, is the secular song of the Low Countries, which today consists of Belgium, Luxembourg and the Netherlands. This style of chanson spawned from the older troubadour and trouvère traditions of the Middle Ages These chansons were specifically written to please the court of the four grand ducs d”Occident, cousins to the king of France: Philip the Bold, John the Fearless, Charles the Bold, and Philip the Good. Kemp eloquently describes the Burgundian chanson style as, “a tapestry woven not only of the dominant stylistic threads of French and Flemish composers but also the interacting artistry of English, Swiss, German, Italian, Spanish, and Portuguese musicians…”
While Burgundian chanson in some respects continued the traditions of the troubadours and trouvères with overriding themes of courtly love, the texts o...
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Miller, Leta Ellen. “The Chansons of French Provincial Composers, 1530-1550: A Study of Stylistic Trends Volume 1.” PhD diss., Stanford University, 1977. proquest.com (accessed May 1, 2014).
Munrow, David. “The art of courtly love.” Oxford Journals vol. 1, No.4 (1973), jstor.org (accessed May 5, 2014).
Roden, Timothy. Anthology for music in western civilization. Boston: Schurmer Cenegage Learning, 2010.
Sermisy, Claudin de. “Je n’ay point plus d’affection.” In Antology of Renaissance Music, ed. Allan W. Atlas. New York: W.W. Norton & Company, 1998.
Sermisy, Claudin de. Les cris de Paris chansons de Janequin et Sermisy. Ensemble Cleément Janequin. ocm36863959. 1981. Compact Disc.
The book begins with a prologue, in which a letter is sent from a musician working for a cardinal in 1347. It is sent from the papal court of Avignon and is received by some of the musician's ...
He may even have been the first to sing the tragic love of Tristan and Isolde. One of Chretein de Troyes’ works, Chevalier de la Charette (The Knight of the Cart) expresses the doctrines of courtly love in its most developed form. The plot of this story is believed to have been given to him by Marie of Champagne and has been called “the perfect romance” for its portrayal of Queen Guinevere’s affair with Lancelot of the Lake.1
...tion of both methods can be used to show France’s idea of what love is. Patrick John Ireland argued that France’s idea of love “is a human force controlled by man with great difficulty; it is a spontaneous, natural, and all-consuming power, the experience of which leads to an almost blind passion at times” (133). To be in love, one must be entirely devoted and passionate to one another to the point of blind passion. This is so for Yonec (the Princess jumps out of the tower) and Lanval (Lanval’s complete rejection of the human world until he is brought into the world of his lover). Not only does France portray love as natural and all-consuming, but also shows the private and unearthly nature of love that cannot be contained to the realm of the human world. Rather, love transcends the boundaries of the human world and enters into a world where love reigns supreme.
Since we are kids we are taught the importance and meaning of love. Obviously, when we are kids we don’t realize such a big felling, until we grow up. I would say that love isn’t the feeling of intense hormonal urges; it is much more than that. It’s a real genuine feeling. The intense connection of true love cannot be broken because true love is unconditional and it has no boundaries. I have read many books about love, but in this case this book I would talk about is special because it makes us ask many questions about ourselves. Gabriel Garcia Marquez without writing it in the book Love in the Time of Cholera sets the question how long could we will be willing to wait for love? Since the first moment we open the book we can see it is going to be about love, so after reading some chapters we can ask ourselves about this question, and that obviously traps us. Love in the Time of Cholera is a novel that has a very strong meaning of love, some types of love presented in this books focuses on pure, and innocent, passionate, interested, divided love and among others, but the good thing about these kinds of love is that it gives the readers a teaching.
Taruskin, R., & Taruskin, R. (2010). Music in the seventeenth and eighteenth centuries. Oxford: Oxford University Press.
Up through the Middle Ages, Western music was dominated by the church; it was all sacred music. The most artistic and refined secular music came from twelfth- and thirteenth-century composers called troubadours and trouveres. Bernart de Ventadorn was one of the most popular troubadour poets of his time. Ben m’an Perdut tells a story of a man’s unreciprocated love and his decision to leave Ventadorn as a result. The first piece after the intermission is another composition of Bernart titled Tan tai mo cor ple de joya.
Sexuality is a subject that has changed over times, the idea of sexuality and sex shifted from one view to another as people began to enforce different views in society. At the beginning of the 17th century there was little need for secrecy about sexuality and sexual practices as the idea was an open topic that could be discussed freely in society. Adult humour was not kept from children and ideas were open to all (Foucault and Hurley, 2008). However this times in society changed due to the power of the Victorian bourgeoisie. Sex and sexuality became confined and moved into the privacy of the home. People no longer spoke freely about it and secrecy became key (Foucault and Hurley, 2008).
How are love and romance portrayed differently in the 18th and 20th centuries? Discuss the similarities and differences in attitudes to love and romance prevailing in the 18th Century society depicted in “Pride and Prejudice” as portrayed in the 20th Century by “Of Mice and Men ” The books “Pride and Prejudice” by Jane Austen and “Of Mice and Men” by John Steinbeck, set in the 18th and 20th Century respectively. seem to portray highly different cultural attitudes to love and romance. I love the sand.
In The Lais of Marie de France, the theme of love is conceivably of the utmost importance. Particularly in the story of Guigemar, the love between a knight and a queen brings them seemingly true happiness. The lovers commit to each other an endless devotion and timeless affection. They are tested by distance and are in turn utterly depressed set apart from their better halves. Prior to their coupling the knight established a belief to never have interest in romantic love while the queen was set in a marriage that left her trapped and unhappy. Guigemar is cursed to have a wound only cured by a woman’s love; he is then sent by an apparent fate to the queen of a city across the shores. The attraction between them sparks quickly and is purely based on desire, but desire within romantic love is the selfishness of it. True love rests on a foundation that is above mere desire for another person. In truth, the selfishness of desire is the
The term romantic first appeared at sometime during the latter half of the 18th Century, meaning in quite literal English, "romance-like", usually referring to the character of mythical medieval romances. The first significant jump was in literature, where writing became far more reliant on imagination and the freedom of thought and expression, in around 1750. Subsequent movements then began to follow in Music and Art, where the same kind of imagination and expression began to appear. In this essay I shall be discussing the effect that this movement had on music, the way it developed, and the impact that it had on the future development of western music.
Throughout the tragedy of Romeo and Juliet, by William Shakespeare, various types of love are portrayed. According to some of the students of Shakespeare, Shakespeare himself had accumulated wisdom beyond his years in matters pertaining to love (Bloom 89). Undoubtedly, he draws upon this wealth of experience in allowing the audience to see various types of love personified. Shakespeare argues that there are several different types of love, the interchangeable love, the painful love and the love based on appearances, but only true love is worth having.
French composer and pianist Francis Poulenc is widely regarded as the greatest mélodie composer of his time. A prolific composer in many genres, Poulenc produced mélodie throughout his career, reaching his artistic peak in the 1930s and 40s. Poulenc’s songs derive all of their musical attributes from the texts themselves. Each phrase, harmony, and nuance is meant to add meaning to the text at hand. For this reason, he was notoriously picky with the poetry he would set. Though he set a variety of poets, he had a particular fondness for the poetry of surrealist poets Guillaume Appollinaire and Paul Eluard.
Attitudes Towards Love in Pre-1900 and 1990's Poetry “The Despairing Lover” written by William Walsh was written pre 1900 whilst the second poem “I Wouldn’t Thank you for a Valentine” by Liz Lockhead was written in the 1990’s. These poems are almost a century apart. Attitude towards love changes over time and these poems represent this. I Wouldn’t Thank you for a Valentine is about how people think about Valentine’s Day in the 1990’s, while The Despairing Lover is showing what people think and how important they see love in the 1990’s.
Period of the early troubadours. Dominant genre lyric poetry, especially the chanson (love poetry); also important, sirventes (satire); moral and religious poetry and the partimen (debate poetry).
Anthony, James R., H. Wiley Hitchcock, Edward Higginbottom, Graham Sadler, Albert Cohen. “French Baroque Masters.” The New Groves Dictionary of Music and Musicians. W.W. Norton and Company, 1986. p. 1-63