Dissertations / Theses on the topic 'Trovatori'

My research focuses on the relationship between Petrarch and the troubadours, with particular reference to conventional expressive elements, such as genres structures and topical images. My primary objective is to analyse which aspects of the courtly tradition Petrarch chose to gain in building his own lyric language, in order to prove how the poet was able to transform his sources according to a new, personal perspective. I also intend to highlight how Petrarch’s reuse of Provençal models was functional to his auto-legitimation within the vulgar literary tradition, from its origins to his most recent auctoritas, Dante. In conclusion, I propose to offer some concrete data and a functional hypothesis about which Occitan materials Petrarch may have read and in which context, as tools in his widening the knowledge of troubadours’ poetry.

Orientador: Maria Betania Amoroso
Dissertação (mestrado) - Universidade EStadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A ópera sempre teve, desde seus primórdios, uma grande importância para a sociedade, tanto como fonte de lazer como transmissora do pensamento de uma época. E era esta característica que Giuseppe Mazzini (1805-1872), o maior teórico do Risorgimento, considerava primordial: a ópera repassaria a seus ouvintes os ideais risorgimentali. Para isso, era necessário que sobretudo libretistas e compositores estivessem engajados nessa causa. Era o caso de um dos mais representativos libretistas do século XIX, Salvatore Cammarano (1801-1852), prolífico autor, que escreveu libretos para diversos compositores em quase vinte anos de carreira. Dada a sua importância para a História da ópera, enquanto um de seus criadores mais ativos, ele foi escolhido como o objeto principal de nossa pesquisa. Tomamos como objeto de estudo, entre os mais de trinta libretos que Cammarano escreveu, a obra que consideramos a síntese do período: Il Trovatore (1853), ópera em quatro partes com música de Giuseppe Verdi (1813-1901). Il Trovatore nos parece essencial para ir mais a fundo nas pesquisas sobre o Romantismo na Itália. Numa época em que o romance tentava se fixar, a ópera teve uma participação fundamental na divulgação não só dos ideais do Risorgimento, como já citado, mas também na propagação de elementos do movimento romântico, então em voga. Na ópera, o período que coincide com o Romantismo europeu costuma ser chamado Bel Canto tardio, e são consideradas suas datas limite os anos de 1823 (quando da première da Semiramide, de Gioacchino Rossini e Gaetano Rossi) e 1853 (justamente com a Il Trovatore - sendo este mais um motivo para a escolha dessa obra). Dentre os objetivos de nossa pesquisa está o de proporcionar um estudo em português sobre o libreto, uma vez que a literatura relacionada ao assunto é escassa em nossa língua. Além disso, quisemos fazer um panorama da evolução do texto operístico com o passar do tempo, mostrando diferenças e pontos de vista, culminando na última obra de Cammarano, analisada mais profundamente
Abstract: Opera has always had, since its first years, a great importance to society, as a source of leisure and as a transmitter of the thoughts of a time. And the last characteristic is the one which Giuseppe Mazzini (1805-1872), the most important theorist of Risorgimento, considered essential: opera would be able to pass to its listeners the risorgimentali ideals. In order to do that, it was necessary that librettists and composers were engaged in this cause. That was the case of one the most representatives librettists of the 19th century, Salvatore Cammarano (1801-1852), prolific author, who wrote librettos for several composers in almost twenty years of a career. Given his importance to opera history, as one of its most active creators, he was chosen as the main object of our research. We chose to study, among more than thirty librettos written by Cammarano, the work that we consider the synthesis of the period: Il Trovatore (1853), opera in four parts set to music by Giuseppe Verdi (1813-1901). Il Trovatore seems essential to us in order to go further in our understanding of Italian Romanticism. In a time when the novel tried to fix itself, opera had a fundamental participation in spreading not only the risorgimentali ideals, as already said, but also the Romantic elements present in the age. In opera, the period which coincides with the European Romanticism is usually called late Bel Canto, and its limit dates are 1823 (when Semiramide, by Gioacchino Rossini and Gaetano Rossi was premièred ) and 1853 (with Il Trovatore). Among the objectives of our research is to provide a study in Portuguese about libretto, since the literature related to this subject is scarce in our language. Besides, we wanted to make an overview of the evolution of operatic text over time, showing differences and points of view, culminating in the last work of Cammarano, which we analyzed more profoundly
Mestrado
Literatura e Outras Produções Culturais
Mestre em Teoria e História Literária

The study consists of a comment edition of 127 don Denis’ s love poems, conventionally divided into two sections: 75 cantigas de amor and 52 cantigas de amigo. Following the only complete edition of don Denis of Portugal (1261-1325), prepared by H. Lang in 1894, I proceeded to a textual revision, based on a systematic review of the codices and on the successive exegetical studies. The first aim of this revised critical edition is to offer an analytical comment of the poetical corpus of don Denis, the most representative author of the galician-portuguese poetry. The rich inquiry examines in detail any poem of the king poet from a thematic and rhetorical perspective and it documents the intertextual relations with the provençal and north french lyric on the one hand and the galician-portuguese poetry on the other.
La tesi consiste in un’ampia edizione commentata dei 127 componimenti di tematica amorosa di don Denis di Portogallo (1261-1325), tradizionalmente ripartiti in 75 cantigas de amor e 52 cantigas de amigo. Sulla base dell’unica edizione critica completa della produzione poetica dionigina, quella allestita da H. Lang nel 1894, si è proceduto ad un’accurata revisione testuale del corpus, sia attraverso un controllo sistematico della tradizione manoscritta, sia prendendo in considerazione le recensioni e i successivi contributi critici. Ne risulta un’edizione criticamente rivista che si pone come obiettivo principale quello di offrire un analitico commento esegetico-critico ai singoli testi del re trovatore, unanimamente riconosciuto come il poeta più colto e rappresentativo della lirica galego-portoghese, ma al quale non sono stati finora dedicati studi monografici esaustivi. L’esteso commento rende dunque conto degli aspetti tematici, metrici, retorici e linguistici delle differenti poesie, nonché della fitta trama intertestuale che collega alcune di esse alla tradizione della lirica cortese (provenzale e francese) da un lato e al trobadorismo peninsulare dall’altro.

La thèse vise à fournir une nouvelle édition critique des poèmes de Peirol d’Alvergne, un troubadour vécu pendant l’époque dorée de la lyrique occitane. En raison du nombre de mélodies attestées dans sa tradition manuscrite, l’œuvre de Peirol mérite d’être étudiée de façon plus approfondie de ce qui a été fait jusqu’à présent, surtout si on considère que la poésie et la musique étaient à ce moment-là indissolubles et que, dans les chansonniers des troubadours, la présence de mélodies est plutôt rare. Par conséquent, on propose une édition des seize compositions d’amour pourvues de notation musicale qui sont attribuées à ce poète. Le travail éditorial constitue un défi en soi. Si, d’une part, chaque attestation manuscrite doit être considérée singulièrement comme un « Texte », avec sa propre valeur historique, de l’autre part, une édition qui ne compare pas de façon minutieuse les données fournies par l’ensemble de la tradition renonce à approfondir notre connaissance de la littérature médiévale. Fort de ces constats, cette recherche vise alors à dépasser les méthodes d’édition traditionnelles, c’est à dire celle bédiériste et celle lachmannienne, en fournissant, à côté des textes, une analyse soigneuse de plus de trente sources, pour ce qui concerne soit leurs aspects codicologiques soit leurs relations génétiques, et un commentaire relatif aux choix éditoriaux et des questions d’ordre littéraire. En outre, le lecteur aura à sa disposition les éditions interprétatives de chaque témoin, ainsi que les autres étapes du procès philologique : les transcriptions diplomatiques et les collations. On fournit, enfin, les éditions des mélodies
This work aims to offer a new, reliable edition of Peirol d’Alvergne’s poetry. A troubadour of the “Golden Age” of Old Occitan lyric, Peirol was an extremely successful poet during his time, as the abundance of manuscript witnesses proves. Moreover, while at the origins of vernacular lyric text and music were considered indissoluble, extant troubadour melodies are exceedingly rare. As Peirol is one of the few poets whose texts survive largely accompanied by musical notation, the edition is devoted specifically to this part of his corpus. The edition strives to go beyond the so-called Bédierian and Lachmannian perspectives of Medieval text editing: if each manuscript witness has the dignity of a «Text» that existed in time, it is also true that an edition that neglects a scrupulous study of the manuscript tradition is abandoning all efforts of deepening our knowledge of Medieval literature. For these reasons, on the one hand the text provides an extensive argumentation regarding the more than thirty manuscripts sources – both in their material aspects and in their mutual genetic relationships – and a commentary on literary issues and philological critical nodes; on the other, the reader will be able to consult the interpretative edition of all witnesses, along with every component of the philological process: diplomatic transcriptions, collations and edition of the melodies

Le regroupement de Rigoletto, d'Il Trovatore et de la Traviata sous le terme de trilogie, est l'acception populaire et savante. Pourtant aucune définition convaincante ne vient renforcer ce concept. Les opéras de la trilogie témoignent de l'intérêt que Verdi porte au drame romantique français, à sa dramaturgie en particulier. C'est à travers la "posizione", un vocable employé par Verdi pour désigner une unité dramaturgique constituante, que se manifeste cet intérêt. Verdi élabore une dramaturgie générative à partir de la "posizione", lui subordonnant les langages dramatique, littéraire et musical. Cette démarche permet d'intégrer les caractéristiques du drame romantique français. Elle est à l'origine d'une pensée dramatique commune aux trois opéras et offre une nouvelle définition à la trilogie
The grouping together of Rigoletto, il Trovatore and la Traviata as a trilogy is both a popular and scholarly tradition. However, there is no convincing definition to corroborate this concept. The three operas attest to Verdi’s interest in French romantic drama, more particularly in its dramaturgy. This interest of his appears in what Verdi calls "posizione", to designate a single dramatic sequence. Verdi's generative dramaturgy is developed from this concept of "posizione" to which he subordinates all the different languages, literary, musical, and dramatic proper. This enables him to integrate the characteristics of the French romantic drama. Verdi's approach is at the root of a dramatic conception common to all three operas, therewith providing a new working definition for the trilogy

Task-based approach was initially used during the 80s of the previous century and since then it has been widely used all over the world. Thanks to its communicative feature it is currently among the most used approaches to language teaching.

Questo studio è fondato su una ricerca lessicale esaustiva sulle banche dati TROBVERS e TROUVEORS dei derivati in lingua d’oc e d’oïl dei verbi latini somniare e dormire, permettendo di costruire il corpus delle composizioni dei trovatori e dei trovieri che trattano del tema del sogno. Il corpus è costituito da settantatré testi, i quali sono soprattutto cansons/chansons di argomento amoroso, e tensons/jeux-partis. Il tema si presenta articolato in diversi motivi, tra i quali quello dell’appagamento dell’amore in sogno può essere considerato come uno dei topoi classici della lirica d’amore cortese: esso è infatti molto frequente, figura con le stesse caratteristiche a partire dall’opera di Jaufre Rudel, ha i suoi difensori e i suoi nemici, è apertamente deriso da due composizioni anonime, ed è al centro di diversi testi, tra le quali il jeu-parti Or coisisiés, Jehan de Grieviler [Linker 144.1] tra i due rappresentati del puy d’Arras Jehan de Marli e Jehan de Grieviler è particolarmente significativo. Questo studio propone di interpretare il motivo dell’appagamento dell’amore in sogno come funzionale alla concezione maggioritaria dell’amor cortese fondata sull’ossimoro “to have and have not” - secondo la formula di Leo Spitzer -, un amore che comprende il desiderio fisico, ma che non vuole possedere se non in sogno.

L’allegoria è uno degli aspetti più caratteristici della letteratura medievale. Nella poesia dei trovatori le forme e i procedimenti allegorici vengono tuttavia utilizzati solo raramente. Poiché si ritiene comunemente che il grande canto cortese si fondi sulla soggettività o sull'artificio formale, i trovatori, a parte rare eccezioni, sono parsi costituzionalmente estranei all'allegoria, considerata un elemento proprio di tradizioni poetiche più aperte alla narratività e alla rappresentazione oggettiva. In un confronto continuo con le maggiori letterature medievali, questo studio si concentra in particolare su due forme poetiche (la pastorella e la tenzone), nel tentativo di mostrare come l'utilizzo dei procedimenti allegorici risulti caratteristico di una precisa 'linea' interna alla prima e più importante tradizione lirica romanza. L'allegoria è anche la chiave per offrire un'interpretazione complessiva della poesia dei trovatori. Se infatti le principali tendenze critiche considerano i poeti occitani degli intellettuali in grado di aver accesso alle speculazioni filosofiche e ai modelli stilistici mediolatini o, al contrario, dei semplici artigiani paragonabili ai cantautori moderni, lo studio delle forme allegoriche sembra rivelare dei trovatori egualmente distanti da entrambi i modelli interpretativi.

This work aims to offer a new, reliable edition of Peirol d’Alvergne’s poetry. A troubadour of the “Golden Age” of Old Occitan lyric, Peirol was an extremely successful poet during his time, as the abundance of manuscript witnesses proves. Moreover, while at the origins of vernacular lyric text and music were considered indissoluble, extant troubadour melodies are exceedingly rare. As Peirol is one of the few poets whose texts survive largely accompanied by musical notation, the edition is devoted specifically to this part of his corpus. The edition strives to go beyond the so-called Bédierian and Lachmannian perspectives of Medieval text editing: if each manuscript witness has the dignity of a «Text» that existed in time, it is also true that an edition that neglects a scrupulous study of the manuscript tradition is abandoning all efforts of deepening our knowledge of Medieval literature. For these reasons, on the one hand the text provides an extensive argumentation regarding the more than thirty manuscripts sources – both in their material aspects and in their mutual genetic relationships – and a commentary on literary issues and philological critical nodes; on the other, the reader will be able to consult the interpretative edition of all witnesses, along with every component of the philological process: diplomatic transcriptions, collations and edition of the melodies.

The Chansonnier du Roi (Paris, BNF f. fr. 844) is one of the most important sources for trouvère and troubadour lyrics, but also for early motets. Compiled around 1250 in Artois, the manuscript was later enriched with a unique collection of Occitan, French and Latin monophonic songs and instrumental dances in mensural notation. In the last decades, this chansonnier has been studied both from musicologists (Peraino and Haines) and romance philologists (Battelli and Asperti). Insights from these two fields, however, have never been brought together. This is my aim in this paper, focusing in particular on the later additions to the manuscript, about which I will also present new palaeographical evidence. My central hypothesis is that fr. 844 was brought to the Angevin court of Naples, probably around 1282, by Robert II of Artois. Here poets and artists from Northern France, Occitania and Aragon contributed to a multicultural milieu, where the chansonnier could have been exposed to new styles. Moreover, in comparison with similar sources, the compilers’ predilection for literary genres specifically connected to dance and music, as well as the use of mensural notation but also metrical irregularities and mise en texte strategies, show a unique interest in sound and performance. Ultimately, I expand the geography of thirteenth-century music, claiming Naples as major cultural centers of vernacular monophony.

碩士
東吳大學
音樂學系
101
The Analysis Of The Aria Of “D’amor sull’ali rosee” In Giuseppe Verdi’s Opera Il Trovatore /YU,YUN CHIEH VOCAL RECITAL A beautiful aria is probably what the public will remember best when leaving the opera house. For years, arias were the only part of operas put on recordings. As for the performer an aria is an opportunity to detach oneself from the ensemble, to express one’s talent. The arias are the stones of the opera and can bring the audience to its feet and to fall in love with the entire opera. Verdi’s music stand for romantic drama and passion, he placed the melody above all and for him this was the most immediate expression of human feeling. “Art without spontanei naturalness,and simplicity, is not art.” - Giuseppe Verdi Of his early operas, Il Trovatore ,derived from a fanciful Spanish play and is replete with beautiful pages for the singers. To sing this aria needs all sounds tied up with continuity and the trills so frequent in the aria and which are of true value for the expression and as for the words, ther meaning and their sounds must be inseparable from the notes in this integrate with the music.

Lo studio analizza criticamente l’ambiziosa opera "Pisa. Ein Versuch", composta da Borchardt negli anni dell’esilio italiano e pubblicata nel 1938. La ricerca ha indagato la peculiare ricezione del Medioevo e della sua cultura nell’opera borchardtiana, restituendo importanza al vasto panorama di studi filologici e storici sottesi al testo e, attraverso una solida contestualizzazione, ha evidenziato al contempo l’isolamento intellettuale dell’autore. Colloqui con esperti e docenti delle università di Firenze, Bonn, Parigi e Pisa hanno permesso di definire lo spessore delle competenze linguistiche, filologiche, storiche, letterarie e di storia dell’arte che Borchardt dispiega nel testo e che non erano state debitamente considerate. Grazie alle indagini archivistiche è stato possibile enucleare il peso della lettura filologica delle liriche dei trovatori provenzali che l’autore affianca a una notevole riflessione sull'opera di Giovanni Pisano. La ricerca ha colto così il respiro europeo nel quale si inserisce l’opera borchardtiana. La dissertazione, suddivisa in sei capitoli, esordisce con l’analisi di un testo sulle città italiane in cui l’autore prende posizione a favore di un’immagine dell’Italia la cui intrinseca natura può essere colta soltanto ai margini del processo di modernizzazione. La ricerca ha inoltre sottolineato quanto rilevante sia stata l’ascendenza humboldtiana nella definizione del rapporto fra ambiente naturale e civiltà umana, così cruciale in Borchardt. Lo studio esamina quindi la connessione fra stile architettonico, stile di vita, arte figurativa e poesia mettendo in luce come l’autore comprenda questi aspetti quali diretta emanazione della civiltà imperiale romana. A questo assunto la ricerca collega l’imponente impresa traduttiva affrontata da Borchardt nel trasporre la Commedia dantesca in un tedesco arcaico che dovrebbe restituire l’alterità di Dante rispetto alla cultura moderna. Quindi la dissertazione ricostruisce la genesi di "Pisa, Ein Versuch" a partire dai saggi e dagli interventi pubblicistici della seconda metà degli anni Venti, che convergono nel progetto di fondazione di una nuova “Mittelalterliche Altertumswissenschaft”. Nel circoscrivere i lineamenti di questa nuova disciplina viene opportunamente esaminato il decisivo influsso esercitato da Stefan George sul pensiero e sulla sensibilità poetica di Borchardt. Nella sezione centrale della tesi prende forma la visione borchardtiana di Pisa città imperiale che l’autore oppone al campanilismo comunale inserendola così in una prospettiva sovranazionale tutta proiettata verso il futuro e l'Europa. Al centro di questa analisi troviamo le figure di Arnaut Daniel, Giovanni Pisano e Federico II imperatore del Sacro Romano Impero. Un suggestivo spunto di lettura ha permesso di contrapporre la visione della romanità imperiale, quale ereditata da Pisa, alla coeva visione fascista della romanità, alla quale mai si piegherà il filologo e lo studioso. Nell’ultima sezione viene ricostruita l’immagine del Medioevo proposta da Borchardt che se risente fortemente della lezione di Stefan George e delle sollecitazioni del George- Kreis, si riallaccia tuttavia alla lettura novalisiana dell’Europa medievale. Al contempo lo studio evidenzia in che modo l’analisi che Borchardt propone della Pisa medievale sospinta ai margini del percorso storico, assume tratti fortemente personali: Pisa e la sua “Causa victa” costituiscono di fatto una proiezione autobiografica dell’autore che mette in risalto la vicenda dell’uomo e dell’intellettuale Borchardt nella sua sempre più dolorosa solitudine, fino alla morte che lo coglierà durante la deportazione. This study investigates the ambitious work "Pisa. Ein Versuch" that Rudolf Borchardt composed during the years of the Italian exile and published in 1938. The research aims at returning the significance this writing deserves providing a critical analysis of the peculiar reception of the Middle age and its contemporary culture in Borchardt’s work, focusing on the large philological and historical background underlying the text. The study presents an unavoidable and solid contextualization highlighting the intellectual isolation of the author. Conversations with experts and Professors of the Universities of Florence, Paris Sorbonne, and Bonn enabled establishing the depth of the linguistic, philological, historical and literary knowledge the author deploys in this text, which had not been brought into focus so far. Thanks to a precise archival survey the study has shown the importance of the extraordinary reflection on the Provencal Troubadours that Borchardt carries out by linking their poems to the masterpiece by Giovanni Pisano, hosted in the Duomo of Pisa. The study has thus demonstrated the European profile of Borchardt’s work. The research is divided in six chapters, the first chapter provides both a textual and contextual analysis of a writing Borchardt dedicates to Italian towns, where he strongly identifies the possibility of discovering the true nature of the Italian landscape only at the edge of the incessant modernisation process. The inquiry has highlighted how crucial was for Borchardt the influence of Humboldt’s vision with relation to the definition of natural habitat and human civilization. Furthermore, the research examines all the references Borchardt develops in a network where he associates the Italian architectural style with the Italian life-style, figurative art with poetry and shows to what degree all these aspects of the Italian culture and life are derived from the Imperial Roman society. The connection with the Latin culture conducts the research to examine the impressive work of translating the “Divina Commedia” into a medieval archaic German, language that Borchardt himself created, in order to highlight the alterity of Dante in relation to modern culture. The study reconstructs the genesis of the text “Pisa. Ein Versuch” starting from the essays and the public speeches Borchardt held during the second half of the Twenties, all of which converge on the project of the constitution of a new “Mittelalterliche Altertumswissenschaft”. In specifying the features of this new discipline, the study provides an extensive examination of the influence exercised by Stefan George on the thought and on the poetic sensitivity of Borchardt. The central section of the research outlines and discusses Borchardt vision of Pisa as imperial town, opposing the communal parochialism to a multinational or extranational vision that projects Pisa into the future and towards Europe. At the centre of this idea are the characters of Arnaut Daniel, Giovanni Pisano and the Holy Roman Emperor Frederick II. A suggestive reading made possible a confrontation aimed at opposing the conceptual framework of the imperial Romanitas as inherited by Pisa, to the contemporary fascist vision of the Romanitas whose historical ideal the philologist and cultivated author would never accept. The last section of the study discusses the image of the Middle age that Borchardt proposes in his book, showing that if the influence of George and the George-Kreis is clearly evident, Borchardt’s ideal is much more connected to the notion of medieval Europe as evoked by Novalis. At the same time, however, he marks a break with the external influences, proposing a personal interpretation of the story of Pisa, a town that political events has driven to the margins of history and now takes on personal aspects of the author: Pisa and its “Causa victa” embody the biographical condition of the author, evidencing the human drama of Borchardt both as an intellectual and as a man in his more and more sorrowful loneliness, until death took him during the deportation towards Germany.

This thesis deals with a comparatice analysis, where there are original literary productions (proses, dramas), that were then used for creating librettos of operas productions. The thesis focus on opera performances presented on stages of South Bohemian Theatre in last few years, and also belongs to canon of tradition of world's opera. The analysis is following the way of adaptation of the original piece, it means the conversion of the production, originally defined for a quiet reading, into the genre based on performing and accented his performance's nature. The thesis follows conventional and inventive characters by original literary production, and also by opera's text "adaptation". The thesis specifically follows the relationship of these productions: Victorien Sardou: Tosca and Giacommo Puccini: Tosca; Prosper Mérimée: Carmen and Georges Bizet: Carmen; Pierre - Augustin Caron de Beaumarchais: The Marriage of Figaro and Wolfgang Amadeus Mozart: The Marriage of Figaro; Antonio García Gutiérrez: Il Trovatore and Giuseppe Verdi: Il Trovatore; and also the productions without the original literar artwork: Giuseppe Verdi: Aida and Antonín Dvořák: Rusalka.