FOOTNOTES:[69]‘Renaissance in Italy,’ Vol. II.[70]The legend of Tannhäuser, perpetuated in Wagner’s opera, is an example of this superstition.[71]Complaintewas the generic name for the narrative form of song; the laterchansons de geste, the legend of the Passion and of the Saints, early romances and theballadesof the peasants all belonged to this genus.[72]Julien Tiersot:L’histoire de la chanson populaire en France.[73]Karl Bücher:Arbeit und Rhythmus.[74]The ‘cow-horn tune’ of Salzburg (fourteenth century) suggests that the arpeggio manner may have been derived from the horn itself, which was the most common instrument in the pastoral regions of the Tyrol and Switzerland.[75]Jules Combarieu:Histoire de la musique.[76]Fr. Diez:Die Poesie der Troubadours.[77]The Middle-Age hurdy-gurdy.[78]B. at Arras,ca.1230; d. in Naples in 1287. His father was a well-to-do burgher, who destined him for holy orders and sent him to the Abbey of Vauxcelles. But his falling in love with a certaindemoiselleMarie changed the course of his career. However, he separated from her in 1263, and retired again as a clerical to Douai. In 1282 he entered the service of Duke Robert II of Artois and accompanied him in his expedition to Sicily, where he wrote some of his most important works for the entertainment of the French court.Le geu de Robin et Marionwas preceded by other pieces, includingLe geu de la feuillée(1262), but they were of a frivolous and even licentious character.[79]Ed. de Coussemaker:Œuvres complètes du Trouvères Adam de la Hâle.[80]The termsTanzwiseandTanzlietare attached to not a few songs of Minnesingers, notably to those of Ulrich von Lichtenstein and Reinmar der Fiedler.[81]TheBlumewas sometimes applied to the first syllable of a song when it was probably intended to prepare the mood, but produced a rather ludicrous effect. Even Hans Sachs begins his songDrey frummer König Judawith aBlumeof ten notes, all on the worddrey.[82]R. Genée:Hans Sachs und seine Zeit.[83]From the English translation ofDie Meistersinger von Nürnberg, by Frederick Corder.
FOOTNOTES:[69]‘Renaissance in Italy,’ Vol. II.[70]The legend of Tannhäuser, perpetuated in Wagner’s opera, is an example of this superstition.[71]Complaintewas the generic name for the narrative form of song; the laterchansons de geste, the legend of the Passion and of the Saints, early romances and theballadesof the peasants all belonged to this genus.[72]Julien Tiersot:L’histoire de la chanson populaire en France.[73]Karl Bücher:Arbeit und Rhythmus.[74]The ‘cow-horn tune’ of Salzburg (fourteenth century) suggests that the arpeggio manner may have been derived from the horn itself, which was the most common instrument in the pastoral regions of the Tyrol and Switzerland.[75]Jules Combarieu:Histoire de la musique.[76]Fr. Diez:Die Poesie der Troubadours.[77]The Middle-Age hurdy-gurdy.[78]B. at Arras,ca.1230; d. in Naples in 1287. His father was a well-to-do burgher, who destined him for holy orders and sent him to the Abbey of Vauxcelles. But his falling in love with a certaindemoiselleMarie changed the course of his career. However, he separated from her in 1263, and retired again as a clerical to Douai. In 1282 he entered the service of Duke Robert II of Artois and accompanied him in his expedition to Sicily, where he wrote some of his most important works for the entertainment of the French court.Le geu de Robin et Marionwas preceded by other pieces, includingLe geu de la feuillée(1262), but they were of a frivolous and even licentious character.[79]Ed. de Coussemaker:Œuvres complètes du Trouvères Adam de la Hâle.[80]The termsTanzwiseandTanzlietare attached to not a few songs of Minnesingers, notably to those of Ulrich von Lichtenstein and Reinmar der Fiedler.[81]TheBlumewas sometimes applied to the first syllable of a song when it was probably intended to prepare the mood, but produced a rather ludicrous effect. Even Hans Sachs begins his songDrey frummer König Judawith aBlumeof ten notes, all on the worddrey.[82]R. Genée:Hans Sachs und seine Zeit.[83]From the English translation ofDie Meistersinger von Nürnberg, by Frederick Corder.
FOOTNOTES:
[69]‘Renaissance in Italy,’ Vol. II.
[69]‘Renaissance in Italy,’ Vol. II.
[70]The legend of Tannhäuser, perpetuated in Wagner’s opera, is an example of this superstition.
[70]The legend of Tannhäuser, perpetuated in Wagner’s opera, is an example of this superstition.
[71]Complaintewas the generic name for the narrative form of song; the laterchansons de geste, the legend of the Passion and of the Saints, early romances and theballadesof the peasants all belonged to this genus.
[71]Complaintewas the generic name for the narrative form of song; the laterchansons de geste, the legend of the Passion and of the Saints, early romances and theballadesof the peasants all belonged to this genus.
[72]Julien Tiersot:L’histoire de la chanson populaire en France.
[72]Julien Tiersot:L’histoire de la chanson populaire en France.
[73]Karl Bücher:Arbeit und Rhythmus.
[73]Karl Bücher:Arbeit und Rhythmus.
[74]The ‘cow-horn tune’ of Salzburg (fourteenth century) suggests that the arpeggio manner may have been derived from the horn itself, which was the most common instrument in the pastoral regions of the Tyrol and Switzerland.
[74]The ‘cow-horn tune’ of Salzburg (fourteenth century) suggests that the arpeggio manner may have been derived from the horn itself, which was the most common instrument in the pastoral regions of the Tyrol and Switzerland.
[75]Jules Combarieu:Histoire de la musique.
[75]Jules Combarieu:Histoire de la musique.
[76]Fr. Diez:Die Poesie der Troubadours.
[76]Fr. Diez:Die Poesie der Troubadours.
[77]The Middle-Age hurdy-gurdy.
[77]The Middle-Age hurdy-gurdy.
[78]B. at Arras,ca.1230; d. in Naples in 1287. His father was a well-to-do burgher, who destined him for holy orders and sent him to the Abbey of Vauxcelles. But his falling in love with a certaindemoiselleMarie changed the course of his career. However, he separated from her in 1263, and retired again as a clerical to Douai. In 1282 he entered the service of Duke Robert II of Artois and accompanied him in his expedition to Sicily, where he wrote some of his most important works for the entertainment of the French court.Le geu de Robin et Marionwas preceded by other pieces, includingLe geu de la feuillée(1262), but they were of a frivolous and even licentious character.
[78]B. at Arras,ca.1230; d. in Naples in 1287. His father was a well-to-do burgher, who destined him for holy orders and sent him to the Abbey of Vauxcelles. But his falling in love with a certaindemoiselleMarie changed the course of his career. However, he separated from her in 1263, and retired again as a clerical to Douai. In 1282 he entered the service of Duke Robert II of Artois and accompanied him in his expedition to Sicily, where he wrote some of his most important works for the entertainment of the French court.Le geu de Robin et Marionwas preceded by other pieces, includingLe geu de la feuillée(1262), but they were of a frivolous and even licentious character.
[79]Ed. de Coussemaker:Œuvres complètes du Trouvères Adam de la Hâle.
[79]Ed. de Coussemaker:Œuvres complètes du Trouvères Adam de la Hâle.
[80]The termsTanzwiseandTanzlietare attached to not a few songs of Minnesingers, notably to those of Ulrich von Lichtenstein and Reinmar der Fiedler.
[80]The termsTanzwiseandTanzlietare attached to not a few songs of Minnesingers, notably to those of Ulrich von Lichtenstein and Reinmar der Fiedler.
[81]TheBlumewas sometimes applied to the first syllable of a song when it was probably intended to prepare the mood, but produced a rather ludicrous effect. Even Hans Sachs begins his songDrey frummer König Judawith aBlumeof ten notes, all on the worddrey.
[81]TheBlumewas sometimes applied to the first syllable of a song when it was probably intended to prepare the mood, but produced a rather ludicrous effect. Even Hans Sachs begins his songDrey frummer König Judawith aBlumeof ten notes, all on the worddrey.
[82]R. Genée:Hans Sachs und seine Zeit.
[82]R. Genée:Hans Sachs und seine Zeit.
[83]From the English translation ofDie Meistersinger von Nürnberg, by Frederick Corder.
[83]From the English translation ofDie Meistersinger von Nürnberg, by Frederick Corder.