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Modern lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. The term for both modern lyric poetry and modern song lyrics derives from a form of Ancient Greek literature, the Greek lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a kithara, a seven-stringed lyre . It is not equivalent to song lyrics, though song lyrics are often in the lyric mode, and it is also not equivalent to Ancient Greek lyric poetry, which was principally limited to song lyrics, or chanted verse.
Poetry took numerous forms in medieval Europe, for example, lyric and epic poetry. The troubadours, trouvères, and the minnesänger are known for composing their lyric poetry about courtly love usually accompanied by an instrument.
Jehan de Lescurel was a composer-poet of late medieval music. Jehan's extensive surviving oeuvre is an important and rare examples of the formes fixes before the time of Guillaume de Machaut; it consists of 34 works: 20 ballades, 12 rondeaus and two long narrative poems, diz entés. All but one of his compositions is monophonic, representing the end of the trouvère tradition and the beginning of the polyphonic ars nova style centered around the formes fixes.
Adam de la Halle was a French poet-composer trouvère. Among the few medieval composers to write both monophonic and polyphonic music, in this respect he has been considered both a conservative and progressive composer, resulting in a complex legacy: he cultivated admired representatives of older trouvère genres, but also experimented with newer dramatic works. Adam represented the final generation of the trouvère tradition and "has long been regarded as one of the most important musical and literary figures of thirteenth-century Europe".
Bernart de Ventadorn was a French poet-composer troubadour of the classical age of troubadour poetry. Generally regarded as the most important troubadour in both poetry and music, his 18 extant melodies of 45 known poems in total is the most to survive from any 12th-century troubadour. He is remembered for his mastery as well as popularization of the trobar leu style, and for his prolific cançons, which helped define the genre and establish the "classical" form of courtly love poetry, to be imitated and reproduced throughout the remaining century and a half of troubadour activity.
France has a rich music history that was already prominent in Europe as far back as the 10th century. French music originated as a unified style in medieval times, focusing around the Notre-Dame school of composers. This group developed the motet, a specific musical composition. Notable in the high Middle Ages were the troubadours and trouvères soon began touring France, composing and performing many original songs. The styles of ars nova and ars subtilior sprung up in the 14th century, both of which focused on secular songs. As Europe moved into the Renaissance age, the music of France evolved in sophistication. The popularity of French music in the rest of Europe declined slightly, yet the popular chanson and the old motet were further developed during this time. The epicenter of French music moved from Paris to Burgundy, as it followed the Burgundian School of composers. During the Baroque period, music was simplified and restricted due to Calvinist influence. The air de cour then became the primary style of French music, as it was secular and preferred by the royal court.
Conon de Béthune was a French crusader and trouvère poet who became a senior official and finally regent of the Latin Empire of Constantinople. Alternative spellings of his name include Cono, Coesnes, Quenes, Conain, and Quenon.
Trouvère, sometimes spelled trouveur, is the Northern French form of the langue d'oc (Occitan) word trobador, the precursor of the modern French word troubadour. Trouvère refers to poet-composers who were roughly contemporary with and influenced by the trobadors, both composing and performing lyric poetry during the High Middle Ages, but while the trobadors composed and performed in Old Occitan, the trouvères used the northern dialects of France. One of the first known trouvères was Chrétien de Troyes and the trouvères continued to flourish until about 1300. Some 2130 trouvère poems have survived; of these, at least two-thirds have melodies.
The grand chant (courtois) or, in modern French, (grande) chanson courtoise or chanson d'amour, was a genre of Old French lyric poetry devised by the trouvères. It was adopted from the Occitan canso of the troubadours, but scholars stress that it was a distinct genre. The predominant theme of the grand chant was courtly love, but topics were more broad than in the canso, especially after the thirteenth century. The monophonic grand chant of the High Middle Ages was in many respects the predecessor of the polyphonic chanson of the Late Middle Ages.
Jehan Erart (or Erars) (c.1200/10–1258/9) was a trouvère from Arras, particularly noted for his favouring the pastourelle genre. He has left behind eleven pastourelles, ten grand chants, and one serventois.
The jeu-parti is a genre of French lyric poetry composed between two trouvères. It is a cognate of the Occitan partimen. In the classic type, one poet poses a dilemma question in the opening stanza, his or her partner picks a side in the second stanza, which replicates the versification of the first and is sung to the same melody. Typically, the jeu-parti has six stanzas, with the two interlocutors alternating stanza by stanza. Many jeux-partis also have final partial stanzas in which one or both of the interlocutors appoint judges and call for judgement. The outcome, however, is virtually never given within the jeu-parti itself and would have been the subject of audience discussion after the jeu-parti's performance. The form was particularly associated with the Puy d'Arras. Over 200 examples survive, of which around 180 are in the classic form.
Jehan de Braine (c. 1200 – 1240) was, jure uxoris, the Count of Mâcon and Vienne from 1224 until his death. He was a younger son of Robert II of Dreux and his second wife, Yolande de Coucy. His wife was Alix, granddaughter of William V of Mâcon. Jehan was also a trouvère and a Crusader. He followed Theobald I of Navarre to the Holy Land in the Barons' Crusade of 1239 and there died a year later. His widow, Alix, sold her counties to Louis IX of France.
Jocelin de Dijon was an Old French trouvère, presumably from Dijon. Two songs survive attributed to his full name and two further songs survive credited to an otherwise unidentifiable "Jocelin" in the Berne Chansonnier which may be the work of Jocelin de Dijon.
Gontier de Soignies was a medieval trouvère and composer who was active from around 1180 to 1220.
Guillaume le Vinier (c. 1190–1245) was a cleric and trouvère, one of the most prolific composers in the genre. He has left compositions in all the major subgenres of trouvère poetry: chansons d'amour, jeux-partis, a lai, a descort, a chanson de mal mariée and a ballade. He wrote Marian songs and even an imaginary dialogue with a nightingale. His work can be dated with some precision: the poem "En tous tens" is quoted in the Roman de la violette, which was written around 1225.
Gautier d'Espinal . Grove states that while details of his life are lacking, some documents of the time mention a Gautier d'Espinal active between 1232 and 1272, but it is uncertain if this is the trouvère, as some of the songs attributed to him suggest an earlier date. Most likely Gautier was one of the seigneurs of the city of Epinal. However, Robert Lug's more recent (2007) study of the Saint-Germain-des-Prés chansonnier shows that Gautier is not the person in the mentions cited by Grove, but was in fact a cleric, a nephew of the bishop of Metz. As Gautier's songs are contained in the oldest part of Trouvère MS U, they must have been composed before 1231–32.
Perrin d'Angicourt was a trouvère associated with the group of poets active in and around Arras. His birthplace was most likely Achicourt, just south of Arras. His surviving oeuvre is large by the standards of the trouvères, and well-distributed in the chansonniers: thirty-five (35) of his songs survive, in some case in as many as eleven different manuscripts.
Lorete was a trouvère, one of only eight women composers of Old French lyric poetry known by name. She is known only by her given name. Her only known work, preserved in a single manuscript, is Lorete, suer, par amor, a jeu parti between her and an unnamed "sister". It has features of the Lorrain dialect.
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