Ua comèdi prouvençalo en tres ate e en vers, de Louis Roumieux.
Quau vòu prendre dos lèbre a la fes n’en pren ges
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Ua comèdi prouvençalo en tres ate e en vers, de Louis Roumieux.
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| format |
There are no reviews yet.
Era gojata confon estar e èster, se non artenh a distinguir-les, jamès acabarà eth sòn trebalh. SIA l’ajude mès non dera manèra qu’era gojata se demoraue.
La Jove confon estar i èster, si no aconsegueix distingir-les, mai acabarà el seu treball. La SIA l’ajuda però no de la manera que la Jove s’esperava.
Eth Vielh Sabent vò saber eth significat de lecatruhes mès non vò qu’arrés sàpie qu’eth non ac sabie.
L’Avi Savi vol saber el significat de lecatruhes però no vol que ningú sàpiga que ell no ho sabia.
COMPARASONS / COMPARACIONS
Era Torista non compren ua comparason que SIA hèr a anar mès pense que ja mestrege er idiòma. SIA li demostrarà que non ei cap atau.
La Turista no entén una comparació que la SIA fa servir però pensa que ja té l’idioma dominat. La SIA li demostrarà que no és així.
PREGUNTES CULTURA / QÜESTIONS CULTURA
Eth Pair-sénher hè ua consulta a SIA mès aguesta, en compdes de trasladar-lo tà ua simulacion, li respon. Ada eth açò non li agrade guaire e SIA l’envie tà un concors.
L’Avi li fa una consulta a la SIA però aquesta, en lloc de traslladar-lo a una simulació, li respon. Ell, es molesta, i la SIA l’envia a un concurs.
Quan ei milhor bracar-se eth peu? Era gojata non a clar quan ac a de hèr. Visite a SIA e l’ac comente.
Quan és millor tallar-se el cabell? La Jove no té clar quan ha de fer-ho. Visita a la SIA i li comenta.
“Singing to another tune” is from Las Leys d’amors (The Laws of Love), a poetic treatise compiled by Guilhem Molinier in the first half of the fourteenth century. Guilhem’s phrase pertains to a compositional technique known to modern scholars as contrafacture, in which the troubadour fashions new lyrics after the poetic structure of a preexistent song, thereby allowing his work to be sung to the earlier melody. The technique of contrafacture is documented not only by Guilhem and contemporaneous theorists but also by the troubadours themselves, who on a number of occasions acknowledge composing a poem “el so de,” or “to the tune of” another composer. Both theory and practice demonstrate that structural imitation came to be most closely associated with several specific genres, including the sirventes (moralizing piece), tenso (debate song), coblas (song of few strophes), and planh (lament), their poetic structures commonly modeled after those of the canso, the dominant genre of troubadour composition. Despite abundant structural indications of contrafacture within the troubadour repertoire, melodic traces of the practice are surprisingly scant. Confirmation of melodic borrowing depends upon the preservation of a model and its contrafactum with their concordant musical readings, yet the small proportion of surviving troubadour melodies (with only one in ten lyric texts transmitted with its tune) poses a significant impediment to melodic corroboration. Only three sirventes have been preserved with melodies that duplicate those of preexistent cansos. In the remaining instances in which a sirventes, tenso, or other imitative type is preserved with a melodic unicum, scholars of troubadour song have tended to maintain that, absent melodic corroboration, the tune must be presumed original rather than borrowed. In view of the sparseness of the musical record, however, one should give consideration to an alternate interpretation, namely that the tune preserved exclusively with a given troubadour’s sirventes and thereafter transmitted as his invention may actually have been borrowed from a preexistent canso whose melody is no longer extant in its original setting. Isolating viable structural models for such suspected contrafacta allows the possibility of reascribing potentially borrowed melodies to their original composers. The study of contrafacture can thus lead us to question the received attributions of a number of tunes, thereby posing a challenge to the readily made assumption that the manuscript rubrics consistently pertain to both text and melody. By examining several suspected cases of contrafacture within a web of relevant indices– e.g., generic norms, intertextual correlations, socio-historic context, rhetorical motivation, transmission, and melodic style– we gain greater insight into a compositional technique that indelibly marked the art of the troubadours.
Eth Nauvengut torne enfadat d’ua simulacion, tostemp li tòque recéber. Abans d’anar-se’n ditz quauquarren a SIA çò que provòque un gran desastre.
El Nouvingut torna enfadat d’una simulació, sempre li toca el rebre. Abans de marxar diu una cosa a la SIA que provoca un gran daltabaix.
Era gojata a de besonh informacion tà un trebalh que hè. Va a veir a SIA tà que li explique qui son es Corbilhuèrs de Les.
La Jove necessita informació per un treball que està fent. Acudeix a la SIA perquè li expliqui qui són els corbilhòers de Les.
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