Gautier de Dargies
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| - | + | '''Gautier de Dargies''' (ca. 1170 – ca. 1240) was a [[trouvère]] from [[Dargies]]. He was one of the most prolific of the early trouvères; possibly twenty-five of his lyrics survive, twenty-two with accompanying [[melodies]], in sixteen separate ''[[chansonnier]]s.'' He was a major influence on contemporary and later trouvères, and one of the most recorded of medieval vernacular composers. Seventeen ''[[Grand chant|chansons courtoises]]'' can be assigned indubitably to Gautier, fifteen with music, and three more are probably his, all with music. He imported the [[Occitan]] genre of the ''[[descort]]'' into [[Old French]] and left behind three ''descorts'' with their melodies. He also participated in two ''[[jeux partis]]'', but only one with music. His theme everywhere was [[courtly love]]. | |
| - | A '''lai''' was a song form composed in [[northern Europe]], mainly [[France]] and [[Germany]], from the 13th to the late 14th century. | + | |
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| - | The poetic form of the lai usually has several [[stanza]]s, none of which have the same form. As a result, the accompanying [[music]] consists of sections which do not repeat. This distinguishes the lai from other common types of musically important verse of the period (for example, the [[rondeau (poetry)|rondeau]] and the [[ballade]]). Towards the end of its development in the 14th century, some lais repeat stanzas, but usually only in the longer examples. There is one very late example of a lai, written to mourn the defeat of the French at the [[Battle of Agincourt]] (1415), (''Lay de la guerre'', by [[Pierre de Nesson]]) but no music for it survives. | + | |
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| - | There are four lais in the ''[[Roman de Fauvel]]'', all of them anonymous. The lai reached its highest level of development as a musical and poetic form in the work of [[Guillaume de Machaut]]; 19 separate lais by this 14th-century [[ars nova]] composer survive, and they are among his most sophisticated and highly-developed secular compositions. | + | |
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| - | Other terms for the lai, or for forms which were very similar to the lai, include ''[[descort]]'' ([[Provençal]]), ''Leich'' (German), and ''Lay'' (English). | + | |
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| - | ==Composers of lais== | + | |
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| - | * [[Adam de Givenchi]] | + | |
| - | * [[Charles d'Anjou]] | + | |
| - | * [[Charles, Duke of Orleans]] | + | |
| - | * [[Gautier de Coinci]] | + | |
| - | * [[Gautier de Dargies]] | + | |
| - | * [[Guillaume de Machaut]] | + | |
| - | * [[Guillaume li Vinier]] | + | |
| - | * [[Marie de France]] | + | |
| - | * [[Philippe de Vitry]] (uncertain; works attributed to him may be anonymous) | + | |
| - | * [[Tannhäuser]] | + | |
| - | * [[Thomas Herier]] | + | |
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| - | ==See also== | + | |
| - | + | ||
| - | *[[Virelai]] | + | |
| - | *[[Breton lai]] | + | |
| - | *''[[The Lais of Marie de France]]'' | + | |
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Gautier de Dargies (ca. 1170 – ca. 1240) was a trouvère from Dargies. He was one of the most prolific of the early trouvères; possibly twenty-five of his lyrics survive, twenty-two with accompanying melodies, in sixteen separate chansonniers. He was a major influence on contemporary and later trouvères, and one of the most recorded of medieval vernacular composers. Seventeen chansons courtoises can be assigned indubitably to Gautier, fifteen with music, and three more are probably his, all with music. He imported the Occitan genre of the descort into Old French and left behind three descorts with their melodies. He also participated in two jeux partis, but only one with music. His theme everywhere was courtly love.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Gautier de Dargies" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
