Books by Federico Saviotti
L’invention par Adam de la Halle des Vers d’Amours, composés en strophes d’Hélinand à l’instar de... more L’invention par Adam de la Halle des Vers d’Amours, composés en strophes d’Hélinand à l’instar des célèbres Vers de la Mort, va élargir par le choix d’un thème nouveau, celui du blâme d’amour, le domaine des « dits » moraux en vogue à Arras dans la deuxième moitié du XIIIe siècle. Nevelot Amion, l’obscur concitoyen et confrère du grand trouvère, essaye dans son imitation déclarée mais non servile du modèle de faire des Vers d’Amours une nouvelle expression des lamentations de l’amant courtois. Ainsi, les deux poèmes occupent une place emblématique dans le panorama de la littérature artésienne de leur époque, dans le signe de l’interférence des styles et des registres poétiques.
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Papers by Federico Saviotti
Studi Musicali, 2023
In 2019 two largely intact parchment bifolios containing late fourteenth-century polyphony, reuse... more In 2019 two largely intact parchment bifolios containing late fourteenth-century polyphony, reused as book covers, were found independently in Milan-area libraries: one at the Biblioteca Universitaria in Pavia (I-PAVu, Pergamene sparse, scatola 4, n. 8) and the other at the Biblioteca Trivulziana in Milan (binding of I-Mt, 1759). This is the first of two articles demonstrating that the two bifolios belonged to the same original manuscript, a compilation of Mass Ordinary movements and secular songs copied in northern Italy (ca. 1400). This first essay presents the fragment Pv, a bifolio containing five polyphonic anonymous unica. The pieces are written in fourteenth-century black notation using dragmae, including an unknown form of ‘dragma brevis’ and a case of half-coloration. The four secular works, two virelais and two rondeaux, are all for two voices with untexted tenor. The fifth piece is a fragmentary Credo of which only two texted voices remain. The essay contains a codicological and palaeographic description of the bifolio, a musicological study of the works, a linguistic and stylistic analysis of the French poems, and a critical edition of both texts and music. In the final paragraph, we offer a hypothesis on the origin of the fragment based on the data collected.
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Romania, 2023
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Carte romanze, 2023
L e «Chansonnier (ou Manuscrit) du Roi» a toutes les caractéristiques pour attirer l'intérêt des ... more L e «Chansonnier (ou Manuscrit) du Roi» a toutes les caractéristiques pour attirer l'intérêt des spécialistes, soient-ils philologues ou musicologues. Dans ses 215 feuillets, il renferme des chansons de trouvères (dans la section principale, siglé M) ordonnées par auteur selon un critère de hiérarchie sociale (grands aristocrates; nobles de deuxième rang; roturiers, clercs et bourgeois) 1 rare dans l'organisation des chansonniers de la lyrique galloromane médiévale, 2 mais aussi des chansons de troubadours linguistiquement francisées (W), des motets polyphoniques (R) et trois lais, dont deux en langue mixte franco-occitane, 3 tous ou presque avec
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Revue des Langues Romanes, 2022
The presence – in a French rondeau transcribed in a recently-discovered Italian fragment – of the... more The presence – in a French rondeau transcribed in a recently-discovered Italian fragment – of the appellation formula “douce yoye”addressed to the beloved inspires a reflexion about the use of the noun “joy” in French (joie), Occitan (joi, joia) and Italian (gioi, gioia) in reference to the lady sung in the Medieval Romance Lyric. The analysis of the occurrences in the Troubadours’, Trouveres’ and Italian poets’ corpora allows to formulated an hypothesis about the evolution of his poetic function: from a proper pseudonym to a generic expression whose success is witnessed by its persistence in nowadays common language.
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Cahiers de civilisation médiévale, 257, 2022
This paper is conceived as the first chapter of a thorough interdisciplinary investigation on the... more This paper is conceived as the first chapter of a thorough interdisciplinary investigation on the Occitan dansa, the French virelai and other related Romance lyrical genres. By combining philological and musicological approaches, we discuss the definition of the dansa-form based on medieval sources and the delimitation of its corpus, both in Occitan and Catalan milieus. Moreover, we aim to retrace the history of the troubadours’ dansa from its outset to 1400 and back to its possible origin. Concerning this particular aspect, we focus on the alleged derivation of the dansa from the
popular poetry of pièces à refrain and/or of “zadjal-type” poems. An in-depth analysis of the dansa’s characteristic features and its comparison with the sacred repertoire of Latin hymns and conductus lead us to a different conclusion: the roots of the dansa-form are to be found in the courtly troubadours’ canso, through an interference with the liturgical
and paraliturgical production of the responsoria.
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Revue des langues romanes ["La réception des troubadours au Moyen Âge (oc et oïl) 1 - La poésie lyrique] , 2020
BdT 392.29 is a bilingual Occitan-French partimen between the troubadour Raimbaut de Vaqueiras an... more BdT 392.29 is a bilingual Occitan-French partimen between the troubadour Raimbaut de Vaqueiras and the trouvère Conon de Béthune. A close investigation of its language, style, contents, contexts of composition and reception leads to reaffirm that both of the poetic voices belong to real authors, against the hypothesis that this debate should be considered as a “fictional tenso” composed by Raimbaut alone. Through the analysis of the varia lectio it has been possible to check the different audiences’ attitudes (from Constantinople to the Veneto and the Languedoc, between 13th and the beginning of 14th centuries) towards the plurilingual nature of the text and to set the stages for a new critical edition of the poem.
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Atlante - Revue d'études romanes , 2020
Dès ses débuts la poésie des troubadours a choisi de représenter en des termes spatiaux le rappor... more Dès ses débuts la poésie des troubadours a choisi de représenter en des termes spatiaux le rapport entre l’amant et sa bien-aimée. Le monde décrit dans la « chanson » est axé autour d’un sai (‘ici’), lieu du sujet et de son chagrin amoureux, auquel s’oppose nettement le lai (‘là-bas’), lieu de l’être aimé et de l’assouvissement (le plus souvent impossible) du désir. Cette polarité a déjà été remarquée par la critique. Dans mon article je cherche à mieux définir la consistance de la « géographie du désir » qu’elle structure, à partir de la lecture de l’œuvre de deux auteurs paradigmatiques, tels que Jaufré Rudel et Bernard de Ventadour, et d’en tracer le développement chez les poètes des générations suivantes. Les aboutissements les plus singuliers sont certainement ceux que présentent les deux troubadours voyageurs Peire Vidal et Raimbaut de Vaqueiras. Dans leurs chansons l’espace poétique du désir se fait de plus en plus concret et le discours amoureux se situe dans une géographie ouverte et polycentrique qui mieux correspond à leur expérience d’un monde sans confins.
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Textus&Musica, 2020
The famous ms. Paris, BnF, fr. 844 contains on its margins and blank pages more than fourty poems... more The famous ms. Paris, BnF, fr. 844 contains on its margins and blank pages more than fourty poems, mostly unica, which were added by different hands after the codex was compiled, between the end of the 13th century and the beginning of the 14th. This paper discusses the possibility of identifying errors in the case of unica: if the comparison of different readings may at least lead to detect some evident errors, both in the text and in the music, how can scholars confront this task when any ground for comparison is missing? Thanks to the interaction of textual and musical elements but also to the in-depth study of these poems’ receptional milieu, this interdisciplinar research shows a new fruitful approach to this question, together with the first outcomes of a thorough analysis of the five Occitan dansas conserved as added pièces by the Chansonnier du Roi.
https://textus-et-musica.edel.univ-poitiers.fr/index.php?id=245
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Transferts culturels franco-italiens au Moyen Âge – Trasferimenti culturali italo francesi, ed. Roberto Antonelli, Joelle Ducos, Claudio Galderisi, Arianna Punzi, Turnhout, Brepols, 2020
A reflection about the role of translation for the origin of Italian lyric poetry.
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"Cahiers de recherches médiévales et humanistes / Journal of Medieval and Humanistic Studies", 2018
The Vers du Monde are an anonymous poem set in Hélinand stanzas. The
purpose of this article is ... more The Vers du Monde are an anonymous poem set in Hélinand stanzas. The
purpose of this article is to provide a new edition of the text - after A. Jubinal ’s edition
(1842) - accompanied by a translation and commentary, which are necessary to clarify
the meaning of many passages that are hard to understand in the only extant
manuscript of the text (BnF, fr. 837). The introduction studies the content and style of
the work and tries to situate it in the context of the “moral verses” composed in
northern France between the thirteenth and fourteenth centuries.
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"Critica del testo", 2017
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A new critical edition (with Italian translation) of the famous "Carros" by Raimbaut de Vaqueiras.
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"Anomalie, residui, riusi", a cura di Simone Marcenaro e Isabella Tomassetti.
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La formule au Moyen Âge, II / Formulas in Medieval Culture II, Actes du colloque international de Nancy et Metz, 7-9 juin 2012 / Proceedings of the International Conference, Nancy and Metz, 7th-9th June 2012, I. Draelants, C. Balouzat-Loubet (eds.), Brepols, Turnhout, 2015, p. 291-307
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Books by Federico Saviotti
Papers by Federico Saviotti
popular poetry of pièces à refrain and/or of “zadjal-type” poems. An in-depth analysis of the dansa’s characteristic features and its comparison with the sacred repertoire of Latin hymns and conductus lead us to a different conclusion: the roots of the dansa-form are to be found in the courtly troubadours’ canso, through an interference with the liturgical
and paraliturgical production of the responsoria.
https://textus-et-musica.edel.univ-poitiers.fr/index.php?id=245
purpose of this article is to provide a new edition of the text - after A. Jubinal ’s edition
(1842) - accompanied by a translation and commentary, which are necessary to clarify
the meaning of many passages that are hard to understand in the only extant
manuscript of the text (BnF, fr. 837). The introduction studies the content and style of
the work and tries to situate it in the context of the “moral verses” composed in
northern France between the thirteenth and fourteenth centuries.
popular poetry of pièces à refrain and/or of “zadjal-type” poems. An in-depth analysis of the dansa’s characteristic features and its comparison with the sacred repertoire of Latin hymns and conductus lead us to a different conclusion: the roots of the dansa-form are to be found in the courtly troubadours’ canso, through an interference with the liturgical
and paraliturgical production of the responsoria.
https://textus-et-musica.edel.univ-poitiers.fr/index.php?id=245
purpose of this article is to provide a new edition of the text - after A. Jubinal ’s edition
(1842) - accompanied by a translation and commentary, which are necessary to clarify
the meaning of many passages that are hard to understand in the only extant
manuscript of the text (BnF, fr. 837). The introduction studies the content and style of
the work and tries to situate it in the context of the “moral verses” composed in
northern France between the thirteenth and fourteenth centuries.
https://textus-et-musica.edel.univ-poitiers.fr/index.php
bifolios containing late fourteenth-century
polyphony, reused as book covers,
were found independently in Milanarea
libraries: one at the Biblioteca Universitaria
in Pavia (I-PAVu, Pergamene
sparse, scatola 4, n. 8) and the other
at the Biblioteca Trivulziana in Milan
(binding of I-Mt, 1759). This is the
first of two articles demonstrating that
the two bifolios belonged to the same
original manuscript, a compilation of
Mass Ordinary movements and secular
songs copied in northern Italy (ca.
1400). This first essay presents the fragment
Pv, a bifolio containing five polyphonic
anonymous unica. The pieces
are written in fourteenth-century black
notation using dragmae, including an
unknown form of ‘dragma brevis’ and a
case of half-coloration. The four secular
works, two virelais and two rondeaux,
are all for two voices with untexted
tenor. The fifth piece is a fragmentary Credo of which only two texted voices
remain. The essay contains a codicological
and palaeographic description of
the bifolio, a musicological study of the
works, a linguistic and stylistic analysis
of the French poems, and a critical edition
of both texts and music. In the final
paragraph, we offer a hypothesis on
the origin of the fragment based on the
data collected.
compositions were found independently in Milan-area libraries, and in 2021 the authors realized that they belonged to the same original manuscript. This talk presents findings from our recent research into the origins and provenance of the “Codice San Fedele-Belgioioso,” a large, elegant, and professionally-copied compilation of mass ordinary movements and French songs of likely Milanese provenance. The two fragments were used as covers for host volumes belonging to practically adjacent libraries in early
seventeenth-century Milan, providing the starting point for an investigation into the origins of the codex.
collected in this book deal with different aspects of the multiple issues raised by identity and its representation in the vast and multilingual poetic production which goes from the Troubadours to Petrarch and Villon, thus providing relevant information and considerations for a necessarily kaleidoscopic answer to the question: “What do our medieval poets identifies themselves with?”.
"Languages and music within the vocal corpuses from the Middle Ages and the Renaissance"
and Festival "Musici Vagantes"
Morimondo-Pavia (Italy), June 1-5, 2019
The 4th symposium “Philology and Musicology” aims to address the question of the relationship between languages and music in the vocal corpuses from the Middle Ages and the Renaissance. How does language directly affect the compositional process?
In order to answer this question, we consider a double postulate: on the one hand, the very substance of a language would condition certain elements of the musical composition associated with it, such as the rhythm or the musical phrase and, on the other hand, the compositional process might be common to certain linguistic traditions, for example, the processes of “centonization”. Although the literature on the subject is abundant, it is mainly monodisciplinary; transversal work combining equal skills in philology and musicology are rare. While many musicologists and philologists have been interested in the relationship between music and language, we wish now to orient our studies towards a real collaboration between musicologists and text specialists. In the same way, comparative studies of several linguistic traditions are relatively rare, as are studies of their implications in musical creation. Moreover, we question whether this relation to language varies according to genres and forms, and how the same language is treated in monody or polyphony. Finally, the consideration of this question diachronically up to the 16th century will aim to delimit the continuities and particularities between different periods, both linguistic and musical.
For the first 4 days, the symposium will take place in the village of Morimondo, near Milan, which will also host the medieval music festival "Musici Vagantes", associated with our congress since the Rome meeting in 2015.
L'atelier regroupe des sessions thématiques divisées en brèves interventions (10 minutes) afin d'offrir une appréciation synthétique du recueil. Chaque séance se poursuivra par un temps de table-ronde.