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.
Les dansas du Chansonnier du Roi (Paris, BnF, fr. 844) : à la recherche de fautes dans un corpus d’unica
Federico Saviotti
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2020-01-01
Abstract
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.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
