Meg Bogin's The Women Troubadours What is Bieiris de Romans’ speaker seeking from the woman, Maria, about whom Bieiris writes? More generally, what are female troubadours as a whole seeking from their loves, and their craft? Meg Bogin, in her The Women Troubadours, asserts that “their poems were addressed to women… to whom they vowed eternal homage and obedience. In exchange for their prostration, the troubadours expected to be ennobled, enriched, or simply made ‘better’” (Bogin, 9). Is
Maria de Ventadorn writes in a style common to the trobairitz of her time in the south of France. Meg Bogin’s collection The Women Troubadours will be used to outline general aspects of courtly love. This type of lyric is called a tenson, a common form of performed collaborative song with alternating stanzas (16). In the lyric, courtly love is presented as a game and Lady Maria’s interest is to win. This can be observed in the treatment of her counterpart and her ideas about courtship. The
Women in Music History shows that women were not as big of participants in music as men until later in the medieval era. This is due to many obstacles that faced women disabling them from singing, playing any instruments, or even composing music. Although barriers were present, many women and nuns were able to surpass them, and make use of their abilities and skills. In this paper, I will present the role of women as they interacted with polyphony, and as they became scribes, performers,