My new article on J’ai trouvé, an anonymous and oddly structured song by someone who was probably called Martin, has just appeared in the journal Plainsong and Medieval Music.
Here I re-examine a thirteenth-century texted dance song, ‘Marty’s tune’, which is uncommon for its survival in two sources, one with musical notation. I explore previous academic attempts to define the song’s form and genre, highlighting how these studies often prioritized a perceived ‘correct’ structure over the evidence in the surviving manuscripts. By comparing the textual differences between the two copies alongside the musical notation, the article proposes new understandings of the song’s compositional, scribal, and performance history. It suggests that the less formal aspects of the version without notation might indicate a closer connection to semi-improvised dance performances and argues that the term “note” may have been a broad description for a tune, rather than a strict genre or form label. Ultimately, I advocate for a re-evaluation of medieval pastourelles to include songs like “Marty’s tune,” which feature explicit carnal desire and physical interaction.
The PDF can be freely downloaded from the CUP site (link above).
For those of you that want an accessible audio summary, here’s a podcast produced by feeding the text to NotebookLM (from which the above text summary is also adapted). Enjoy!
On 6 Mar 2024 I had a party to celebrate the launch of Medieval Sex Lives, the first book launch party I’ve ever had, although it will not be the last! Nigel Bryant gave a lovely appreciation of my book and Joseph W. Mason and Matthew P. Thomson sang the third pastourelle from the subsection of pastourelles in Douce 308 to the tune of a song by Gautier de Coinci with which it shares its versification. I had provided an English singing translation and captured the performance on my phone. In the spirit of there being two women who perform both male and female parts in the robardel in The Tournament at Chauvency — a possibility that gave me much food for thought when writing the book — Matthew and Joe take the parts of the knight and shepherdess, respectively. I post the video below, with permission from the two singers and apologies for the sound recording quality and poor visual-angle, which are both my own fault. Nice to have this though and my thanks to them both.
And, to repost this link, for those of you keen to get a sense of Medieval Sex Lives without having to read it, I talk about its basic rationale and contents in a podcast episode on the New Books Network.
The publishers, Cornell UniversityPress, have sent me some marketing materials for my new book, including a code for 30% discount on orders (scroll down to the end of the post). This post just gives a summary, the cover image, and a few sections from the author questionnaire they sent, which should give a flavour of what’s in the book.
Summary
Oxford, Bodleian Library MS Douce 308 preserves and re-copies the lyrics of over 500 songs, ranging from those written in the late twelfth century, to those composed only a few years before the manuscript was copied in the early fourteenth. Its lack of both musical notation and authorial attribution make it relatively unusual among Old French songbooks. Its arrangement by genre instead invites an investigation of the relationship between a long tradition of sung courtly lyric and the real lives of the people who enjoyed it, in particular their emotional, intimate, sexual lives, something for which little direct evidence exists.
Using the other main inclusion in the original plan for Douce 308, Jacques Bretel’s poetic account of a tournament, TheTournament at Chauvency, Medieval Sex Lives argues that song offered musical practices which provided fertile means of propagating and enabling various sexual scripts.
With a focus on parts of Douce 308 not yet treated in detail elsewhere, Medieval Sex Lives offers an account of the manuscript’s contents, its importance, and likely social milieu, with ample musical and poetic analysis. In the process it offers new ways of understanding Marian songs and sottes chansons, as well as arguing for a broadening of our understanding of the medieval pastourelle, both as a genre and as an imaginative prop. Ultimately, Medieval Sex Lives presents a provocative speculative hypothesis about courtly song in the early fourteenth century as a social force, focusing on its ability to model, instill, inspire, and support sexual behaviours, real and imaginary.
Three ideas in the book
The idea that medieval people consumed cultural products (in this case, songs) that fed and moulded their sexual imaginations;
The idea that an unnotated songbook might be very noisy with the sounds of sex and tournaments;
The idea that minority sexual practices (queer sexualities and paraphilias of various kinds) were present in the distant past.
What inspired me to write the book?
This book arose from two different but related questions. First, I wondered why the sung lyric tradition of Western Europe that is generally called “courtly love had such a long and successful history. Second, I wanted to know why the unnotated songbook, Oxford, Bodleian Library MS Douce had bothered to preserve and re-copy the lyrics of over 500 such songs, ranging from those written in the late twelfth century, to those composed only a few years before the manuscript was copied in the early fourteenth. The lack of musical notation, which was never planned for its songs, makes this manuscriptunusual among Old French songbooks. Nonetheless, curating nearly 150 years of this long-lived tradition was clearly important to the patrons, compilers, owners, and users of this manuscript: but why?
How will this book make a difference in my field of study? In what way is my argument a controversial or one that will shake up preconceived ideas?
Overall, the book challenges the idea that medieval song has nothing (or little) to do with the real lives of its audiences. Ch2’s proposal of love songs as sexual scripts is a controversial use of sociological theory to treat medieval literature. In Ch3 it offers a new way of approaching the sotte chanson (‘silly song’) as something not merely humorous or satirical, but as a potentially serious erotic possibility. Ch4 treats The Tournament at Chauvency from the perspective of sound studies. And Ch5 offers a controversial reading of the medieval pastourelle that firstly expands the definition of the genre to include songs rarely considered as pastourelles (but collected by Douce 308 as such), and secondly makes a difficult argument about some of them as offering fantasies of sexual domination and rape that might have appealed (and been useful) to some audience members, specifically women and queer people.
Residents outside North America should use 30% Discount Code: FFF23 and order online at combinedacademic.co.uk. Details on this PDF:
My article revisiting the dating, provenance and putting together of the manuscript Bodleian Library, Douce 308 has just appeared in the journal Speculum.
My essay on the estampies of the Oxford manuscript Douce 308 has just been published in a collection entitled Music and Instruments of the Middle Ages: Essays in Honour of Christopher Page, Edited by Tess Knighton and David Skinner.
Elizabeth Eva Leach 