A sizeable body of melodies survives from the troubadour, trouvère, and Minnesinger repertories that demonstrate intentional modal variation. In comparing the appearance of a tune in different manuscripts, whether accompanying the same text or as a contrafactum, one can observe three changes in modal structures in the melodies. The different variants of the same melody may (1) emphasize opposing scale patterns, (2) emphasize a difference in the relationship between focal centers (pitches), and (3) affect both of these characteristics equally. The evidence suggests that these modal variations are the result of compositional planning and that medieval musicians did not feel bound to the mode of a borrowed tune so long as they retained the original melodic outline of the tune.

Works: Châtelain de Coucy: L’an que rose ne feuille (119, 126), Quant voi esté (199-22), A vous, amant, plus qu’a nule autre gent (122), La douce vois du rossignol salvage (123), Mout ai esté longuement esbahis (126); Anonymous: Souvent souspire (123); Anonymous: Veris ad imperia (123); Thibaut de Navarre: Pour conforter ma pesance (127).

Sources: Châtelain de Coucy: L’an que rose ne feuille (119, 126), Quant voi esté (199-22), A vous, amant, plus qu’a nule autre gent (122), La douce vois du rossignol salvage (123), Mout ai esté longuement esbahis (126); Raimbaut de Vaqueiras: Kalenda maya (123); Anonymous: A l’entrada del tens clar (123); Thibaut de Navarre: Pour conforter ma pesance (127).

Index Classifications: Monophony to 1300

Contributed by: Daniel Rogers