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<p>This paper presents a&#xa0;technique of melodic analysis tailored to the texts of German Minnesang for which no legible melodies have been recorded. By reading song texts against the background of an assumed strophic melody, it is possible to identify passages in which textual and musical form would have interacted and to broadly describe the poetic function of specific forms of such interaction. The relationship between text and melody in two songs of Wizlav’s with transmitted melodies (Song 2 and 11) demonstrates the potential of this form of analysis, which is then applied to Reinmar’s <i>Si koment underwîlent her</i> (MF 151,1). I conclude with a&#xa0;consideration of the historical and methodological limitations and opportunities of such an analysis, particularly for a&#xa0;better understanding of the relationship between writing, music, and orality in medieval vernacular German lyric.</p>

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  • 期刊论文

  • 发表日期：

    2025年5月28日

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  • Maxwell Phillips

摘要

This paper presents a technique of melodic analysis tailored to the texts of German Minnesang for which no legible melodies have been recorded. By reading song texts against the background of an assumed strophic melody, it is possible to identify passages in which textual and musical form would have interacted and to broadly describe the poetic function of specific forms of such interaction. The relationship between text and melody in two songs of Wizlav’s with transmitted melodies (Song 2 and 11) demonstrates the potential of this form of analysis, which is then applied to Reinmar’s Si koment underwîlent her (MF 151,1). I conclude with a consideration of the historical and methodological limitations and opportunities of such an analysis, particularly for a better understanding of the relationship between writing, music, and orality in medieval vernacular German lyric.