Troubadour in the context of "Guillaume de Machaut"

Provençal (/ˌprɒvɒ̃ˈsɑːl/, also UK: /-sæl/, US: /ˌproʊ-, -vən-/, French: [pʁɔvɑ̃sal] ; Occitan: provençau or prouvençau [pʀuvenˈsaw]) is a variety of Occitan, spoken by people in Provence and parts of Drôme and Gard. The term Provençal used to refer to the entire Occitan language, but more recently it has referred only to the variety of Occitan spoken in Provence. However, it can still be found being used to refer to Occitan as a whole, e.g. Merriam-Webster states that it can be used to refer to general Occitan, though this is going out of use.

Provençal is also the customary name given to the older version of the Occitan language used by the troubadours of medieval literature, when Old French or the langue d'oïl was limited to the northern areas of France. Thus, the ISO 639-3 code for Old Occitan is [pro].

The theatre of Italy originates from the Middle Ages, with its background dating back to the times of the ancient Greek colonies of Magna Graecia, in southern Italy, the theatre of the Italic peoples and the theatre of ancient Rome. It can therefore be assumed that there were two main lines of which the ancient Italian theatre developed in the Middle Ages. The first, consisting of the dramatization of Catholic liturgies and of which more documentation is retained, and the second, formed by pagan forms of spectacle such as the staging for city festivals, the court preparations of the jesters and the songs of the troubadours.

Renaissance humanism was also a turning point for the Italian theatre. The recovery of the ancient texts, both comedies and tragedies, and texts referring to the art of the theatre such as Aristotle's Poetics, also gave a turning point to representational art, which re-enacted the Plautian characters and the heroes of Seneca's tragedies, but also building new texts in the vernacular.

Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" can also be applied to non-Western art musics. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony. Since at least the ninth century, it has been primarily a written tradition, spawning a sophisticated notational system, as well as accompanying literature in analytical, critical, historiographical, musicological and philosophical practices.

Rooted in the patronage of churches and royal courts in Europe, surviving early medieval music is chiefly religious, monophonic and vocal, with the music of ancient Greece and Rome influencing its thought and theory. The earliest extant music manuscripts date from the Carolingian Empire (800–887), around the time which Western plainchant gradually unified into what is termed Gregorian chant. Musical centers existed at the Abbey of Saint Gall, the Abbey of Saint Martial and Saint Emmeram's Abbey, while the 11th century saw the development of staff notation and increasing output from medieval music theorists. By the mid-12th century, France became the major European musical center: the religious Notre-Dame school first fully explored organized rhythms and polyphony, while secular music flourished with the troubadour and trouvère traditions led by poet-musician nobles. This culminated in the court-sponsored French ars nova and Italian Trecento, which evolved into ars subtilior, a stylistic movement of extreme rhythmic diversity. Beginning in the early 15th century, Renaissance composers of the influential Franco-Flemish School built on the harmonic principles in the English contenance angloise, bringing choral music to new standards, particularly the mass and motet. Northern Italy soon emerged as the central musical region, where the Roman School engaged in highly sophisticated methods of polyphony in genres such as the madrigal, which inspired the brief English Madrigal School.

Luchetto Gattilusio (fl. 1248–1307) was a Genoese statesman, diplomat, and man of letters. As a Guelph he played an important role in wider Lombard politics and as a troubadour in the Occitan language he composed three poems descriptive of his times.

Courtly love (Occitan: fin'amor [finaˈmuɾ]; French: amour courtois [amuʁ kuʁtwa]) was a medieval European literary conception of love that emphasized nobility and chivalry. Medieval literature is filled with examples of knights setting out on adventures and performing various deeds or services for ladies because of their "courtly love". This kind of love was originally a literary fiction created for the entertainment of the nobility, but as time passed, these ideas about love spread to popular culture and attracted a larger literate audience. In the High Middle Ages, a "game of love" developed around these ideas as a set of social practices. "Loving nobly" was considered to be an enriching and improving practice.

Courtly love began in the ducal and princely courts of Aquitaine, Provence, Champagne, ducal Burgundy and the Norman Kingdom of Sicily at the end of the eleventh century. In essence, courtly love was an experience between erotic desire and spiritual attainment, "a love at once illicit and morally elevating, passionate and disciplined, humiliating and exalting, human and transcendent". The topic was prominent with both musicians and poets, being frequently used by troubadours, trouvères and Minnesänger. The topic was also popular with major writers, including Dante, Petrarch and Geoffrey Chaucer.

Roger-Bernard III (1243 – 3 March 1302) was the Count of Foix from 1265 to his death. He was the son of Roger IV of Foix and Brunissende of Cardona. He entered into conflicts with both Philip III of France and Peter III of Aragon, who held him in captivity for a time. He was nevertheless a distinguished poet and troubadour.

The chanson de geste (Old French for 'song of heroic deeds', from Latin: gesta 'deeds, actions accomplished') is a medieval narrative, a type of epic poem that appears at the dawn of French literature. The earliest known poems of this genre date from the late 11th and early 12th centuries, shortly before the emergence of the lyric poetry of the troubadours and trouvères, and the earliest verse romances. They reached their highest point of acceptance in the period 1150–1250.

Composed in verse, these narrative poems of moderate length (averaging 4000 lines) were originally sung, or (later) recited, by minstrels or jongleurs. More than one hundred chansons de geste have survived in approximately three hundred manuscripts that date from the 12th to the 15th century.