Editing Medieval music (section)

===Trovadorismo===
{{main|Galician-Portuguese lyric}}

In the Middle Ages, [[Galician-Portuguese]] was the language used in nearly all of Iberia for lyric poetry.{{sfn|Chandler|Schwartz|1991|p=197}} From this language derive both modern [[Galician language|Galician]] and [[Portuguese language|Portuguese]]. The Galician-Portuguese school, which was influenced to some extent (mainly in certain formal aspects) by the Occitan troubadours, is first documented at the end of the twelfth century and lasted until the middle of the fourteenth.

The earliest extant composition in this school is usually agreed to be ''Ora faz ost' o senhor de Navarra'' by the Portuguese [[João Soares de Paiva]], usually dated just before or after 1200. The troubadours of the movement, not to be confused with the [[Occitania|Occitan]] [[troubadour]]s (who frequented courts in nearby [[Kingdom of León|León]] and [[Kingdom of Castile|Castile]]), wrote almost entirely ''[[cantiga]]s''. Beginning probably around the middle of the thirteenth century, these songs, known also as ''cantares'' or ''trovas'', began to be compiled in collections known as ''[[Chansonnier|cancioneiros]]'' (songbooks). Three such anthologies are known: the [[Cancioneiro da Ajuda]], the [[Cancioneiro Colocci-Brancuti]] (or [[Cancioneiro da Biblioteca Nacional]] de Lisboa), and the [[Cancioneiro da Vaticana]]. In addition to these there is the priceless collection of over 400 Galician-Portuguese ''cantigas'' in the [[Cantigas de Santa Maria]], which tradition attributes to [[Alfonso X of Castile|Alfonso X]].

The Galician-Portuguese ''cantigas'' can be divided into three basic genres: male-voiced love poetry, called [[Cantiga de amor|''cantigas de amor'']] (or ''cantigas d'amor'', in Galician-Portuguese spelling) female-voiced love poetry, called [[Cantiga de amigo|''cantigas de amigo'']] (or ''cantigas d'amigo''); and poetry of insult and mockery called ''[[cantigas de escárnio e maldizer]]'' (or ''cantigas d'escarnho e de mal dizer''). All three are lyric genres in the technical sense that they were strophic songs with either musical accompaniment or introduction on a stringed instrument. But all three genres also have dramatic elements, leading early scholars to characterize them as lyric-dramatic.

The origins of the cantigas d'amor are usually traced to [[Provençal dialect|Provençal]] and [[Old French]] [[lyric poetry]], but formally and rhetorically they are quite different. The ''cantigas d'amigo'' are probably rooted in a native song tradition,{{sfn|Michaëlis de Vasconcellos|1904|loc={{Page needed|date=August 2016}}}} though this view has been contested. The ''cantigas d'escarnho e maldizer'' may also (according to Lang) have deep local roots. The latter two genres (totalling around 900 texts) make the Galician-Portuguese lyric unique in the entire panorama of medieval Romance poetry.

====Troubadours with surviving melodies====
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* [[Aimeric de Belenoi]]
* [[Aimeric de Peguilhan]]
* [[Airas Nunes]]
* [[Albertet de Sestaro]]
* [[Arnaut Daniel]]
* [[Arnaut de Maruoill]]
* [[Beatritz de Dia]]
* [[Berenguier de Palazol]]
* [[Bernart de Ventadorn]]
* [[Bertran de Born]]
* [[Blacasset]]
* [[Cadenet (troubadour)|Cadenet]]
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* [[Daude de Pradas]]
* [[Denis of Portugal]]
* [[Folquet de Marselha]]
* [[Gaucelm Faidit]]
* [[Gui d'Ussel]]
* [[Guilhem Ademar]]
* [[Guilhem Augier Novella]]
* [[Guilhem Magret]]
* [[Guilhem de Saint Leidier]]
* [[Guiraut de Bornelh]]
* [[Guiraut d'Espanha]]
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* [[Guiraut Riquier]]
* [[Jaufre Rudel]]
* [[João Soares de Paiva]]
* [[João Zorro]]
* [[Jordan Bonel]]
* [[Marcabru]]
* [[Martín Codax]]
* [[Monge de Montaudon]]
* [[Peire d'Alvernhe]]
* [[Peire Cardenal]]
* [[Peire Raimon de Tolosa]]
* [[Peire Vidal]]
* [[Peirol]]
* [[Perdigon]]
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* [[Pistoleta]]
* [[Pons d'Ortaffa]]
* [[Pons de Capduoill]]
* [[Raimbaut d'Aurenga]]
* [[Raimbaut de Vaqueiras]]
* [[Raimon Jordan]]
* [[Raimon de Miraval]]
* [[Rigaut de Berbezilh]]
* [[Uc Brunet]]
* [[Uc de Saint Circ]]
* [[William IX of Aquitaine]]
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