[69] ‘Renaissance in Italy,’ Vol. II.
[70] The legend of Tannhäuser, perpetuated in Wagner’s opera, is an example of this superstition.
[71] Complainte was the generic name for the narrative form of song; the later chansons de geste, the legend of the Passion and of the Saints, early romances and the ballades of the peasants all belonged to this genus.
[72] Julien Tiersot: L’histoire de la chanson populaire en France.
[73] Karl Bücher: Arbeit und Rhythmus.
[74] The ‘cow-horn tune’ of Salzburg (fourteenth century) suggests that the arpeggio manner may have been derived from the horn itself, which was the most common instrument in the pastoral regions of the Tyrol and Switzerland.
[75] Jules Combarieu: Histoire de la musique.
[76] Fr. Diez: Die Poesie der Troubadours.
[77] The Middle-Age hurdy-gurdy.
[78] B. at Arras, ca. 1230; d. in Naples in 1287. His father was a well-to-do burgher, who destined him for holy orders and sent him to the Abbey of Vauxcelles. But his falling in love with a certain demoiselle Marie changed the course of his career. However, he separated from her in 1263, and retired again as a clerical to Douai. In 1282 he entered the service of Duke Robert II of Artois and accompanied him in his expedition to Sicily, where he wrote some of his most important works for the entertainment of the French court. Le geu de Robin et Marion was preceded by other pieces, including Le geu de la feuillée (1262), but they were of a frivolous and even licentious character.