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Trobairitz
The ''trobairitz'' ((:tɾuβajˈɾits)) were Occitan female troubadours of the 12th and 13th centuries, active from around 1170 to approximately 1260.〔Schulman, Jana K. (2002). The Rise of the Medieval World 500–1300. Westport, Conn: Greenwood Publishing Group. pp. 111. ISBN 978-0-313-30817-8〕 The word ''trobairitz'' was first used in the 13th-century romance ''Flamenca''. It comes from the Provençal word ''trobar'', the literal meaning of which is "to find", and the technical meaning of which is "to compose".〔Bruckner 1995, ''xi'' The French phrase "bien trouvé" ("well found")still denotes an apt expression.〕 The word ''trobairitz'' is used very rarely in medieval Occitan, as it does not occur in lyrical poetry, grammatical treatises, or in the biographies of the ''trobairitz'' or troubadours.〔Paden〕 ''Trobairitz'' composed, wrote verses, and performed for the Occitan noble courts. They are exceptional in musical history as the first known female composers of Western secular music; all earlier known female composers wrote sacred music.〔Kibler, William W. (1995). Medieval France: An Encyclopedia〕 The ''trobairitz'' were part of courtly society, as opposed to their lower class counterparts the ''joglaressas''.〔Bruckner 1992〕 Although troubadours sometimes came from humble origins—Bernart de Ventadorn may have been the son of a castle's baker—the ''trobairitz'' were nobly born. The most important ''trobairitz'' are Alamanda de Castelnau, Azalais de Porcairagues, Maria de Ventadorn, Tibors, Castelloza, Garsenda de Proença, Gormonda de Monpeslier, and the Comtessa de Diá.
==Sources of information==
There are very few extant sources of information on the individual ''trobairitz''. Almost all information which exists about them come from their ''vidas'' (biographies) and ''razós'' (contextual explanations of the songs), the brief descriptions that were assembled in song collections called ''chansonniers''. The ''vidas'' are notoriously unreliable, since they frequently consisted of little more than romanticized extrapolations from the poems of the ''trobairitz'' themselves.〔Stephens〕 The names of about twenty female poets from the 12th and 13th centuries survive, with an estimated thirty-two works attributed to the ''trobairitz.''〔〔 There are about 5 percent as many ''trobairitz'' as there are troubadours, and the number of surviving compositions by ''trobairitz'' amounts to around 1 percent of those we have by the troubadours.〔 The earliest surviving lyric written by a ''trobairitz'' is that of ''Bels dous amics'', written by Tibors around 1150.〔Earnshaw, Doris (1988). "The Female Voice in Medieval Romance Lyric"〕 Only one survives with musical notation intact, "A chantar" by Comtessa de Diá (see below). Some works which are anonymous in the sources are ascribed by certain modern editors to women, as are some works which are attributed to men in the manuscripts. For comparison, of the 460 male troubadours, about 2600 of their poems survive. Of these, about one in 10 survive with musical notation intact.〔 Only two trobairitz have left us with more than one song apiece.〔 Those two women are Comtessa de Dia, who leaves us with four cansos, and Castelloza, with three cansos and a fourth that is anonymous.〔
The early chansonniers did not separate the works of the male troubadours from those of the ''trobairitz''. It was only in later Italian and Catalan chansonniers that the works of the ''trobairitz'' were found in different sections than those of their male counterparts.〔Bruckner 1995, ''xxxiii''〕
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