a chantar造句

• The second note of " A chantar " is a plica ( at least in the manuscript shown in facsimile ).
• The music to " A chantar " is found only in " Le manuscript di roi, " a collection of songs copied around 1270 for Charles of Anjou, the brother of Louis IX.
• Her song " A chantar m'er de so qu'eu no volria " in the Occitan language is the only " canso " by a " trobairitz " to survive with its music intact.
• Interestingly, a tenso between Giraut de Bornelh and Alamanda de Castelnau closely matches the structure of " A chantar m'er de so qu'ieu non volria " ( I must sing a song I'd rather not ).
• I've found an interesting difference in the text for " A chantar " ( by La Comtessa de Dia )-- the " Historical Anthology of Music by Women " ( Indiana University Press, 1987 ) has the first line as " A chantar m'es al cor que non deurie "-- I'm not sure what the difference is; two different sources?
• I've found an interesting difference in the text for " A chantar " ( by La Comtessa de Dia )-- the " Historical Anthology of Music by Women " ( Indiana University Press, 1987 ) has the first line as " A chantar m'es al cor que non deurie "-- I'm not sure what the difference is; two different sources?
• I can certainly help with a " notated " sample, since I have a score for " A chantar ", but it could be difficult to get a sound clip in . ogg format that would be GFDL ( I'm not an expert on the rules on short clips of copyrighted material, and would defer to someone else who does this a lot ) . ( talk ) 16 : 53, 22 March 2006 ( UTC)
• In " Fin ioi me don'alegranssa, " however, Comtessa makes fun of the lausengier, a person known for gossiping, comparing those who gossip to a " cloud that obscures the sun . " In writing style, Comtessa uses a process known as " coblas singulars " in " A chantar, " repeating the same rhyme scheme in each strophe, but changing the " a " rhyme each time . " Ab ioi, " on the other hand, uses " coblas doblas, " with a rhyme scheme of ab'ab'b'aab'. " A chantar " uses some of the motifs of Idyll II of Theocritus.
• In " Fin ioi me don'alegranssa, " however, Comtessa makes fun of the lausengier, a person known for gossiping, comparing those who gossip to a " cloud that obscures the sun . " In writing style, Comtessa uses a process known as " coblas singulars " in " A chantar, " repeating the same rhyme scheme in each strophe, but changing the " a " rhyme each time . " Ab ioi, " on the other hand, uses " coblas doblas, " with a rhyme scheme of ab'ab'b'aab'. " A chantar " uses some of the motifs of Idyll II of Theocritus.