trouvère

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trou·vère

 (tro͞o-vâr′) also trou·veur (-vûr′, -vœr′)
n.
One of a class of poet-musicians flourishing in northern France in the 1100s and 1200s, who composed chiefly narrative works, such as the chansons de geste, in langue d'oïl.

[French, from Old French trovere, from trover, to compose, from Vulgar Latin *tropāre; see troubadour.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

trouvère

(truːˈvɛə; French truvɛr) or

trouveur

n
(Historical Terms) any of a group of poets of N France during the 12th and 13th centuries who composed chiefly narrative works
[C19: from French, from Old French troveor, from trover to compose; related to troubadour]
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

trou•vère

(truˈvɛər; Fr. truˈvɛr)

n., pl. -vères (-ˈvɛərz; Fr. -ˈvɛr)
one of a class of poets who lived in N France during the 12th and 13th centuries and wrote narrative poems in langue d'oïl, as the chansons de geste. Compare troubadour.
[1785–95; < French; Old French troveor, derivative of trov(er) to find, compose (see trover)]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
References in periodicals archive ?
Dans ce livre, l'auteur, precise Michael Peyron dans preface, fait le point sur les differents musiciens, trouveres (incadden) et troubadours (imdyazn) --fervents et obscurs magiciens du lutar et de l'allun, largement ignores du grand public marocain -- qui ont contribue a la renommee du Fazaz depuis les annees 1960.
She identifies notable troubadours and trouveres, and summarizes the musical contributions of the ars antiqua and the ars nova.
trouveres cross-train in the Deep South or deep space
Ritchie and Orr cast their narrative in three broad chapters: "Beginnings," "Voyage," and "Singing a New Song." "Beginnings" explores the origins of the impulse to combine story and song, beginning with the troubadours, trouveres, and minstrels of the Middle Ages and continuing to the Scottish courts of the fifteenth and sixteenth centuries before moving onward to Scandinavia.
A few of the love lyrics are pastourelles, a kind of chanson d'aventure associated with the French trouveres, where the protagonist, who is essentially a high-born seducer, rides out to seek pleasure in a pastoral landscape.
Such deceptiveness is a recurring theme in the courtly lyrics of the troubadours and trouveres, who fixed the tradition within which Gawain's "luf-talkyng" was understood.
In the eulogies of human love, he echoed the troubadours, trouveres, and the writers of romance; but unlike his secular counterparts, he saw this love as a symbol of the soul's love for Christ, and he charted a journey through love to union with God" (5).
As the historiographical survey in Chapter 2 shows, he has been recognized from the early twentieth century as a successor of the troubadours and trouveres. The combination of lyric and narrative forms with a first-person protagonist, and the notation and tonal aspects of his music have attracted particular attention.
Infurna, La lirica dei trouveres, in La letteratura francese medievale, a cura di M.
SIBERRY, "Troubadours, Trouveres, Minnesingers and the Crusades", en Studi Medievali, 29 (1988), 19-43.
(12) Alan Gillmor, in his Erik Satie of 1988, similarly maintains: 'In the three poems [...] Satie forced upon himself an unvarying metric scheme of seven syllable lines.' (13) Two years later, Orledge, in Satie the Composer, writes: 'the verse-form of the thirteenth-century trouveres is modified from the customary ten or eight syllable lines to seven' (p.