
In criticizing the mechanical application of metrical modes, Collins is, however, unwilling to discard the idea of the use of metrical norms in the music. He feels that composers of medieval monophonic music were quite aware of "metrical units such as iambs, trochees, and dactyls, but also their musical counterparts, and that his compositions may therefore be interpreted mensurally in transcription and performance." (xi). Collins, writing in 1982, calls for a "fresh start" in the mensural notation of medieval songs. Melodious results through experimentation are necessarily to complement any rhythmic theory.
I find the widely published text-only versions of troubadour songs and other medieval poetry analogous to the billboards of Sharp's discovery in early 20th century Appalachia. Sharp notes that ballad poetry has historically been meant to be sung. Following this position, I find the task of mensural transcription of extant song melodies (and the more liberal task of conceiving melodies for text-only survivals) entirely necessary, whether to do so is considered reckless or even unacceptable.
Here is a chronological look at the mensural transcription of troubadour and trouvere songs:
1910: Pierre Aubry's Trouveres et troubadours, 2nd edition (Gennwich follows Aubry's lead on metrical mode transcription)
1958 Gennwich's publication of Der Musikalische Nachlass der Troubadours in three volumes
1982 Collin's publication of The Medieval Songbook and introduction, which I have cited.
1996 Elizabeth Aubrey's The Music of the Troubadours, Indianna UP, also availlable online at http://books.google.com/books?id=1nqgFob3uV0C*

Rhythmic modes, from the anonymous treatise of 1240, De mensurabili musica:
- Long-short (trochee)
- Short-long (iamb)
- Long-short-short (dactyl)
- Short-short-long (anapest)
- Long-long (spondee)
- Short-short (pyrrhic)
Troubadours were composer-performers of Occitan poetry during the High-middle ages. The tradition supposedly began with William IX of Aquitaine, the "first troubadour." For investigation of the connection between the troubadour songs and Moorish Iberia, the historical position of William IX and his father, William VIII (born Guy-Geoffrey) is extremely interesting. Aquitaine, a region in present day South Western France, was a former Roman province ruled between the 5th and 6th centuries by the Visagoths who were driven out by Aquitaine allaiance with the Franks. From 868 to 1137, the region was ruled by the Dukes of Aquitaine. For a piece of material evidence linking Moorish Iberia to the songs of the troubadours, William VIII's 1064 expedition, the Seige of Barbastro offers a fascinating point of transmission. The military campaign, fought at the bequest of Pope Alexander II and an early battle in the Reconquista, was the Pope's first expedition against a Muslim city, wresting control from the Taifa of Muhammad al-Muzaffar (Bischko, 32?). The Christian occupation of the city proved to be quite brief, and Barbastro was returned to Muslim control a mere two years later. However, an invaluable piece of war booty was brought back to the Aquitaine court, namely a number of Arab singing slave girls.

(Image public domain, Bibliothèque Nationale, MS cod. fr. 12473)
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