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Modern Galicia has seen a revival movement called Neotrobadorismo.
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But all three genres also have dramatic elements, leading early scholars to characterize them as lyric-dramatic. Traditionally, the end of the period of active trovadorismo is given asthe date of the testament of D. Beginning probably around the middle of the thirteenth century, the songs, known as cantares, cantigas or trovasbegan to be compiled in collections known as cancioneiros songbooks.
The school, which was influenced to some extent mainly in certain formal aspects by the Occitan troubadoursis first documented at the end of the twelfth century and lasted until the middle of the fourteenth, with its zenith coming in the middle of the thirteenth century, centered on the person of Alfonso XThe Wise King.
The cantigas d'escarnho e maldizer may also according to Lang have deep local roots. A song of Martim Codax from the Pergaminho Vindel In the Middle Agesthe Galician-Portuguese lyric, also known as trovadorismo in Portugal and trobadorismo in Galiciawas a lyric poetic school or movement.
All three are lyric genres in the technical sense that they were strophic songs with either musical accompaniment or introduction on a stringed instrument. From this language derives both modern Galician and Portuguese.
The latter two genres totalling around texts make the Galician-Portuguese lyric unique in the entire panorama of medieval Romance poetry. It is not clear if troubadours performed their own work.
Their poetry was meant to be sung, but they emphatically distinguished themselves from the jograes who in principle sang, but did not compose though there is much evidence to contradict this.
At the time Galician-Portuguese was the language used in nearly all of Iberia for lyric as opposed to epic poetry. The Galician-Portuguese cantigas can be divided into three basic genres: It is the earliest known poetic movement in Galicia or Portugal and represents not only the beginnings of but one of the high points of poetic history in both countries and in Medieval Europe.
In addition to these there is the priceless collection of over Galician-Portugues cantigas in the Cantigas de Santa Mariawhich tradition attributes to Alfonso X, in whose court as nearly everywhere in the Peninsula Galician-Portuguese was the only language for lyric poetry except for visiting Occitan poets.
Three such anthologies are known:
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