| Influences | Poets | Manuscripts | Form | Development | Sociology | Performance | Links |
In the work of the earliest Minnesinger, the so-called "Danubian
School," meters are not standardized, inexact rhymes are tolerated,
and the women figures are often equal partners and initiators in the love
relationship. These songs were composed before there was any significant
influence from French sources.
As the French influence grew, German poet/composers imitated French
models by making greater use of the "Canzone" form (see Form) and by making the lady referred to in the
song inaccessible to her admirer. (See Albrecht
von Johansdorf). Songs of this sort were seen as representing
hohe minne.
Walther von der Vogelweide introduced (or re-introduced) the idea that
real love must be mutual, and that the woman should be an active and
willing partner in the love-relationship; but because the values of
hohe minne still prevailed and noble ladies were not available,
the knights in songs of this sort told of their trysts with peasant
girls. The best-known example of such a song is Walther's song
"Under der linden." This kind of song is referred to as
"nidere minne" or "Mädchenlieder."
Later poets, especially Neidhart von Reuenthal, carried this idea even
further; in many of his songs he portrays himself as the love-object of
peasant girls.
Other trends and developments can also be found.
This page will be expanded by participants in the course.
| Influences | Poets | Manuscripts | Form | Development | Sociology | Performance |
| Dr. James McMahon | Culpeper's CTC Program | Kevin Smith | ||||