/lay/, n.
1. (in medieval French literature)
2. a narrative poem written in octosyllabic couplets and dealing with tales of adventure and romance.
3. a lyric poem, often a love poem, having great metrical variety and designed to be sung to a popular melody.
[1200-50; ME < OF. See LAY4]

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      medieval poetic and musical form, cultivated especially among the trouvères (trouvère), or poet-musicians, of northern France in the 12th and 13th centuries but also among their slightly earlier, Provençal-language counterparts, the troubadours (troubadour), and, called Leich, by the German minnesingers (minnesinger). The lai was a long poem having nonuniform stanzas of about 6 to 16 or more lines of 4 to 8 syllables. One or two rhymes were maintained throughout each stanza. The text might address the Virgin Mary or a lady, or in some cases might be didactic. The lais of the poet Marie De France (late 12th century) are short stories in verse on romantic and magical themes and are not lais in the musical sense.

      In musical form, the lai was influenced by the sequence, a long liturgical hymn having the general musical pattern x aa bb cc . . . y; the repeated pairs are termed double versicles. In lais, however, triple and quadruple repetitions and unrepeated lines might occur, and the first and last lines of music were not always unrepeated. Each stanza had its own music.

      This basic form could be varied in a number of ways. A set of several double versicles could be repeated, giving musical unity in the setting of a long poem; the last few notes of a melody might be altered on the repetition, the first ending being called ouvert (open), the second, clos (closed); and the melody might be varied on the repetition. Shorter variants and offshoots of the lai included patterns such as aabb, set to short poems; and strophic songs (i.e., the same music for every stanza) using short double-versicle patterns such as abbc.

      The lai was monophonic music, having one unharmonized melody line. But in the 14th century the poet and composer Guillaume de Machaut (Machaut, Guillaume de) set 2 of his 18 lais polyphonically, using a form called the chace, a three-part canon at the unison (all voices in strict melodic imitation at the same pitch level). Machaut typically wrote lais of 12 stanzas, the last of which shared the melody and poetic form of the first; each stanza used double or quadruple versicles.

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