Among the important corpus of late fourteenth-century songs transmitted under the cipher of the anonymous ‘Monk of Salzburg’, one piece stands out. In a primarily monophonic body of songs, ‘Ju, ich jag’ is both the only three-part canon and the only secular piece for which a specific model can be found. Composed to the melody of the Old French ‘chace’ or hunt-song ‘Umblemens vos pri merchi’, ‘Ju, ich jag’ records the meetings between Romance and Germanic understandings of the pastoral genre at the archiepiscopal court of Salzburg. Further, the Marian Leich ‘O pia Maria’, a Latin ‘contrafactum’ of ‘Ju, ich jag’, edited here for the first time, bears witness to the porousness between devotional and worldly song in the later Middle Ages. Viewing this group of songs through the perspective of translingualism, this article argues that the movement of cultural artefacts from one linguistic area to another is as much influenced by literary discourses and the connotation of poetic forms as it is by language, and locates it in the culturally complex milieu of the ecclesiastical court.

中文翻译：

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'Ju, ich jag'：Mönch von Salzburg 语料库中跨语言视角的三部分歌曲

在以匿名的“萨尔茨堡僧侣”的密码传输的 14 世纪晚期歌曲的重要语料库中，有一段脱颖而出。在主要单声道的歌曲体中，“Ju, ich jag”既是唯一的三部分正典，也是唯一可以找到特定模式的世俗歌曲。由古法语“chace”或狩猎歌曲“Umblemens vos pri merchi”的旋律组成，“Ju, ich jag”记录了在萨尔茨堡大主教法庭上浪漫主义和日耳曼人对田园风格的理解之间的会面。此外，第一次在此编辑的 Marian Leich 'O pia Maria' 是 'Ju, ich jag' 的拉丁语'contrafactum'，它见证了中世纪后期虔诚歌曲与世俗歌曲之间的渗透性。从跨语言的角度来看这组歌曲，