Abstract A comparative analysis of troubadour poetry and Minnesang in relation to aspects of sound and its interplay with the semantics of the songs shows that acoustic aesthetic aspects are decisive for poets in both languages, but that different sounds and acoustic phenomena produce euphony depending on the language. The article combines fundamental considerations on the intermedial contours of medieval love poetry with questions of tradition and sound theory in the Middle Ages itself and in the 19 th century, when scholarly engagement with medieval poetry began. Self-statements from the era and a comparison of two songs by Wilhem de Cabestanh and Walther von der Vogelweide exemplify the research potential offered by sound studies.
Ricarda Bauschke-Hartung (Thu,) studied this question.