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What is immediately noticeable in both the alba form (which we could broadly consider a dialogue between man and nature, a protective warding spoken from the noble knight to the sun that threatens to rise), and in dialogue poetry such as Marcabru's pastourelas is that there is a clear rhythm of call and response, a linguistic interplay that lets each side of the dialogue express there opinions in an almost melodic rhythm.

Statement of intent: Documentary on my process of trying to transcribe a modern-day version of Marcabru's "Pax in Nomine Domini" with many twists.

In "The Pastness of the Present and the Presence of the Past," Taruskin argues that the twentieth-century impulse towards "authenticity" arose from a modernist trend towards impersonal abstraction whereas what he terms "vitality" was largely left by the wayside.

Macabru’s A la Fontana del vergier depicts a noble woman’s reaction to the news that her lover is leaving to join King Louis VII’s crusade. The Scène dramatique from the ballet Giselle depicts La folie de Giselle after she learns that her lover is actually a prince engaged to a noble lady. Here, Giselle goes through a series of emotions that mimic some of those expressed in Macabru’s song after the lady’s “preoccupations suddenly changed”, leading to her “undoing”.