Guiot de Dijon (fl. 1215–25) was a Burgundian trouvère. The seventeen chansons ascribed to him are found in two chansonniers: the Chansonnier du Roi and the less reliable Berne Chansonnier. According to the online edition of the Grove Dictionary of Music and Musicians, Guiot was "technically fluent [and] successfully used a wide variety of poetic structures[, but] is seldom imaginative." Guiot, presumably from Dijon, was patronised by Erard II de Chassenay, who participated in the Fifth Crusade ...
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Guiot de Dijon (fl. 1215–25) was a Burgundian trouvère. The seventeen chansons ascribed to him are found in two chansonniers: the Chansonnier du Roi and the less reliable Berne Chansonnier. According to the online edition of the Grove Dictionary of Music and Musicians, Guiot was "technically fluent [and] successfully used a wide variety of poetic structures[, but] is seldom imaginative." Guiot, presumably from Dijon, was patronised by Erard II de Chassenay, who participated in the Fifth Crusade but was back in Europe in 1220. Four of Guiot's songs—Amours m'a si enseignié, Quant je plus voi felon rire, Joie ne guerredon, and Quant li dous estés—have two distinct melodies in the chansonniers, and it is impossible to determined which, if either, is Guiot's invention. One late setting of Quant je plus is notable among trouvère melodies for being through-composed and in Franconian notation. Overall, Guiot's melodies are usually identified as those appearing in bar form, which all end on the same note and have a common tessitura. Guiot probably modelled Chanter m'estuet, coment que me destraigne after the Occitan song Si be·m sui loing et entre gent estraigna by the troubadour Peirol. The song Penser ne doit vilanie sometimes attributed to him served as a model for the anonymous De penser a vilanie.
