Stemming from the revival of religious song during the 13th century, songs in the langue d'oïl provide excellent testimony to the devotional practice of the time, particularly with regard to the figure of Mary. Introduced by Gautier de Coinci at the beginning of this century, singing in the vernacular transposed the expression of courtly elegance to a higher dimension, that of the sacred.

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Our interpretation, mixing women's voices and men's voices, is not placed in the context of the convent but rather in that of the court of the king or a great prince, within the framework of a recreational entertainment, but also edifying . We favor the two instruments most used by the clerical creators and interpreters of this music: the portable organ, which recalls the religious context while leaving the liturgy, and the bowed fiddle, king instrument of the Middle Ages, whose chords precise details are known to us thanks to the famous treatise of Jérôme de Moravie, written in his Dominican convent of the rue Saint Jacques in Paris, around 1280.