Authorship and Identity in Late Thirteenth-Century Motets
Questions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothèque interuniversitaire, Section de médecine, H. 196, hereafter Mo). Mo does not explicitly attribute any of its compositi...
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| フォーマット: | Online |
| 言語: | 英語 |
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Taylor & Francis
2023
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| 主題: | |
| オンライン･アクセス: | ONIX_20220328_9781000580631_43 |
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| _version_ | 1869521596846178304 |
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| author | Bradley, Catherine A. |
| author_browse | Bradley, Catherine A. |
| author_facet | Bradley, Catherine A. |
| author_sort | Bradley, Catherine A. |
| collection | Directory of Open Access Books |
| description | Questions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothèque interuniversitaire, Section de médecine, H. 196, hereafter Mo). Mo does not explicitly attribute any of its compositions, but theoretical sources name Petrus de Cruce as the composer of the two motets that open fascicle 7, and three later motets in this fascicle are elsewhere ascribed to Adam de la Halle. This monograph reveals a musical and textual quotation of Adam’s Aucun se sont loe incipit at the outset of Petrus’s Aucun ont trouve triplum, and it explores various invocations of Adam and Petrus – their works and techniques – within further anonymous compositions. Authorship is additionally considered from the perspective of two new types of motets especially prevalent in fascicle 7: motets that name musicians, as well as those based on vernacular song or instrumental melodies, some of which are identified by the names of their creators. This book offers new insights into the musical, poetic, and curatorial reception of thirteenth-century composers’ works in their own time. It uncovers, beneath the surface of an anonymous motet book, unsuspected interactions between authors and traces of compositional identities. |
| format | Online |
| id | doab-20.500.12854ir-79802.2 |
| institution | Directory of Open Access Books |
| language | eng |
| publishDate | 2023 |
| publishDateRange | 2023 |
| publishDateSort | 2023 |
| publisher | Taylor & Francis |
| publisherStr | Taylor & Francis |
| record_format | ojs |
| spelling | doab-20.500.12854ir-79802.22024-03-24T11:39:24Z Authorship and Identity in Late Thirteenth-Century Motets Bradley, Catherine A. History of music Sacred and religious music Music thema EDItEUR::A The Arts::AV Music thema EDItEUR::A The Arts::AV Music::AVL Music: styles and genres::AVLK Sacred and religious music Questions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothèque interuniversitaire, Section de médecine, H. 196, hereafter Mo). Mo does not explicitly attribute any of its compositions, but theoretical sources name Petrus de Cruce as the composer of the two motets that open fascicle 7, and three later motets in this fascicle are elsewhere ascribed to Adam de la Halle. This monograph reveals a musical and textual quotation of Adam’s Aucun se sont loe incipit at the outset of Petrus’s Aucun ont trouve triplum, and it explores various invocations of Adam and Petrus – their works and techniques – within further anonymous compositions. Authorship is additionally considered from the perspective of two new types of motets especially prevalent in fascicle 7: motets that name musicians, as well as those based on vernacular song or instrumental melodies, some of which are identified by the names of their creators. This book offers new insights into the musical, poetic, and curatorial reception of thirteenth-century composers’ works in their own time. It uncovers, beneath the surface of an anonymous motet book, unsuspected interactions between authors and traces of compositional identities. 2023-09-11T14:37:54Z 2022-03-29T04:01:43Z 2023-09-11T14:37:54Z 2022-03-28T15:34:14Z 2022 book ONIX_20220328_9781000580631_43 https://library.oapen.org/handle/20.500.12657/53662 9781000580631 9781032194578 9781003259282 9781032194608 https://directory.doabooks.org/handle/20.500.12854/79802.2 eng Royal Musical Association Monographs open access application/octet-stream n/a https://library.oapen.org/bitstream/20.500.12657/53662/1/9781000580631.pdf Taylor & Francis Routledge 10.4324/9781003259282 10.4324/9781003259282 fa69b019-f4ee-4979-8d42-c6b6c476b5f0 9781000580631 9781032194578 9781003259282 9781032194608 Routledge 154 open access |
| spellingShingle | History of music Sacred and religious music Music thema EDItEUR::A The Arts::AV Music thema EDItEUR::A The Arts::AV Music::AVL Music: styles and genres::AVLK Sacred and religious music Bradley, Catherine A. Authorship and Identity in Late Thirteenth-Century Motets |
| title | Authorship and Identity in Late Thirteenth-Century Motets |
| title_full | Authorship and Identity in Late Thirteenth-Century Motets |
| title_fullStr | Authorship and Identity in Late Thirteenth-Century Motets |
| title_full_unstemmed | Authorship and Identity in Late Thirteenth-Century Motets |
| title_short | Authorship and Identity in Late Thirteenth-Century Motets |
| title_sort | authorship and identity in late thirteenth century motets |
| topic | History of music Sacred and religious music Music thema EDItEUR::A The Arts::AV Music thema EDItEUR::A The Arts::AV Music::AVL Music: styles and genres::AVLK Sacred and religious music |
| topic_facet | History of music Sacred and religious music Music thema EDItEUR::A The Arts::AV Music thema EDItEUR::A The Arts::AV Music::AVL Music: styles and genres::AVLK Sacred and religious music |
| url | ONIX_20220328_9781000580631_43 |
| work_keys_str_mv | AT bradleycatherinea authorshipandidentityinlatethirteenthcenturymotets |