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Authorship and Identity in Late Thirteenth-Century Motets

Af: Catherine A. Bradley Engelsk Paperback
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Authorship and Identity in Late Thirteenth-Century Motets

Af: Catherine A. Bradley Engelsk Paperback

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.

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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.

Produktdetaljer
Sprog: Engelsk
Sider: 136
ISBN-13: 9781032194608
Indbinding: Paperback
Udgave:
ISBN-10: 103219460X
Udg. Dato: 25 sep 2023
Længde: 12mm
Bredde: 139mm
Højde: 216mm
Forlag: Taylor & Francis Ltd
Oplagsdato: 25 sep 2023
Forfatter(e): Catherine A. Bradley
Forfatter(e) Catherine A. Bradley


Kategori Klassisk- & orkestermusik


Sprog Engelsk


Indbinding Paperback


Sider 136


Udgave


Længde 12mm


Bredde 139mm


Højde 216mm


Udg. Dato 25 sep 2023


Oplagsdato 25 sep 2023

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