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""This collection of essays by leading scholars explores sacred vocal polyphony from the 12th through the late 16th centuries. The emphasis is less on broad stylistic or historical trends than on the insights offered by particular compositions and on the tools of critical interpretation. For instance, Margaret Bent considers the ways in which informed 14th-century readers might have understood the several simultaneous Latin and musical 'texts' of a motet preserved in the Roman de Fauvel, and how their ways of understanding relate to the current practice of critical analysis of music. Rob Wegma

Motets --- Choruses --- Part songs --- Part songs, Sacred

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Late medieval motet texts are brimming with chimeras, centaurs and other strange creatures. In The Monstrous New Art, Anna Zayaruznaya explores the musical ramifications of this menagerie in the works of composers Guillaume de Machaut, Philippe de Vitry, and their contemporaries. Aligning the larger forms of motets with the broad sacred and secular themes of their texts, Zayaruznaya shows how monstrous or hybrid exempla are musically sculpted by rhythmic and textural means. These divisive musical procedures point to the contradictory aspects not only of explicitly monstrous bodies, but of such apparently unified entities as the body politic, the courtly lady, and the Holy Trinity. Zayaruznaya casts a new light on medieval modes of musical representation, with profound implications for broader disciplinary narratives about the history of text-music relations, the emergence of musical unity, and the ontology of the musical work.

Motets --- Choruses --- Part songs --- Part songs, Sacred --- History and criticism. --- Vitry, Philippe de, --- Guillaume,

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This study of partsongs and soloistic music is concerned with the musical settings of classical verse. The work, the first of its kind, is a result of a collaboration between a classicist and a musicologist. This book studies, for the first time, the whole genre of the secular motet to Latin text in the Renaissance. Musicologists and classicists with medieval and Renaissance knowledge, as well as expertise in each other's disciplines, bring together ancient, early Christian, medieval and Renaissance materials in an interdisciplinary exploration of the texts, their settings and the social, poli

Choral music -- 15th century -- Congresses. --- Choral music -- 16th century -- Congresses. --- Latin poetry -- Musical settings -- Congresses. --- Motets -- 15th century -- Congresses. --- Motets -- 16th century -- Congresses. --- Part songs, Latin -- 15th century -- Congresses. --- Part songs, Latin -- 16th century -- Congresses. --- Motets --- Choral music --- Part songs, Latin --- Latin poetry --- Music --- Music, Dance, Drama & Film --- Music Literature --- Latin part songs --- Choruses --- Choruses, Sacred --- Choruses, Secular --- Music, Choral --- Sacred choral music --- Secular choral music --- Church music --- Vocal music --- Latin literature --- Part songs --- Part songs, Sacred --- Musical settings --- History and criticism

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During the lifetime of Guillaume Du Fay (c. 1400-1474) the motet underwent a profound transformation. Because of the protean nature of the motet during this period, problems of definition have always stood in the way of a full understanding of this crucial shift. Through a comprehensive survey of the surviving repertory, Julie Cumming shows that the motet is best understood on the level of the subgenre. She employs new ideas about categories taken from cognitive psychology and evolutionary theory to illuminate the process by which the subgenres of the motet arose and evolved. One important finding is the nature and extent of the crucial role that English music played in the genre's transformation. Cumming provides a close reading of many little-known pieces; she also shows how Du Fay's motets were the product of sophisticated experimentation with generic boundaries.

Music --- anno 1400-1499 --- Motets --- -Choruses --- Part songs --- Part songs, Sacred --- History and criticism --- Dufay, Guillaume. --- Dufay, Guillelmus --- Du Fay, Guillaume --- Du Fayt, Guillaume --- -History and criticism --- Motet --- Dufay, Guillaume, --- Choruses --- 15th century --- Dufay, Guillaume --- History and criticism.

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The Conductus repertory is the body of monophonic and polyphonic non-liturgical Latin song that dominated European culture from the middle of the twelfth century to the beginning of the fourteenth. In this book, Mark Everist demonstrates how the poetry and music interact, explores how musical structures are created, and discusses the geographical and temporal reach of the genre, including its significance for performance today. The volume studies what medieval society thought of the Conductus, its function in medieval society - whether paraliturgical or in other contexts - and how it fitted into patristic and secular Latin cultures. The Conductus emerges as a genre of great poetic and musical sophistication that brought the skills of poets and musicians into alignment. This book provides an all-encompassing view of an important but unexplored repertory of medieval music, engaging with both poetry and music even-handedly to present new and up-to-date perspectives on the genre.

Music and literature --- History --- Conductus --- Songs --- Arias --- Ariettas --- Art songs --- Lieder --- Solo songs --- Solo vocal music, Secular --- Songs with various acc. --- Lyric poetry --- Vocal music --- Recorded accompaniments (Voice) --- Conducti --- Part songs, Latin --- Part songs, Sacred --- Songs, Latin (Medieval and modern) --- History and criticism.