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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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From its origins in the thirteenth century, the Latin-texted motet in England and France became the most significant and diverse polyphonic genre of the fourteenth, a body of music important both for its texts and its variety of musical structures. However, although the motet in England plays a vital role in the music-historical narrative of the first decades of the 1300s, it has too often been overlooked in modern scholarship, due largely to its preservation in numerous but almost entirely fragmentary sources. In 2017, substantial new fragments of medieval polyphony came to light. They originated at the Benedictine monastery of Abbotsbury, a major institution located high above Chesil Beach on Dorset's Jurassic Coast. The two leaves once headed an imposing musical scroll, and preserve significant portions of four large-scale Latin-texted motets from early fourteenth-century England. Discovery of this source brings to the fore a massive seven-section motet on St Margaret, hitherto k nown only through highly fragmentary snippets of two of its four voices, as well as a unicum with extraordinary features addressed to the Virgin Mary and St Nicholas. When coupled with the remaining motets, one on the Ascension and the other on the Virgin Mary, the Dorset motets expand our understanding of how the English developed their own approaches to the genre, forging styles and techniques quite independently of the continental norms against which earlier scholarship has judged (and sometimes demeaned) them. This book introduces the manuscript and its provenance in Abbotsbury, relates it to other scrolls of late medieval music, contextualizes its motets within the larger corpus of contemporary Latin-texted motets, and analyses and reconstructs each of the motets, providing complete performable transcriptions of three of these compositions as well as three of its large-scale comparands. Spurred by the Dorset discovery, this monograph, the first in thirty-five years devoted to the medieval motet in England, offers a new evaluation of the richness of the English repertory in its own terms.

Motets --- History and criticism. --- Choruses --- Part songs --- Part songs, Sacred --- History and criticism

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During the sixteenth century, the traditional act of dedicating a text took on a new meaning due to the wider dissemination of the printed book. As the dedication and other paratexts thus became an almost indispensable part of the publication, they merit careful examination by those who study the presentation and impact of any printed work in its context. Paratexts bridge the gap between the outside World of the reading public and the enclosed world of the book, and often present biographical information concerning the persons involved in the making of the book. In the present volume, general

Motets --- Latin literature, Medieval and modern --- Dedications --- Choruses --- Part songs --- Part songs, Sacred --- Book dedications --- Books --- Dedications (in books) --- Authorship --- History and criticism.

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This book provides an in-depth study of the late medieval chanson, from Gace Brulé through Guillaume Du Fay. It is largely concerned with interpretation of the way accidentals function, not only at the level of local detail but also as part of the overall design. Thomas Brothers thus explores the way inflections are used by the composer as an expressive tool. The background problem to which this study responds is the conceptual difficulty we have in interpreting pitch syntax in this repertory. Support for this approach comes from reference to causa pulchritudinis ('by reason of beauty'), a justification for chromatic writing first encountered at the beginning of the fourteenth century. In advancing an interpretation of the musical side of the chanson, Thomas Brothers aims to bring standards closer to what has been achieved in study of sister disciplines of art and literature.

78.23 --- 78.41.2 --- Monophonic chansons --- Musica ficta --- Polyphonic chansons --- 78.033 --- 78.033 Muziek--?.033 --- Muziek--?.033 --- History and criticism --- Chansons, Polyphonic --- Part songs, French --- Alteration, Chromatic --- Chromatic alteration (Music) --- Conjuncta --- Musica falsa --- Chromaticism (Music) --- Performance practice (Music) --- Chansons, Monophonic --- Songs, French --- Musica ficta. --- History and criticism. --- Songs --- 500-1400 --- Part songs --- 15th century

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Devotion to Saint Anne, the apocryphal mother of the Virgin Mary, reached its height in the fifteenth and early sixteenth centuries. Until now, Anne's reception history and political symbolism during this period have been primarily discussed through the lens of art history. This is the first study to explore the music that honoured the saint and its connections to some of the most prominent court cultures of western Europe. Michael Alan Anderson examines plainchant and polyphonic music for Saint Anne, in sources both familiar and previously unstudied, to illuminate not only Anne's wide-ranging intercessional capabilities but also the political force of the music devoted to her. Whether viewed as a fertility aide, wise mother, or dynastic protector, she modelled a number of valuable roles that rulers reflected in the music of their devotional programmes to project their noble lineage and prestige.

Music --- Anne [s.] --- anno 1500-1599 --- Motets --- Masses --- Sacred vocal music --- Church music --- Messes --- Musique vocale sacrée --- Musique d'église --- History and criticism --- Catholic Church --- Histoire et critique --- Eglise catholique --- Anne --- Musique vocale sacrée --- Musique d'église --- Catholic Church. --- Liturgical music --- Pastoral music (Sacred) --- Vocal music, Sacred --- Sacred music --- Vocal music --- Choruses --- Part songs --- Part songs, Sacred --- Masses (Mixed voices) --- Communion service music --- Religious music --- Devotional exercises --- Liturgics --- Music in churches --- Psalmody --- Religious aspects --- Christianity --- Ana --- Ann --- Anna --- Anne, --- Songs and music --- History and criticism. --- (Mother of the Virgin Mary)