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Polyphony associated with the Parisian cathedral of Notre Dame marks a historical turning point in medieval music. Yet a lack of analytical or theoretical systems has discouraged close study of twelfth- and thirteenth-century musical objects, despite the fact that such creations represent the beginnings of musical composition as we know it. Is musical analysis possible for such medieval repertoires? Catherine A. Bradley demonstrates that it is, presenting new methodologies to illuminate processes of musical and poetic creation, from monophonic plainchant and vernacular French songs, to polyphonic organa, clausulae, and motets in both Latin and French. This book engages with questions of text-music relationships, liturgy, and the development of notational technologies, exploring concepts of authorship and originality as well as practices of quotation and musical reworking.
Music --- Motets --- Clausulas (Part songs) --- Clausulae (Part songs) --- Part songs --- Part songs, Sacred --- Choruses --- History and criticism.
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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, Bibliothque interuniversitaire, Section de mdecine, 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.
Motets. --- Music --- Philosophy and aesthetics. --- Choruses --- Part songs --- Part songs, Sacred --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy
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The final section of the Montpellier Codex analysed in full for the first time, with major implications for late-medieval music.
091:78 --- 78 <44> --- 091.14 --- 091:028 --- 091:028 Handschriftenkunde. Handschriftencatalogi-:-Lezen. Lectuur --- Handschriftenkunde. Handschriftencatalogi-:-Lezen. Lectuur --- 091.14 Codicologie. Codices. Scriptoria --- Codicologie. Codices. Scriptoria --- 78 <44> Muziek--Frankrijk --- Muziek--Frankrijk --- 091:78 Handschriften i.v.m. muziek --- Handschriften i.v.m. muziek --- Music --- Manuscripts, Latin (Medieval and modern) --- Motets --- Part songs, French --- French poetry --- Manuscripts --- Montpellier codex. --- Codex Montpellier --- Montpellier manuscript --- E-books --- Conferences - Meetings --- Còdex Montpeller --- Còdex de Montpeller --- Montpellierský kodex --- Códice de Montpellier --- Chansonnier de Montpellier --- Кодекс Монпелье --- Kodeks Monpelʹe --- Part songs --- History and criticism. --- 500-1400 --- France. --- France
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