LEADER 02958nam 2200397 450 001 9910556098903321 005 20230516203451.0 035 $a(CKB)5840000000013418 035 $a(NjHacI)995840000000013418 035 $a(EXLCZ)995840000000013418 100 $a20230516d2022 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAuthorship and identity in late thirteenth-century motets /$fCatherine A. Bradley 210 1$a[Place of publication not identified] :$cTaylor & Francis,$d2022. 215 $a1 online resource (xviii, 136 pages) 225 1 $aRoyal Musical Association monographs 311 $a1-03-219460-X 327 $aAdam de la Halle's presence in the final fascicles of the Montpellier Codex -- Adam and Petrus de Cruce: the 'Aucun ...' opening and questions of chronology -- People and places: Adam and an 'Entre...' motet tradition -- Petrus in the Montpellier codex -- Non-Plainchant tenor quotations: unwritten songs and questions of compositional ownership. 330 $a"Questions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothe?que interuniversitaire, Section de me?decine, H. 196, hereafter Mo). Mo does not explicitly attribute any of its compositions, but theoretical sources name Petrus de Cruce as the composer of the two motets that open fascicle 7, and three later motets in this fascicle are elsewhere ascribed to Adam de la Halle. This monograph reveals a musical and textual quotation of Adam's Aucun se sont loe incipit at the outset of Petrus's Aucun ont trouve triplum, and it explores various invocations of Adam and Petrus - their works and techniques - within further anonymous compositions. Authorship is additionally considered from the perspective of two new types of motets especially prevalent in fascicle 7: motets that name musicians, as well as those based on vernacular song or instrumental melodies, some of which are identified by the names of their creators. This book offers new insights into the musical, poetic, and curatorial reception of thirteenth-century composers' works in their own time. It uncovers, beneath the surface of an anonymous motet book, unsuspected interactions between authors and traces of compositional identities."$c-- Back cover. 410 0$aRoyal Musical Association monographs. 606 $aMotets$xHistory and criticism 606 $aMusic$xPhilosophy and aesthetics 615 0$aMotets$xHistory and criticism. 615 0$aMusic$xPhilosophy and aesthetics. 676 $a782.26 700 $aBradley$b Catherine A.$01271856 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910556098903321 996 $aAuthorship and Identity in Late Thirteenth-Century Motets$92996071 997 $aUNINA LEADER 01642nam a2200349 i 4500 001 991000885459707536 008 050307s2004 riua b 110 0 eng d 020 $a0821835394 035 $ab13287928-39ule_inst 040 $aDip.to Matematica$beng 082 0 $a516.36$222 084 $aAMS 53-XX 084 $aAMS 83-XX 084 $aAMS 58-XX 084 $aLC QA641.B34 111 2 $aBeemfest, Advances in Differential Geometry and General Relativity$d<2003 ;$cUniversity of Missouri-Columbia>$0621998 245 10$aAdvances in differential geometry and general relativity :$bthe Beemfest, Advances in Differential Geometry and General Relativity on the occasion of professor John Beem's retirement, May 10-11, 2003, University of Missouri-Columbia /$cS. Dostoglou, P. Ehrlich, editors 260 $aProvidence, R. I. :$bAmerican Mathematical Society,$cc2004 300 $axi, 124 p. :$bill. ;$c25 cm 440 0$aContemporary mathematics,$x0271-4132 ;$v359 504 $aIncludes bibliographical references 650 0$aGeometry, Differential$vCongresses 650 0$aGeneral relativity (Physics)$vCongresses 700 1 $aBeem, John K. 700 1 $aDostoglou, Stamatis A.$eauthor$4http://id.loc.gov/vocabulary/relators/aut$0285044 700 1 $aEhrlich, Paul E. 907 $a.b13287928$b21-09-06$c07-03-05 912 $a991000885459707536 945 $aLE013 53-XX BEE12 (2004)$g1$i2013000287881$lle013$op$pE46.49$q-$rl$s- $t0$u0$v0$w0$x0$y.i14037129$z23-03-05 996 $aAdvances in differential geometry and general relativity$91461135 997 $aUNISALENTO 998 $ale013$b07-03-05$cm$da $e-$feng$griu$h0$i0