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