Authorship and identity in late thirteenth-century motets / / Catherine A. Bradley.
"Questions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothèque interuniversitaire, Section de médecine, H. 196, hereafter Mo). Mo does not explicitly attribute any of its c...
Saved in:
Superior document: | Royal Musical Association monographs |
---|---|
VerfasserIn: | |
Place / Publishing House: | [Place of publication not identified] : : Taylor & Francis,, 2022. |
Year of Publication: | 2022 |
Language: | English |
Series: | Royal Musical Association monographs.
|
Physical Description: | 1 online resource (xviii, 136 pages). |
Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
id |
993603567304498 |
---|---|
ctrlnum |
(CKB)5840000000013418 (NjHacI)995840000000013418 (EXLCZ)995840000000013418 |
collection |
bib_alma |
record_format |
marc |
spelling |
Bradley, Catherine A., author. Authorship and identity in late thirteenth-century motets / Catherine A. Bradley. [Place of publication not identified] : Taylor & Francis, 2022. 1 online resource (xviii, 136 pages). text txt rdacontent computer c rdamedia online resource cr rdacarrier Royal Musical Association monographs Description based on publisher supplied metadata and other sources. "Questions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothèque interuniversitaire, Section de médecine, 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." -- Back cover. Adam 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. Motets History and criticism. Music Philosophy and aesthetics. 1-03-219460-X Royal Musical Association monographs. |
language |
English |
format |
eBook |
author |
Bradley, Catherine A., |
spellingShingle |
Bradley, Catherine A., Authorship and identity in late thirteenth-century motets / Royal Musical Association monographs Adam 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. |
author_facet |
Bradley, Catherine A., |
author_variant |
c a b ca cab |
author_role |
VerfasserIn |
author_sort |
Bradley, Catherine A., |
title |
Authorship and identity in late thirteenth-century motets / |
title_full |
Authorship and identity in late thirteenth-century motets / Catherine A. Bradley. |
title_fullStr |
Authorship and identity in late thirteenth-century motets / Catherine A. Bradley. |
title_full_unstemmed |
Authorship and identity in late thirteenth-century motets / Catherine A. Bradley. |
title_auth |
Authorship and identity in late thirteenth-century motets / |
title_new |
Authorship and identity in late thirteenth-century motets / |
title_sort |
authorship and identity in late thirteenth-century motets / |
series |
Royal Musical Association monographs |
series2 |
Royal Musical Association monographs |
publisher |
Taylor & Francis, |
publishDate |
2022 |
physical |
1 online resource (xviii, 136 pages). |
contents |
Adam 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. |
isbn |
1-03-219460-X |
callnumber-first |
M - Music |
callnumber-subject |
ML - Literature on Music |
callnumber-label |
ML3275 |
callnumber-sort |
ML 43275 B733 42022 |
illustrated |
Not Illustrated |
dewey-hundreds |
700 - Arts & recreation |
dewey-tens |
780 - Music |
dewey-ones |
782 - Vocal music |
dewey-full |
782.26 |
dewey-sort |
3782.26 |
dewey-raw |
782.26 |
dewey-search |
782.26 |
work_keys_str_mv |
AT bradleycatherinea authorshipandidentityinlatethirteenthcenturymotets |
status_str |
n |
ids_txt_mv |
(CKB)5840000000013418 (NjHacI)995840000000013418 (EXLCZ)995840000000013418 |
carrierType_str_mv |
cr |
hierarchy_parent_title |
Royal Musical Association monographs |
is_hierarchy_title |
Authorship and identity in late thirteenth-century motets / |
container_title |
Royal Musical Association monographs |
_version_ |
1796653226174447616 |
fullrecord |
<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02801nam a2200325 i 4500</leader><controlfield tag="001">993603567304498</controlfield><controlfield tag="005">20230516203451.0</controlfield><controlfield tag="006">m o d </controlfield><controlfield tag="007">cr |||||||||||</controlfield><controlfield tag="008">230516s2022 xx o 000 0 eng d</controlfield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(CKB)5840000000013418</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(NjHacI)995840000000013418</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(EXLCZ)995840000000013418</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">NjHacI</subfield><subfield code="b">eng</subfield><subfield code="e">rda</subfield><subfield code="c">NjHacl</subfield></datafield><datafield tag="050" ind1=" " ind2="4"><subfield code="a">ML3275</subfield><subfield code="b">.B733 2022</subfield></datafield><datafield tag="082" ind1="0" ind2="4"><subfield code="a">782.26</subfield><subfield code="2">23</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Bradley, Catherine A.,</subfield><subfield code="e">author.</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Authorship and identity in late thirteenth-century motets /</subfield><subfield code="c">Catherine A. Bradley.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">[Place of publication not identified] :</subfield><subfield code="b">Taylor & Francis,</subfield><subfield code="c">2022.</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (xviii, 136 pages).</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="1" ind2=" "><subfield code="a">Royal Musical Association monographs</subfield></datafield><datafield tag="588" ind1=" " ind2=" "><subfield code="a">Description based on publisher supplied metadata and other sources.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="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, Bibliothèque interuniversitaire, Section de médecine, 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."</subfield><subfield code="c">-- Back cover.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Adam 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.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Motets</subfield><subfield code="x">History and criticism.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Music</subfield><subfield code="x">Philosophy and aesthetics.</subfield></datafield><datafield tag="776" ind1=" " ind2=" "><subfield code="z">1-03-219460-X</subfield></datafield><datafield tag="830" ind1=" " ind2="0"><subfield code="a">Royal Musical Association monographs.</subfield></datafield><datafield tag="906" ind1=" " ind2=" "><subfield code="a">BOOK</subfield></datafield><datafield tag="ADM" ind1=" " ind2=" "><subfield code="b">2023-06-09 10:17:56 Europe/Vienna</subfield><subfield code="f">System</subfield><subfield code="c">marc21</subfield><subfield code="a">2022-04-04 09:22:53 Europe/Vienna</subfield><subfield code="g">false</subfield></datafield><datafield tag="AVE" ind1=" " ind2=" "><subfield code="i">DOAB Directory of Open Access Books</subfield><subfield code="P">DOAB Directory of Open Access Books</subfield><subfield code="x">https://eu02.alma.exlibrisgroup.com/view/uresolver/43ACC_OEAW/openurl?u.ignore_date_coverage=true&portfolio_pid=5349922270004498&Force_direct=true</subfield><subfield code="Z">5349922270004498</subfield><subfield code="b">Available</subfield><subfield code="8">5349922270004498</subfield></datafield></record></collection> |