Composers in the Middle Ages
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Composers in the Middle Ages
Rillon-Marne, Anne-Zoe; Saint-Cricq, Professor Gael; Stones, Professor Alison; Rillon-Marne, Anne-Zoe; Zayaruznaya, Dr Anna; Bradley, Catherine A; Saint-Cricq, Professor Gael; Brewer, Charles E; Dolce, Dr Brianne; Doudet, Estelle
Boydell & Brewer Ltd
11/2024
342
Dura
9781837650354
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Introduction: From Composer to Composers
Gael Saint-Cricq, with Anne-Zoe Rillon-Marne
I. Historiographical Critique
1. Gregory and Friends: Plural Authorities in the History of Romano-Frankish Chant
Henry Parkes
2. Inspiration vs Attribution: The Voice of the Planctus ante nescia
Charles E. Brewer
3. Petrus de Cruce, Philippe de Vitry, Notational Epochs, and the Spans of Human Lives
Anna Zayaruznaya
II. Ascriptions, Attributions, Signatures
4. Composing in the Late Middle Ages: Paradoxes in Anonymity and Attributions
Margaret Bent
5. Questions of Signatures and Authorship: Some Elusive Scribes and Artists in Late Thirteenth- and Early Fourteenth-Century France
Alison Stones
III. Medieval Constructions of Authority and of the Authorial Persona
6. Encoded Signatures: Devotion and Artistic Self-Presentation in the Motet Ferre solet (1373)
Manon Louviot
7. The (Critical) Reception of Adam de la Halle's Motets by Petrus de Cruce and His Circle
Catherine A. Bradley
IV. The Composing Workshop
8. In the Writing Workshop: Composing for the Stage in French during the Long Fifteenth Century
Estelle Doudet
9. Facere, Componere, Invenire: Reassembling the Composer in the Long Thirteenth Century
Mark Everist
V. Composers as Communities10. W. de Wicumbe as a Composer of Alleluya Rondelli
Karen Desmond
11. Rethinking Trouvere: Biographical and Historical Perspectives on Thirteenth-Century Musical Culture
Brianne Dolce
12. Encounters of Poets, Composers and Performers in Ars Nova Song: The Case of Jaquet de Noyon, Minstrel, and the Ballade Puis que je sui fumeux
Yolanda Plumley
General bibliography
Index of sources
Index of proper nouns and places
Index of works
Gael Saint-Cricq, with Anne-Zoe Rillon-Marne
I. Historiographical Critique
1. Gregory and Friends: Plural Authorities in the History of Romano-Frankish Chant
Henry Parkes
2. Inspiration vs Attribution: The Voice of the Planctus ante nescia
Charles E. Brewer
3. Petrus de Cruce, Philippe de Vitry, Notational Epochs, and the Spans of Human Lives
Anna Zayaruznaya
II. Ascriptions, Attributions, Signatures
4. Composing in the Late Middle Ages: Paradoxes in Anonymity and Attributions
Margaret Bent
5. Questions of Signatures and Authorship: Some Elusive Scribes and Artists in Late Thirteenth- and Early Fourteenth-Century France
Alison Stones
III. Medieval Constructions of Authority and of the Authorial Persona
6. Encoded Signatures: Devotion and Artistic Self-Presentation in the Motet Ferre solet (1373)
Manon Louviot
7. The (Critical) Reception of Adam de la Halle's Motets by Petrus de Cruce and His Circle
Catherine A. Bradley
IV. The Composing Workshop
8. In the Writing Workshop: Composing for the Stage in French during the Long Fifteenth Century
Estelle Doudet
9. Facere, Componere, Invenire: Reassembling the Composer in the Long Thirteenth Century
Mark Everist
V. Composers as Communities10. W. de Wicumbe as a Composer of Alleluya Rondelli
Karen Desmond
11. Rethinking Trouvere: Biographical and Historical Perspectives on Thirteenth-Century Musical Culture
Brianne Dolce
12. Encounters of Poets, Composers and Performers in Ars Nova Song: The Case of Jaquet de Noyon, Minstrel, and the Ballade Puis que je sui fumeux
Yolanda Plumley
General bibliography
Index of sources
Index of proper nouns and places
Index of works
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Medieval Musicology; Chant Traditions; Liturgical Music; Anonymous Composers; Music Notation; Authorship Attribution; Scribe Identification; Artistic Identity; Manuscript Studies; Liturgical Performance; Musical Patronage; Ars Nova; Music Historiography; French Motets; Medieval Devotional Music; Trouvere Songs; Composer Networks; Notational Practices; Biographical Studies; Music Composition Techniques
Introduction: From Composer to Composers
Gael Saint-Cricq, with Anne-Zoe Rillon-Marne
I. Historiographical Critique
1. Gregory and Friends: Plural Authorities in the History of Romano-Frankish Chant
Henry Parkes
2. Inspiration vs Attribution: The Voice of the Planctus ante nescia
Charles E. Brewer
3. Petrus de Cruce, Philippe de Vitry, Notational Epochs, and the Spans of Human Lives
Anna Zayaruznaya
II. Ascriptions, Attributions, Signatures
4. Composing in the Late Middle Ages: Paradoxes in Anonymity and Attributions
Margaret Bent
5. Questions of Signatures and Authorship: Some Elusive Scribes and Artists in Late Thirteenth- and Early Fourteenth-Century France
Alison Stones
III. Medieval Constructions of Authority and of the Authorial Persona
6. Encoded Signatures: Devotion and Artistic Self-Presentation in the Motet Ferre solet (1373)
Manon Louviot
7. The (Critical) Reception of Adam de la Halle's Motets by Petrus de Cruce and His Circle
Catherine A. Bradley
IV. The Composing Workshop
8. In the Writing Workshop: Composing for the Stage in French during the Long Fifteenth Century
Estelle Doudet
9. Facere, Componere, Invenire: Reassembling the Composer in the Long Thirteenth Century
Mark Everist
V. Composers as Communities10. W. de Wicumbe as a Composer of Alleluya Rondelli
Karen Desmond
11. Rethinking Trouvere: Biographical and Historical Perspectives on Thirteenth-Century Musical Culture
Brianne Dolce
12. Encounters of Poets, Composers and Performers in Ars Nova Song: The Case of Jaquet de Noyon, Minstrel, and the Ballade Puis que je sui fumeux
Yolanda Plumley
General bibliography
Index of sources
Index of proper nouns and places
Index of works
Gael Saint-Cricq, with Anne-Zoe Rillon-Marne
I. Historiographical Critique
1. Gregory and Friends: Plural Authorities in the History of Romano-Frankish Chant
Henry Parkes
2. Inspiration vs Attribution: The Voice of the Planctus ante nescia
Charles E. Brewer
3. Petrus de Cruce, Philippe de Vitry, Notational Epochs, and the Spans of Human Lives
Anna Zayaruznaya
II. Ascriptions, Attributions, Signatures
4. Composing in the Late Middle Ages: Paradoxes in Anonymity and Attributions
Margaret Bent
5. Questions of Signatures and Authorship: Some Elusive Scribes and Artists in Late Thirteenth- and Early Fourteenth-Century France
Alison Stones
III. Medieval Constructions of Authority and of the Authorial Persona
6. Encoded Signatures: Devotion and Artistic Self-Presentation in the Motet Ferre solet (1373)
Manon Louviot
7. The (Critical) Reception of Adam de la Halle's Motets by Petrus de Cruce and His Circle
Catherine A. Bradley
IV. The Composing Workshop
8. In the Writing Workshop: Composing for the Stage in French during the Long Fifteenth Century
Estelle Doudet
9. Facere, Componere, Invenire: Reassembling the Composer in the Long Thirteenth Century
Mark Everist
V. Composers as Communities10. W. de Wicumbe as a Composer of Alleluya Rondelli
Karen Desmond
11. Rethinking Trouvere: Biographical and Historical Perspectives on Thirteenth-Century Musical Culture
Brianne Dolce
12. Encounters of Poets, Composers and Performers in Ars Nova Song: The Case of Jaquet de Noyon, Minstrel, and the Ballade Puis que je sui fumeux
Yolanda Plumley
General bibliography
Index of sources
Index of proper nouns and places
Index of works
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Medieval Musicology; Chant Traditions; Liturgical Music; Anonymous Composers; Music Notation; Authorship Attribution; Scribe Identification; Artistic Identity; Manuscript Studies; Liturgical Performance; Musical Patronage; Ars Nova; Music Historiography; French Motets; Medieval Devotional Music; Trouvere Songs; Composer Networks; Notational Practices; Biographical Studies; Music Composition Techniques
