A reflection on the idea of the "composer" in the medieval period, including a study of the individuals and groups active in the creation of medieval music.
A reflection on the idea of the "composer" in the medieval period, including a study of the individuals and groups active in the creation of medieval music.
Edited by Anne-Zoé Rillon-Marne and Gaël Saint-Cricq
Inhaltsangabe
Introduction: From Composer to Composers Gaël Saint-Cricq, with Anne-Zoé 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 Communities 10. W. de Wicumbe as a Composer of Alleluya Rondelli Karen Desmond 11. Rethinking Trouvère: 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
Introduction: From Composer to Composers Gaël Saint-Cricq, with Anne-Zoé 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 Communities 10. W. de Wicumbe as a Composer of Alleluya Rondelli Karen Desmond 11. Rethinking Trouvère: 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
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