| Record ID | marc_columbia/Columbia-extract-20221130-033.mrc:21563615:3695 |
| Source | marc_columbia |
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LEADER: 03695cam a2200637M 4500
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006 m o d
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008 220216s2022 xx o 0|| 0 eng d
035 $a(OCoLC)on1296941489
035 $a(NNC)16072653
040 $aYDX$beng$cYDX$dTYFRS$dOCLCO$dN$T$dOCLCF
019 $a1296676337$a1296911725
020 $a9781003259282$q(electronic bk.)
020 $a1003259286$q(electronic bk.)
020 $a1000581438$q(electronic bk. : EPUB)
020 $a9781000580631$q(electronic bk. : PDF)
020 $a1000580636$q(electronic bk. : PDF)
020 $a9781000581430$q(electronic bk.)
020 $z103219457X
020 $z9781032194578
024 7 $a10.4324/9781003259282$2doi
035 $a(OCoLC)1296941489$z(OCoLC)1296676337$z(OCoLC)1296911725
037 $a9781003259282$bTaylor & Francis
050 4 $aML1602
072 7 $aMUS$x020000$2bisacsh
072 7 $aMUS$x048010$2bisacsh
072 7 $aMUS$x001000$2bisacsh
072 7 $aAVGC2$2bicssc
082 04 $a782.260902$223
049 $aZCUA
100 1 $aBradley, Catherine A.
245 10 $aAUTHORSHIP AND IDENTITY IN LATE THIRTEENTH-CENTURY MOTETS$h[electronic resource].
260 $a[S.l.] :$bROUTLEDGE,$c2022.
300 $a1 online resource.
490 0 $aRoyal Musical Association monographs
520 $aQuestions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothque interuniversitaire, Section de mdecine, 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.
545 0 $aCatherine A. Bradley is Professor at the University of Oslo.
506 0 $aOpen Access$5EbpS
650 0 $aMotets$xHistory and criticism.
650 0 $aMusic$xPhilosophy and aesthetics$xHistory$yTo 1500.
650 6 $aMotets$xHistoire et critique.
650 7 $aMUSIC / History & Criticism$2bisacsh
650 7 $aMUSIC / Religious / Christian$2bisacsh
650 7 $aMUSIC / Instruction & Study / Appreciation$2bisacsh
650 7 $aMotets.$2fast$0(OCoLC)fst01026871
650 7 $aMusic$xPhilosophy and aesthetics.$2fast$0(OCoLC)fst01030408
648 7 $aTo 1500$2fast
655 4 $aElectronic books.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
776 08 $iPrint version:$z9781000581430
776 08 $iPrint version:$z103219457X$z9781032194578$w(OCoLC)1286422073
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio16072653$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS