
Composers in the Middle Ages
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Content
- Composers in the Middle Ages
- Contents
- Illustrations
- Contributors
- Acknowledgements
- Abbreviations
- Introduction: From Composer to Composers
- Part I. Historiographic Critique
- 1 Gregory and Friends: Plural Authorities in the History of Romano-Frankish Chant
- 2 Inspiration versus Attribution: The Voice of the Planctus ante nescia
- 3 Petrus de Cruce, Philippe de Vitry, Notational Epochs, and the Spans of Human Lives
- Part II. Ascriptions, Attributions, Signatures
- 4 Composing in the Late Middle Ages: Paradoxes in Anonymity and Attributions
- 5 Questions of Signatures and Authorship: Some Elusive Scribes and Artists
- Part III. Medieval Constructions of Authority and of the Authorial Persona
- 6 Encoded Signatures: Devotion and Artistic Self-Presentation in the Motet Ferre solet (1373)
- 7 The (Critical) Reception of Adam de la Halle's Motets by Petrus de Cruce and His Circle
- Part IV. The Composing Workshop
- 8 In the Writing Workshop: Composing for the Stage in French during the Long Fifteenth Century
- 9 Facere, Componere, Invenire: Reassembling the Composer in the Long Thirteenth Century
- Part V. Composers as Communities
- 10 W. de Wicumbe as a Composer of Alleluya Rondelli
- 11 Rethinking Trouvère: Biographical and Historical Perspective
- 12 Encounters of Poets, Composers, and Performers in Ars nova Song
- General Bibliography
- Index of Sources
- Index of Proper Nouns and Places
- Index of Works
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