Polyphony in medieval Paris :: the art of composing with plainchant /
"Polyphony associated with the Parisian cathedral of Notre Dame marks a historical turning point in medieval music. Yet a lack of analytical or theoretical systems has discouraged close study of twelfth- and thirteenth-century musical objects, despite the fact that such creations represent the...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge, United Kingdom ; New York, NY :
Cambridge University Press,
2018.
|
| Schriftenreihe: | Music in context.
|
| Schlagworte: | |
| Online-Zugang: | DE-862 DE-863 |
| Zusammenfassung: | "Polyphony associated with the Parisian cathedral of Notre Dame marks a historical turning point in medieval music. Yet a lack of analytical or theoretical systems has discouraged close study of twelfth- and thirteenth-century musical objects, despite the fact that such creations represent the beginnings of musical composition as we know it. Is musical analysis possible for such medieval repertoires? Catherine A. Bradley demonstrates that it is, presenting new methodologies to illuminate processes of musical and poetic creation, from monophonic plainchant and vernacular French songs, to polyphonic organa, clausulae, and motets in both Latin and French. This book engages with questions of text-music relationships, liturgy, and the development of notational technologies, exploring concepts of authorship and originality as well as practices of quotation and musical reworking."-- |
| Beschreibung: | 1 online resource (xvii, 281 pages) : music |
| Bibliographie: | Includes bibliographical references and indexes. |
| ISBN: | 9781108314183 110831418X 9781108290456 1108290450 1108311180 9781108311182 |
Internformat
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| 100 | 1 | |a Bradley, Catherine A., |e author. | |
| 245 | 1 | 0 | |a Polyphony in medieval Paris : |b the art of composing with plainchant / |c Catherine A. Bradley. |
| 264 | 1 | |a Cambridge, United Kingdom ; |a New York, NY : |b Cambridge University Press, |c 2018. | |
| 264 | 4 | |c ©2018 | |
| 300 | |a 1 online resource (xvii, 281 pages) : |b music | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a Music in context | |
| 504 | |a Includes bibliographical references and indexes. | ||
| 520 | |a "Polyphony associated with the Parisian cathedral of Notre Dame marks a historical turning point in medieval music. Yet a lack of analytical or theoretical systems has discouraged close study of twelfth- and thirteenth-century musical objects, despite the fact that such creations represent the beginnings of musical composition as we know it. Is musical analysis possible for such medieval repertoires? Catherine A. Bradley demonstrates that it is, presenting new methodologies to illuminate processes of musical and poetic creation, from monophonic plainchant and vernacular French songs, to polyphonic organa, clausulae, and motets in both Latin and French. This book engages with questions of text-music relationships, liturgy, and the development of notational technologies, exploring concepts of authorship and originality as well as practices of quotation and musical reworking."-- |c Provided by publisher | ||
| 505 | 0 | |a Cover; Half-title; Series information; Title page; Copyright information; Table of contents; List of figures; List of musical examples; List of tables; Acknowledgments; Note on the text; Transcriptions; Numbering Systems; Manuscript Sigla; List of abbreviations; Introduction; 1 chant in Polyphony: The Gradual Propter veritatem in Organa, Clausulae, and Motets; The Gradual Propter veritatem; Organa and Clausulae; Veritatem; Aurem Tuam; Filia; Motet Tenors; New Beginnings and Tenor Labels: PROPTER VERITATEM and AUDI FILIA; Motets and Clausulae; Conclusions | |
| 505 | 8 | |a Appendix 1.1 VERITATEM Motets: Sources and Tenor DesignationsAppendix 1.2 Motets on FILIA Tenors; 2 Mini Clausulae and the Magnus liber organi; Abbreviation Clausulae?; Chronology, Characteristics, and Concordances; Mini Clausulae in Context: The Pentecost Alleluia Veni sancte spiritus (M 27); Mini Clausulae versus the Magnus liber: The Office Responsories Non conturbetur (O 10) and Dum complerentur (O 11); Independence and Awareness: Liturgical Ordering and Provision in the Mini Clausulae vis-à-vis the Magnus liber; Plainchant Tenor Variants and the Gradual Propter veritatem (M 37) | |
| 505 | 8 | |a Conclusions3 Texting Clausulae: Repetition and Regularity on the REGNAT Tenor; Which Came First: Clausula or Motet?; Making Clausulae: Repetition and the REGNAT Tenor; Making Motets: Textual Responses to Repetition; Deus omnium/REGNAT; Infidelem populum; Color, Consonance, and Dissonance; Challenging Conceptions of Clausula-Derived Motets; Conclusions; 4 Transcribing Motets: Vernacular Refrain Melodies in Magnus liber Clausulae; A Clausula-Refrain Corpus; Patterns of Transmission; Notational Irregularities; Tenor-Refrain Relationships: Musical Evidence of Quotation; Performative Traces | |
| 505 | 8 | |a Conclusions5 Framing Motets: Quoting and Crafting Refrains against Plainchant Tenors; Combining Quotations in Ne m'oubliez mie/DOMINO; Crafting Refrains in Nus ne se doit/AUDI FILIA; Conclusions; 6 Intertextuality, Song, and Female Voices in Motets on a St Elizabeth of Hungary Tenor; Singing about Song in Thirteenth-Century Cambrai: An Early Elizabeth Office; The Hagiographical Motet Un chant renvoisie/DECANTATUR in Context; Songs upon and within Songs in Un chant renvoisie/DECANTATUR; Quotational Contexts for a Closing Refrain; A Hidden DECANTATUR Motet: Amis, vostre demoree | |
| 505 | 8 | |a The Gendered and Geographical Resonances of a Closing RefrainConclusions; 7 From Florence to Fauvel: Rereading Musical Paradigms through a Long-Lived IOHANNE Motet; The IOHANNE Network: The Conventional Story; A Clausula Source for a Latin Motet? Tenor Manipulation and a Song-Like Duplum; Text-Music Relationships: Chronological Clues and the Role of Text in the Motet's Identity; A Memorable Motet of 'Classic' Status?; The Reception of Thirteenth-Century Motets in the Roman de Fauvel; Conclusions; 8 Conclusions; Bibliography; Facsimile Reproductions; Music and Text Editions | |
| 588 | 0 | |a Print version record. | |
| 650 | 0 | |a Church music |z France |x Catholic Church |y 500-1400 |x History and criticism. | |
| 650 | 6 | |a Musique d'église |z France |x Église catholique |y 500-1400 |x Histoire et critique. | |
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Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-on1046065697 |
|---|---|
| _version_ | 1829095275899125760 |
| adam_text | |
| any_adam_object | |
| author | Bradley, Catherine A. |
| author_facet | Bradley, Catherine A. |
| author_role | aut |
| author_sort | Bradley, Catherine A. |
| author_variant | c a b ca cab |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | M - Music |
| callnumber-label | ML3027 |
| callnumber-raw | ML3027.2 |
| callnumber-search | ML3027.2 |
| callnumber-sort | ML 43027.2 |
| callnumber-subject | ML - Literature on Music |
| collection | ZDB-4-EBA |
| contents | Cover; Half-title; Series information; Title page; Copyright information; Table of contents; List of figures; List of musical examples; List of tables; Acknowledgments; Note on the text; Transcriptions; Numbering Systems; Manuscript Sigla; List of abbreviations; Introduction; 1 chant in Polyphony: The Gradual Propter veritatem in Organa, Clausulae, and Motets; The Gradual Propter veritatem; Organa and Clausulae; Veritatem; Aurem Tuam; Filia; Motet Tenors; New Beginnings and Tenor Labels: PROPTER VERITATEM and AUDI FILIA; Motets and Clausulae; Conclusions Appendix 1.1 VERITATEM Motets: Sources and Tenor DesignationsAppendix 1.2 Motets on FILIA Tenors; 2 Mini Clausulae and the Magnus liber organi; Abbreviation Clausulae?; Chronology, Characteristics, and Concordances; Mini Clausulae in Context: The Pentecost Alleluia Veni sancte spiritus (M 27); Mini Clausulae versus the Magnus liber: The Office Responsories Non conturbetur (O 10) and Dum complerentur (O 11); Independence and Awareness: Liturgical Ordering and Provision in the Mini Clausulae vis-à-vis the Magnus liber; Plainchant Tenor Variants and the Gradual Propter veritatem (M 37) Conclusions3 Texting Clausulae: Repetition and Regularity on the REGNAT Tenor; Which Came First: Clausula or Motet?; Making Clausulae: Repetition and the REGNAT Tenor; Making Motets: Textual Responses to Repetition; Deus omnium/REGNAT; Infidelem populum; Color, Consonance, and Dissonance; Challenging Conceptions of Clausula-Derived Motets; Conclusions; 4 Transcribing Motets: Vernacular Refrain Melodies in Magnus liber Clausulae; A Clausula-Refrain Corpus; Patterns of Transmission; Notational Irregularities; Tenor-Refrain Relationships: Musical Evidence of Quotation; Performative Traces Conclusions5 Framing Motets: Quoting and Crafting Refrains against Plainchant Tenors; Combining Quotations in Ne m'oubliez mie/DOMINO; Crafting Refrains in Nus ne se doit/AUDI FILIA; Conclusions; 6 Intertextuality, Song, and Female Voices in Motets on a St Elizabeth of Hungary Tenor; Singing about Song in Thirteenth-Century Cambrai: An Early Elizabeth Office; The Hagiographical Motet Un chant renvoisie/DECANTATUR in Context; Songs upon and within Songs in Un chant renvoisie/DECANTATUR; Quotational Contexts for a Closing Refrain; A Hidden DECANTATUR Motet: Amis, vostre demoree The Gendered and Geographical Resonances of a Closing RefrainConclusions; 7 From Florence to Fauvel: Rereading Musical Paradigms through a Long-Lived IOHANNE Motet; The IOHANNE Network: The Conventional Story; A Clausula Source for a Latin Motet? Tenor Manipulation and a Song-Like Duplum; Text-Music Relationships: Chronological Clues and the Role of Text in the Motet's Identity; A Memorable Motet of 'Classic' Status?; The Reception of Thirteenth-Century Motets in the Roman de Fauvel; Conclusions; 8 Conclusions; Bibliography; Facsimile Reproductions; Music and Text Editions |
| ctrlnum | (OCoLC)1046065697 |
| dewey-full | 781.71/20944 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.71/20944 |
| dewey-search | 781.71/20944 |
| dewey-sort | 3781.71 520944 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| era | 500-1400 fast |
| era_facet | 500-1400 |
| format | Electronic eBook |
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Yet a lack of analytical or theoretical systems has discouraged close study of twelfth- and thirteenth-century musical objects, despite the fact that such creations represent the beginnings of musical composition as we know it. Is musical analysis possible for such medieval repertoires? Catherine A. Bradley demonstrates that it is, presenting new methodologies to illuminate processes of musical and poetic creation, from monophonic plainchant and vernacular French songs, to polyphonic organa, clausulae, and motets in both Latin and French. This book engages with questions of text-music relationships, liturgy, and the development of notational technologies, exploring concepts of authorship and originality as well as practices of quotation and musical reworking."--</subfield><subfield code="c">Provided by publisher</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Cover; Half-title; Series information; Title page; Copyright information; Table of contents; List of figures; List of musical examples; List of tables; Acknowledgments; Note on the text; Transcriptions; Numbering Systems; Manuscript Sigla; List of abbreviations; Introduction; 1 chant in Polyphony: The Gradual Propter veritatem in Organa, Clausulae, and Motets; The Gradual Propter veritatem; Organa and Clausulae; Veritatem; Aurem Tuam; Filia; Motet Tenors; New Beginnings and Tenor Labels: PROPTER VERITATEM and AUDI FILIA; Motets and Clausulae; Conclusions</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Appendix 1.1 VERITATEM Motets: Sources and Tenor DesignationsAppendix 1.2 Motets on FILIA Tenors; 2 Mini Clausulae and the Magnus liber organi; Abbreviation Clausulae?; Chronology, Characteristics, and Concordances; Mini Clausulae in Context: The Pentecost Alleluia Veni sancte spiritus (M 27); Mini Clausulae versus the Magnus liber: The Office Responsories Non conturbetur (O 10) and Dum complerentur (O 11); Independence and Awareness: Liturgical Ordering and Provision in the Mini Clausulae vis-à-vis the Magnus liber; Plainchant Tenor Variants and the Gradual Propter veritatem (M 37)</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Conclusions3 Texting Clausulae: Repetition and Regularity on the REGNAT Tenor; Which Came First: Clausula or Motet?; Making Clausulae: Repetition and the REGNAT Tenor; Making Motets: Textual Responses to Repetition; Deus omnium/REGNAT; Infidelem populum; Color, Consonance, and Dissonance; Challenging Conceptions of Clausula-Derived Motets; Conclusions; 4 Transcribing Motets: Vernacular Refrain Melodies in Magnus liber Clausulae; A Clausula-Refrain Corpus; Patterns of Transmission; Notational Irregularities; Tenor-Refrain Relationships: Musical Evidence of Quotation; Performative Traces</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Conclusions5 Framing Motets: Quoting and Crafting Refrains against Plainchant Tenors; Combining Quotations in Ne m'oubliez mie/DOMINO; Crafting Refrains in Nus ne se doit/AUDI FILIA; Conclusions; 6 Intertextuality, Song, and Female Voices in Motets on a St Elizabeth of Hungary Tenor; Singing about Song in Thirteenth-Century Cambrai: An Early Elizabeth Office; The Hagiographical Motet Un chant renvoisie/DECANTATUR in Context; Songs upon and within Songs in Un chant renvoisie/DECANTATUR; Quotational Contexts for a Closing Refrain; A Hidden DECANTATUR Motet: Amis, vostre demoree</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">The Gendered and Geographical Resonances of a Closing RefrainConclusions; 7 From Florence to Fauvel: Rereading Musical Paradigms through a Long-Lived IOHANNE Motet; The IOHANNE Network: The Conventional Story; A Clausula Source for a Latin Motet? Tenor Manipulation and a Song-Like Duplum; Text-Music Relationships: Chronological Clues and the Role of Text in the Motet's Identity; A Memorable Motet of 'Classic' Status?; The Reception of Thirteenth-Century Motets in the Roman de Fauvel; Conclusions; 8 Conclusions; Bibliography; Facsimile Reproductions; Music and Text Editions</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Church music</subfield><subfield code="z">France</subfield><subfield code="x">Catholic Church</subfield><subfield code="y">500-1400</subfield><subfield code="x">History and criticism.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Musique d'église</subfield><subfield code="z">France</subfield><subfield code="x">Église catholique</subfield><subfield code="y">500-1400</subfield><subfield code="x">Histoire et critique.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">MUSIC</subfield><subfield code="x">Instruction & Study</subfield><subfield code="x">Theory.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Church music</subfield><subfield code="x">Catholic Church</subfield><subfield code="2">fast</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">France</subfield><subfield code="2">fast</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PBJd8gD4vdtqQMdQHvYqbBP</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">500-1400</subfield><subfield code="2">fast</subfield></datafield><datafield tag="655" ind1=" " ind2="0"><subfield code="a">Electronic books.</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="a">Criticism, interpretation, etc.</subfield><subfield code="2">fast</subfield></datafield><datafield tag="758" ind1=" " ind2=" "><subfield code="i">has work:</subfield><subfield code="a">Polyphony in medieval Paris (Text)</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCFwQc6DP4FBfkhTkHqfxym</subfield><subfield code="4">https://id.oclc.org/worldcat/ontology/hasWork</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version:</subfield><subfield code="z">9781108418584</subfield></datafield><datafield tag="830" ind1=" " ind2="0"><subfield code="a">Music in context.</subfield><subfield code="0">http://id.loc.gov/authorities/names/no2012101704</subfield></datafield><datafield tag="966" ind1="4" ind2="0"><subfield code="l">DE-862</subfield><subfield code="p">ZDB-4-EBA</subfield><subfield code="q">FWS_PDA_EBA</subfield><subfield code="u">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1843264</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="4" ind2="0"><subfield code="l">DE-863</subfield><subfield code="p">ZDB-4-EBA</subfield><subfield code="q">FWS_PDA_EBA</subfield><subfield code="u">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1843264</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Askews and Holts Library Services</subfield><subfield code="b">ASKH</subfield><subfield code="n">AH34880396</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ProQuest Ebook Central</subfield><subfield code="b">EBLB</subfield><subfield code="n">EBL5473090</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">EBSCOhost</subfield><subfield code="b">EBSC</subfield><subfield code="n">1843264</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">YBP Library Services</subfield><subfield code="b">YANK</subfield><subfield code="n">15612435</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">YBP Library Services</subfield><subfield code="b">YANK</subfield><subfield code="n">15624501</subfield></datafield><datafield tag="994" ind1=" " ind2=" "><subfield code="a">92</subfield><subfield code="b">GEBAY</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-4-EBA</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-862</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-863</subfield></datafield></record></collection> |
| genre | Electronic books. Criticism, interpretation, etc. fast |
| genre_facet | Electronic books. Criticism, interpretation, etc. |
| geographic | France fast https://id.oclc.org/worldcat/entity/E39PBJd8gD4vdtqQMdQHvYqbBP |
| geographic_facet | France |
| id | ZDB-4-EBA-on1046065697 |
| illustrated | Illustrated |
| indexdate | 2025-04-11T08:46:26Z |
| institution | BVB |
| isbn | 9781108314183 110831418X 9781108290456 1108290450 1108311180 9781108311182 |
| language | English |
| oclc_num | 1046065697 |
| open_access_boolean | |
| owner | MAIN DE-862 DE-BY-FWS DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-862 DE-BY-FWS DE-863 DE-BY-FWS |
| physical | 1 online resource (xvii, 281 pages) : music |
| psigel | ZDB-4-EBA FWS_PDA_EBA ZDB-4-EBA |
| publishDate | 2018 |
| publishDateSearch | 2018 |
| publishDateSort | 2018 |
| publisher | Cambridge University Press, |
| record_format | marc |
| series | Music in context. |
| series2 | Music in context |
| spelling | Bradley, Catherine A., author. Polyphony in medieval Paris : the art of composing with plainchant / Catherine A. Bradley. Cambridge, United Kingdom ; New York, NY : Cambridge University Press, 2018. ©2018 1 online resource (xvii, 281 pages) : music text txt rdacontent computer c rdamedia online resource cr rdacarrier Music in context Includes bibliographical references and indexes. "Polyphony associated with the Parisian cathedral of Notre Dame marks a historical turning point in medieval music. Yet a lack of analytical or theoretical systems has discouraged close study of twelfth- and thirteenth-century musical objects, despite the fact that such creations represent the beginnings of musical composition as we know it. Is musical analysis possible for such medieval repertoires? Catherine A. Bradley demonstrates that it is, presenting new methodologies to illuminate processes of musical and poetic creation, from monophonic plainchant and vernacular French songs, to polyphonic organa, clausulae, and motets in both Latin and French. This book engages with questions of text-music relationships, liturgy, and the development of notational technologies, exploring concepts of authorship and originality as well as practices of quotation and musical reworking."-- Provided by publisher Cover; Half-title; Series information; Title page; Copyright information; Table of contents; List of figures; List of musical examples; List of tables; Acknowledgments; Note on the text; Transcriptions; Numbering Systems; Manuscript Sigla; List of abbreviations; Introduction; 1 chant in Polyphony: The Gradual Propter veritatem in Organa, Clausulae, and Motets; The Gradual Propter veritatem; Organa and Clausulae; Veritatem; Aurem Tuam; Filia; Motet Tenors; New Beginnings and Tenor Labels: PROPTER VERITATEM and AUDI FILIA; Motets and Clausulae; Conclusions Appendix 1.1 VERITATEM Motets: Sources and Tenor DesignationsAppendix 1.2 Motets on FILIA Tenors; 2 Mini Clausulae and the Magnus liber organi; Abbreviation Clausulae?; Chronology, Characteristics, and Concordances; Mini Clausulae in Context: The Pentecost Alleluia Veni sancte spiritus (M 27); Mini Clausulae versus the Magnus liber: The Office Responsories Non conturbetur (O 10) and Dum complerentur (O 11); Independence and Awareness: Liturgical Ordering and Provision in the Mini Clausulae vis-à-vis the Magnus liber; Plainchant Tenor Variants and the Gradual Propter veritatem (M 37) Conclusions3 Texting Clausulae: Repetition and Regularity on the REGNAT Tenor; Which Came First: Clausula or Motet?; Making Clausulae: Repetition and the REGNAT Tenor; Making Motets: Textual Responses to Repetition; Deus omnium/REGNAT; Infidelem populum; Color, Consonance, and Dissonance; Challenging Conceptions of Clausula-Derived Motets; Conclusions; 4 Transcribing Motets: Vernacular Refrain Melodies in Magnus liber Clausulae; A Clausula-Refrain Corpus; Patterns of Transmission; Notational Irregularities; Tenor-Refrain Relationships: Musical Evidence of Quotation; Performative Traces Conclusions5 Framing Motets: Quoting and Crafting Refrains against Plainchant Tenors; Combining Quotations in Ne m'oubliez mie/DOMINO; Crafting Refrains in Nus ne se doit/AUDI FILIA; Conclusions; 6 Intertextuality, Song, and Female Voices in Motets on a St Elizabeth of Hungary Tenor; Singing about Song in Thirteenth-Century Cambrai: An Early Elizabeth Office; The Hagiographical Motet Un chant renvoisie/DECANTATUR in Context; Songs upon and within Songs in Un chant renvoisie/DECANTATUR; Quotational Contexts for a Closing Refrain; A Hidden DECANTATUR Motet: Amis, vostre demoree The Gendered and Geographical Resonances of a Closing RefrainConclusions; 7 From Florence to Fauvel: Rereading Musical Paradigms through a Long-Lived IOHANNE Motet; The IOHANNE Network: The Conventional Story; A Clausula Source for a Latin Motet? Tenor Manipulation and a Song-Like Duplum; Text-Music Relationships: Chronological Clues and the Role of Text in the Motet's Identity; A Memorable Motet of 'Classic' Status?; The Reception of Thirteenth-Century Motets in the Roman de Fauvel; Conclusions; 8 Conclusions; Bibliography; Facsimile Reproductions; Music and Text Editions Print version record. Church music France Catholic Church 500-1400 History and criticism. Musique d'église France Église catholique 500-1400 Histoire et critique. MUSIC Instruction & Study Theory. bisacsh Church music Catholic Church fast France fast https://id.oclc.org/worldcat/entity/E39PBJd8gD4vdtqQMdQHvYqbBP 500-1400 fast Electronic books. Criticism, interpretation, etc. fast has work: Polyphony in medieval Paris (Text) https://id.oclc.org/worldcat/entity/E39PCFwQc6DP4FBfkhTkHqfxym https://id.oclc.org/worldcat/ontology/hasWork Print version: 9781108418584 Music in context. http://id.loc.gov/authorities/names/no2012101704 |
| spellingShingle | Bradley, Catherine A. Polyphony in medieval Paris : the art of composing with plainchant / Music in context. Cover; Half-title; Series information; Title page; Copyright information; Table of contents; List of figures; List of musical examples; List of tables; Acknowledgments; Note on the text; Transcriptions; Numbering Systems; Manuscript Sigla; List of abbreviations; Introduction; 1 chant in Polyphony: The Gradual Propter veritatem in Organa, Clausulae, and Motets; The Gradual Propter veritatem; Organa and Clausulae; Veritatem; Aurem Tuam; Filia; Motet Tenors; New Beginnings and Tenor Labels: PROPTER VERITATEM and AUDI FILIA; Motets and Clausulae; Conclusions Appendix 1.1 VERITATEM Motets: Sources and Tenor DesignationsAppendix 1.2 Motets on FILIA Tenors; 2 Mini Clausulae and the Magnus liber organi; Abbreviation Clausulae?; Chronology, Characteristics, and Concordances; Mini Clausulae in Context: The Pentecost Alleluia Veni sancte spiritus (M 27); Mini Clausulae versus the Magnus liber: The Office Responsories Non conturbetur (O 10) and Dum complerentur (O 11); Independence and Awareness: Liturgical Ordering and Provision in the Mini Clausulae vis-à-vis the Magnus liber; Plainchant Tenor Variants and the Gradual Propter veritatem (M 37) Conclusions3 Texting Clausulae: Repetition and Regularity on the REGNAT Tenor; Which Came First: Clausula or Motet?; Making Clausulae: Repetition and the REGNAT Tenor; Making Motets: Textual Responses to Repetition; Deus omnium/REGNAT; Infidelem populum; Color, Consonance, and Dissonance; Challenging Conceptions of Clausula-Derived Motets; Conclusions; 4 Transcribing Motets: Vernacular Refrain Melodies in Magnus liber Clausulae; A Clausula-Refrain Corpus; Patterns of Transmission; Notational Irregularities; Tenor-Refrain Relationships: Musical Evidence of Quotation; Performative Traces Conclusions5 Framing Motets: Quoting and Crafting Refrains against Plainchant Tenors; Combining Quotations in Ne m'oubliez mie/DOMINO; Crafting Refrains in Nus ne se doit/AUDI FILIA; Conclusions; 6 Intertextuality, Song, and Female Voices in Motets on a St Elizabeth of Hungary Tenor; Singing about Song in Thirteenth-Century Cambrai: An Early Elizabeth Office; The Hagiographical Motet Un chant renvoisie/DECANTATUR in Context; Songs upon and within Songs in Un chant renvoisie/DECANTATUR; Quotational Contexts for a Closing Refrain; A Hidden DECANTATUR Motet: Amis, vostre demoree The Gendered and Geographical Resonances of a Closing RefrainConclusions; 7 From Florence to Fauvel: Rereading Musical Paradigms through a Long-Lived IOHANNE Motet; The IOHANNE Network: The Conventional Story; A Clausula Source for a Latin Motet? Tenor Manipulation and a Song-Like Duplum; Text-Music Relationships: Chronological Clues and the Role of Text in the Motet's Identity; A Memorable Motet of 'Classic' Status?; The Reception of Thirteenth-Century Motets in the Roman de Fauvel; Conclusions; 8 Conclusions; Bibliography; Facsimile Reproductions; Music and Text Editions Church music France Catholic Church 500-1400 History and criticism. Musique d'église France Église catholique 500-1400 Histoire et critique. MUSIC Instruction & Study Theory. bisacsh Church music Catholic Church fast |
| title | Polyphony in medieval Paris : the art of composing with plainchant / |
| title_auth | Polyphony in medieval Paris : the art of composing with plainchant / |
| title_exact_search | Polyphony in medieval Paris : the art of composing with plainchant / |
| title_full | Polyphony in medieval Paris : the art of composing with plainchant / Catherine A. Bradley. |
| title_fullStr | Polyphony in medieval Paris : the art of composing with plainchant / Catherine A. Bradley. |
| title_full_unstemmed | Polyphony in medieval Paris : the art of composing with plainchant / Catherine A. Bradley. |
| title_short | Polyphony in medieval Paris : |
| title_sort | polyphony in medieval paris the art of composing with plainchant |
| title_sub | the art of composing with plainchant / |
| topic | Church music France Catholic Church 500-1400 History and criticism. Musique d'église France Église catholique 500-1400 Histoire et critique. MUSIC Instruction & Study Theory. bisacsh Church music Catholic Church fast |
| topic_facet | Church music France Catholic Church 500-1400 History and criticism. Musique d'église France Église catholique 500-1400 Histoire et critique. MUSIC Instruction & Study Theory. Church music Catholic Church France Electronic books. Criticism, interpretation, etc. |
| work_keys_str_mv | AT bradleycatherinea polyphonyinmedievalparistheartofcomposingwithplainchant |