Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-mkpzs Total loading time: 0 Render date: 2024-12-26T16:49:00.685Z Has data issue: false hasContentIssue false

31 - The Thirteenth-Century Motet

from Volume II

Published online by Cambridge University Press:  04 August 2018

Mark Everist
Affiliation:
University of Southampton
Thomas Forrest Kelly
Affiliation:
Harvard University, Massachusetts
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Anderson, Gordon A. The Latin Compositions in Fascicules VII and VIII of the Notre Dame Manuscript Wolfenbüttel Helmstadt [sic] 1099 (1206), 2 vols. (commentary and transcriptions). Brooklyn: Institute of Mediaeval Music, 1972 and 1996.Google Scholar
Baltzer, Rebecca A.Aspects of Trope in the Earliest Motets for the Assumption of the Virgin,” in Studies in Medieval Music: Festschrift for Ernest H. Sanders, ed. Lefferts, Peter M. and Seirup, Brian, Current Musicology 45–47. New York: Columbia University Press, 1991, 542.Google Scholar
Baltzer, Rebecca A.The Manuscript Makers of W1: Further Evidence for an Early Date,” in Quomodo cantabimus canticum? Studies in Honor of Edward H. Roesner, ed. Cannata, David Butler, Currie, Gabriela Ilnitchi, Mueller, Rena Charnin, and Nadas, John Louis. Middleton, WI: American Institute of Musicology, 2008, 103–20.Google Scholar
Baltzer, Rebecca A.The Polyphonic Progeny of an Et gaudebit: Assessing Family Relations in the Thirteenth-Century Motet,” in Hearing the Motet: Essays on the Motet in the Middle Ages and Renaissance, ed. Pesce, Dolores. New York and Oxford University Press, 1996, 1727.CrossRefGoogle Scholar
Baltzer, Rebecca A.Why Marian Motets on Non-Marian Tenors? An Answer,” in Music in Medieval Europe: Studies in Honour of Bryan Gillingham, ed. Bailey, Terence and Santosuosso, Alma Colk. Aldershot: Ashgate, 2007, 112–28.Google Scholar
Baltzer, Rebecca A. ed. Le Magnus liber organi de Notre-Dame de Paris, Volume V: Les clausules à deux voix du manuscrit de Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1, fascicule V, Musica Gallica. Monaco: Éditions de l’Oiseau-Lyre, 1995.Google Scholar
Bradley, Catherine A.Comparing Compositional Process in Two Thirteenth-Century Motets: Pre-Existent Materials in Deus omnium/REGNAT and Ne m’oubliez mie/DOMINO,” Music Analysis 33 (2014), 263–90.Google Scholar
Bradley, Catherine A.Contrafacta and Transcribed Motets: Vernacular Influences on Latin Motets and Clausulae in the Florence Manuscript,” Early Music History 32 (2013), 170.Google Scholar
Bradley, Catherine A. “The Earliest Motets: Musical Borrowing and Re-Use.” Ph.D. dissertation, Trinity College, University of Cambridge, 2010.Google Scholar
Bradley, Catherine A.New Texts for Old Music: Three Early Thirteenth-Century Latin Motets,” Music & Letters 93 (2012), 149–69.Google Scholar
Butterfield, Ardis. “‘Enté’: A Survey and Reassessment of the Term in 13th- and 14th-Century Music and Poetry,” Early Music History 22 (2003), 67101.Google Scholar
Clark, Suzannah. “‘S’en dirai chançonete’: Hearing Text and Music in a Medieval Motet,” Plainsong and Medieval Music 16 (2007), 3159.Google Scholar
Crocker, Richard. “French Polyphony of the Thirteenth Century,” in The New Oxford History of Music, vol. ii: The Early Middle Ages to 1300, 2nd ed., ed. Crocker, Richard and Hiley, David. New York; Oxford University Press, 1990, 636–78.Google Scholar
Crocker, Richard. “Polyphony in England in the Thirteenth Century,” in The New Oxford History of Music, vol. ii: The Early Middle Ages to 1300, 2nd ed., ed. Crocker, Richard and Hiley, David. New York; Oxford University Press, 1990, 679720.Google Scholar
Everist, Mark E. French Motets in the Thirteenth Century: Music, Poetry and Genre, Cambridge Studies in Medieval and Renaissance Music 3. Cambridge University Press, 1994.Google Scholar
Everist, Mark E. French 13th-Century Polyphony in the British Library: A Facsimile Edition of the Manuscripts Additional 30091 and Egerton 2615 (folios 79–94v). London: The Plainsong and Mediaeval Music Society, 1988.Google Scholar
Everist, Mark E.Motets, French Tenors, and the Polyphonic Chanson ca. 1300,” Journal of Musicology 24 (2007), 365406.Google Scholar
Everist, Mark E.The Refrain Cento: Myth or Motet?Journal of the Royal Musical Association 114 (1989), 164–88.Google Scholar
Everist, Mark E.The Rondeau Motet: Paris and Artois in the Thirteenth Century,” Music & Letters 69 (1988), 122.CrossRefGoogle Scholar
Hoekstra, Gerald R.The French Motet as Trope: Multiple Levels of Meaning in Quant floriste la violete/El mois de mai/Et gaudebit,” Speculum 73 (1998), 3257.Google Scholar
Huot, Sylvia. Allegorical Play in the Old French Motet: The Sacred and the Profane in Thirteenth-Century Polyphony. Stanford, CA: Stanford University Press, 1997.Google Scholar
Huot, Sylvia. “Languages of Love: Vernacular Motets on the Tenor Flos Filius Eius,” in Conjunctures: Medieval Studies in Honor of Douglas Kelly, ed. Busby, Keith and Lacy, Norris J.. Atlanta and Amsterdam: Rodopi, 1994, 169–80.Google Scholar
Kidwell, Susan A.The Selection of Clausula Sources for Thirteenth-Century Motets: Some Practical Considerations and Aesthetic Implications,” Current Musicology 64 (2001), 73103.Google Scholar
Lefferts, Peter. “England,” in The Cambridge Companion to Medieval Music, ed. Everist, Mark. Cambridge University Press, 2011, 107–20.Google Scholar
Norwood, Patricia P.Performance Manuscripts from the Thirteenth Century?CMS Symposium 26 (1986), 9296.Google Scholar
Page, Christopher. “Around the Performance of a 13th-Century Motet,” Early Music 28 (2000), 343–57.CrossRefGoogle Scholar
Parsoneault, Catherine. “The Montpellier Codex: Royal Influence and Musical Taste in Late Thirteenth-Century Paris.” Ph.D. dissertation, The University of Texas at Austin, 2001.Google Scholar
Planchart, Alejandro E.The Flower’s Children,” Journal of Musicological Research 22 (2003), 303–48.Google Scholar
Roesner, Edward H., ed. Antiphonarium, seu, Magnus liber organi de gradali et antiphonario: Color Microfiche Edition of the Manuscript, Firenze, Biblioteca Medicea Laurenziana, Pluteus 29.1 / Introduction to the “Notre-Dame Manuscript” F, Codices illuminati medii aevi 45. Munich: Edition Helga Lengenfelder, 1996.Google Scholar
Saint-Cricq, Gaël. “Formes types dans le motet du XIIIe siècle: Étude d’un processus répétitif.” Ph.D. dissertation, University of Southampton, 2010.Google Scholar
Saint-Cricq, Gaël. “A New Link between the Motet and Trouvère Chanson: The Pedes-cum-Cauda Motet,” Early Music History 32 (2013), 179223.Google Scholar
Saltzstein, Jennifer. The Refrain and the Rise of the Vernacular in Medieval French Music and Poetry, Gallica 30. Cambridge: D. S. Brewer, 2013.Google Scholar
Saltzstein, Jennifer. “Relocating the Thirteenth-Century Refrain: Intertextuality, Authority, and Origins,” Journal of the Royal Musical Association 135 (2010), 245–79.Google Scholar
Sanders, Ernest H., ed. English Music of the Thirteenth and Early Fourteenth Centuries, Polyphonic Music of the Fourteenth Century 14. Paris and Monaco: Éditions de l’Oiseau-Lyre, 1979.Google Scholar
Sanders, Ernest H. and Peter Lefferts. “Motet, §I: Middle Ages: 1. France, Ars Antiqua. 2. England, 13th and Early 14th Centuries,” Grove Music Online.Google Scholar
Smith, Norman E.The Earliest Motets: Music and Words,” Journal of the Royal Musical Association 114 (1989), 141–63.Google Scholar
Smith, Norman E.An Early Thirteenth-Century Motet,” in Models of Musical Analysis: Music before 1600, ed. Everist, Mark. Oxford: Basil Blackwell, 1992.Google Scholar
Smith, Norman E.From Clausula to Motet: Material for Further Studies in the Origin and Early History of the Motet,” Musica Disciplina 34 (1980), 2965.Google Scholar
Staehelin, Martin. “Kleinüberlieferung mehrstimmige Musik vor 1550 in deutschem Sprachgebiet, i: Die Notre-Dame Fragmente aus dem Besitz von Johannes Wolf,” Nachrichten der Akademie der Wissenschaften in Göttingen, 1. Philologisch-historische Klasse, Jahrgang 1999, no. 6, Göttingen: Vandenhoeck and Ruprecht, 1999, 135.Google Scholar
Staehelin, Martin. ed. Die mittelalterliche Musik-Handschrift W1: Vollständige Reproduktion des “Notre Dame”-Manuskripts der Herzog August Bibliothek Wolfenbüttel Cod. Guelf. 628 Helmst. Wiesbaden: Harrassowitz, 1995.Google Scholar
Tischler, Hans, ed. The Earliest Motets (to circa 1270): A Complete Comparative Edition, 3 vols. New Haven, CT: Yale University Press, 1982.Google Scholar
Tischler, Hans, ed. The Montpellier Codex, 4 parts. Madison, WI: A-R Editions, 1978–85.Google Scholar
van den Boogaard, Nico H. J. Rondeaux et refrains du XIIe siècle au début du XIVe. Paris: Klincksieck, 1969.Google Scholar
van der Werf, Hendrik. Integrated Directory of Organa, Clausulae, and Motets of the Thirteenth Century. Rochester, NY: The Author, 1989.Google Scholar
Wolinski, Mary E.Tenors Lost and Found: The Reconstruction of Motets in Two Medieval Chansonniers” [Roi, & Noailles, ], in Critica Musica: Essays in Honor of Paul Brainard, ed. Knowles, John. Amsterdam: Gordon and Breach Publishers, 1996, 461–82.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×