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The Motet in the Late Middle Ages
"The book ranges widely over French, English and Italian motets, mostly between the 1310s and the 1420s. About half the chapters are previously unpublished, the remainder revised to varying degrees from previous publications and now organised into Parts devoted to compositional techniques, Fauvel and Vitry, Machaut, the Musician motets, English motets, Italian motets, music for popes and courts. Transcriptions of entire motets complement the musical analyses, many downloadable from the companion website. Chapters vary in their technical demands, allowing readers to select as appropriate. The five Musician motets of Part IV (chs. 15-21) praise over sixty musicians and range over many decades,...
Hearing the Motet
Fresh, broad-ranging, and unique, Hearing the Motet makes indispensable reading for scholars, performers, and students of medieval and Renaissance music, and anyone else with an interest in the musical culture of these periods.
J. S. Bach and the German Motet
An exploration of Bach's motets in the context of the German motet tradition.
Allegorical Play in the Old French Motet
This book focuses on the literary artistry of the texts of Old French and bilingual motets, notably the special feature of motets that distinguished them from other medieval lyric forms: the phenomenon of polytextuality.
The Dorset Rotulus
From its origins in the thirteenth century, the Latin-texted motet in England and France became the most significant and diverse polyphonic genre of the fourteenth, a body of music important both for its texts and its variety of musical structures. However, although the motet in England plays a vital role in the music-historical narrative of the first decades of the 1300s, it has too often been overlooked in modern scholarship, due largely to its preservation in numerous but almost entirely fragmentary sources.0In 2017, substantial new fragments of medieval polyphony came to light. They originated at the Benedictine monastery of Abbotsbury, a major institution located high above Chesil Beach...
Mapping the Motet in the Post-Tridentine Era
Mapping the Motet in the Post-Tridentine Era provides new dimensions to the discussion of the immense corpus of polyphonic motets produced and performed in the decades following the end of the Council of Trent in 1563. Beyond the genre’s rich connections with contemporary spiritual life and religious experience, the motet is understood here as having a multifaceted life in transmission, performance and reception. By analysing the repertoire itself, but also by studying its material life in books and accounts, in physical places and concrete sonic environments, and by investigating the ways in which the motet was listened to and talked about by contemporaries, the eleven chapters in this bo...
Motets for One Voice by Franck, Gounod, and Saint-Saens
Pagination: xxvii + 82 pages
Hearing the Motet
In this collection, musicologists provide a picture of the motet's "music-poetic" nature, looking at the interplay of music and text that distinguished the genre's finest work and reading motets and motet repertories in ways that illuminate their historical and cultural backgrounds.
Authorship and Identity in Late Thirteenth-Century Motets
Questions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothèque interuniversitaire, Section de médecine, 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 – th...
