4 Composing in the Late Middle Ages: Paradoxes in Anonymity and Attributions

Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. List of Contributors xi
5. Acknowledgements xii
6. List of Abbreviations xiii
7. Introduction: From Composer to Composers 1
8. I. Historiographic Critique
9. 1 Gregory and Friends: Plural Authorities in the History of Romano- Frankish Chant 21
10. 2 Inspiration versus Attribution: The Voice of the Planctus ante nescia 39
11. 3 Petrus de Cruce, Philippe de Vitry, Notational Epochs, and the Spans of Human Lives 57
12. II. Ascriptions, Attributions, Signatures
13. 4 Composing in the Late Middle Ages: Paradoxes in Anonymity and Attributions 75
14. 5 Questions of Signatures and Authorship: Some Elusive Scribes and Artists in Late Thirteenth- and Early Fourteenth-Century France 97
15. III. Medieval Constructions of Authority and of the Authorial Persona
16. 6 Encoded Signatures: Devotion and Artistic Self-Presentation in the Motet Ferre solet (1373) 121
17. 7 The (Critical) Reception of Adam de la Halle’s Motets by Petrus de Cruce and His Circle 136
18. IV. The Composing Workshop
19. 8 In the Writing Workshop: Composing for the Stage in French during the Long Fifteenth Century 157
20. 9 Facere, Componere, Invenire: Reassembling the Composer in the Long Thirteenth Century 172
21. V. Composers as Communities
22. 10 W. de Wicumbe as a Composer of Alleluya Rondelli 195
23. 11 Rethinking Trouvère: Biographical and Historical Perspectives on Thirteenth-Century Musical Culture 222
24. 12 Encounters of Poets, Composers, and Performers in Ars nova Song: The Case of Jaquet de Noyon, Minstrel, and the Ballade Puis que je sui fumeux 240
25. General Bibliography 263
26. Index of Sources 301
27. Index of Proper Nouns and Places 305
28. Index of Works 313