Derived from an international conference titled Monpellier 8, held 20-21 March, 2014, at St. Hugh's College, Oxford, England. Includes bibliographical references (page [299]-311) and indexes.
Contents:
Introduction / Edward Breen. A performance and reception history of On parole/A Paris/FRESE NOUVELE / Mark Everist -- A palaeographical analysis of the verbal text in Montpellier 8 / Sean Curran -- The style and iconography of Montpellier folio 35or / Alison Stones -- The decoration of Montpellier 8 : its place in the continuum of Parisian manuscript illumination / Rebecca A. Baltzer -- Double motet layouts in the Montpellier codex and contemporaneous Libri motetorum / Oliver Huck -- Deus in adiutorium revisited : sources and context / Eva M. Maschke -- Thematic clusters and compilational strategies in Montpellier 8 / Anna Kathryn Grau -- Texture, rhythm, and stylistic groupings in Montpellier 8 motets / Karen Desmond -- Je le temoin en mon chant : the art of diminution in the Petronian triplum / David Maw -- How rhythmically innovative is Montpellier 8? / Mary E. Wolinski -- Re-presentation in the Ars antiqua : from chant to polyphony / Solomon Guhl-Miller -- ...Que ne dit 'cief bien seans' : quoting motets in Montpellier 8 / Anne Ibos-Auge -- Montpellier 8 PORTARE motets and tonal exploration / Dolores Pesce -- Repetitions, rhythmical evolution, and rhetoric in the Montpellier codex / Margaret Dobby -- Shedding light on Mo 8,304, Alma virgo virginum/Benedicta es, Maria / Rachel Davies -- A performance and reception history of On parole/A Paris/FRESE NOUVELE / Edward Breen.
Summary:
Essays exploring the contents and contexts of the Montpellier codex's fascicle 8, including the manuscript's production, dating, function, and notation, as well as close-readings of individual works which illuminate compositionally progressive features and interactions with existing musical and poetic traditions. The included essays provide a variety of perspectives on thirteenth- and fourteenth century music, art history, and manuscript culture. "The Montpellier Codex (Montpellier, Biliotheque interuniversitaire, Bibliotheque universitaire de medecine, H. 196) occupies a central place in the scholarship on medieval music. This small book, packed with gorgeous gold leaf illuminations, historiated initials, and exquisite music calligraphy, is one of the most famous of all surviving music manuscripts, fundamental to understandings of the development of thirteenth- and fourteenth-century polyphonic composition. At some point in its history an eighth section (fascicle) of 48 folios was appended to the codex: when and why this happened has long perplexed scholars. The forty-three works contained in the manuscript's final section represent a collection of musical compositions, assembled at a complex moment of historical change, straddling the historiographical juncture between the thirteenth and fourteenth centuries. This book provides the first in-depth exploration of the contents and contexts of the Montpellier Code's final fascicle. It explores the manuscript's production, dating, function, and notation, offering close-readings of individual works, which illuminate compositionally progressive features of the repertoire as well as its interactions with existing musical and poetic traditions, from a variety of perspectives: thirteenth- and fourteenth-century music, art history, and manuscript culture." -- Publisher's description
Series:
Studies in medieval and renaissance music, 1479-9294 ; 16
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.