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Petre Clemens—Lugentium Siccentur Motet in Honor of Clement VI

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Petre Clemens—Lugentium Siccentur Motet in Honor of Clement VI Petre clemens—Lugentium siccentur motet in honor of Clement VI Ivrea, Biblioteca Capitolare MS 115 Philippe de Vitry (1291–1361) fols. 37v–38 ed. Anna Zayaruznaya 5 + + + + [Triplum] [O. ] & ‚ – ‚‚ ‚ ‚ ‚ – ‚ – ‚ ‚ ‚ Pe- tre cle - mens tam re quam no - mi‚ - ne cui‚‚ ‚ ‚ – nas-cen - + + [Motetus] [O. ] K K K K ‚ – ‚ & ‚‚ ‚ ‚ – ‚ Lu - gen - ti - um sic - cen - tur o - cu‚ - + Tenor [ . ] V b O ‚ ‚ – ‚ ‚ – – – \ [Non\ est inventus] \ 10 + + K & – ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ ti Do - nan - tis dex - te - ra non de - fu - + + ‚ ‚ ‚ & – ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ – li, plau - dant se - nes,– ex - ul - tent par - vu - li, V b – – – – \ \ This edition is a companion to Anna Zayaruznaya, “Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music,” Journal of Musicology 30, no. 4 (2013): 461–501, and the text underlay has been subject to aggressive editorial intervention for reasons discussed there. It is not a diplomatic transcription, but rather an edition employing a simplified form of fourteenth-century French (ars nova) notation in score. Note-values have been left unreduced. Under the reigning mensuration (0. ) there are up to three minims (M) in each semibreve (S), up to three semibreves in each breve (B), and two breves in each long (L). When triple divisions of notes are involved, two processes occur in ars nova notation which do not happen in modern notation. In imperfec- tion, a smaller note “takes” value from a longer one so that the two together can add up to three beats. Thus MS MS denotes an iambic pattern, but if the minims were omitted the semibreves alone would have the value of three minims each (compare triplum and mote- tus in m. 39). Imperfection is not indicated in this edition, but should be clear from context and vertical spacing. The second process, alteration, doubles the length of a note in order to fill out a group of three beats. Alteration is indicated by a plus (+) above the staff. Ligatures and multi-measure rests have been silently broken up to make alignment in score possible. Dots of division, which confirm that a note should receive its maximum value of three, are given when there would otherwise be ambiguity (e.g. first triplum note in m. 17). Bracketed notes have been supplied by the editor; further variants and source information are given in the Editorial Notes. 15 20 – K K ‚ ‚ ‚ ‚ & ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ it, qui y - mo car - di - ne– et su - pre - mo be - a - ta K K & ‚ ‚ ‚ – ‚ ‚ ‚ ‚ um - bre mor - tis– quo - ni - am re - gi‚ - b V tenor– talea I – – – \ 25 \ + I I I I J J J J J J J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ mu-ne - ra sus- I I I I J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚o ‚ ‚ ‚ ‚ ‚ ‚ I I I J ‚ J ‚ J V b – – – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ 30 b K ‚ ‚ K & ‚ ‚ ‚ ‚. ‚ ‚ ‚ ‚ – ‚ – ce - pi - sti fe - lix, ac om-ni - a que re - li - qua + K & ‚ ‚ – ‚ ‚ ‚ ‚ quos te‚ - nu‚ - ‚it splen - do - ris vi - si‚ - –o est ex‚ - or - – V b – – – – \ \ 35 40 ‚ ‚ K & . ‚ ‚ ‚ – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ce - li be - ni - gni - tas da - re po - test non de - fu - it, pi - a K & – – ‚ ‚ ‚ ‚ ‚ ‚ ta; \ ra - - - - V b – – – – \ \ \ 2 45 + + K & ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ Py - e - ri - dum sac - ra - rum dig - ni - tas; ha - rum so - + + & ‚ ‚ ‚ – ‚ ‚ ‚ ‚ – ‚ ‚ ‚ – di -o Spi - ‚ri - tus Cle - mens sex - tus‚ fac - tus di - vi - ni - tus; K b ( – ) V \ – – – \ 50 \ K K & – ‚. ‚ ‚ ‚ ‚ – ‚ ‚ ‚ ‚ ‚ ‚ ‚ lus pre - cel - lis do - ti - bus ha - rum do - no cun - cta gym - K K – ‚ & ‚ ‚ ‚ ‚ ‚ stu‚ - por or‚ - bis,– O ter - sum spe - cu - – V b – – – tenor talea II \ \ 55 60 + I I I I ‚ J J J J J J J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ na -si - a ‚ ‚ I I I I J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ lum ‚ ‚ ‚ ‚ ‚ ‚ I I I J J J V b – – – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 65 + [ ] – K – K & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ Car‚ -men - ‚ti - na‚ Pe‚ - ga-si pe-di - bus trans - vec - tus es + K & ‚ ‚ ‚ – ‚ ‚ – ‚ ‚ ‚ ad for -man - dum‚ vir‚ - tu‚ - tum mo - du - lum, tu Cir - rhe - V b – – – – – \ \ 3 70 + K – ‚ & ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ a pu-e - ri-ci - –a; aut fa - ta nunc aut ip- sa pro - spe - ra te K & – – ‚ ‚ ‚ – ‚ ‚ ‚ ‚ ‚ i \ Sy - ris A - pol - li - V b – – – – \ 75 \ \ 80 + K ‚ ‚ & ‚ ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ – ‚ For - tu - na, me‚ - ‚li - us,‚ Spi - ri - tus sub - li - ma - & ‚ ‚ ‚ – ‚ ‚ – nis– per - va - si - sti‚ vi‚ ‚- gor cer - ta‚ - mi - nis K V b – – – \ \ 85 K ‚. K ‚ & – ‚ ‚ ‚ ‚ – ‚ ‚ ‚ ‚ ‚ ‚ vit, er - go con - si - de - ra quod Ce - phas es, sed or - bi K K + & ‚ ‚ ‚ – – ‚ ‚ ‚ ‚ ‚ Phi - to - ni - stas he - re - sis u - be - b – V tenor– talea III – \ – \ 90 + ‚ I I I I J J J J J J J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ de-di - tus, ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ I I I I J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ re ‚ ‚ I I I J J J ‚ V b – – – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 4 95 + K & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚. ‚ ‚ ‚ ‚ – ‚ ‚ ‚ – quod mo - nar - cha, sed ser - vus om - ni - um, prin-ceps or - bis, + K & – – ‚ ‚ ‚ ‚ – cra - - - pu‚ - la‚ - tos‚ so - los pro - ster - ne - re, V b – – – – \ \ 100 105 K K & ‚ ‚ ‚ ‚ ‚ ‚ – ‚ sed‚. or‚ - bis‚ lan‚ - gui‚ - di,– ser– - vus nem - pe, sed de - li - ran - ti - K & ‚ ‚ ‚ – – ‚ ‚ ‚ – ac dum flec - tis ser - mo - nis tim‚ - ‚pa -‚ num V b – – – – – \ \ \ 110 + ‚ ‚ ‚ – K ‚ & ‚ ‚ ‚ ‚‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ um. ac ne tu - –i tan - dem sint per -fi - di. Ar - te, prin - + & ‚ – ‚ ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ ‚ – cor - da ra - pis ‚ ‚ ‚ ad au-ris or-ga-num. – K V b ( – ) – – \ \ \ 115 K K ‚ ‚ ‚ & – ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ceps, ser - va Da - nie - li - cum– tor - que fi - des mun - di - a - K K & ‚ ‚ ‚ – – ‚ ‚ ‚ ‚ ‚ Pe - trus pri - mus pet - rum non de - se - b – – V tenor talea IV – – \ \ 5 120 125 + I I I I J J J J J J J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ les ce - lis ‚ ‚ ‚ I I I I J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ris‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ I I I J ‚ J J V b – – – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 130 + ‚ K K & ‚ ‚ ‚ ‚. ‚ ‚ ‚ ‚ – ‚ ‚ re - gum di - vum; fu - ro - rem tra - gi - cum po-tens, pi‚ - –e, + + K b & ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ ‚. ‚ ‚ vi - ces e - ius‚ qui - a rec - te ge‚ - ris;– tu cle - mens V b – – – – – \ \ 135 140 ‚. ‚ ‚ K ‚ & ‚ ‚ – ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚. ‚ ‚ ‚ com - pes - ce - re ve - lis. Ab– - sit tu ‚ - o Ty - es - tes tem - po - K + & – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ – es \ et Cle - mens di - ce - ris, – V b – – – \ \ \ 145 + K ‚ ‚ & ‚ ‚ ‚ ‚ . ‚ – re et A - thre - us,– ab‚ - sint‚ The‚ - ba‚ -‚i - des– a - bu - ten - tes + + ‚ K & ‚ ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ – Pe - ga - se - ‚i qui fon - tis a - pe - ris b – K – V – – tenor talea V \ \ 6 150 K K & ‚. ‚ ‚ ‚ – ‚ ‚ ‚ ‚ ‚ ‚ ‚ fra - ter - no ie - co‚ - re; u - num - que sint scis - si Phi - K + & ‚ ‚ ‚ – ‚ ‚ ‚ ‚ ve - nas gra - tis In - dis et ru‚ - di ‚ ‚- ‚ V b – – – \ \ 155 I I I I J J J J J J J J J J J J & ‚ ‚ ‚ ‚ b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚li - pi‚ - des. ‚ ‚ I I I I J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ bus‚ ‚ ‚ ‚ ‚ Ath - I I I ‚ J J J V b – – – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 160 165 K & ‚ ‚ ‚ ‚ ‚ ‚. ‚ ‚ ‚ ‚ – ‚ ‚ ‚ – Ur - bem‚ vi - de clas - sis per‚ e - quo - ra; de - ter - re - at K & ‚ – ‚ ‚ ‚ – lan - ‚ti - cis‚ et– E - thi - o - pi - bus V b – – – – \ \ 170 K K + & b‚. ‚ ‚ ‚ ‚ – ‚ – prin - ci- pes Tha-ne - os clan‚ -gor‚ tu‚ - be, Tur‚ - co‚ - rum K + & ‚ ‚ ‚ – – ‚ ‚ ‚ ‚ ‚ ‚ Sti - ris quo - que, \ quid in ‚ V b – – – – – \ \ \ 7 175 + K & ‚. ‚ ‚ ‚ ‚ ‚ ‚. ‚ ‚ ‚ ‚ – pec - to - ra de‚ -ci - ‚pi ‚- ant– au - gu -res Mem-phe - os. + + – & ‚ ‚ – ‚ ‚. ‚ ‚ ‚ ‚ ‚ ‚ pre– - co - ni - a lau - dum mi - ra fun - dat ius - ti - ci - – – V b ( – ) – \ \ \ 180 185 K K & ‚ ‚ ‚ – ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ Con - so - le - tur tris - tis Ar - me - ni - –a, et e - la - tus suc - cum- bat + K K – ‚ ‚ & – ‚ ‚ ‚ ‚ ‚ ‚ a. Non au - gen - tur– me - men -to se - cu - b K – V | tenor– talea VI– – \ \ 190 + I I I I J J J J J J J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ Is-ma - el, ‚ ‚ ‚ ‚ ‚ ‚ et‚ I I I b I J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ la, I I I J ‚ J J V b – – – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 195 K & ‚ ‚. ‚ ‚ ‚ – b‚ ‚ ‚ – ger‚ - mi‚ - net de - ser-ta Sy -‚ri - a et de - pres - sus + + b K & ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ – non i - na - ne tu‚ - me - scunt gut - tu - la, V b – – – – \ \ 8 200 b b K K & ‚ ‚ ‚ ‚ ‚ – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ re - sur - gat Is - ra - el: Tunc na - tu -re, glo-ri -o - sis-si - b K b & ‚ ‚ ‚ – – ‚ ‚ ‚ nec ul - la laus \ ad - den - se - V b – – – – \ \ 205 210 + ‚ ‚ K & – ‚ ‚ ‚ ‚ ‚ ‚ ‚. ‚ ‚ mus tri - um - pha - tor,– tri - bu- tum‚ sol- ve‚ - re– + ‚ ‚ ‚ + & ‚ – – ‚ ‚ ‚ ‚ b‚ ‚ ‚ – ‚. ‚ ‚ ‚ ‚ re men - tis tu - is un - quam po - te - rit in - cli - V b – – – – \ \ \ 215 K ‚. ‚ K & ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ ‚ ‚ ‚ ‚ non do - le - bis,– he - res le - gi - ti - mus Ihe- su Cri -sti, mo - ri - ens + K K & ‚ ‚ – – ‚ ‚ ‚ ‚ ‚ tis.– Vul - gi‚ ta - men mo - di - ca por -ci - b K – V | tenor– talea VII – – \ \ 220 225 + I I I I J J J J J J J J ‚ J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ li-be - re; ‚ ‚ ‚ b ‚ I I I ‚ I J J J J J J & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ o ‚ I I I J ‚ J ‚ J V b – – – – ‚ ‚ ‚ ‚ ‚ ‚ ‚ 9 230 + – K & ‚. ‚ ‚ ‚ ‚ ‚ ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ – et si de - sint mar - mor et ge-mu - la ac me - tal - lum K & ‚ ‚ ‚ ‚ ‚ de te‚ sal‚ - tem– clan‚ - ge‚ - re ges - ti - –o: V b – – – – \ \ 235 + K ‚ ‚ – K & #‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ scul - pen - da fu - ne - ri, e - rit tan - dem tu - mu- lus ver - nu - la sem - K & ‚ ‚ ‚ – – ‚ ‚ ‚ Vi - vat, vi - vat \ or - - - V b – – – – \ \ + 240 + + ‚ ‚ ‚ ‚ ‚ [ – ] & ‚ ‚ ‚ ‚ – ‚ ‚ ‚ – ‚ per fa - ma res - pon - dens o - pe - ri, quam po - ste - ris ‚ + ‚ & ‚ ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ – bi per - u - ‚ti - lis,– cu - i non est in - V b – [ – – – \ cu \ \ 245 250 + & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ – – – pre‚. - be‚ -bis‚ re‚ -gu‚ - la– gu - ber - nan - di; fa - ve - ant su - pe - ri.\ + + ‚ & ‚ ‚ ‚‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚. ‚ ‚ ‚ ‚ – – – - - ven - tus si - mi - lis.\ b ( – ) ] V \ – – – – \ \ \ 10 TEXTS AND TRANSLATIONS Edited and Translated by David Howlett as published in Andrew Wathey, “The Motets of Philippe de Vitry and the Fourteenth-Century Renaissance,” Early Music History 12 (1993): 136–7. Reproduced with permission.
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  • A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564
    A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Music Michael C. Evans March 2011 © 2011 Michael C. Evans. All Rights Reserved. 2 This thesis titled A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 by MICHAEL C. EVANS has been approved for the School of Music and the College of Fine Arts by Richard D. Wetzel Professor of Music History and Literature Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT EVANS, MICHAEL C., M.M., March 2011, Music History and Literature A New Look At Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 Director of Thesis: Richard D. Wetzel The ars subtilior is a medieval style period marked with a high amount of experimentation and complexity, lying in between the apex of the ars nova and the newer styles of music practiced by the English and the Burgundians in the early fifteenth century. In scholarly accounts summarizing the period, however, musicologists and scholars differ, often greatly, on the precise details that comprise the style. In this thesis, I will take a closer look at the music of the period, with special relevance to the Codex Chantilly (F-CH-564), the main source of music in the ars subtilior style. In doing so, I will create a more exact definition of the style and its characteristics, using more precise language.
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  • Mid-Fifteenth-Century English Mass Cycles in Continental Sources, Vol
    Mid-Fifteenth-Century English Mass Cycles in Continental Sources, vol. 1 James Matthew Cook Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2014 Abstract Fifteenth-century English music had a profound impact on mainland Europe, with several important innovations (e.g. the cyclic cantus firmus Mass) credited as English in origin. However, the turbulent history of the Church in England has left few English sources for this deeply influential repertory. The developing narrative surrounding apparently English technical innovations has therefore often focussed on the recognition of English works in continental manuscripts, with these efforts most recently crystallised in Curtis and Wathey’s ‘Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory’. The focus of discussion until now has generally been on a dichotomy between English and continental origin. However, as more details emerge of the opportunities for cultural cross-fertilisation, it becomes increasingly clear that this may be a false dichotomy. This thesis re-evaluates the complex issues of provenance and diffusion affecting the mid-fifteenth-century cyclic Mass. By breaking down the polarization between English and continental origins, it offers a new understanding of the provenance and subsequent use of many Mass cycles. Contact between England and the continent was frequent, multifarious and quite possibly reciprocal and, despite strong national trends, there exists a body of work that can best be understood in relation to international cultural exchange. This thesis helps to clarify the i provenance of a number of Mass cycles, but also suggests that, for Masses such as the anonymous Thomas cesus and Du cuer je souspier, Le Rouge’s So ys emprentid, and even perhaps Bedyngham’s Sine nomine, cultural exchange is key to our understanding.
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  • Hearing Polyphony, Ca.1375-Ca. 1450
    "Are My Ears On Wrong?": Hearing Polyphony, ca.1375-ca. 1450 Ernest H. Sanders " ... certainly historians have a right to impose their own modern categories on the past which they are trying to understand. we may hope to gain a better understanding if we try to recapture its categories as far as that is possible." (Kristeller 1966:29) 1 Counterpoint: Elements and Progression Discipulus: Ecce contrapuncti exempla mea a te heri ad conficiendum mandata. Sed quartam, dissonantiam pessimam, inter contratenorem discantumque, semel in exemplo secundo, at in primo adeo bis video. Si tamen in fine secundi contratenorem in tertiam super tenorem, id est in sex tam de discantu ponam, nonne duas consonantias imperfectas formans totam dissonantiam vitare possim? Example 1: Student's counterpoint exercise. a b contratenor ~~~~~~~~~~ Magister: Si supranum seu dis can tum sit in ottava cum tenore tunc contratenor debet poni in quinta cum tenore: et sic erit in quarta cum discantu: que quidem quarta resonat diatesseron et est auditui pessima dissonantia: Nam quarta non est species contrapunti: sed quia tenor et discantus positi in ottava resonant diapason perfectissimam concordantiam, et contra tenor cum tenore in quinta positi reddunt bon am diapenthe consonantiam: ideo contratenor cum dis cantu in quarta positi non videntur discordare. Nam ibi sunt due concordantie perfecte diapason scilicet et diapenthe et unica dissonantia scilicet diatesseron: quoniam igitur maius occupat minus et minus a maiore confunditur due prime concordantie tam suaviter ad aures accedunt et eas amicabili auditu occupant, quod vix discordantia ab audientibus percipi potest. Student: Here are my examples of counterpoint that you told me yes- Current Musicology, no.
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  • French Ars Nova Motets and Their Manuscripts: Citational Play and Material Context
    French Ars Nova Motets and their Manuscripts: Citational Play and Material Context Submitted by Tamsyn Rose-Steel to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Medieval Studies In May 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 3 ABSTRACT The discussion of citation and allusion has become an important area of research in Medieval Studies. The application of postmodern intertextual theories has brought scholars to a deeper understanding of the reuse of borrowed material, shedding new light on a culture of music and literature that was once dismissed as dully repetitive. This thesis builds on this work by examining in depth the manner in which citation and allusion was deployed in the fourteenth- century motet. Motets are a particularly fertile ground for discussion of the reuse of material, drawing as they do on a range of citational techniques such as borrowed liturgical tenors, modelling of rhyme schemes on existing works, and quotation of refrains and authorities. The polyphonic and polytextual nature of the motet enabled composers to juxtapose different registers, languages and genres, and thus to create an array of competing possible interpretations. This study is situated against several strands of recent scholarship.
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  • Recycling Reversed Studies in the History of Polyphony in the Northern Low Countries Around 1400
    Recycling Reversed Studies in the History of Polyphony in the Northern Low Countries Around 1400 Recycling Reversed Een verkenning van de geschiedenis van de polyfonie in de noordelijke Lage Landen omstreeks 1400 (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. G.J. van der Zwaan, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op vrijdag 18 mei 2018 des middags te 2.30 uur door Eliane Andrea Fankhauser geboren op 24 juli 1986 te Winterthur, Zwitserland Promotor: Prof.dr. K. Kügle This thesis was accomplished with financial support from the Netherlands Organisation for Scientific Research (NWO). Acknowledgements My first encounter with the polyphonic fragments which are the subject of this study happened on an afternoon at the Special Collections of the Utrecht University Library. The fragments were presented during a general introduction into the Special Collection’s keepings of music manuscript and fragments. Immediately, I was fascinated by the frag- ments’ formats, notational features, and music and text scripts. That a research project about these fragments would be anything but a simple undertaking was apparent from the very deteriorated state of some of the fragment leaves. Nevertheless, I was eager to delve into them. If only I examined them closely enough, these—at first glance—random assemblies of fragment leaves will reveal more about their genesis and history of use, so I thought. This idea kept me going during the whole process of doing research. That it proved wrong may be a disappoint- ment at first sight but really this is one of the most important insights that I will take with me in my further career.
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