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Table of Contents
Cover; Half-title; Series information; Title page; Copyright information; Table of contents; List of figures; List of musical examples; List of tables; Acknowledgments; Note on the text; Transcriptions; Numbering Systems; Manuscript Sigla; List of abbreviations; Introduction; 1 chant in Polyphony: The Gradual Propter veritatem in Organa, Clausulae, and Motets; The Gradual Propter veritatem; Organa and Clausulae; Veritatem; Aurem Tuam; Filia; Motet Tenors; New Beginnings and Tenor Labels: PROPTER VERITATEM and AUDI FILIA; Motets and Clausulae; Conclusions
Appendix 1.1 VERITATEM Motets: Sources and Tenor DesignationsAppendix 1.2 Motets on FILIA Tenors; 2 Mini Clausulae and the Magnus liber organi; Abbreviation Clausulae?; Chronology, Characteristics, and Concordances; Mini Clausulae in Context: The Pentecost Alleluia Veni sancte spiritus (M 27); Mini Clausulae versus the Magnus liber: The Office Responsories Non conturbetur (O 10) and Dum complerentur (O 11); Independence and Awareness: Liturgical Ordering and Provision in the Mini Clausulae vis-à-vis the Magnus liber; Plainchant Tenor Variants and the Gradual Propter veritatem (M 37)
Conclusions3 Texting Clausulae: Repetition and Regularity on the REGNAT Tenor; Which Came First: Clausula or Motet?; Making Clausulae: Repetition and the REGNAT Tenor; Making Motets: Textual Responses to Repetition; Deus omnium/REGNAT; Infidelem populum; Color, Consonance, and Dissonance; Challenging Conceptions of Clausula-Derived Motets; Conclusions; 4 Transcribing Motets: Vernacular Refrain Melodies in Magnus liber Clausulae; A Clausula-Refrain Corpus; Patterns of Transmission; Notational Irregularities; Tenor-Refrain Relationships: Musical Evidence of Quotation; Performative Traces
Conclusions5 Framing Motets: Quoting and Crafting Refrains against Plainchant Tenors; Combining Quotations in Ne m'oubliez mie/DOMINO; Crafting Refrains in Nus ne se doit/AUDI FILIA; Conclusions; 6 Intertextuality, Song, and Female Voices in Motets on a St Elizabeth of Hungary Tenor; Singing about Song in Thirteenth-Century Cambrai: An Early Elizabeth Office; The Hagiographical Motet Un chant renvoisie/DECANTATUR in Context; Songs upon and within Songs in Un chant renvoisie/DECANTATUR; Quotational Contexts for a Closing Refrain; A Hidden DECANTATUR Motet: Amis, vostre demoree
The Gendered and Geographical Resonances of a Closing RefrainConclusions; 7 From Florence to Fauvel: Rereading Musical Paradigms through a Long-Lived IOHANNE Motet; The IOHANNE Network: The Conventional Story; A Clausula Source for a Latin Motet? Tenor Manipulation and a Song-Like Duplum; Text-Music Relationships: Chronological Clues and the Role of Text in the Motet's Identity; A Memorable Motet of 'Classic' Status?; The Reception of Thirteenth-Century Motets in the Roman de Fauvel; Conclusions; 8 Conclusions; Bibliography; Facsimile Reproductions; Music and Text Editions
Appendix 1.1 VERITATEM Motets: Sources and Tenor DesignationsAppendix 1.2 Motets on FILIA Tenors; 2 Mini Clausulae and the Magnus liber organi; Abbreviation Clausulae?; Chronology, Characteristics, and Concordances; Mini Clausulae in Context: The Pentecost Alleluia Veni sancte spiritus (M 27); Mini Clausulae versus the Magnus liber: The Office Responsories Non conturbetur (O 10) and Dum complerentur (O 11); Independence and Awareness: Liturgical Ordering and Provision in the Mini Clausulae vis-à-vis the Magnus liber; Plainchant Tenor Variants and the Gradual Propter veritatem (M 37)
Conclusions3 Texting Clausulae: Repetition and Regularity on the REGNAT Tenor; Which Came First: Clausula or Motet?; Making Clausulae: Repetition and the REGNAT Tenor; Making Motets: Textual Responses to Repetition; Deus omnium/REGNAT; Infidelem populum; Color, Consonance, and Dissonance; Challenging Conceptions of Clausula-Derived Motets; Conclusions; 4 Transcribing Motets: Vernacular Refrain Melodies in Magnus liber Clausulae; A Clausula-Refrain Corpus; Patterns of Transmission; Notational Irregularities; Tenor-Refrain Relationships: Musical Evidence of Quotation; Performative Traces
Conclusions5 Framing Motets: Quoting and Crafting Refrains against Plainchant Tenors; Combining Quotations in Ne m'oubliez mie/DOMINO; Crafting Refrains in Nus ne se doit/AUDI FILIA; Conclusions; 6 Intertextuality, Song, and Female Voices in Motets on a St Elizabeth of Hungary Tenor; Singing about Song in Thirteenth-Century Cambrai: An Early Elizabeth Office; The Hagiographical Motet Un chant renvoisie/DECANTATUR in Context; Songs upon and within Songs in Un chant renvoisie/DECANTATUR; Quotational Contexts for a Closing Refrain; A Hidden DECANTATUR Motet: Amis, vostre demoree
The Gendered and Geographical Resonances of a Closing RefrainConclusions; 7 From Florence to Fauvel: Rereading Musical Paradigms through a Long-Lived IOHANNE Motet; The IOHANNE Network: The Conventional Story; A Clausula Source for a Latin Motet? Tenor Manipulation and a Song-Like Duplum; Text-Music Relationships: Chronological Clues and the Role of Text in the Motet's Identity; A Memorable Motet of 'Classic' Status?; The Reception of Thirteenth-Century Motets in the Roman de Fauvel; Conclusions; 8 Conclusions; Bibliography; Facsimile Reproductions; Music and Text Editions