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The ^AMotet in the Late Middle Ages
A wide-ranging, single-authored overview of late-medieval motets by a leading scholar, The Motet in the Late Middle Ages offers innovative approaches to the equal partnership of music and texts in motets of the fourteenth century and beyond. With new analyses of text and music together, new datings, new attributions, and new hypotheses about origins and interrelationships, author Margaret Bent uncovers little-explored dimensions, provides a window into the craft and thought processes of medieval composers, and opens up many directions for future work.
The Motet in the Age of Du Fay
A re-evaluation of the Latin-texted motet during the age of Du Fay.
Hearing the Motet
The motet was unquestionably one of the most important vocal genres from its inception in late twelfth-century Paris through the Counter-Reformation and beyond. Heard in both sacred and secular contexts, the motet of the Middle Ages and Renaissance incorporated a striking wealth of meaning, its verbal textures dense with literary, social, philosophic, and religious reference. In Hearing the Motet, top scholars in the field provide the fullest picture yet of the motet's "music-poetic" nature, investigating the virtuosic interplay of music and text that distinguished some of the genre's finest work and reading individual motets and motet repertories in ways that illuminate their historical and...
Papal Music and Musicians in Late Medieval and Renaissance Rome
This book collects twelve of the papers given at a conference held at the Library of Congress, Washington D.C., on 1-3 April 1993, in conjunction with the exhibition `Rome Reborn: The Vatican Library and Renaissance Culture'. A group of distinguished scholars considered music in medieval and Renaissance Rome. The volume presents a series of wide-ranging and original treatments of music written for and performed in the papal court from the fourteenth to the sixteenth century. New discoveries are offered which force a radical reevaluation of the Italian papal court as a musical centre during the Great Schism. A series of motets for various popes are subject to close analysis. New interpretations and information are offered concerning the repertory of the papal chapel in the fifteenth and sixteenth centuries, the institutional life of the papal singers, and the individual biographies of singers and composers. Thought-provoking, even controversial, evaluations of the music of composers connected with, or thought to be connected with, Rome and the papal court, such as Ninot le Petit, Josquin, and Palestrina round out the volume.
