List of Illustrations

pp vii-viii

List of Music Examples

pp ix-xiv

List of Tables

pp xv-xvi

List of Contributors

pp xvii-xviii

List of Music Manuscript Sigla

pp xxi-xxvi

Acknowledgements

pp xix-xx

SONGSTERS AND THEIR REPERTORIES

pp 9-10

1 - The Progeny of Bernart de Ventadorn’s Can vei la lauzeta mover

pp 11-60

2 - Medieval Iberian Song in its Mediterranean Context: From Andalusian Muwashshahat to the Cantigas de Santa Maria

pp 61-76

3 - The Estampies of Douce 308

pp 77-118

CLOSE READINGS

pp 119-120

4 - Anonymous IV and the Antiqui

pp 121-152

5 - The Development of the Latin Liturgical Psalter in England

pp 153-172

CREATING POLYPHONY

pp 193-194

7 - The Variable-Voice Conductus

pp 195-220

8 - Making Sense of Omnis / Habenti: An Ars Nova Motet in England

pp 221-246

9 - Super omnes speciosa: Machaut Reading Vitry

pp 247-270

10 - ‘The spirit moves me to speak of forms changed into new bodies’: Anton Webern, Philippe de Vitry, and the Reception of the Ars Nova Motet

pp 271-304

11 - La belle se siet: Where Dufay and Josquin Meet

pp 305-322

MUSIC AS CULTURAL PRACTICE

pp 323-324

12 - In Search of Medieval Music in Non-Western Countries

pp 325-344

13 - Where Did Our Musical Instruments Come From?

pp 345-360

14 - Instrumentalists and Changing Performance Contexts, c. 1500

pp 361-372

15 - Non-Mensural Polyphony: Performing Plainsong

pp 373-384

16 - ‘Übersingen’ and ‘Quintieren’: Non-Mensural Polyphony in Secular Repertories: Oswald von Wolkenstein and the Monk of Salzburg

pp 385-404

17 - From Page to Sound: Performing the Masses of Walter Frye

pp 405-434

Works Cited

pp 435-460

Works by Christopher Page

pp 461-472

Tabula Gratulatoria

pp 481-482