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Quotation, perfection and the eloquence of form: introducingBeatius/Cum humanum
16 references·3 citing·25 second hop
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References

  • 2001The New Grove dictionary of music and musicians2,583 cited
  • 1997Hearing the motet: essays on the motet of the Middle Ages and Renaissance209 cited
  • 2012The Sense of SoundMusical Meaning in France, 1260-1330168 cited
  • 1994Discarding images: reflections on music and culture in medieval France161 cited
  • 2005Citation and authority in medieval and Renaissance musical culture : learning from the learned135 cited
  • 2003Guillaume de Machaut and Reims: context and meaning in his musical works121 cited
  • 1993Discarding Images114 cited
  • 1991Beyond the Moon: Festschrift Luther Dittmer100 cited
  • 2013The Art of Grafted Song: Citation and Allusion in the Age of Machaut99 cited
  • 2001ENCOMPASSING PAST AND PRESENT: QUOTATIONS AND THEIR FUNCTION IN MACHAUT'S MOTETS86 cited
  • 1997The manuscript Ivrea, Biblioteca capitolare 115: Studies in the transmission and composition of Ars Nova polyphony81 cited
  • 1993The motets of Philippe de Vitry and the fourteenth-century renaissance77 cited
  • 2013Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music74 cited
  • 1983Music at the Court of Burgundy, 1364-1419, a Documentary History70 cited
  • 1977Ars cantus mensurabilis

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67 cited
  • 1999Noting music, marking culture : the intellectual context of rhythmic notation, 1250-140063 cited
  • Cited by

    • 2017Intelligibility Redux6 cited
    • 2018Music and the moderni, 1300–13505 cited
    • 2018Metapoesis in Trecento Song: ‘Divisio’ at the Intersection of Love, Poetic Form, and Music3 cited