Contents

pp v-vi

List of tables

pp vii-viii

List of musical examples

pp ix-x

Acknowledgments

pp xi-xii

Notes to the reader

pp xiii-xvi

Introduction

pp 1-4

Part I - Models and methods

pp 5-6

1 - Approaches and analogies

pp 7-23

2 - Subgenre, interpretation, and the generic repertory

pp 24-40

3 - Fifteenth-century uses of the term “motet”

pp 41-62

Part II - Motets in the early fifteenth century: the case of Bologna Q15

pp 63-64

4 - The motet section of Bologna Q15 and its ramifying roots

pp 65-98

5 - A new hybrid subgenre: the cut-circle motet

pp 99-124

6 - Other new hybrid subgenres

pp 125-146

7 - The motet in the early fifteenth century: evolution and interpretation

pp 147-164

Part III - Motets in the mid-fifteenth century: the case of the Trent Codices

pp 165-166

8 - Motets in the Trent Codices: establishing the boundaries

pp 167-184

9 - English and continental cantilena-style motets

pp 185-205

10 - Motets with a tenor cantus firmus c. 1430–1450

pp 206-227

11 - Freely composed four-voice writing in transition

pp 228-253

12 - The four-voice motet c. 1450–1475

pp 254-287

Conclusion

pp 288-303

Appendix: Widely disseminated motets

pp 304-305

Notes

pp 306-356

Bibliography of books and articles

pp 357-373

Modern editions of music

pp 374-378

Sources and sigla

pp 379-381

Notes on the index of works

pp 382-382

Abbreviations for subgenre identifications

pp 382-383