The influence of Rome on medieval plainsong and liturgy explored in depth. Containing substantial new studies in music, liturgy, history, art history, and palaeography from established and emerging scholars, this volume takes a cross-disciplinary approach to one of the most celebrated and vexing questions about plainsong and liturgy in the Middle Ages: how to understand the influence of Rome? Some essays address this question directly, examining Roman sources, Roman liturgy, or Roman practice, whilst others consider the sway ofRome more indirectly, by looking later sources, received practices, or emerging traditions that owe a foundational debt to Rome. Daniel J. DiCenso is Assistant Professor of Music at the College of the Holy Cross; Rebecca Maloy is Professor of Musicology at the University of Colorado Boulder. Contributors: Charles M. Atkinson, Rebecca A. Baltzer, James Borders, Susan Boynton, Catherine Carver, Daniel J. DiCenso, David Ganz, Barbara Haggh-Huglo, David Hiley, Emma Hornby, Thomas Forrest Kelly, William Mahrt, Charles B. McClendon, Luisa Nardini, Edward Nowacki , Christopher Page, Susan Rankin, John F. Romano, Mary E. Wolinski

New articles on du Fay and Desprez, on sacred and secular music, and reception history, form a fitting tribute to one of the field's foremost scholars. This volume celebrates the work of David Fallows, one of the most influential scholars in the field of medieval and Renaissance music. It draws together articles by scholars from around the world, focusing on key topics to which Fallows has contributed significantly: the life and works of Guillaume Du Fay and of Josquin Desprez, archival studies and biography, sacred and secular music of the late mediaeval and Renaissance period, and reception history. Studies include major archival discoveries concerning the identity of the composer Fremin Caron; a reconsideration of the authorship of works within the Josquin canon, notably Mille regretz and Absalon fili mi; a freshlook at key works from Du Fay's youth and early maturity; accounts of newly discovered sources and works; and an appraisal of David Fallows' contribution to the early music performance movement by Christopher Page, former directorof Gothic Voices. The collection also includes two newly published compositions dedicated to the honorand. Fabrice Fitch teaches at the Royal Northern College of Music; Jacobijn Kiel is an independent scholar. Contributors: Rob C. Wegman, Jane Alden, Bonnie J. Blackburn, Honey Meconi, Gianluca D'Agostino, Andrew Kirkman, Jaap van Benthem, Margaret Bent, James Haar, Alenjandro Enrique Planchart, Jesse Rodin, Lorenz Welker, Kinuho Endo, Joshua Rifkin, Thomas Schmidt-Beste, Richard Sherr, Peter Wright, Fabrice Fitch, Tess Knighton, Warwick Edwards, Adam Knight Gilbert, Markus Jans, Oliver Neighbour, Anthony Rooley, Keith Polk, John Milsom, Jeffrey J. Dean, EricJas, Peter Gulke, Iain Fenlon, Barbara Haggh, Dagmar Hoffmann-Axthelm, Leofranc Holford-Strevens, Andrea Lindmayr-Brandl, Esperanza Rodriguez-Garcia, Eugeen Schreurs, Reinhard Strohm

Essays - collected in honour of Margaret Bent - examining how medieval and Renaissance composers responded to the tradition in which they worked through a process of citation of and commentary on earlier authors. Essays in honour of Margaret Bent. The chapters of this book probe the varied functions of citation and allusion in medieval and renaissance musical culture. At its most fundamental level musical culture relied on shared models for musical practice, used by singers and composers as they learned their craft. Several contributors to this volume investigate general models, which often drew on earlier musical works, internalized in the process of composers' own training as singers. In written theoretical musical pedagogy, conversely, citation of authority is deliberate and intentional. The adaptation of accepted wisdom in theoretical treatises was the means by which newer authors stamped their own authority. Further kinds of citation occur in specific musical texts, either within the words set to music or in the music itself. The diverse functions of citation and allusion for the creator, reader, scribe, performer and listener are here given due consideration. In doing so, this volume is a fitting tribute to Margaret Bent, whose pedagogy, publications, and presence are honoured in this Festschrift. Contributors: SUSAN RANKIN, GILLES RICO, CHRISTIAN THOMAS LEITMEIR, BARBARA HAGGH, LEOFRANC HOLFORD-STREVENS, ANDREW WATHEY, KEVIN BROWNLEE, ALICE V. CLARK, LAWRENCE M. EARP, VIRGINIA NEWES, JOHN MILSOM, DAVID HOWLETT, REINHARD STROHM, THEODOR DUMITRESCU, CRISTLE COLLINS JUDD, BONNIE J. BLACKBURN