PIECING THE EVIDENCE TOGETHER
Those who copied and sang these works for generations did not, however, know their authors’ names. Like most manuscripts containing music for ecclesiastical use, the Notre Dame sources carried no attributions. (Only “secular” works like courtly songs could carry an author’s name without taint of pride, a deadly sin.) We do think we know the identities of some of the authors, though, and we think we know something about the history of the repertory and its development. And we know what we know (or what we think we know) precisely thanks to the alliance of the cathedral church of Notre Dame with the University of Paris.
- Citation (MLA):
- Richard Taruskin. "Chapter 6 Notre Dame de Paris." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 30 Mar. 2017. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-006002.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 6 Notre Dame de Paris. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 30 Mar. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-006002.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 6 Notre Dame de Paris." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 30 Mar. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-006002.xml