Abstract
ABSTRACTPrevious commentators have maligned the La Clayette manuscript as a source of Ars Antiqua motets on three grounds: that its layout is not arranged for use in performance; that its notation is unsophisticated in its use of mensural forms; and that it is heavy with errors. This article offers a palaeographical account of the music fascicle and its methods of production, arguing that its layout was tailored to match the manuscript's literary portions, and was designed first by a text scribe specialising in the vernacular, which accounts for many of the supposed problems. The article describes the notator's ‘house style’ and his means of dealing with the text scribe's frequent errors, suggesting he was largely successful in transmitting usable musical readings. All this provides an opportunity to think through the historical possibilities for literate interaction with written polyphony in the thirteenth century. It is suggested that La Clayette was understood by its users as a tool with which a single reader could teach other, perhaps non-literate people to sing polytextual pieces.
Published Version
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