ANNE-ZOÉ RILLON-MARNE is Associate Professor of Musicology at the Université catholique de l'Ouest (Angers), France. GAËL SAINT-CRICQ is Professor of Musicology at the Université Lumière Lyon 2, France. ANNE-ZOÉ RILLON-MARNE is Associate Professor of Musicology at the Université catholique de l'Ouest (Angers), France. GAËL SAINT-CRICQ is Professor of Musicology at the Université Lumière Lyon 2, France. MARGARET BENT is an Emeritus Fellow of All Souls College, Oxford.

• Introduction: From Composer to ComposersGaël Saint-Cricq, with Anne-Zoé Rillon-Marne I. Historiographical Critique1. Gregory and Friends: Plural Authorities in the History of Romano-Frankish ChantHenry Parkes2. Inspiration vs Attribution: The Voice of the Planctus ante nesciaCharles E. Brewer3. Petrus de Cruce, Philippe de Vitry, Notational Epochs, and the Spans of Human LivesAnna Zayaruznaya II. Ascriptions, Attributions, Signatures4. Composing in the Late Middle Ages: Paradoxes in Anonymity and AttributionsMargaret Bent5. Questions of Signatures and Authorship: Some Elusive Scribes and Artists in Late Thirteenth- and Early Fourteenth-Century FranceAlison Stones III. Medieval Constructions of Authority and of the Authorial Persona6. Encoded Signatures: Devotion and Artistic Self-Presentation in the Motet Ferre solet (1373)Manon Louviot7. The (Critical) Reception of Adam de la Halle's Motets by Petrus de Cruce and His CircleCatherine A. Bradley IV. The Composing Workshop8. In the Writing Workshop: Composing for the Stage in French during the Long Fifteenth CenturyEstelle Doudet9. Facere, Componere, Invenire: Reassembling the Composer in the Long Thirteenth CenturyMark Everist V. Composers as Communities10. W. de Wicumbe as a Composer of Alleluya RondelliKaren Desmond11. Rethinking Trouvère: Biographical and Historical Perspectives on Thirteenth-Century Musical CultureBrianne Dolce12. Encounters of Poets, Composers and Performers in Ars Nova Song: The Case of Jaquet de Noyon, Minstrel, and the Ballade Puis que je sui fumeuxYolanda Plumley General bibliographyIndex of sourcesIndex of proper nouns and placesIndex of works

Overall, Composers in the Middle Ages is a much-needed intervention in the study of medieval music, posing some fascinating questions and offering many interesting answers. The volume is amply indexed for works, composers and other terms, and incorporates several helpful music examples and manuscript images. I congratulate the editors and contributors on having put together - or rather 'composed' - such a rich and stimulating collection.

ANNE-ZOÉ RILLON-MARNE is Associate Professor of Musicology at the Université catholique de l'Ouest (Angers), France. GAËL SAINT-CRICQ is Professor of Musicology at the Université Lumière Lyon 2, France. ANNE-ZOÉ RILLON-MARNE is Associate Professor of Musicology at the Université catholique de l'Ouest (Angers), France. GAËL SAINT-CRICQ is Professor of Musicology at the Université Lumière Lyon 2, France. MARGARET BENT is an Emeritus Fellow of All Souls College, Oxford.

• Introduction: From Composer to ComposersGaël Saint-Cricq, with Anne-Zoé Rillon-Marne I. Historiographical Critique1. Gregory and Friends: Plural Authorities in the History of Romano-Frankish ChantHenry Parkes2. Inspiration vs Attribution: The Voice of the Planctus ante nesciaCharles E. Brewer3. Petrus de Cruce, Philippe de Vitry, Notational Epochs, and the Spans of Human LivesAnna Zayaruznaya II. Ascriptions, Attributions, Signatures4. Composing in the Late Middle Ages: Paradoxes in Anonymity and AttributionsMargaret Bent5. Questions of Signatures and Authorship: Some Elusive Scribes and Artists in Late Thirteenth- and Early Fourteenth-Century FranceAlison Stones III. Medieval Constructions of Authority and of the Authorial Persona6. Encoded Signatures: Devotion and Artistic Self-Presentation in the Motet Ferre solet (1373)Manon Louviot7. The (Critical) Reception of Adam de la Halle's Motets by Petrus de Cruce and His CircleCatherine A. Bradley IV. The Composing Workshop8. In the Writing Workshop: Composing for the Stage in French during the Long Fifteenth CenturyEstelle Doudet9. Facere, Componere, Invenire: Reassembling the Composer in the Long Thirteenth CenturyMark Everist V. Composers as Communities10. W. de Wicumbe as a Composer of Alleluya RondelliKaren Desmond11. Rethinking Trouvère: Biographical and Historical Perspectives on Thirteenth-Century Musical CultureBrianne Dolce12. Encounters of Poets, Composers and Performers in Ars Nova Song: The Case of Jaquet de Noyon, Minstrel, and the Ballade Puis que je sui fumeuxYolanda Plumley General bibliographyIndex of sourcesIndex of proper nouns and placesIndex of works

Overall, Composers in the Middle Ages is a much-needed intervention in the study of medieval music, posing some fascinating questions and offering many interesting answers. The volume is amply indexed for works, composers and other terms, and incorporates several helpful music examples and manuscript images. I congratulate the editors and contributors on having put together - or rather 'composed' - such a rich and stimulating collection.

ANNE-ZOÉ RILLON-MARNE is Associate Professor of Musicology at the Université catholique de l'Ouest (Angers), France. GAËL SAINT-CRICQ is Professor of Musicology at the Université Lumière Lyon 2, France. ANNE-ZOÉ RILLON-MARNE is Associate Professor of Musicology at the Université catholique de l'Ouest (Angers), France. GAËL SAINT-CRICQ is Professor of Musicology at the Université Lumière Lyon 2, France. MARGARET BENT is an Emeritus Fellow of All Souls College, Oxford.

• Introduction: From Composer to ComposersGaël Saint-Cricq, with Anne-Zoé Rillon-Marne I. Historiographical Critique1. Gregory and Friends: Plural Authorities in the History of Romano-Frankish ChantHenry Parkes2. Inspiration vs Attribution: The Voice of the Planctus ante nesciaCharles E. Brewer3. Petrus de Cruce, Philippe de Vitry, Notational Epochs, and the Spans of Human LivesAnna Zayaruznaya II. Ascriptions, Attributions, Signatures4. Composing in the Late Middle Ages: Paradoxes in Anonymity and AttributionsMargaret Bent5. Questions of Signatures and Authorship: Some Elusive Scribes and Artists in Late Thirteenth- and Early Fourteenth-Century FranceAlison Stones III. Medieval Constructions of Authority and of the Authorial Persona6. Encoded Signatures: Devotion and Artistic Self-Presentation in the Motet Ferre solet (1373)Manon Louviot7. The (Critical) Reception of Adam de la Halle's Motets by Petrus de Cruce and His CircleCatherine A. Bradley IV. The Composing Workshop8. In the Writing Workshop: Composing for the Stage in French during the Long Fifteenth CenturyEstelle Doudet9. Facere, Componere, Invenire: Reassembling the Composer in the Long Thirteenth CenturyMark Everist V. Composers as Communities10. W. de Wicumbe as a Composer of Alleluya RondelliKaren Desmond11. Rethinking Trouvère: Biographical and Historical Perspectives on Thirteenth-Century Musical CultureBrianne Dolce12. Encounters of Poets, Composers and Performers in Ars Nova Song: The Case of Jaquet de Noyon, Minstrel, and the Ballade Puis que je sui fumeuxYolanda Plumley General bibliographyIndex of sourcesIndex of proper nouns and placesIndex of works

Overall, Composers in the Middle Ages is a much-needed intervention in the study of medieval music, posing some fascinating questions and offering many interesting answers. The volume is amply indexed for works, composers and other terms, and incorporates several helpful music examples and manuscript images. I congratulate the editors and contributors on having put together - or rather 'composed' - such a rich and stimulating collection.