Essays on important topics in early music.Christopher Page is one of the most influential and distinguished scholars and performers of medieval music. His first book, Voices and Instruments of the Middle Ages (1987), marked the beginning of what might be called the"Page turn" in the study and performance of medieval music. His many subsequent publications, radio broadcasting (notably the series Spirit of the Age) and performances and recordings with his ensemble Gothic Voices changed the perception of and thinking about music from before about 1400 and forged new ways of communicating its essence to scholars as well as its subtle beauty to wider audiences. The essays presented here in his honour reflectthe broad range of subject-matter, from the earliest polyphony to the conductus and motet of the thirteenth and fourteenth centuries, the troubadour and trouvère repertories, song and dance, church music, medieval music theory, improvisation techniques, historiography of medieval music, musical iconography, instrumental music, performance practice and performing, that has characterised Page's major contribution to our knowledge of music of the Middle Ages. TESS KNIGHTON is an ICREA Research Professor affiliated to the Institució Milà i Fontanals-CSIC in Barcelona and an Emeritus Fellow of Clare College, Cambridge; DAVID SKINNER is Fellow and Osborn Director of Music at Sidney Sussex College, Cambridge, and director of the early music ensemble Alamire. Contributors: Elizabeth Aubrey, Anna Maria Busse Berger, John Caldwell, Alice V. Clark, Lisa Colton, Lawrence Earp, Mark Everist, David Fallows, Manuel Pedro Ferreira, Andrew Kirkman, Elizabeth Eva Leach, Marc Lewon, Jeremy Montagu, Keith Polk, Reinhard Strohm, Rob C. Wegman, Crawford Young For any queries regarding the completion and/orreturn of the Tabula Gratulatoria form below, please contact Elizabeth McDonald (emcdonald@boydell.co.uk)

Introduction - Tess Knighton and David SkinnerThe Progeny of Bernart de Ventadorn's Can vei la lauzeta mover - Elizabeth AubreyMedieval Iberian Song in its Mediterranean Context: From Andalusian muwashshahat to the Cantigas de Santa Maria - Manuel Pedro FerreiraThe estampies of Douce 308 - Elizabeth Eva LeachAnonymous IV and the Antiqui - Rob C. WegmanThe Development of the Latin Liturgical Psalter in England - John CaldwellForgotten Levers of Harmony: Where Are the Grammarians' Claviculi? - Crawford YoungThe Variable-Voice Conductus - Mark EveristMaking Sense of Omnis / Habenti: An Ars Nova Motet in England - Lisa ColtonSuper omnes speciosa: Machaut Reading Vitry - Alice V. Clark'The spirit moves me to speak of forms changed into new bodies': Anton Webern, Philippe de Vitry, and the Reception of the Ars Nova Motet - Lawrence EarpLa belle se siet: Where Dufay and Josquin Meet - David FallowsIn Search of Medieval Music in Non-Western Countries - Anna Maria Busse BergerWhere Did Our Musical Instruments Come From? - Jeremy MontaguInstrumentalists and Changing Performance Contexts, c. 1500 - Keith PolkNon-mensural Polyphony: Performing Plainsong - Reinhard Strohm'Übersingen' and 'Quintieren': Non-Mensural Polyphony in Secular Repertories: Oswald von Wolkenstein and the Monk of Salzburg - Marc LewonFrom Page to Sound: Performing the Masses of Walter Frye - Andrew Kirkman