Ann Buckley is a musicologist and research associate at the Center for Medieval and Renaissance Studies at Trinity College, Dublin. Cynthia J. Cyrus is a professor of musicology at Vanderbilt University.

• Ingrid Karsten Brainard: A Tribute Introduction by Ann Buckley and Cynthia J. Cyrus The Creation of the Repertory The Codex Calixtinus and the French Connection: The Office for St. James in Northern France by Vincent Corrigan The Roman Processional Antiphon Repertory by Clyde Brockett The Celebration of Candlemas in Medieval Rome by Joseph Dyer "Laureata plebs fidelis": A Victorine Sequence from the Feast of Corpus Christi in Thirteenth-Century Liege by Barbara R. Walters A Newly Recognized Polyphonic Christmas Gospel, Liber generationis: And Another Look at the Polyphony in the Manuscript Assisi, Biblioteca del Sacro Convento, MS 695 by Julia W. Shinnick Prope est ruina: The Transformation of a Medieval Tenor by Alice V. ClarkIdeological Clashes in a Cinquecento Edition of Plainchant by Richard J. Agee Interpreting the Repertory Music on the Run in the Italian Novelle: Plagues, Devotional Movements, and Intimate Gatherings Away from Home by Cathy Ann Elias Dancing in the Street: Fourteenth-Century Representations of Music and Justice by Eleonora M. Beck Apres vos fais: Machaut Reception as Seen through the Chantilly Codex (F-CH 564) by Elizabeth Randell Upton Reading (into?) Renaissance Dance: Misura in the Service of Dramaturgy by Nona Monahin Dance and Identity in Fifteenth-Century Europe by Jennifer Nevile Reevaluating the Repertory Acoustics, Liturgy, and Architecture in Medieval English Cathedrals by William Peter Mahrt "Haec est nimis": A Trope-Transcription Puzzle by Greta-Mary Hair Compositional Method and Inspirational Guesswork: Reconstructing the Latin Motets of Martin Peerson (ca. 1572-1651) by Richard Rastall Dance and Historiography: Le Balet Comique de la Roynex, an Italian Perspective by Barbara Sparti Mutanze, Divisions, and Diferencias: Variation Form in Late Renaissance Dance by G. Yvonne Kendall Notes on Contributors Index

Ann Buckley is a musicologist and research associate at the Center for Medieval and Renaissance Studies at Trinity College, Dublin. Cynthia J. Cyrus is a professor of musicology at Vanderbilt University.

• Ingrid Karsten Brainard: A Tribute Introduction by Ann Buckley and Cynthia J. Cyrus The Creation of the Repertory The Codex Calixtinus and the French Connection: The Office for St. James in Northern France by Vincent Corrigan The Roman Processional Antiphon Repertory by Clyde Brockett The Celebration of Candlemas in Medieval Rome by Joseph Dyer "Laureata plebs fidelis": A Victorine Sequence from the Feast of Corpus Christi in Thirteenth-Century Liege by Barbara R. Walters A Newly Recognized Polyphonic Christmas Gospel, Liber generationis: And Another Look at the Polyphony in the Manuscript Assisi, Biblioteca del Sacro Convento, MS 695 by Julia W. Shinnick Prope est ruina: The Transformation of a Medieval Tenor by Alice V. ClarkIdeological Clashes in a Cinquecento Edition of Plainchant by Richard J. Agee Interpreting the Repertory Music on the Run in the Italian Novelle: Plagues, Devotional Movements, and Intimate Gatherings Away from Home by Cathy Ann Elias Dancing in the Street: Fourteenth-Century Representations of Music and Justice by Eleonora M. Beck Apres vos fais: Machaut Reception as Seen through the Chantilly Codex (F-CH 564) by Elizabeth Randell Upton Reading (into?) Renaissance Dance: Misura in the Service of Dramaturgy by Nona Monahin Dance and Identity in Fifteenth-Century Europe by Jennifer Nevile Reevaluating the Repertory Acoustics, Liturgy, and Architecture in Medieval English Cathedrals by William Peter Mahrt "Haec est nimis": A Trope-Transcription Puzzle by Greta-Mary Hair Compositional Method and Inspirational Guesswork: Reconstructing the Latin Motets of Martin Peerson (ca. 1572-1651) by Richard Rastall Dance and Historiography: Le Balet Comique de la Roynex, an Italian Perspective by Barbara Sparti Mutanze, Divisions, and Diferencias: Variation Form in Late Renaissance Dance by G. Yvonne Kendall Notes on Contributors Index

Ann Buckley is a musicologist and research associate at the Center for Medieval and Renaissance Studies at Trinity College, Dublin. Cynthia J. Cyrus is a professor of musicology at Vanderbilt University.

• Ingrid Karsten Brainard: A Tribute Introduction by Ann Buckley and Cynthia J. Cyrus The Creation of the Repertory The Codex Calixtinus and the French Connection: The Office for St. James in Northern France by Vincent Corrigan The Roman Processional Antiphon Repertory by Clyde Brockett The Celebration of Candlemas in Medieval Rome by Joseph Dyer "Laureata plebs fidelis": A Victorine Sequence from the Feast of Corpus Christi in Thirteenth-Century Liege by Barbara R. Walters A Newly Recognized Polyphonic Christmas Gospel, Liber generationis: And Another Look at the Polyphony in the Manuscript Assisi, Biblioteca del Sacro Convento, MS 695 by Julia W. Shinnick Prope est ruina: The Transformation of a Medieval Tenor by Alice V. ClarkIdeological Clashes in a Cinquecento Edition of Plainchant by Richard J. Agee Interpreting the Repertory Music on the Run in the Italian Novelle: Plagues, Devotional Movements, and Intimate Gatherings Away from Home by Cathy Ann Elias Dancing in the Street: Fourteenth-Century Representations of Music and Justice by Eleonora M. Beck Apres vos fais: Machaut Reception as Seen through the Chantilly Codex (F-CH 564) by Elizabeth Randell Upton Reading (into?) Renaissance Dance: Misura in the Service of Dramaturgy by Nona Monahin Dance and Identity in Fifteenth-Century Europe by Jennifer Nevile Reevaluating the Repertory Acoustics, Liturgy, and Architecture in Medieval English Cathedrals by William Peter Mahrt "Haec est nimis": A Trope-Transcription Puzzle by Greta-Mary Hair Compositional Method and Inspirational Guesswork: Reconstructing the Latin Motets of Martin Peerson (ca. 1572-1651) by Richard Rastall Dance and Historiography: Le Balet Comique de la Roynex, an Italian Perspective by Barbara Sparti Mutanze, Divisions, and Diferencias: Variation Form in Late Renaissance Dance by G. Yvonne Kendall Notes on Contributors Index