Die Macht der Namen: Autorzuschreibungen als Problem am Beispiel des Codex Emmeram

Extant fifteenth-century music has customarily been viewed as an unbroken, ever-expanding, linear progression of works bearing the names of composers. This assessment, which has come to be doubted in recent years, has nonetheless never been examined with regard to individual sources. One such source, D-Mbs Clm 14274 (the so-called Emmeram codex), is both typical and atypical for the first half of the fifteenth century. Using this MS as a point of reference, an exhaustive study of the techniques applied to composer identification reveals that the connection between work and individual composer name, however concretely defined, is only one, and by no means the most significant, of several possibilities.