ABSTRACT
The manuscript Ha is the only extant trouvere author collection to contain groups of polyphonic works, and thus Adam de la Halle is 'the only thirteenth-century trouvere to whom polyphony is explicitly attributed in a music manuscript'. Although Adam’s identity is never openly declared in fascicle 7 of the motet collection in Montpellier Codex (Mo), his presence as a compositional personality is undeniable. On musical and analytical grounds, however, the priority of the Adam's rondeau is most convincing in the case of A Dieu commant. Adam's presence is most concentrated within the main body of Mo fascicle 7, where all three of his own motets appear, alongside four further anonymous pieces that, as demonstrated later, quote refrains associated with Adam. The marked stylistic disjunction between Adam's motetus incipit and the preceding Se je sui triplum in Mo fascicle 8 stands in contrast to the better-integrated quotations of Adam's refrains and rondeaux within the motets of Mo 7.
