One of the texts of Machaut's double balade, Quant Theseus/Ne quier (B34) is ascribed in Machaut's Voir dit to a certain Thomas Paien. The present article suggests that this Thomas was one of Machaut's peers, being like him a canon of Reims and a court secretary. Figures with similar names (and the pervasive idea that a character cited in a work of fiction might not be a real person at all) have confused earlier attempts at identification. A possible occasion for the composition of B34's texts – also involving a balade on the same refrain by Jehan Froissart – can be found in a shared patron–client link between Machaut and Thomas, both of whom had associations with John, Duke of Berry.

This paper considers contratenor parts in equal-cantus Italian motets found in the manuscript Bologna Q.15 from codicological, contrapuntal and stylistic perspectives. After establishing criteria for contratenor classification, the paper collates a lexicon of rules governing contratenor behaviour in fourteen motets by Johannes Carmen, Johannes Ciconia, Christoforus de Monte, Antonius Romanus, Matheus de Brixia, and Antonius de Civitate. Four paradigmatic motets are presented as case studies. Q.15 is the earliest (or only extant) source for many of these contratenors, several of which were probably added by a later composer, and they exhibit remarkably similar behaviour that we might term a ‘Q.15 style’. Finally, the lexicon is employed to distinguish between the features of an original contratenor and a later one, and the paper posits that studying contratenors can offer a unique window into fifteenth-century compositional thinking.

In 1910 the Premonstratensian Order acquired its own Graduale. Soon after the publication of this Graduale doubts were expressed about its authenticity. Still, to this very day the Premonstratensians stand by their ‘own’ chant and use the 1910 Graduale. In this article, I reveal that the Graduale is not a reconstruction of Premonstratensian chant of the twelfth or thirteenth centuries and I also attempt to explain why the Premonstratensians undertook the quest for their ‘own authentic’ Premonstratensian chant.