Abstract: This essay examines the possibilities of collaborative authorship arising from diverse forms of lyric performance, drawing on case studies from late medieval to early Renaissance Italy. It focuses on three examples that illustrate how different modes of performance—rewriting, musical notation, and annotation—can generate new forms of authorship. The first section analyzes the rewriting of a text through the insertion of new verse; the second explores the reinterpretation of a lyric poem through musical notation; the third considers the appropriation of the lyric voice through the annotation of an entire collection.
Laura Banella (Thu,) studied this question.