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The paper focusses on some devices used in Trecento and early Quattrocento music aimed at broadening either familiarity or estrangement between the music and its contemporary users. The analysis of several — well-known — cases of enture or musical grafting suggests that they have been purposely used not only as inter- and paratextual but sometimes also as intermedial devices that strongly connote the hosting pieces. The repertoire discussed includes works by Filippotto da Caserta, Antonio Zacara da Teramo, Matteo da Perugia and Johannes Ciconia. Main topics are citation, allusion, expectation, torso, paratext, intertextuality, intermediality, nachares, hocket, and — more generally — late-medieval rhetoric and implicit art-theory.
