The "Montpellier Codex" is a critical source for what are known as "Pre-Franconian" and "Franconian" motets, after Franco of Cologne. While the music in the "Codex" is anonymous, a number of attributions can be made, either because of concordances in other manuscripts or on the basis of stylistic similarity, to Pérotin (from fascicle 1), Petrus de Cruce, Adam de la Halle, Guillaume d'Auvergne, and Philippe le Chancelier. Many of the "cantus firmi" are taken from the chants of Notre Dame. While fascicle 1 consists of sacred polyphony, mostly from the Notre Dame school, the largest body of music in the "Codex" is the collection of French courtly love motets.