THE MANUSCRIPT PARIS, BIBLIOTHEQUE NATIONALE, · 34 MUSICA DISCIPLINA shows the female...
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T THE MANUSCRIPT PARIS, BIBLIOTHEQUE NATIONALE, FONDS ITALIEN 568 (Pit) GILBERT REANEY Of the four principal sources of Trecento secular polyphony, Pit has a special importance because it is the only codex to contain the works of Paolo. Room was indeed left for the works of this composer on f. 56-71 of Sq, but they were never inserted l, and Lo and PR each contain one work only by him. In addition, the composite Mass Ordinary nos. 192 and 194-197 is a unique feature of this manuscript. The French compositions, mostly textless, which fili in a number of blank spaces in Pit, may on the other hand be paralleled by those in FP. If its Fiorentine origin is not quite so certain as that of Sq and FP, nevertheless it may be considered as a centrai source, for many pieces were copied from it into Sq. THE MANUSCRIPT The codex Paris, Bibl. Nat., fonds italien 568 is a quarto manuscript measuring 25 7 x l 75 m m. The leaves are of parchment and the binding, which dates from the reign of Charles X, is of brown leather. It bears the title Chansons italiennes en musique on the spine and the French device of threc Iilies together with Charles' monogram on the front cover. There were originally 140 folios with a Roman foliation at top right recto, but the addition of folios A-1 containing the old index was made shortly after the originai corpus was written. The same remark may be made concerning f. 141, for this contains a Guidonian han d paralleling the solmisation exer- cises by intervals on f. 140v. lnterestingly enough, there are sharp, flat and natura! forms of such notes as C sol fa ut and D la sol re in the Guidonian hand. The paper flyleaves at front and rear, which belong to the modcrn binding, do not concern us here; but f. A bears two older call-numbers of the King's Library at the head of the page: "no. 165 du supplément" and "supplément français no. 535" respectively. The ink foliation of folios A-1 and 141 at top right recto doubtless dates from the time of the modern binding. Like f. 140v-141, an illustration on f. l suggests ecclesiastica! ori- gins, since solmisation exercises and references to basic musical theory are unlikely to have originated outside the church. The painting in question 1 Pirrotta L III, 141.
Transcript of THE MANUSCRIPT PARIS, BIBLIOTHEQUE NATIONALE, · 34 MUSICA DISCIPLINA shows the female...
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T
THE MANUSCRIPT PARIS, BIBLIOTHEQUE NATIONALE,
FONDS ITALIEN 568 (Pit)
GILBERT REANEY
Of the four principal sources of Trecento secular polyphony, Pit has a special importance because it is the only codex to contain the works of Paolo. Room was indeed left for the works of this composer on f. 56-71 of Sq, but they were never inserted l, and Lo and PR each contain one work only by him. In addition, the composite Mass Ordinary nos. 192 and 194-197 is a unique feature of this manuscript. The French compositions, mostly textless, which fili in a number of blank spaces in Pit, may on the other hand be paralleled by those in FP. If its Fiorentine origin is not quite so certain as that of Sq and FP, nevertheless it may be considered as a centrai source, for many pieces were copied from it into Sq.
THE MANUSCRIPT
The codex Paris, Bibl. Nat., fonds italien 568 is a quarto manuscript measuring 25 7 x l 75 m m. The leaves are of parchment and the binding, which dates from the reign of Charles X, is of brown leather. It bears the title Chansons italiennes en musique on the spine and the French device of threc Iilies together with Charles' monogram on the front cover. There were originally 140 folios with a Roman foliation at top right recto, but the addition of folios A-1 containing the old index was made shortly after the originai corpus was written. The same remark may be made concerning f. 141, for this contains a Guidonian han d paralleling the solmisation exer-cises by intervals on f. 140v. lnterestingly enough, there are sharp, flat and natura! forms of such notes as C sol fa ut and D la sol re in the Guidonian hand. The paper flyleaves at front and rear, which belong to the modcrn binding, do not concern us here; but f. A bears two older call-numbers of the King's Library at the head of the page: "no. 165 du supplément" and "supplément français no. 535" respectively. The ink foliation of folios A-1 and 141 at top right recto doubtless dates from the time of the modern binding. Like f. 140v-141, an illustration on f. l suggests ecclesiastica! ori-gins, since solmisation exercises and references to basic musical theory are unlikely to have originated outside the church. The painting in question
1 Pirrotta L III, 141.
r
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34 MUSICA DISCIPLINA
shows the female personification of music playing a portative organ, under-neath which is a representation of a bearded man hammering on an anvil. To his left and right are two columns, one listing the intervals which compose an octave, the other giving solmisation syllables.
Dating the manuscript is not a simple matter, though it was probably written shortly aftcr 1400. One of Paolo's madrigals Godi, Firenze suggests the date 1406, for it doubtless refers to the conqucst of Pisa by Florence in that year. FischcrS 2 puts forward thc following chronology: c. 1405 for fasci cles 1-5, 7 an d 9-14; c. 141 O for the interpolated fascicles 6 an d 8. Ali the fascicles are in fact quinios, but Ludwig pointed out that nos. 6 and 8 were interpolated later into the main corpus 3. He and Ape! date Pit c. 1400 4 • Pirrotta, with his tcndency t o postdate o n paleographical grounds, suggcsts 1430 5, but this seems unlikely. Fascicles 6 and 8, whether interpolated or not, do not appreciably change the situation. Paolo's work already appears in fascicles 4 and 5, and after fascicle 8 it is continucd smoothly into no. 9. The part played by Paolo in the make-up of Pit is an important one. Not only does the ms preserve 33 of his works, but also his name is nearly always indicated by the abbreviation P ) . This suggests considerable familiarity with his work, and such familiarity is otherwise only indicated in the case of Landini and then only after he has been rcferred to as Francesco through a large part of the ms. Could Paolo him-self have written the ms? At ali event~, there can be no doubt that this scribe is intimately connected with Paolo, sin ce he wrote down Pit l 00 in Luc 6 an d Pit 73, l 02 an d 112 in Lw 7• The possibility that Andrea Stefani was one of the seri bes in Luc has been considered s, but not Paolo himself, though Pirrotta is of the opinion that the majority of Paolo's compositions in Pit were writtcn by the seri be in question n. Coinciding with this idea that Paolo himself played a large part in compiling Pit is the date when we know Paolo was abbot of San Pietro di Pozzuoli near Lucca, 1404-1408 10. Although the attachment to Lucca was probably nominai, it seems
2 P. 93. 3 F. Ludwig, 'Brschreibung der "Geschichte der Mcnsural-Notation von 1250-
1460" von Joh. Wolf' in Sammelbiinde der Internationalen Musikgesellschaft VI ( 1904-5), 615.
4 MachM II, 27b; Ape!L, 3. ;; PirrottaL III, 119, note 13. a PirrottaL I, 124. 7 N. l'irrotta, 'Paolo da Firenze in un nuovo frammento dell' Ars Nova' in
Musica Disciplina X ( 1956), 65. 8 PirrottaL I, 122. 9 Ibid, 123.
1° Cf. N. l'irrotta, 'Paolo Tenorista, fiorentino "extra moenia"' in Estudios dedi-cados a Menendez Pidal III (1952), 577 ff.
THE MS. PARIS, B.N. FONDS !TAL. 568 35
likely that Paolo spent some time there, and this might account for the copying of certain pieces by the Pit scribe in Luc. On the other hand, the Fiorentine connections of Pit are very obvious, and there seems no reason why the ms should not have becn writtcn there. Paolo was himself a Fiorentine, and, as a member of the suite of cardinal Angelo Acciaiuoli, he was also in the service of a Fiorentine ecclesiastic. Fiorentine traits in Pit are the centra! Trecento repertoire it contains, the presence of French compositions (as in FP, with which it has a number of French concordan-ces) an d the dire c t borrowing for S q. W olf thought the o Id in d ex revealed the different stages of the manuscript's growth, and Ludwig confirmed it 11 . Only two pieces have been omitted from the index. Characteristically these do not belong to the main Trecento repertoire: no. 11 is an anonymous three-part French Rondeau and no. 59 a madrigal by Paolo. Incidentally, the full names of each composer are given for the pieces of the mass ordi-nary in the old index except for Paolo, w ho retains the typical abbreviation of the ms corpus.
The whole codex is ruled for music with 8 red six-line staves per page. The notation is black, though particularly Paolo makes use of white notes and occasionai red ones. Semiminim tails are nearly always turned to the left. In spite of the relatively full use which Pit makes of Italian mensura-tion letters and puncti divisionis, the manuscript is not without French tendencies, especially in connection with mensuration signs. The mass movements in particular employ the following forms for Vitry's quatre prolations: Q, 8, C:, (') ; and even Vitry's ~ crops up for Gherardello's Gloria. This is interesting, because it suggests Vitry's treatise was followed in the form in which it was preserved in the Vatican version 12• lt is clear that originally this box-like mensuration sign was derived from the symbols we see in certain motets of the Roman de Fauvel. These look like two or t h ree semi breve resl~: m or -nr, an d indicate imperfect or perfect mode. In order to introduce such a sign into a theoretical work, it was enclosed in a frame, thus: l!!) or l!!!], as we see it in Sq 13 • The box containing two or three horizontal bars can only be considered a corruption. Paolo is again particularly worth mentioning far his use of Italian mensuration letters in the Bcnedicamus, while al! the other mass pieces use French mensuration signs. Moreover, his piece is in three parts and is clearly a Nachtrag, for it forms a clear contrast with the two-part madrigal texture of the four pieces by the older writers. The intimate connection between the scribe of the Paolo work and the codex as a whole is shown by the
11 WolfG I, 250; MachM II, 27 f. 12 See G. Reaney, A. Gill~s and J. Maillard, 'The "Ars Nova" of Philippe de
\'itry' in Musica Disciplina X ( 1956), 27. 13 FischerS, 116.
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36 MUSICA DISCIPLINA
fact that hc leavcs the work anonymous in the corpus, but indicatcs it a~ thc wbrk of Paolo in thc index. Paolo's modernity is revealed by his liking for new notc-forms like the dragma, e.g. + and f , though these do not occur many timcs. Such characteristic ltalian note-forms as-+ and ,.+ also belong to the late Trecento. In no. 110 Paolo uses a French text for the refrain, and this may account for the French mensuration signs ( and ) , which occur in this section, for he normally sticks to the ltalian mensura-tion letters. The rather complex question of longa versus brevis notation has been well treated by Professar von Fischer, who indicates that there are four examples of the special use of longa notation in Pit 14. The semi-Gothic script of this source employs initials in red and blue. The use of a dot underncath an elidcd vowel is an interesting feature of Pit which was taken up by Ludwig for his Machaut edition.
THE CONTENTS
Codex Pit contains 199 pieces, of which 2 have becn copied twice. This however was a mistake in both cases, and both pieces are textless in the second copy and have the word "vacat" in the margin. For this reason they havc not been numbered individually in the second case, but bear the numbers 23a and 67a respectively. The basic arrangement of the ms is by composers, with the usual preference given to Madrigals and Cacce before the more recent Ballate. The Madrigals are confined to the first 5 fascicles, with the exception of 6 Madrigals by Paolo in fascicle 6 and an anonymous work in fascicle 14. Again typically, the gaps left on double pages by these large two-part works are often filled by shorter Ballate or French composi-tions. From fascicle 7 onwards Ballate predominate: indeed, nos. 81-174 are ali in this form (no. 84 is a Virelai, but this is essentially the same form as the Ballata). Fasci de 13 consists mainly of French compositions, with a few Ballate a t the end; an d fasci de 14 is principally made up of the com-posite mass, which only lacks the Kyrie, a common omission at this period.
With respect to the number of voices employed in polyphony, Pit is quite standard, for the Italians rarely wrote in more than three parts, and there is not a single four-part composition in this codex. Nor are there any monodies, which are in any case rare in Trecento sources. The entire manuscript consists of 110 two-part and 89 three-part compositions. The adherence of this source to the centrai tradition becomes clear from the fact that ali the Madrigals have the text in ali voices, whether they are in two or three parts. Of the Ballate, 4 7 two-part works h ave the text in both
14 K. von Fischer, 'Zur Entwicklung der italienischen Trecento-Notation' in Archiv fiir Musikwissenschaft XVI ( 1959), 87.
THE MS. PARIS, B.N. FONDS ITAL. 568 37
voices, while the remaining 8 have it only in the upper voice. The three-part Ballate rarely ha ve the text in ali voices, and French influence is clearly present in the large number of compositions with textless tenors and contra-tenors. Pit has 23 Ballate of 31 type, 27 of 32 , but only 8 of 3".
At the side of FP, Lo and Sq, the codex Pit is not well represented by the Caccia form. Out of 25 known examples, it only contains 5, while FP has 15. The Ballades, Rondeaux and Virelais are a fairly representative batch. Adiu, adiu, dous dame yolie was written by Landini, and hence is hardly to be included with the French compositions, while Or sus, vous dormés trop, an anonymous work, is known principally from ltalian sources. The three Balladcs by Machaut were extremely popular, like De ce que fol pense by P. des Molins, the anonymous ]our a jour la vie and ]e languis d'a m ere mori. I t is interesting to find that a number of the lesser-known pieces turn up in such peripheral sources as Pr and Str, both Strasbourg manuscripts. About 1400 this town was undoubtedly a meeting-point for music of the most diverse origins: French, ltalian, German and Dutch. The contacts with Ch too are probably another confirmation of that source's Fiorentine origin.
The following table shows the exact distribution of the contents of Pit, according to the various musical and poetic forms employed. The numbers are those of the progressive numeration assigned in the inventory proper. Those numbers followed by an asterisk refer to unica.
TABLE l
Speri es Total
Madrigals 45
Ballate 113
Number in Pit
l, 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 23, 24-26, 28, 29, 31, 33, 35, 36, 38, 39, 42, 44, 46, 51, 55*, 56,57 (=67a)*, 58*, 59*, 61, 62, 66, 68, 69*, 75*, 76*, 77*, 78*, 79*, 80*, 198*.
7, 9, 13, 17, 47, 49*, 50, 60, 63, 70, 71, 72*, 73, 74, 81*, 82, 83,85-98, 99*, 100, 101*, 102, 103*, 104*, 105*, 106*, 107*, 108*, 109*, 110*, 111*, 112, 113*, 114*, 115*, 116*, 117*, 118*, 119, 120, 121 *, 122-127, 128*, 129, 130, 131*, 132-134, 135*, 136, 137*, 138, 139·, 140*, 141-145, 146*, 147*,
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38
Species
Cacce
Ballades
Rondeaux
Virelais
Isorhythmic Rondeau
Rondeau refrain
Gloria
Credo
Sanctus
Agnus dei
Benedicamus
MUSICA DISCIPLINA
T o tal
5
IO
Il
8
Number in Pit
148-152, 153*, 154-159, 160*, 161*, 162*, 163*, 164-171, 172*, 173*, 174*, 187, 188*, 189, 190*, 191, 199*.
40, 48, 53, GS, 67.
3*, 45, 5·1, 64, 175, 177, 180, 182, 183, 185.
5, Il, 19, 21*, 27*, 30*, 34 (= 23a)*, 41, 52*, 179*, 184*.
15*, 32*, 37*, 13*, 84, 181, 186, 193.
176.
178.
192.
194*.
195.
196*.
197*.
Included in the above list are pieces concordant with the lost mss Str (partially available in de Coussemaker's copy) and Trem, as well as key-board arrangements and tablatures in Loch, Bux and Fa. These may be checked from the concordance table and the inventory proper.
COMPOSERS
Many pieces in Pit bear the composer's name in the upper margin, and in certain cases thcre is a supplementary piece of information. Such titles as Maestro, Don and Ser are usually given in the earlier part of the manuscript (fasci cles 1-5), an d Paolo is called tenorista, Bartolino schap-puccia ( Franciscan). The town of origin is often given too, Bologna far Jacopo and Florence far Giovanni, Francesco, Lorenzo and Paolo, the
THE MS. PARIS, B.N. FONDS ITAL. 568 39
village of Cascia near Florence far Donato. Francesco Landini is called Francesco degli orghany, and Florence is not mentioned far him. Frate Guilielmo di Francia is coupled with one Egidius in Sq, and it has been conjectured that Egidius was the poet and Guilielmus the musician 15. This seems quite likely, seeing that Guilielmus alone is mentioned in Pit and Lo. In the latter source he is named Guigliemo di santo spirito, that is, of the Augustinian Santo Spirito in Florence 16. On the other hand, there certainly is an Augustinian Egidius represented in M od and C h w ho composed French works 1 7, so that it is difficult to decide what part Egidius played in the composition of the pieces also attributed to Guilielmus. Pirrotta has suggested that Guiliclmus was a slightly older composer than Egidius, because Guili~lmus wrote a madrigal on a text by Sacchetti c. 1365 18, but the Egidius of the French compositions could hardly have been much older than the Egidius of the Italian works, since he wrote his Ballade Courtois et sages for the election of Pope Clement VII in 1378. \Vhatever connection there may have been between the musical theorist Egidius de Murino and the composer Egidius Augustinus, it seems clear that there was a definite connection between Egidius Augustinus ( the composcr of the French works and presumably of the ltalian works at least in regard to the texts) an d Guilielmus. The latter is in fact a Parisian according to one reference, and not merely French 19 •
The names of the French composers, like the texts, seem to be generally omitted, though P. des Molins is called De Mulino in no.5. Gian Toscano is known by only one compositi an ( Pit 81 ) , though Professar von Fischer suggests that he may be identica! with the Johannes Florentinus whose madrigal Quando amor gli ochi appeared in the lost Roquefort fragment, or perhaps with the Jovannes horghanista de Florentia whose works were to have been included on the empty pages of Sq starting at f. 195v 2o. Arrigo too, who is called Henricus in PR, has left only one Ballata, while Ser Feo, not necessarily to be idcntified with Francesco Landini, has left two Ballate, one in FP and one in Pit. Ciconia's Con lagrime bagnandome, the only piecc in Pit by this composer, seem~ to have been a late addition,
15 FischerS, B. 16 G. Reaney, 'The Manuscript London, British Museum, Additional29987 (Lo)'
in Musica Disciplina XII (1958), 71. 17 G. Reaney, 'The Manuscript Chantilly, Musée Condé 1047' in Musica Disci-
plina VIII (1954), 69. 18 N. Pirrotta, 'Il Codice Estense lat. 568 e la musica francese al principio del
'400'' in Atti della Reale Accademia di Scienze, Lettere e Arti di Palermo, Serie IV, vol. 5, part II ( 1944-45 ), 129, note 3.
10 O. Gombosi, review of Ape!L in Musical Quarterly XXXVI ( 1950), 604. 2° FischerS, 34, notes 143 and 144; 70, note 344.
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40 MUSICA DISCIPLINA
as its position at the end of the Ietter Cs in the index suggests. Pirrotta has put forward the theory that the Bartholy who wrote the Patrem no. 194 is a different person from the well-known Bartolino da Padua, by whom we have some 38 compositions in Madrigal and Ballata form 21. This Bartholus de Florentia is however a somewhat shadowy figure, and the only reason for Pirrotta's hypothesis seems to be that the Patrem is older in style than the other compositions written by Bartholino da Padua. The identification should therefore be viewed with some caution. The fact that the other composers of mass movements in Pit, namely Gherardello, Lorenzo and Paolo, are well-known for their secular pieces, suggests that Bartholy too is likely to belong among the Trecento musical celebrities.
Of the 199 polyphonic works, 152 can be definitely attributed to their authors an d 4 7 are anonymous. The following list groups un der each com-poser's name the works attributed to him, indicated by their ordinai number according to the inventory published below. Numbers printed with a
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42 MUSICA DISCIPLINA
except Paolo, who should also have been included, were copied, in rnany cases frorn Pit, into Sq. Of Paolo's works 27 are unica, and 4 of the re-rnaining 6 pieces are in the fragrnentary Paolo codex Lw. Altogether, however, Pit contains 67 unica, which shows that the anonyrnous corn-positions forrn the rnain body of works which do not appear outside this codex. The following table shows the distribution of the unica arnong the various species represented in the rnanuscript.
TABLE 3
Spccies T o tal Speri es Total
Madrigals 12 Virelais 4 Ballate 40 Credo l Ballades l Agnus dei Rondcaux 7 Bt'nedicamus
The following table of concordances rnakes clear the relationship between Pit and the 31 rnanuscripts containing any one of the works copied therein, whether in whole or in part, in originai version or in arrangernent.
Aut Bux CaB C h E m Fa
FC
FP
Source
TABLE 4
Number of Con-
cordances
l Cantus l 3 7 2
Il
2 Cantus +t T
85
Number in Pit
.'>4. 74 (4versions). 19, 182, 193. 45, 5·1, 64, 176, 182, 183, 185. 98, 178. l, 2, G, 8, 62, 68, 83, 144, 175,
178 ( 2 versions), l 82. 12 (Cantus only), 14 (T only),
31 (Cantus only). l, 2, 4, 6-8, 10, 12-14, 16-20, 22,
24, 2G, 29, 31, 33, 35, 36, 38-40, 42, 44, 46, 60, G2, 63, 65, 82, 83, 85-87, 89-98, 119, 120, 122-127, 129, 130, 132-134, 136, 141, 142, 144, 145, 149, 154, 156-159, 165-171, 175, 178, 180, 182, 183, 193.
Iv Lo
Lo eh Luc
L w
Mach McV M od P adA P ad C Parma PC Pist
Pr PR
Pz RO
Rs RUt Sq
Str
Ti t Trem
Source
THE MS. PARIS, ll.K FONDS ITAL. 568 43
Number of Con-
cordances
3 32
6 +l Cantus and Ct+l T and Ct+l T 2 +l Cantus
and T+ l Cantus
3 l 5 5 3
l Ct !T
l+ l Cantus
l
and T 6
41
l !T+ l Cantus
Cantus 2
102
li
l 8
Number in Pit
5, 19, 181. 14, 16, 18, 22, 35, 38, 40, 42, 50,
51, 53, 56, 60, 62, 63, 66, 83, 84, 89, 90, 93, 94, 119, 120, 129, 130, 143, 145, 165, 170, 181, 189.
74. GO, 62 (T and Ct only), 68, 74
(T only), 97, 100, 120 (Can-tus and Ct only), 127, 191.
71, 73 (Cantus and T only), 102, 112 (Cantus only).
175, 180, 183. 182. 68, 130, 175, 183, 186. 8, 93, 120, 127, 132. 8, 65, 181. 193. 74. 91 (Cantus and T), 122.
5, 11, 132, 177, 183, 193. l, 2, 4, 6, 8, IO, 12, 14, 16, 18,
29, 41, 54, GO, 62, 63, 65, 68, 82, 83, 85, 91-94, 96, 98, 120, 127, 129, 138, 143, 149, 152, 156, 178, 180-182, 186, 193.
144. 31 (T only), 38 (Cantus only).
31. 192, 195. l, 2, 4, 6-10, 12-14, 16-18, 20,
22, 23, 24-26, 28, 29, 31, 33, 35, 36, 38-40, 42, 44, 46-48, 50, 51, 53, 60-62, 65-67, 68, 70, 82-98, 119, 120, 122-127, 129, 130, 132-134, 136, 141-145, 148-152, 154-159, 164-171, 187, 189.
5 (twice), Il, 41, 98, 133, 175, 177, 178, 181, 182, 193.
178. 5, 19, 54, 175, 178, 180, 182, 183.
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Ameln
Ape!L
ApelN
Bannister
Bartha
BuxOrg
Cappelli
CorteSe
CoussH
Dez
MUSICA DISCIPLINA
WORKS CITED IN THE PRESENT INVENTORY
K. Ameln, Locheimer Liederbuch und Fundamentum organisandi des Conrad Paumann, Berlin, 1925.
W. Apcl, French Secular Music of the Late Fourtcenth Centun•, Cambridge (Mass.), 1950. .
W. Apcl, Thc Notation of Pol)"phonic Music 900-1600, Cambridge (Mass.), 4th ed., 1949.
H. M. Bannister, Monumenti Vaticani di Palcografia musicale lati-na, 2 vols., Leipzig, 1913.
D. Bartha, Anthologie der Musikgeschichte, Budapest, 1948.
B. A. Wallnrr, Das Buxheimer Orgelbuch, Kassel, 1955.
A. Cappelli, Poesie musicali dei secoli XIV, XV e XVI, Bologna, 1868.
A. Della Corte, Scelta di musiche, Milan, 3rd ed., 1949.
C. E. H. de Coussemaker, Histoire dc l'harmonie au moyen age, Paris, 1852.
K. Dèzes, 'Der Mensuralcodrx des Benrdiktinerklostcrs Sanrti Em-merami zu Regensburg' in Zeitschrift fiir Musikwissenschaft X (1927), 65.
Droz et Thibault E. Droz and G. Thibault, Poètes et musiciens du XV e siècle, Paris, 1924.
Einstein
EllinwoodF
EllinwoodL
FischcrS
FischcrV
Gandolfi
Gleason
Gunther
HAM
HMS
Husmann
Kammerer
Levi
A. Einstein, A Short History of Music, London, 5th ed., 1948.
L. Ellinwood, 'Francesco Landini and His Music' in Musical Quarterly XXII (1936), 190.
L. Ellinwood, The Works of Francesco Landini, Cambridge (Mass.), 1945.
K. von Fischer, Studien zur italienischen Musik des Trecento und friihen Quattrocento, Bern, 1956.
K. von Fischcr, Di e V ariation, Cologne, 1956.
R. Gandolfi, Illustrazioni di alcuni cimeli concernenti l'arte musi-cale in Firenze, Florence, 1892.
H. Gleason, Examples of Music Bcfore 1400, New York 1942.
V. Gunther, Zehn datierbare Kompositionen der Ars Nova, Ham-burg, 1959.
W. Ape! and A. Davison, /Jistorical Anthology of Music I, Cam-bridge (Mass.), 2nd ed., 1949.
G. Abraham, The Historr of Music in Sound III (accompanying handbook), Lo n don, 1953.
H. Husmann, Die mittelalterliche Mehrstimmigkeit, Cologne, 1955.
F. Kammerer, Die Musikstiicke des Prager Kodex XI. E. 9, Brno, 1931.
E. Levi, Lirica italiana antica, Florence, 1905.
LudwigK
Ma ehM
MarroccoC
MarroccoJ
MGG
Osthoff
Parrish
PirrottaL
PirrottaM
PirrottaS
Plamcnac
Rcese
RiemannB
RiemannH
ScheringB
Schrade
Soli
Vecchi
VanM
WolfF
WolfG
WolfH
WolfN
THE MS. PARIS, B.N. FONDS ITAL. 568 45
F. Ludwig, 'Musik des Mittelalters in der Badischen Kunsthalle Karlsruhc' in Zeitschrift fiir Musikwissenschaft V ( 1923 ), 434.
F. Ludwig, Guillaume de Machaut: Musikalische Werke, I-III, Lcip7ig, 1926-1929; IV, Wiesbaden, 1954.
W. T. Marrocco, Fourteenth Century Italian Cacce, Cambridge (Mass.), 1942.
W. T. Marrocco, The Music of Jacof>o da Bologna, Berkeley and Las Angeles, 1954.
F. Blume, ed., Die Musik in Geschichte und Gegenwart, Kassel and Base!, 1949-.
W. Osthoff, 'Petrarca in der Musik des Abendlandes' in Castrum Peregrini XX (1954).
C. Parrish, The Notation of Medieval Music, NewYork, 1957.
N. Pirrotta, 'Il codice di Lucca' I in Musica Disciplina III (1949), 119; III in V (1951), 115.
N. Pirrotta, The Music of Fourteenth Century Italy I, (Corpus Mensurabilis Musicae 8), 1954.
N. Pirrotta and E. Li Gotti, Il Sacchetti e la tecnica musicale, Florence, 1935.
D. Plamenac, 'Keyboard Music of the 14th Century in Codex Faenza 117' in Journal of the American Musicological Society IV (1951), 179.
G. Reese, Music in the Middle Ages, New York, 1940.
H. Riemann, Musikgeschichte in Beispielen, Leipzig, 1912.
H. Riemann, Handbuch der Musikgeschichte, 5 vols., Leipzig, 1919-22.
A. Schering, Geschichte der Musik in Beispielen, Leipzig, 1931.
L. Schrade, The Polyphonic Music of the Fourteenth Century, 3 vols., Monaco, 1954-1956.
S. Debenedetti, Il "Sollazzo" e il "Saporetto" con altre rime di Simone Prudenzani d'Orvieto (Giornale Storico della Letteratura Italiana, Suppl. no. 15), Turin, 1913. (The numbers refer to the sonnets of the "Saporetto".)
G. Vecchi, Atlante paleografico musicale, Bologna, 1951.
G. de Van, Monuments de l'Ars Nova, Paris, 1938.
J. Wolf, 'Florenz in der Musikgeschichte des 14. Jahrhunderts' in Sammelbiinde der internationalen Musikgesellschaft III ( 1902), 599 ff.
J. Wolf, Geschichte der Mensural-Notation von 1250-1460, 3 vols., Lcipzig, 1904.
J. Wolf, Handbuch der Notationskunde, 2 vols., Leipzig, 1913-1919.
J. Wolf 'Musica Fiorentina nel secolo XIV 0 ' in La Nuova Musica, Florence, 1896-1919, 3 supplementary vols.
-
46
WolfSq
WolfSing
Aut
Bux
CaB
C h
E m
Fa
FC
FP
Iv
Lo
Lo eh
Luc
L w
Mach
M od
P adA
P ad C
Parma
PC
MuSICA DISCIPLIKA
J. Wolf, Der Squarcialupi-Codcx Pal. 87 der Bibl. Medicea Lauren-tiana zu Florenz, Lippstadt, 1955.
J. Wolf, Sing- und Spielmusik aus iiltcrer Zcit, Leipzig, 1931.
MANUSCRIPTS CITED AND THEIR SIGNATURES
Autun, Bibl. municipale, 46.
Munich, Staatsbibl., Cim. 352b (= mus. 3725).
Cambrai, Bibl. communale, 1328 (1176). See descriptions by F. Ludwig in Archiv filr Musikwissenschaft V ( 1923), 283 ff and MachM II, 20; and H. Bcsselcr in Archiv fiir Musikwissenschaft VII {1925), 197-199.
Chantilly, Musée Condé, 1047. Inventory by G. Rcaney, Musica Disciplina VIII ( 1954), 88-95.
Munich, Staatsbibl., mus. 3232a. lnventory in Dez, 79-99.
Faenza, Bibl. Comunale, 117. lnventory of keyboard musi c in Plamenac, 197-201.
Florence, Bibl. del Conservatorio D 1175. Description in FischerS, 10.
Florence, Bibl. nazionale, Panciatichi 26. Provisional list in WolfG I, 245-249.
Ivrea, Bibl. capitolare. Inventory by H. Besseler, Archiv fiir Musik-wisscnschaft VII ( 1925 ), 188-191.
London, British Museum, Additional ms 29987. lnventory by G. Reaney, Musica Discij1lina XII ( 1958), 78-86.
B~rlin, Deutsche Staatsbibl., ms 40613. The Lochamer Liederbuch. Inventory by W. Salmen, Das Lochamcr Liederbuch, Leipzig, 1951, 27-30.
Lucca, Archivio di Stato (Codex Mancini) and Perugia, Bibl. Comunale. Inventory in PirrottaL, 134-138.
Berkeley, Library of Profe.sor E. Lowinsky. Inventory by N. Pir-rotta, Musica Disciplina X {1956), 62.
Marhaut mss. Full descriptions in MachM II.
Modena, Bibl. Estense, a.M. 5.24 (olim lat. 568). Inventory by N. Pirrotta, Atti della Reale Acad. di Scienze, Lettere e Arti di Palermo, Serie 4, vol. V, 2 (1945), 116-120; or offprint, 1946.
Padua, Bibl. Universitaria, 1475 and 684; and Oxford, Bodleian Librai)', Canonici Pat. lat. 229. lnventory by H. Bcsselcr, Archiv fiir Musikwissenschaft VII ( 1925 ), 228 and VIII ( 1927), 235.
Padua, Bibl. Universitaria, 658. Dcscription by H. Besseler, Archiv fiir Musikwissenschaft VII { 1925 ), 231-232.
Parma, Archivio di Stato, 52. Inventory by H. Besseler, Archiv fiir Musikwissenschaft VII ( 1925 ), 232.
Paris, Bibl. nationale, nouvelle acquisition française 4379. Inven-
Pist
Pr
PR
Pz
RO
Rs
RU1
Sq
Str
Ti t
Tre m
B
Ca
C t
isR
itB
Ma
4
THE MS. PARIS, B.N. FONDS ITAL. 568 47
tory of ff. 1-42 by D. Plamenac, Musical Quarterly XXXVIII (1952), 100-117, 248-249, 260-265; incomplete inventory of ff. 43-60v in WolfG I, 211-213; index of tenors on ff. 61-65 by H. Besseler, Archi v filr Musikwissenschaft VII ( 1925), 233.
Pistoia, Archivio Capitolare del Duomo. Inventory by F. Ghisi, Journal of Renaissance and Baroque Music I (1946), 180.
Prague, Universitats-Bibl., XI. E. 9. Inventory in Kammerer, 15-16.
Paris, Bibl. nationale, nouvelle acquisition française 6771. Inventory by K. von Fischcr, Musica Disciplina XI (1957), 53-77.
Paris, Bibl. nationale, nouvelle acquisition française 4917.
Rome, Bibl. Vaticana, Ottob. 1790. Inventory by F. Ludwig, Archiv filr Musikwissenschaft V ( 1923), 201, note l.
Rome, Bibl. Vaticana, Rossi 215. Inventory by H. Besseler, Archiv filr Musikwissenschaft VIII { 1927), 234.
Rome, Bibl. Vaticana, Urb. lat. 1419. Inventory by H. Besseler, Archi v fiir Musikwissenschaft VII ( 1925 ), 227.
Florence, Bibl. Laurentiana, Pal. 87. Provisional list in WolfG I, 233-244.
Strasbourg, Bibl. de la ville, M. 222 C. 22. Inventory by Ch. van dcn Borren, Le Manuscrit musical M. 222 C. 22 de la Bibliothèque de Strasbourg, Antwcrp, 1924.
London, British Muscnm, Cotton Titus A XXVI. Indcx by H. Bcs-seler, Archiv filr Musikwissenschaft VII ( 1925 ), 233.
Chatcau de Serrant (Maine-ct-Loire), ms of the dnchess de la Tremoiiie. lnvcntory by H. Bcsscler, Archiv fiir Musikwissenschaft VIII ( 1927), 235 ff.
ABBREVIA TIONS
Balla de o Ordinary of the Mass Caccia R Rondcau
Con tra tenor Rr Rondeau refrain
Isorhythmic Rondeau T Tenor
I tali an Ballata Tr Triplum
Madrigal v Virelai
-
48 MUSICA DISCIPLINA
EDITIONS OF TEXTS
G. Bcrtoni, 'Poesie musicali francesi nel cod. Estense lat. 568' in Archivum Romani-cum I (1917), 27-57: ali French tcxts of Mod = Pit 68, 130, 175, 183, 186.
G. Carducci, Cantilene e ballate, strambotti e madrigali dei secoli XIII e XIV, Pisa, 1871,314 (Pit 66), 309 (Pit 83), 317 (Pit 91), 320 (Pit 189).
= 'Musica e poesia nel mondo elegante italiano del secolo XIV' in Opere VIII, Bologna, 1893,366 (Pit I), 386 (Pit 8), 358 (Pit 14), 380 (Pit 18), 358 (Pit 35), 373 (Pit 58), 385 (Pit 66), 383 (Pit 69), 375 (Pit 76), 394 (Pit 77).
E. Droz and A. Piaget, Le Jardin de Plaisance, Paris, 1924, f. 69 (Pit 34), f. 76v (Pit 19).
V. Cian, 'Ballate e Strambotti del Secolo XV Tratti da un Codice Trcvisano' in Giornale Storico della Letteratura Italiana IV (1884), 39 (Pit 74).
E. Levi, Lirica italiana antica, Florence, 1905, 123 (Pit 93).
E. Li Gotti, 'Il Codice di Lucca. Testi letterari' in Musica Disciplna IV ( 1950), 114 (Pit 60), 112 (Pit 62), 140 (Pit 68), 121 (Pit 74), 120 (Pit 97), 147 (Pit 100), 120f (Pit 120), 144 (Pit 127), 147 (Pit 191).
F. Sacchetti, Il libro delle rime, ed. A. Chiari, Bari, 1936, 136 (Pit 7), 24 (Pit 39), 53 (Pit 46), 94 (Pit 48).
F. Trucchi, Poesie italiane inedite, Prato, 1846, II, 165 (Pit 23), 166 (Pit 35), 171 (Pit 36), 172 f (Pit 40), 177 (Pit 48), 192 (Pit 50), 171 (Pit 53), 73 (Pit 58), 169 (Pit 65), 146 (Pit 66), 55 (Pit 82), I, 253 (Pit 83), II, 161 (Pit 85), 163 (Pit 89), 170 (Pit 104), 160 (l'it 112), 174 (Pit 114), 162 (l'il 121), 156 (Pit 143), 160 (l'it 153), 154 (Pit 189).
A. Wesselofsky, Il Paradiso degli A/berti, Bologna, 1867, I, 231 (Pit 62).
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cen
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nr.
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s
fP
l.
78
v-7
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46
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75v-
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9 F
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Rem
ark:
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pit.
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II.
70;
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q.
70-
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by
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acch
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13
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dn
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rott
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no.
t;
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t.
Fac
s.
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pl
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evi,
27
4:
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rocc
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. t.
E
dn
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ork
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no.
26
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22
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r in
cipi
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Facs
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rocc
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).
Edn
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irro
lla-
M.
no.
J6;
Wo
iiS
q,
61
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extl
ess
exce
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for
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exl
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Sac
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acs.
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pl
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q.
tJ6
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ex
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acch
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64
).
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arro
cco
C,
no.
14
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irro
ttaS
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. V
: W
olfS
ing,
n
o.7
; \V
of[S
q. 1
29
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! by
Sol
dani
eri.
Edn
. \V
oiiS
q, 1
41
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acs.
G
ando
lfi,
pl
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(S
q).
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1-111
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; W
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Sq
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n. \~
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11-1
11.
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19.
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mk
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111
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US
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67.
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s. M
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lV
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34
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pci-
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no.
55·
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afte
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net
by
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esco
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no
. 25
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acs.
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arri
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(P
R).
Edn
. W
oii
Sq
. '9
4-
:--.
laca
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poss
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n.
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11-
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no.
41
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olfS
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11-1
11,
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45
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Soli.
no
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37
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inst
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No.
66
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No.
74
75
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pl.
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).
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arro
cco-
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no
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Il-
III.
no.
42
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ciai
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4:
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vo
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no.
61
.
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6·
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Folio
B
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10
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