manuscript of polyphony , 13th and 14th centuries; provenance: France
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RISM B/IV 2: 21 folios from at least 4 parchment manuscripts dating from the 13th and 14th centuries, and now arbitrarily collected together under one signature. Ludwig thinks 16 folios come from the same codex of the second half of the 14th century. If this is so, the motet section on f. 17-20 and f. 11 and 12 belongs to the same source as the secular songs (Ballades, Rondeaux and Virelais) on f. 2, 4, 7-10 and 13-15. Quite clearly in a different hand and from different mss are f. 5 and 6 (which should proceed in the reverse of the present order), f. 3, and f. 16 and 21. Fol. 5 and 6 contain a three-part Agnus and the well-known Ballade De ce que fol pense, which also appears as no. 23 in the main codex. The two folios in question employ a neater notation than the principal ms and their somewhat smaller page size meas. 225 x 165 mm. The Ars Nova notation is written on 8 red five-line staves per page (f. 5v in brown). The bottom of f. 6 is cut away. Fol. 16-21 are from a Gregorian codex and contain liturgical monodies on 9-10 red four-line staves per page. Fol. 3 meas. 225 x 158 mm. contains 4 known Rondeaux of Adam de la Hale in a pre-Franconian notation of the late 13th century with long-breve differentiation, c.o.p. ligatures and three-semibreve groups or breve + two-semibreve groups. As usual in this type of composition, there are 3 accolades of 3 red four-line staves per page in score with red or blue initials. Once again the present recto is really the verso and vice versa. Ludwig believes the mass section on f. 1 belongs to the main codex with the motets and secular songs. The motets are written in 2 cols., however, while the secular songs and mass pieces go straight across the page in the same Ars Nova notation. The various pages meas. as follows: f. 1: 305 x 237 mm., f. 2: 302 x 205 mm., f. 4: 244 x 185 mm., f. 7: 242 x 185 mm., f. 8: 303 x 208 mm., f. 9: 310 x 213 mm., f. 10: 316 x 220 mm., f. 11: 309 x 220 mm., f. 12: 303 x 227 mm., f. 13: 277 x 198 mm., f. 14: 275 x 187 mm., f. 15: 310 x 210 mm., f. 18: 283 x 233 mm. Fol. 17-20 form a consecutive pair of bifolios which are cut down at top and bottom, though f. 18 is complete at the top. The other pages are not quite as long. Fol. 19 and 20 are cut in half vertically, so that only the left col. of the motets remains. Since these 21 pages have been removed from various bindings, often without sufficient care, a number of pages which were formerly glued into bindings are now almost or completely illegible. These include f. 1v, 2v, 4v, 7, 8v, 9v, 11, 12, 13v, 14, 15. Finally, here are a few further details of the individual pages, which are now foliated in 19th century ink at t.r.r. Fol. 1 contains 11 (originally 12) red five-line staves per page and employs red initials. Fol. 2 employs red or blue initials and the same number of staves as f. 1. Fol. 4 is similar to f. 2 but cut down, so that only 8 staves remain. Fol. 7 is also a cut-down page like f.4, doubtless from the same ms. Fol. 8 is a larger piece again, but upside down. The recto bears an old folio number viii at t.m.r. Initials are red or blue, and there are 11 red five-line staves per page. Fol. 9 employs some red notes, again on 11 red five-line staves. On f. 11 the top stave is cut away; there were originally 12 red five-line staves per page, as on f. 12. Fol. 13 has now only 10 red five-line staves per page with red or blue initials. Fol. 15 contains 11 red five-line staves, f. 15v 10. Fol. 17-20 contained originally 12 staves.
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