IIIF Manifest
Contains the Anonymous Mettenleiter (f. 1-24), a short but influential tractatulus beginning Gaudent brevitate moderni (f. 24-27) and Guido's Micrologus, etc. {f. 120-142). The musical contents consist of tropes, sequences, motets with or without T and other oddments, and are in two-part polyphony, in score. The only three-part works are nos. 5 and 18; only no. 5 is in score. A red wavy line often separates the two parts in polyphonic score writing. The rules for recognising modes have alphabetical notation over the top of the text. Probably from Augustinian monastery at Diessen.
D-Mbs Clm. 5539
Bayerische Staatsbibliothek, Munich, Germany
theory treatises and chant book with added polyphony: Early 15th century
| Archive | Bayerische Staatsbibliothek, Munich, Germany (D-Mbs) |
|---|---|
| Shelfmark | Clm. 5539 |
| Image Availability | The images on this record are linked using IIIF. |
| Surface | Parchment |
| Numbering System | Foliation |
| Measurements | 218 x 145 mm |
| Other Identifiers |
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| Provenance |
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| Contents | Contains 29 compositions, 29 are anonymous. |
General Description
Binding
dark brown leather over wooden boards with blind tooling on the front and back covers.
Notation
Varied. Square, decadent mensural (similar to that found in MS London, British Museum, Add. 27630)
Ruling
7 red four-line staves per page (square notation); two-part polyphony in score employs 6 out of the 7 staves, leaving the bottom one blank; pair of yellow and red lines or on a single red line only
Foliation
28v-39v, 72-81v, 146v-149
Foliation
Modern ink fotiation at t.r.r.
Surface
Parchment
RISM Description
RISM B/IV 2: A parchment manuscript meas. 218 x 145 mm. and containing 193 folios plus 1 flyleaf at the beginning. It dates from c. 1400 at the earliest, and probably originated in the Augustinian monastery at Diessen. The modern ink fotiation is at t.r.r. Unusually, this codex is entirely concerned with music, though a considerable part of it deals with music theory. The main theoretical works are the Anonymous Mettenleiter (f. 1-24), a short but influential tractatulus beginning Gaudent brevitate moderni (f. 24-27) and Guido's Micrologus, etc. {f. 120-142), The musical contents consist of tropes, sequences, motets with or without T and other oddments, and the notation is as varied as the contents. Square notation is predominant, using 7 red four-line staves per page. The two-part polyphony in score employs 6 out of the 7 staves, leaving the bottom one blank. The only three-part works are nos. 5 and 18. Only no. 5 is in score and it takes up the bottom 6 of the 7 staves. A red wavy line often separates the two parts in polyphonic score writing. A decadent mensural notation similar to that found in ms London, British Museum, Add. 27630 is used for the polyphony. The script is semi-Gothic with red and blue or black-red initials. The front flyleaf employs the same type of neumes, elegant pedes muscarum, as the last two pages of the ms, f. 192v-193. These also occur on f. 145v-149v (which include the two-part Iube domne ... Primo tempore) and again in Guido's Epistola de ignoto cantu on a pair of yellow and red lines or on a single red line only. Finally, the rules for recognising modes have alphabetical notation over the top of the text. The binding of the ms is of dark brown leather over wooden boards with blind tooling on the front and back covers.
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‡ denotes primary source study
Göllner, Marie Louise (editor). 1993. The Manuscript Cod. lat. 5539 of the Bavarian State Library. Musicological Studies and Documents. 43 vols. Neuhausen nr. Stuttgart: Hänssler-Verlag, American Institute of Musicology. Pages: 69-94.
Fischer, Kurt von, Max Lütolf, and Gilbert Reaney (editors). 1969. Répertoire international des sources musicales. Series B IV, vol. 2. Manuscripts of Polyphonic Music. Pages: 74.
Dittmer, Luther A. 1959. Publications of Mediaeval Musical Manuscripts IV: Paris 13521 and 11411. Publications of Mediaeval Music Manuscripts, vol. 4. Brooklyn: Institute of Mediaeval Music.
Gennrich, Friedrich. 1958. Bibliographie der ältesten französischen und lateinischen Motetten. Pages: XLIf, etc.
Gennrich, Friedrich. 1958. Ein altfranzösischer Motetten-Kodex. Faksimile-Ausgabe der Handschrift La Clayette, Paris, Bibliothèque Nationale, nouvelle acquisition francaise 13521. Pages: f. 369-369v, 375 (facsimile of nos. 16 and 17 after F-Cl).
Parrish, Carl. 1957. The Notation of Medieval Music. Pages: pl. XXXII-XXXHI (facsimile of no. 17 after GB-LoHa).
Auda, Antoine. 1953. Les "Motets Wallons" du manuscrit de Turin: Vari 42. 2 vols. Pages: I-II, nos. 3, 6 (facsimile and transcription of nos. 5, 21 after I-Tu).
Geering, Arnold. 1952. Die Organa und mehrstimmigen Conductus in den Handschriften des deutschen Sprachgebietes vom 13. bis 16. Jahrhundert. Bern. Pages: Iff, 12 and passim.
Handschin, Jacques. 1949. The Summer Canon and its Background. Musica Disciplina, 3: 55-94, volume 5 (1951), 65-113. Pages: I, 60; II, 71.
Rokseth, Y. 1935+1939. Les Polyphonies du XIVe siecle. 4 vols. Pages: I-II I, nos. l,85,40,53,44,268,284(transcriptions of nos. 5,14,16,17, 19, 21 and 22 after F-Mo); IV, 80, 196, 260f, 266, 290, 293.
Handschin, Jacques. 1934. Erfordensia. Acta Musicologica, 6: 97ff. Pages: 105, 108.
Spanke, Hans. 1932. Eine mittelalterliche Musikhandschrift. Zeitschrift für deutsches Altertum und deutsche Literatur, 69: . Pages: 49ff.
Anglès, Higinio. 1931. El Còdex musical de las Huelgas. 3 vols. Pages: II-III, nos. 25, 92, 101, 108, 120, 157 (facsimile and transcription of nos. 4, 18, 17, 21, 22, and 16 after E-JTu); I, 104,115, 136, 227, 259f, 269f, 279f.
Handschin, Jacques. 1928. Angelomontana Polyphonica. Schweizerisches Jahrbuch für Musikwissenschaft, 3: 64ff. Pages: supplement, nos. 3,10, 23 and 1 {transcriptions of nos. 4, 6, 8 and 13 after CH-EN 314); 67f, 69ff, 72f, 78f, 92.
Handschin, Jacques. 1927-28. Zur Frage der melodischen Paraphrasierung im Mittelalter. Zeitschrift für Musikwissenschaft, 10: 513-59[also12(1929-30),192]. Pages: 516.
Besseler, Heinrich. 1926. Studien zur Musik des Mittelalters: II. Die Motette von Franko von Köln bis Philipp van Vitry. Archiv für Musikwissenschaft, 8: 137-258. Pages: II, 178, 180.
Ursprung, Otto. 1924. Freisings mittelalterliche Musikgeschichte in Wissenschaftliche Festgabe zum 1200 jährigen Jubiläum des heiligen Korbinian. Pages: 275.
Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 5: 185-222, Vol. 5 (1924) 273-315. Pages: 199, 203, 205, 209ff, 213f, 275, 287, 291, 304f, 307, 309f.
Ludwig, Friedrich. 1910. Repertorium organorum recentioris et motetorum vetustissimi stili. I. Catalogue raisonné. 1. Handschriften in Quadratnotation. Halle: Niemayer. Pages: 28, 73, 106,135, 180, 182, 193, 366, 392, 401 f, 405, 413, 435, 445.
Aubry, Pierre. 1908. Cent Motets du XIIIe siècle. 3 vols. Pages: I-II, nos. 101, 17, 58, 1, 85, 33, 98 (facsimile and transcription of nos. 5, 14, 16-18, 21, 22 after Ba); III, 57, 68,103,108.
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Répertoire Internationale des Sources Musicales
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description