I-Bc Q.15

Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy

choirbook: 15th century, copying completed 1440

Archive Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy (I-Bc)
Shelfmark Q.15
Surface Mixed Paper and Parchment
Measurements 280 x 200 mm
Other Identifiers
  • RISM: I-Bc15
  • RISM: BL
  • CCM: BolC Q15
  • olim (Former shelfmark): Liceo Musicale 37
Notations
  • black full mensural
  • coloration in black void
  • coloration in red full
Relationships
External Links
Provenance
  • Padua, Italy
  • Vicenza, Italy
  • Piacenza? Northern Italy, Italy
Contents Contains 323 compositions, 298 from 55 composers, 25 are anonymous.
General Description

This manuscript is the largest international anthology of polyphonic music of the early 15th century. It was compiled in the Veneto, in Padua 1420-5 (stage I) and Vicenza 1430-35 (stages II-III), all copied by a single (unidentified) scribe. Later additions include one textless song and a partial index compiled by Guillelmus Musart.

Contents: 323 compositions excluding one Gloria and three motets on bifolios which duplicate items within the volume and now serve as flyleaves: 3 Introits, 16 Kyries (including one chant), 61 Glorias, 44 Credos (one duplication: 31 = 88), 10 Sanctus, 8 Agnus, 109 motets, 12 laude (Italian and Latin), 19 French songs, 1 textless song (later addition), 25 hymns, 9 Magnificats, 3 sequences.

The first half of the manuscript is mainly devoted to the Mass Ordinary, the second mostly to motets. Songs appear only as late additions in stage I, laude as additions at stage III. Most of the Mass Ordinary sections are grouped into cycles (some composite: 6 whole and two partial cycles) or Gloria-Credo pairs, some of which are linked compositionally, others apparently at the compiler’s initiative.

The motets include compositions in honour of Gianfrancesco Gonzaga, the Venetian doges Steno, Mocenigo and Foscari, the prelates Stefano Carrara, Albano Michiel, Pietro Marcello, Francesco Malipiero, Francesco Zabarella, Antonio Correr, Giovanni Contarini; the Dominicans and Leonardo Dati; Pandolfo Malatesta da Pesaro, Cleofe Malatesta; Eugenius IV, Eugenius and the Emperor Sigismund. Q15 can be associated with the humanist circle around the Venetian patrician bishop Pietro Emiliani of Vicenza, which drew on a high level of local musical competence that was continued under his successor, bishop Franceso Malipiero.

About 50 composers are represented, including native Italians, the first significant English imports to the continent, and composers from the north who were sought after and made their careers in Italy. The following numbers are approximate, allowing for attributions that are contested or from other sources: Alanus 1, Antonio da Cividale 5, Antonio Romano 6, Benet 2, Benoit 1, Binchois 5, Binchois/(Dunstaple) 1, (Bodoil) 1, Bosquet 2, Brassart 8, Brassart/ (J. Legrant) 1, (Cameraco) 1, Carmen 2, Christoforus de Monte 2, Ciconia 17, Cordier 2, Du Fay 68-71, Dunstaple 4, Sarto 2, T. Fabri 1, Feragut 6, Fontaine 2, (Forest) 1, Gemblaco [Franchois] 7-9, Gervasius de Anglia 1, Grenon 3, Grossin 4, Hasprois 1, Francus de Insula 1, A. de Lantins 23, H. de Lantins 6, G. Legrant 2, Limburgia 46-50, Loqueville 5, Luca 1, Matheus de Brixia 1, Natalis 1, Passet/(Césaris) 1, Power 3-6, Reson 4, Rondelly 1, Rubeus 2, Ruttis 1, Salinis 8, Tapissier 1, Velut 4, Vide 1, Briquet 1, Zacara da Teramo 12, N. Zacarie 1. Some 30 pieces are given anonymously, of which about 10 have been attributed and are included in the above counts.

About half the compositions are unique; some others are shared with and complemented by the slightly younger Veneto manuscripts Bologna, Biblioteca Universitaria 2216 and Oxford, Canon. misc. 213, as well as numerous concordances in Aosta 15 and the Trent codices. Q.15 is the most important source for the works of Zacara and Ciconia and for the early mass and motet compositions of Guillaume Du Fay, many of them unica (nearly a quarter of the manuscript). Du Fay's Missa Sancti Jacobi can be linked to the circle in which Q.15 was compiled.

Margaret Bent, 2009
Physical Description

Of the 343 folios, only 131 leaves survive from stage I, which was similar in size to the present book; the loss of perhaps 200 leaves is attested by earlier foliations and 92 capital letters cut from it, to be pasted into the later form of the book that we now have. Fragments of music on the backs of these letters provide rich material on changing repertory and tastes of the interventive compiler over a 15-year period, and earlier datings (before 1425) for compositions only known from later copies, sometimes in different versions. The discarded folios were replaced by new repertory and by pieces recopied from the older book often with editorial changes and in different order. The manuscript thus now embodies two overlapping, superimposed anthologies, with a third of their physical material in common, and perhaps half their repertory. These findings are especially important for Du Fay, to whose new mass and motet compositions the compiler seems to have had prompt access over a long period. Two illuminations survive from stage I, one from stage II. Du Fay’s Missa Sancti Jacobi initated work on stage II, c. 1430, and survives as a plenary cycle only here.

Margaret Bent, 2009
Watermark

Five different watermarks occur on the paper folios; some of these are also found in TrentC 87, TrentC 92, and MunBS Lat. 14274 (KanP). For a full codicological study and reference materials, see Margaret Bent, Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition. 2 vols. (Lucca: Lim Editrice, 2009)

Margaret Bent, 2009
Notation

black full mensural with red and black void coloration.

Margaret Bent, 2009
Foliation

Four different numberings are in current use, usually without indication of which system is being used. For a conversion chart and proposal for distinguishing the numberings, see Bent 2009. The piece numbering in the inventory uses the system by de Van, and the foliation uses the more modern arabic foliation, not the original roman.

Margaret Bent, 2009
Foliation

1-342

Margaret Bent, 2009
Decoration

About a third of the pieces have ornamented initials

Margaret Bent, 2009
Surface

mostly paper, but some parchment

Margaret Bent, 2009
DIAMM Note

Four different sets of foliations. Please specify which version when requesting images.

Margaret Bent, 2009
DIAMM Note

Recordings of repertoire from I-Bc Q.15 may be found on these albums:

Ensemble Ars Italica - Musica del XV Secolo in Italia - Tactus 40012201 [1991] Mala Punica - Sidus Preclarum. Ciconia: Complete Motets - Erato 3984-21661-2 [1998] The Clerks' Group - Dufay: Sacred music from Bologna Q15 - Signum 023 [2002] La Reverdie - Guillaume Du Fay: Missa Sancti Jacobi - Arcana 342 [2006] Le Miroir de Musique - Johannes de Lymburgia: Gaude felix Padua - Ricercar 402 [2019]

DIAMM, 2022
RISM Description

RISM BIV/5

XVe s., 351ff. Papier et parchemin, 276 x 200 mm.

Foliotation ancienne en chiffres romains ou arabes, complétée sporadiquement par une foliotation moderne. La numérotation des pièces ajoutée par Martini est souvent fautive et ne sera pas prise en compte ici. Les ff. 177v (au début du ms.), 120/14, 120/20, 167v à 169, 178v, 179, 187, 206/1 sont blancs. Le f. 168 mq. Les ch. 111 et 112 employés deux fois. Les ch. 172 à 177 sautés dans la foliotation. Notation mesurée noire. 7 à 9 portées par p. Initiales enluminées en coul. L'encre ayant rongé le papier, certains incipit sont illisibles.

Ms. de la collection du P. Martini qui en donne 3 fois la description dans son catalogue (cf. Bibliographie, Ms. Misc. H. 83). Pour constituer le ms. actuel, il semble que l'on ait d'abord détruit un ms. ancien dont on a coupé les capitales rouges ou bleues pour les coller sur le nouveau ms. Sur l'une d'elles actuellement décollée, on peut voir sur l'envers quelques notes de musique de la même écriture que le ms. qui nous est parvenu. Curieusement, les capitales originales (c'est-à-dire qui n'ont pas été collées) sont absolument semblables à celles provenant de l'ancien ms. (qui ont été collées). Certains chiffres romains de la foliotation ont été transformés lors de cette réfection du ms.: CIX est devenu CXI, CVI est devenu CVIII, etc. Il s'agit donc de la copie conforme d'un ms. plus ancien dont on a bouleversé l'ordre de certains cahiers et auquel on a ajouté ensuite quelques pièces. Quoiqu'il en soit, dans le ms. actuel on peut distinguer trois étapes: J rédaction primitive.

2 premier enrichissement du répertoire et transcription sur parchemin des feuillets usés.

3 fusion avec un autre répertoire plus récent, transcription sur papier des feuillets usagés, insertion de pièces profanes aux bas des p. restées libres. On a coutume de considérer ce ms. comme provenant de Piacenza (Ambros, Besseler) comme l'indique le P. Martini lui-même (Ms. Mise. H. 83, f. 96) qui le dit «venuto da Piacenza in occasione del Capitolo dei Reverendi Canonici di S. Salvatore portatomi dal P. Monari dell'ordine sudetto nel maggio 1757.» Cependant, certains détails iconographiques (lettre ornée du n° 273), la biographie de quelques-uns des compositeurs (Ciconia, D. Luca, P. Rubeus, Christoforus de Monte, Matheus de Brixia) ainsi que les allusions historiques de certains motets (nos 206, 243, 245, 256, 273) ont pu faire supposer que le ms. aurait été commencé pour la cathédrale de Padoue, sans que l'on puisse préciser où il a subi ensuite enrichissements et transformations (Clercx). Il fut en tout cas constitué pour l'usage d'une église comme le montre le riche répertoire de musique religieuse ordonné suivant la destination liturgique, tandis que les chansons sont dispersées au hasard. Les 328 pièces (les nos 1, 31, 216, 217, 218 étant copiés en double) constituent un répertoire qui peut se situer entre 1400 et 1435 environ, Dufay avec 62 pièces et Johannes de Lymburgia avec 48, suivis par Ciconia avec 18 et Arnold de Lantins avec 17, étant les mieux représentés. D'autre part, le style de la notation ne permet pas de dater le ms. après 1440.

On a suivi la foliotation (ancienne ou récemment complétée) telle qu'elle apparaît actuellement sur le ms., substituant cependant les ch. arabes aux ch. romains.

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of any of this content without permission may result in legal action.

Répertoire International des Sources Musicales
Census Catalogue of Music Description

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.

4 Masses, 13 Kyries, 57 Glorias, 40 Credos, 8 Sanctus, 4 Agnus, 9 Magnificats, 24 hymns, 118 motets, 11 laude, 19 French secular pieces, 1 Italian secular piece = 308

(Many of the Mass Ordinary sections are grouped into composite Masses and pairs)

Alain-2, Anglia-3, Antonio da Cividale-5, Antonio Romano-6, Benet-2, Benoit-1, Binchois-5, Binchois/(Dunstable)-1, Bosco [Bosquet]-2, Brassart-8, (Cameraco)-1, Carmen-3, Christoforus de Monte-2, Ciconia-13, Cordier-2, Dufay-69, Dunstable-4, Dusart [Sarto]-2, T. Fabri-1, Feraguti-6, Fontaine-2, (Forest)-1, Franchois-7, Gervasius de Anglia-1, Grenon-3, Grossin-3, Hasprois-1, Francus de Insula-1, A. Lantins-17, H. Lantins-4, H. Lantins/(Dufay)-3, G. Legrant-3, Limburgia-42, Loqueville-6, Luca-1, Matheus de Brixia-1, Natalis-1, Passet/(Césaris)-1, Power-3, Reson-4, Rondelly-1, Rubeus-2, Ruttis-1, Salinis-8, Tapissier-1, Velut-4, Vide-1, Villeroye [Briquet]-1, Zachara da Teramo-11, Zacharia-1, anon-33

342 folios, mostly paper but with some parchment folios as outer or middle bifolios of a gathering, 280 x 200. An old system of foliation in Roman numerals skips fascicles 11-12 and 20 (which have their own foliation), and ends with f. 318; another system of figures preceded by the letter "N" evidently represents an attempt to number the pieces, but it is quite inaccurate; modern foliation, 1-43, 43bis-190, 192-342. Rebound in new covers. Incomplete original index on first folio. Black mensural notation, with red and white coloration. Copied by a single scribe (Bent). About a third of the pieces have ornamented initials. Five different watermarks occur on the paper folios; some of these are also found in TrentC 87, TrentC 92, and MunBS Lat. 14274 (KanP).

Ca. 1420-35 (Bent). Probably copied in Padua or Vicenza (see ClercxJC, CoxM). Padre Martini acquired the manuscript from Piacenza in 1757.

Vol 4

Composers: Change " Insula-1" to "Francus de Insula-1." Physical: Copied by a single scribe (Bent).

Date/provenance: Ca. 1420-35 (Bent). Probably copied in Padua or Vicenza (see ClercxJC, CoxM).

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

201r

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‡ denotes primary source study

Bent, Margaret. 2016. Melchior or Marchion de Civilibus, prepositus brixiensis: new documents. Music and Culture in the Middle Ages and Beyond: Liturgy, Sources, Symbolism (Festschrift for Craig Wright), edited by Margaret Bent, 175-190. Cambridge: Cambridge University Press.

Bent, Margaret. 2015. Orfeo: dominus presbiter Orpheus de Padua. ‘Qui musicam in se habet’: Studies in Honor of Alejandro Enrique Planchart, edited by Margaret Bent, 231-256. American Institute of Musicology.

Bent, Margaret. 2014. Francesco Malipiero and Antonio da Roma – another musical connection? Mondo latino e civiltà bizantina: Musica, arte e cultura nei codici del 1400, edited by Margaret Bent, 225-238. Padua: Cleup.

Bent, Margaret. 2014. Libri de cantu in the early fifteenth-century Veneto: contents, use and ownership. Musikalische Repertoires in Zentraleuropa (1420–1450). Prozesse & Praktiken, Wiener Musikwissenschaftliche Beiträge, vol. 26. edited by Margaret Bent, 153-170. Vienna: Böhlau.

‡ Bent, Margaret. 2009. Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition. 2 vols. Lucca: Lim Editrice.

Bent, Margaret. 2007. Trompetta and Concordans Parts in the Early Fifteenth Century. Music as Social and Cultural Practice: Essays in Honour of Reinhard Strohm, edited by Margaret Bent, 38-73. Woodbridge.

Bent, Margaret. 2004. Divisi and a versi in early fifteenth-century mass movements. Antonio Zacara da Teramo e il suo tempo, edited by Margaret Bent, 95-137. Lucca: LIM.

Bent, Margaret. 2003. Musicisti vicentini intorno al vescovo Pietro Emiliani. Quattrocento Vicentino. La Dedizione alla Serenissima tra Musica Cronaca e Storia, edited by Margaret Bent,  Vicenza: Conservatorio di Musica di Vicenza.

Bent, Margaret. 1996. The early use of the sign Ø. Early Music, 24/2: 199-225.

Curtis, Gareth R K, and Andrew B Wathey. 1994. Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory. Royal Musical Association Research Chronicle, 27: 1-69.

Bent, Margaret. 1987. A Contemporary Perception of Early Fifteenth-Century Style: Bologna Q15 as a Document of Scribal Editorial Initiative. Musica Disciplina, 41: 183-201.

Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.

Bent, Margaret, and Anne Hallmark (editors). 1985. Complete Works of Johannes Ciconia. Polyphonic Music of the Fourteenth Century, vol. 24.  Monaco: Éditions de l'Oiseau-Lyre. Pages: XXIV.1-17,30-5,44-7,54-67,73-107, 112-6,167-9,198-9,201,203-9,216,220-6. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).

Staehelin, Martin. 1983. Bemerkungen zum Verhältnis von Werkcharacter und Filiation in der Musik der Renaissance. Datierung und Filiation von Musikhandschriften der Josquin-Zeit, Wolfenbütteler Forschungen, vol. 26. 199-215. Wiesbaden. Pages: 202,208-9. Notes: contents list (partial); facsimile (partial); mention of MS; discussion.

Cox, Bobby Wayne. 1981. 'Pseudo-Augmentation' in the Manuscript Bologna, Civico Museo Bibliografico Musicale, Q 15 (BL). The Journal of Musicology, 1: 419-48. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Bent, Margaret. 1980. New Sacred Polyphonic Fragments of the Early Quattrocento. Studi Musicali, 9: 171-89. Pages: 171-5. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Hamm, Charles E, and Herbert Kellman (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Renaissance Manuscript Studies, vol. 1-5. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag. Pages: I, 69.

Finscher, Ludwig. 1979. Zum Verhältnis von Imitationstechnik und Textbehandlung im Zeitalter Josquins. Renaissance-Studien: Helmuth Osthoff zum 80. Geburtstag, Frankfurter Beiträge zur Musikwissenschaft, vol. 11. 57-72. Tutzing. Pages: 48ff, passim.

Cobin, Marian W. 1978. The Aosta Manuscript: A Central Source of Early Fifteenth-Century Sacred Polyphony. New York University, Unpublished Ph.D. dissertation. Pages: I, 102ff, 145-51,336-51, passim. Notes: physical description; contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.

Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: I-II. Notes: physical description; contents list (partial); concordances (partial); transcriptions (partial); texts (partial); mention of MS; discussion.

Kemp, Walter H. 1976. The Manuscript Escorial V.III.24. Musica Disciplina, 30: 97-129. Pages: 102-4,121.

Cavicchi, Adriano. 1975. Sacro e profano, Documenti e note su Bartolomeo da Bologna e gli organisti della cattedrale di Ferrara nel primo quattrocento. Rivista Italiana di Musicologia, 10: 46ff, and 11 (1976), 178–81. Pages: 63.

Hagopian, Viola L. 1973. Italian Ars Nova Musik: A Bibliographic Guide to Modem Editions and Related Literature. 2nd ed.  Berkeley, Los Angeles, and London. Pages: 59-60.

Wright, Craig M. 1973. Tapissier and Cordier: New Documents and Conjectures. The Musical Quarterly, 59: 177-89. Pages: 184-5.

Burstyn, Shai. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation. Pages: 344-8,360-78,403-5, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: I-II. Notes: physical description (partial); contents list (partial); concordances (partial); incipits (partial); transcription (partial); mention of MS; discussion.

Schoop, Hans. 1971. Entstehung und Verwendung der Handschrift Oxford Bodleian Library, Canonici misc. 213. Publikationen der Schweizerischen Musikforschenden Gesellschaft Series II, vol. 24.  Bern and Stuttgart. Pages: 70f.

Bent, Margaret, Ian D Bent, and Brian Trowell (editors). 1970. John Dunstable complete works. Musica Britannica, vol. VIII.  London. Pages: VIII [rev. ed.], 15-6,101-3,106-9, 112-3,125-6,184ff. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Reaney, Gilbert. 1969. Text Underlay in Early Fifteenth-Century Musical Manuscripts. Essays in Musicology in Honor of Dragan Plamenac on His 70th Birthday, 245-51. Pittsburgh.

Ward, Tom Robert. 1969. The Polyphonic Office Hymn from the Late Fourteenth Century Until the Early Sixteenth Century. University of Pittsburgh, Unpublished Ph.D. dissertation. Pages: 21-5, passim.

Hamm, Charles E. 1968. A Catalogue of Anonymous English Music in Fifteenth-Century Continental Manuscripts. Musica Disciplina, 22: 47-76. Pages: 50,64-76.

Davis, Shelley. 1967 (XXXIX)-1968 (XL). The Solus Tenor in the 14th and 15th Centuries. Acta Musicologica, 39 & 40: 44-64(XXXIX)-176-8(XL). Pages: passim.

Riemann, Hugo, Wilibald Gurlitt, and Hans Heinrich Eggebrecht (editors). 1967. Musik Lexikon: Zwölfte völlig neubearbeitete. 3 vols. Mainz. Pages: III, 765.

Gossett, Philip. 1966. Techniques of Unification in Early Cyclic Masses and Mass Pairs. Journal of the American Musicological Society, 19: 205-31.

Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: 29-81. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.

Kenney, Sylvia W. 1966. In Praise of the Lauda. Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, 489-99. New York. Pages: 493-5.

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts.  Tutzing. Pages: 124.

Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: l, xxx.

Gallo, Franco Alberto (editor). 1965. Antonii Romani: Opera. Monumenta Veneta Sacra, vol. I.  Bologna. Pages: vii-x, xv, 1-41. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Hamm, Charles E. 1965. The Reson Mass. Journal of the American Musicological Society, 18: 5-21.

Mixter, Keith E. 1965. Johannes Brassart: A Biographical and Bibliographical Study, II. Musica Disciplina, 19: 99-108. Pages: II XIX, 100.

Gallo, Franco Alberto, and Giovanni Mantese. 1964. Ricerche sulle Origini della Cappella Musicale del Duomo di Vicenza. Civiltà Veneziana, Saggi, vol. 15.  Venice and Rome. Pages: 20-2,24-5,30,56-60,69-82. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Damilano, Don Piero. 1963. Fonti musicali della lauda polifonica intorno alla metà del sec. XV. Collectanea Historiae Musicae III, Pages: 62, 76-89.

Borren, Charles van den. 1962. L'Enigme des 'Credo de Village'. Hans Albrecht in Memoriam, 48-54. Kassel. Pages: 49.

Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: I, 67-71.

Ficker, Rudolf von. 1960. The transition on the Continent. New Oxford History of Music, 3: 150ff. Pages: 150.

Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1959. Johannes Ciconia et la chronologie des manuscrits italiens, Mod. 568 et Lucca (Mn). L'Ars nova: Recueil d'études sur la musique du XIVe siècle, 110-130. Paris: Les Belles Lettres. Pages: 124ff.

Trumble, Ernest. 1959. Fauxbourdon: An Historical Survey. Musicological Studies, vol. 3.  Brooklyn. Pages: 14ff, passim.

Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology. Pages: VI, passim; VII, xvi-xx.xxiii-xxvi, 25-59, 62-6,70-87,90-2,100-5. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).

Federhofer, Hellmut (editor). 1954-. Musik Alter Meister.  Graz. Pages: XIII, [xiii].

Besseler, Heinrich. 1950; Reprinted: 1974. Bourdon und Fauxbourdon, Studien zum Ursprung der niederländischen Musik.  Leipzig. Pages: 4, passim.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik.  Kassel. Pages: II, 95-8; II,852,1431, Tafel 6; 111,1891-2; IV, Tafel 27 and 77; VI, Tafel 37; VII, Tafel 5; XIV, Tafel 53.

Van, Guillaume de. 1948. Inventory of Manuscript Bologna, Liceo Musicale, Q 15 (olim 37). Musica Disciplina, 2: 231-57. Pages: with facs. of ff. 19v-20, l00v-101. Notes: contents list; concordances.

Besseler, Heinrich. 1925. Studien zur Musik des Mittelalters: I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts. Archiv für Musikwissenschaft, 7: 167-252. Pages: 234-5.

Torchi, Luigi. 1906. I Monumenti dell'antica musica francese a Bologna. Rivista Musicale Italiana, 13: 451-505,575-615. Pages: 487-99.

Gaspari, Gaetano (compiler). 1905. Catalogo della biblioteca del Liceo musicale di Bologna compilato da Gaetano Gaspari: compiuto e pubblicato da Dr Raffaele Cadolini, aggiunto al bibliotecario. 4 vols. Bologna. Pages: IV ,239-45.

Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: I,197-8; III,82-6,177-84; II,54-6, 133-8.

Wooldridge, Harry Ellis, and H V Hughes (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century. 2 vols. London: The Plainsong and Medieval Music Society. Pages: I, plates 49-60; II, 116-29.

Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich.  Graz and Vienna. Pages: LXXVI, passim.

Lisio, Giuseppe. 1893. Una stanza del Petrarca musicata dal Du Fay tratta da due codici antichi e le poesie volgari contenute in essi.  Bologna.

Haberl, Franz Xavier. 1885-88. Bausteine für Musikgeschichte. 3 vols. Leipzig. Pages: I, 79ff.

Ambros, August Wilhelm. 1880-82. Geschichte der Musik. 2. Auflage. 5 vols. Leipzig. Pages: III passim.

Public Comments

This form is used to make comments on a source. If you wish to notify us of a correction to the record, you should use the "Contribute a change" form instead.

Clemens Goldberg

Wednesday, 3 December, 2025

There is a complete edition of this source in original and modern keys: https://www.goldbergstiftung.org/bologna-q-15/

Nicole Schwindt

Thursday, 1 June, 2023

The spelling of fol. 44v in the inventory must be "Chanter ne scay ce poise moy" ("Chanter ne scay ce poyse moy" is the spelling in GB-Ob, Canon misc. 213, fol. 32v).

Michael Stone

Sunday, 9 January, 2022

The external links to the description of I-Bc Q.15 [https://www.diamm.ac.uk/sources/117] contain an error:

The YouTube link "discussion of the MS with performance recordings" [http://www.youtube.com/watch?v=MzPgM9OReV8] is related to a recording of repertoire from I-Bc Q.11: Ensemble Korymbos - Exit Rosa: Chants for the Nuns from Manuscript Q.11 of Bologna - Tactus 280002 [2011]

Recordings of repertoire from I-Bc Q.15 may be found on these albums:

Ensemble Ars Italica - Musica del XV Secolo in Italia - Tactus 400001 [1991] Mala Punica - Sidus Preclarum. Ciconia: Complete Motets - Erato 3984-21661-2 [1998] The Clerks' Group - Dufay: Sacred music from Bologna Q15 - Signum 023 [2002] La Reverdie - Guillaume Du Fay: Missa Sancti Jacobi - Arcana 342 [2006] Le Miroir de Musique - Johannes de Lymburgia: Gaude felix Padua - Ricercar 402 [2019]

Contributions to this record are recorded here. If you wish to contribute information or a correction to this record, use the "Contribute a Change" link. This will then be reviewed by DIAMM staff and, if accepted, your contribution will be acknowledged here.

Clemens Goldberg

Tuesday, 27 January, 2026

Annotated the Bosquet Gloria to indicate sources for composer attributions

Michael Cuthbert

Wednesday, 19 November, 2025

image rotation fixed

Clemens Goldberg

Tuesday, 4 November, 2025

Magnificat ocatvi toni 336v-338r: this piece has no attribution [incorrect attribution to 'lymburgia' in DIAMM removed]

Clemens Goldberg

Tuesday, 4 November, 2025

annotated Gaude virgo (230v-231r ) to indicate that, as the countertenor is certainly not by Dufay, the label o the two entries for this voice ("Righe") might be the composer's name.

Clemens Goldberg

Monday, 28 July, 2025

294v-295r, Ave virgo is copied on both pages, Salve virgo regia is complete on page 295r

Clemens Goldberg

Monday, 28 July, 2025

Foliation corrected for Du Fay's Christe redemptor

Clemens Goldberg

Monday, 28 July, 2025

297v-298r Recordare virgo : added 'voice' info for the third "si placet" voice

Clemens Goldberg

Monday, 28 July, 2025

f. 296v Dilecto Jesu Christo incorrectly shown as 2a pars of Brassart's Gratulemur Christicole: the two pieces now separated

Clemens Goldberg

Monday, 28 July, 2025

Corrected foliation for Zacara's 'scabioso' Credo

Clemens Goldberg

Tuesday, 9 January, 2024

De bien amer (99v-100r) is a fifth up from Oxford 213 (as in the Cantus of the Sevilla Chansonnier) and has a completely new Contratenor. Explanatory note added to the item (though unfortunately notes are currently not displaying properly).

Michael Stone

Monday, 10 January, 2022

Provided list of recordings with music from MS

Karen Cook

Thursday, 26 April, 2018

Reported issue with inventory status.

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description

Répertoire Internationale des Sources Musicales

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description