clearly differentiated longs, breves and semibreves
D-BAs Lit. 115 (Bamberg Codex)
Staatsbibliothek, Bamberg, Germany
theory treatises with added polyphony: second half of 13th century
| Archive | Staatsbibliothek, Bamberg, Germany (D-BAs) |
|---|---|
| Shelfmark | Lit. 115 (Bamberg Codex) |
| Image Availability | DIAMM does not have images of this source. Please refer to the external links for image availability. |
| Surface | Parchment |
| Measurements | 263 x 186 mm |
| Other Identifiers |
|
| Notations |
|
| Relationships | |
| External Links | |
| Provenance |
|
| Contents | Contains 110 compositions, 1 from 1 composer, 109 are anonymous. |
Notation
Foliation
80 ff
Surface
parchment
RISM Description
RISM B/IV 1: A parchment manuscript measuring 263 x 186 mm. and cosisting of 80 folios with modern pencil foliation t.r.r. plus two unnumbered paper flyleaves. The binding is of ivory pigskin with tooling on the front and back. The designs in the middle, apparently a golden fleece and imperial decorations, are inlaid with gold and dated 1611. Two metal clasps complete the picture. The manuscript consists of two parts : the first contains 100 motets and 8 pieces in score and runs from fol. 1-64v, while the second is made up of the treatise Practica artis musicae by Alfred or Amerus (fol. 65-80) together with two added motets on fol. 80v. Generally the pages with motets are divided into two columns with Tr on the left, Mot on the right and T at the bottom running right across. In the rare cases where the T has a complete text, the page is divided into three columns corresponding to Tr, Mot and T, reading from left to right. There are usually ten five-line staves to a page, though for the pieces in score notation there are only nine. The two additional pieces on fol. 80-80v have 11 staves to the page. The music may be dated in the second half of the 13th century, but the manuscript's origin is not altogether clear. Certainly the lack of the script "ki" for "qui" etc. (though "kristi" and "karitas" are found) does not suggest a North French origin, though an East French origin seems likely. There is nothing Gothic about text or music in the main part. The coloured initials are in the usual red and blue without much ornament. The notation is more developed than that of fascicles 2-6 of Mo, for longs, breves and semibreves are clearly differentiated, and particularly in the T, the use of ligatures without perfection clarifies the modal choice. The main body of music seems to have been written by a single hand (though the two added motets on fol. 80-80v are in a rougher hand than the rest). The notation is Franconian, but the copyist has one or two traits of his own, such as the avoidance of oblique ligatures. As against the older fascicles of Mo with [breve, semibreve, semibreve]. Ba indicates clearly the position of short and long notes in conjuncturae by [semibreve, semibreve, breve]. The motets are arranged approximately in alphabetical order according to the first words of the Mot parts. The collection consists of 44 Latin motets (excluding the 2 later Latin motets on fol. 80v), 47 French ones and 9 with a mixture of Latin and French texts. One motet, the only four-part work in the manuscript, actually employs two different T simultaneously. All the other pieces are in three parts, including the 8 pieces in score, which consist of a conductus and 7 clausulae. 5 of these are In seculum compositions.
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.
Loading inventory…
The inventory could not be loaded.
‡ denotes primary source study
Norwood, Patricia. 1990. Evidence concerning the provenance of the Bamberg codex. Journal of Musicology, 8/4: 491-504.
Norwood, Patricia. 1979. A Study of the Provenance and French Motets in Bamberg, Staatsbibliothek, Lit. 115. University of Texas at Austin, Ph. D.
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: XXV etc.
Gennrich, Friedrich. 1958. Ein altfranzösischer Motetten-Kodex. Faksimile-Ausgabe der Handschrift La Clayette, Paris, Bibliothèque Nationale, nouvelle acquisition francaise 13521. Pages: facsimile and transcription of Ba works in Cl).
Gennrich, Friedrich. 1958. Die Wimpfener Fragmente der Hessischen Landesbibliothek, Darmstadt. Pages: 11ff.
Parrish, Carl. 1957. The Notation of Medieval Music. Pages: 86, 99ff, 109, 114ff, 130.
Auda, Antoine. 1953. Les "Motets Wallons" du manuscrit de Turin: Vari 42. 2 vols. Pages: (facsimile and transcription of Ba works in Tu).
Birkner, G. 1953. Zur Motette "Brumans est mors". Archiv für Musikwissenschaft, 10: 71ff.
Besseler, Heinrich. 1949-79. Ars Antiqua. Die Musik in Geschichte und Gegenwart, 1st Edition, col.679-697. Pages: 679ff.
Husmann, Heinrich. 1949-79. Bamberger Handschrift. Die Musik in Geschichte und Gegenwart, 1st Edition, col.1201-1206. Pages: 1201ff.
Apel, Willi. 1942. (4th ed., 1949). The Notation of Polyphonic Music 900-1600. Cambridge, Massachusetts. Pages: 202, 302ff;.
Reese, Gustave. 1940. Music in the Middle Ages: With an introduction on the music of ancient times. New York: W.W. Norton & Co. Pages: 313, 317f, 324f.
Rokseth, Y. 1935+1939. Les Polyphonies du XIVe siecle. 4 vols. Pages: I-III (facsimile and transcription of Ba works in Mo); IV.
Handschin, Jacques. 1934. Erfordensia. Acta Musicologica, 6: 97ff. Pages: 103ff.
Anglès, Higinio. 1931. El Còdex musical de las Huelgas. 3 vols. Pages: II-III (facsimile and transcription of Ba works in Hu); I, 225ff etc.
Handschin, Jacques. 1931. Die Rolle der Nationen in der mittelalter-lichen Musikgeschichte. Schweizerisches Jahrbuch für Musikwissenschaft, 5: 1ff. Pages: 21ff.
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, 141 ff.
Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 5: 185-222, Vol. 5 (1924) 273-315. Pages: 198f, 220.
Aubry, Pierre. 1908. Cent Motets du XIIIe siècle. 3 vols. Pages: I-II (facsimile and transcription of Ba); III.
Summing, A. 1906. Die allfranzösischen Motette der Bamberger Handschrift . Pages: (includes a complete critical edition of the French texts in Ba).
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.
No comments have been made.
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.
Répertoire Internationale des Sources Musicales
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description