{"pk":117,"url":"https:\/\/www.diamm.ac.uk\/sources\/117\/?format=json","display_name":"I-Bc Q.15","shelfmark":"Q.15","surface_type":"Mixed Paper and Parchment","date_statement":"15th century, copying completed 1440","source_type":"choirbook","measurements":"280 x 200 mm","type":"source","cover_image_info":{"url":"https:\/\/www.diamm.ac.uk\/cover\/5131\/?format=json","label":"180v"},"manifest_url":"https:\/\/www.diamm.ac.uk\/sources\/117\/manifest\/?format=json","inventory_provided":true,"public_images":true,"open_images":false,"has_external_images":true,"has_external_manifest":false,"diamm_has_images":false,"has_images":true,"inventory":[{"pk":16699,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16153\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"01v","folio_end":"02r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":true},{"full_name":"Legrant, Guillaume","url":"https:\/\/www.diamm.ac.uk\/people\/168\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 77-81 (of Q15 #80)."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra pax hominibus, bonae voluntatis","mensuration":"[O]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"f4","voice_text":"Et in terra","mensuration":"[O]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Et in terra","mensuration":"[O]"}],"pages":[4748,4749],"notes":[{"note":"This Gloria was copied early in stage III, without any red, on a single opening, the central bifolio removed from gathering XVII, with stage-II foliation but otherwise unused at stage II. This version (without Ct) is not indexed, is numbered but not listed by De Van, nor is it taken account of in Reaney's edition in CMM. It is the same piece as #80 (a late stage-III copy occupying two openings, with alternative 'alius contratenor'), which is attributed in the index to Brassart, a less likely attribution but nevertheless hitherto unremarked. It may form a pair with the Credo in Ao1 ff. 37v-39 (immediately following this Gloria) and Ao2 ff. 132v-135 (CMM 11\/2, 82-89), both copies attributed to Jo. le Grant. 'Long' self-contained Amen.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Fermatas on 'Criste', 'Amen'. Leger lines in Ct.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6090,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5911\/?format=json","num_voices":"3","genres":["Introit","Proper"],"folio_start":"03r","folio_end":"03r","composition":"Missa: Salve sancta parens","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Torri, Luigi<\/a>, and Francesco Vatielli<\/a> (editors). 1929. Mostra bibliografica musicale: Primo congresso internazionale di bibliografia e bibliofilia. Bologna, Archiginnasio, giugno 1929, exh. cat.<\/em>  Bologna.","pages":"Edition: facs. facing p. 18"},{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 1-3"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Salve sancta parens","mensuration":"[c-dot]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4f2","voice_text":"Salve sancta parens","mensuration":"[c-dot]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3c5","voice_text":"Salve sancta parens","mensuration":"cut-c-dot"}],"pages":[4751],"source_attribution":"Ar de lantins","notes":[{"note":"A formal text script is used uniquely for this introit, the original first opening of the manuscript, with an illuminated S. #2, #3, #6, #7 may have been a complete Marian cycle into which the non-matching Ciconia Gloria\u2013Credo pair was inserted. The double clefs, unusually, are not erased. The tenor \/,c signature in all the Lantins movements of this cycle is exceptional; it moves entirely in breves, which equal the semibreves of the upper parts.","note_type":"General Note"},{"note":"Red coloration. Flagged hooked semiminims. Red bars. Black sharp; red sharp on f with two black dots. T, Ct double clefs, not erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16700,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16247\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"03v","folio_end":"04r","composition":"Missa: Kyrie eleison","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 4-10"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie eleison","mensuration":"[c-dot]"},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie eleison","mensuration":"[c-dot]"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c5","voice_text":"Kyrie eleison","mensuration":"cut-c-dot"}],"pages":[4754,4755],"notes":[{"note":"For this cycle, and the mensuration, see notes on #2.","note_type":"General Note"},{"note":"Red coloration. Flagged hooked semiminims. Red bars. Fermatas at some cadences. Repeat signs are double-stemmed semibreves flanked by paired red dots. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16701,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16248\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"04v","folio_end":"06r","composition":"Et in terra pax [Gloria] [Tro] Spiritus et alme (II) [BH6]","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 24 #6"},{"prerendered":"Clercx, Suzanne<\/a>, and Suzanne Clercx-Lejeune<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","pages":"Edition: #20"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra pax hominibus","mensuration":"[c-dot]"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Et in terra pax hominibus","mensuration":"[c-dot]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Et in terra","mensuration":"[c-dot]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Et in terra","mensuration":"[c-dot]"}],"pages":[4756,4757,4758,4759],"source_attribution":"Jo ciconie","notes":[{"note":"Short (3-note) Amen followed by long Amen, both self-contained; style and layout suggest the long Amen was added later; long Amen of I (Amen de triplo) follows Tenor, short Amen precedes it. This Gloria does not match the Credo which follows in clefs, tonality, range or alternation, although upper voices are texted and have the same range, and alternate sections a2 and a3. Inessential (expendable) Ct added later, but at the same script stage. Signature ,c presumably preceding 'Qui tollis' in I on f. A4v is not clearly visible. This Gloria & the following Credo may have been inserted into this cycle, perhaps replacing matching movements by Lantins, no longer extant. Page turn at 'Qui sedes'. Both M4 and M5 are marked in Martini's inventory with pointing fingers.","note_type":"General Note"},{"note":"No coloration. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16702,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16249\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"06v","folio_end":"08r","composition":"Patrem omnipotentem [Credo] [BH10]","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 24 #10"},{"prerendered":"Clercx, Suzanne<\/a>, and Suzanne Clercx-Lejeune<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","pages":"Edition: #26"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem omnipotentem","mensuration":"[c-dot]"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Patrem omnipotentem","mensuration":"[c-dot]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem","mensuration":"[c-dot]"}],"pages":[4760,4761,4762,4763],"source_attribution":"Jo ciconie","notes":[{"note":"Musical grounds for pairing this with the preceding Gloria (PMFC 24 #6) are negligible. See note to #4. Pairings have been suggested with PMFC 24 ##5, 7, 9. Self-contained long Amen only. Page turn at 'Et resurrexit'.","note_type":"General Note"},{"note":"No coloration. Red bars. Sharp signs with and without two dots.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16703,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16250\/?format=json","num_voices":"3","genres":["Mass Ordinary","Sanctus [& Benedictus]"],"folio_start":"08v","folio_end":"09r","composition":"Missa: Sanctus 'Marie filius'","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 11-17"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Sanctus Marie filius","mensuration":"[c-dot]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Sanctus Marie filius","mensuration":"[c-dot]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Sanctus Marie filius","mensuration":"cut-c-dot"}],"pages":[4764,4765],"source_attribution":"Art de lantins","notes":[{"note":"For this cycle, and the mensuration, see notes on #2. Small crosses above the stave mark the three Sanctus invocations in all three parts.Marked in Martini's inventory with a pointing finger.","note_type":"General Note"},{"note":"Red coloration. Flagged hooked semiminims. Red bars. Sharp on b with two dots. Fermatas conclude the three Sanctus invocations.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16704,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16251\/?format=json","num_voices":"3","genres":["Agnus Dei","Mass Ordinary"],"folio_start":"09v","folio_end":"10r","composition":"Missa: Agnus Dei","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 18-22."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Agnus Dei, qui tollis peccata mundi","mensuration":"[c-dot]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Agnus Dei, qui tollis peccata mundi","mensuration":"[c-dot]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Agnus Dei, qui tollis peccata mundi","mensuration":"cut-c"}],"pages":[4766,4767],"source_attribution":"Ar de lantins","notes":[{"note":"For this cycle, and the mensuration, see notes on #2. Third Agnus is cued ut supra.","note_type":"General Note"},{"note":"Red coloration. Flagged hooked semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16705,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16252\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"09v","folio_end":"10r","composition":"Se ce n\u2019estoit la tres doulce pensee","voices":[{"voice_type":"I","languages":["French"],"clef":"c1","voice_text":"Se ce n\u2019estoit la tres doulce pensee","mensuration":"[c-dot]"},{"voice_type":"Contratenor","languages":["French"],"clef":"c3","voice_text":"Se ce nestoit","mensuration":"[c-dot]"},{"voice_type":"Tenor","languages":["French"],"clef":"c3","voice_text":"Se ce nestoit","mensuration":"[c-dot]"}],"pages":[4766,4767],"source_attribution":"Anon","notes":[{"note":"I and T on recto, preceded by Ct on verso. Rondeau quatrain, decasyllables.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Black bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16706,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16202\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"10v","folio_end":"11r","composition":"Missa sine nomine (Resvelli\u00e9s vous): Kyrie eleison","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #1.1 (with facs.)"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.3 (1947)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"3\/1"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c1","voice_text":"Kyrie eleison","mensuration":"[c-dot]"},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"c3","voice_text":"Kyrie eleison","mensuration":"[c-dot]"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c3","voice_text":"Kyrie eleison","mensuration":"[c-dot]"}],"pages":[4769,4770],"source_attribution":".G. du fay","notes":[{"note":"##9, 10, 12, 14, 15 identified by Fallows 1982, 165-8, as Missa Resvelli\u00e9s vous. It cannot be based on Du Fay's song, which is datable to 1423, at least two years after the copying of this mass; so at best the song may use material from the mass, as proposed by Fallows. No model for the mass is indicated in Q15, and indeed the song used as a page-filler within the mass (f. 14v-15) is not Resvelli\u00e9s vous. PlanchartD accepts this relationship, but prefers not to name the mass after the song; rather, he thinks that Du Fay borrowed the striking 'Qui sedes' from the Gloria for the opening of his ceremonial song. Ven presents this mass mostly in two parts (I and T), but has a Ct for this movement only; it interpolates the tropes \u2018salvator noster\u2019, \u2018emanuel nobiscum\u2019 and \u2018adonay magne deus\u2019 in the three sections.","note_type":"General Note"},{"note":"Red coloration. Red bars. Sharps on f, c and d (for c) with two black dots; on c with one? and no dots.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16707,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16203\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"11v","folio_end":"13r","composition":"Missa sine nomine (Resvelli\u00e9s vous): Et in terra pax [Gloria]","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 71-2 (incomplete, from Tr; Q15 concordance not noted)"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #1.2"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.3 (1947)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/1"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra pax hominibus","mensuration":"[C]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Et in terra","mensuration":"[C]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Et in terra","mensuration":"[C]"}],"pages":[4771,4772,4773,4774],"source_attribution":".G. du fay","notes":[{"note":"See note on Kyrie (f. 10v). Long self-contained Amen only. In I, Ven places \u2018Amen Amen Gloria sit semper tibi domine Yhesu Christe Amen Amen\u2019 on the melisma following \u2018patris\u2019, and in the T \u2018Amen Amen Amen\u2019. Page turn at 'Qui sedes'.","note_type":"General Note"},{"note":"Some red coloration. Red bars. Sharps with two dots. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16708,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16253\/?format=json","num_voices":"1","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"13r","folio_end":"13r","composition":"Kyrie Angelorum","voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c3","voice_text":"Kyrie angelor[um]"}],"pages":[4774],"source_attribution":"Anon.","notes":[{"note":"Chant. Not identified.","note_type":"General Note"},{"note":"Square chant notation. Red bars. Repeat signs are red double-stemmed semibreves flanked by two dots.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16709,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16204\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"13v","folio_end":"15r","composition":"Missa sine nomine (Resvelli\u00e9s vous): Patrem omnipotentem [Credo]","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #1.3"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.3 (1947"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/1."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem omnipotentem","mensuration":"[C]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem","mensuration":"[C]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem","mensuration":"[C]"}],"pages":[4775,4776,4777,4778],"source_attribution":"du fay","notes":[{"note":"See note on Kyrie (f. 10v). Amen not self-contained. Page turn at 'Et in spiritum'.","note_type":"General Note"},{"note":"No coloration. Red bars. Sharps with two dots.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16710,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16254\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"14v","folio_end":"15r","composition":"Belle teneis \/ La triquotee","voices":[{"voice_type":"I","languages":["Italian"],"clef":"c1","voice_text":"Belle teneis"},{"voice_type":"Contratenor","languages":["French"],"clef":"c4","voice_text":"La triquotee"},{"voice_type":"Tenor","languages":["French"],"clef":"c4","voice_text":"La triquotee"}],"pages":[4777,4778],"source_attribution":"Anon.","notes":[{"note":"Rondeau quatrain, octosyllables. Tenor text, three decasyllabic lines. See Fallows 1999 for further bibliography. I and T on recto, Ct on preceding verso. See note on capital #71.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Sharp on c with single dot. Repeat signs in T and Ct. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16711,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16205\/?format=json","num_voices":"3","genres":["Mass Ordinary","Sanctus [& Benedictus]"],"folio_start":"15v","folio_end":"16r","composition":"Missa sine nomine (Resvelli\u00e9s vous): Sanctus","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #1.4"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.3 (1947)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/1"}],"voices":[{"voice_type":"[no designation]","languages":["Latin"],"clef":"c1","voice_text":"Sanctus ..."},{"voice_type":"[no designation]","languages":["Latin"],"clef":"c3","voice_text":"Sanctus"},{"voice_type":"[no designation]","languages":["Latin"],"clef":"c3","voice_text":"Sanctus"}],"pages":[4779,4780],"source_attribution":"du fay","notes":[{"note":"See note on Kyrie (f. 10v).","note_type":"General Note"},{"note":"Red coloration. Red bars. Sharps with one, two and no dots. A few fermatas at cadences without barlines.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16712,"url":"https:\/\/www.diamm.ac.uk\/compositions\/23477\/?format=json","num_voices":"3","genres":["Agnus Dei","Mass Ordinary"],"folio_start":"16v","folio_end":"17r","composition":"Missa sine nomine (Resvelli\u00e9s vous): Agnus Dei","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #1.5"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.3 (1947)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/1."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Agnus) Qui tollis ..."},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Qui tollis ..."},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Qui tollis ..."}],"pages":[4781,4782],"source_attribution":"du fay","notes":[{"note":"Publ. cf. AOs n\u00b0 107. See note on Kyrie (f. 10v) & Kyrie (f. 17v). Pasted capitals #48 and #63 were both cut from the stage-I f. R15 which was recopied at stage II. The pasted capital is a 'small' C (type Ib) with no music on the back, listed in the table of initials.","note_type":"General Note"},{"note":"Red coloration. Red bars, also stage II. On verso (stage I), sharps with two dots, recto (stage II) with no dots.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16713,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16255\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"17v","folio_end":"18r","composition":"Kyrie eleison (KSA group)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #2.1"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 30;"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/2."}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie ..."},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie ..."},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie ..."}],"pages":[4784,4785],"source_attribution":"du fay","notes":[{"note":"Three sections, Kyrie, Christe, Kyrie, each with triple repeat marks. Verso recopied at stage II, with I and T; stage-I Ct on recto with double clefs (F erased). Later-added text additions to the Ct (still within stage-I script) had started to make this a ninefold Kyrie by having three statements within each of the three musical sections, but were themselves later erased, presumably before the verso recopy, which has no sign of added text; the repeat signs for the Kyrie and Christe seem to be squashed in, perhaps later after the texting solution had been rejected. Uses pasted capital #1. See notes to Agnus (f. 16v), and pasted capitals #48 and #63.","note_type":"General Note"},{"note":"No coloration. Red bars. Repeat signs. Stage-I Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16714,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16256\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"18v","folio_end":"19r","composition":"Et in terra pax [Gloria] 'Micinella'","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"G\u00fcnther, Ursula<\/a>. 1970. Quelques remarques sur des feuillets r\u00e9cemment d\u00e9couverts \u00e0 Grottaferrata. L'Ars Nova Italiana del Trecento III,<\/em> 315-97."},{"prerendered":"Nitschke, Wolfgang<\/a>. 1968. Studien zu den Cantus-Firmus-Messen Guillaume Dufays.<\/em> Berliner Studien zur Musikwissenschaft, vol. 13.  Berlin."},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #3."},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:11\/6, 31-4"},{"prerendered":"Fischer, Kurt von<\/a>, and Franco Alberto Gallo<\/a> (editors). 1985. Italian Sacred and Ceremonical Music (II) .<\/em> Polyphonic Music of the Fourteenth Century, vol. 13.  Monaco: \u00c9ditions de l'Oiseau-Lyre.","pages":"II:3-16, 263-264","notes":"argues for the pairing of the 'Micinella' Gloria & 'Cursor' Credo"},{"prerendered":"Di Bacco, Giuliano<\/a>, and John Nadas<\/a>. 1998. The Papal Chapels and Italian Sources of Polyphony during the Great Schism. Papal Music and Musicians in Late Medieval and Renaissance Rome,<\/em> edited by Giuliano Di Bacco<\/a> and John Nadas<\/a>, 44-92. Oxford: Clarendon Press.","pages":"56-58","notes":"links the 'Micinella' Gloria with the 'Cursor' Credo via the association of papal 'cursores' with the church of St Angelo de' Miccinelli"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra ..."},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Et in terra ..."},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4786,4787],"source_attribution":".Z. Micinella","notes":[{"note":"Micinella.Long self-contained Amen. Does not meet the usual criteria for compositional pairing with the following Credo [but Fischer\/Gallo & BaccoP argue for their being intended as a pair by Zacara - see bibliography]. See note on Sanctus (f. 21v) for a possible reason for the insertion of this Gloria and the Credo into a Du Fay mini-cycle. Atri, Q1 and Grot have (or had) Q15's voice II and Ct. However, all three agree in attesting some sectional voice reversal; all have Q15's voice I for 'Et in terra ... voluntatis' (Bent 1980a), possibly an original version from which Q15 is a minority variant. Variants in the Amen may also suggest part reversal. The acquisition of Lo82959 in 2007 was communicated to me by Nicolas Bell and has not yet been described in print. The verso of this single leaf (with a puzzlingly incomplete monophonic Sanctus on the recto) has I and T as in Q15. It is lavishly but amateurishly decorated with small gold-painted letters, rare in polyphonic sources; a similar gold capital is in the Zacar source Siena207. Reaney, New Grove (1980 edn), attributed the Gloria in Lbl Add. 29987, ff. 82v-83 to Zacara; Meyer 1981 (wrongly) lists it as a 3-voice arrangement of the Gloria Micinella, whereas Reaney had simply remarked on traits in common between the two works. Gaspari has added 'Tenore' in the side margin on the verso and 'Contratenore' on the recto.","note_type":"General Note"},{"note":"Red and red void coloration, Amen only. Red bars. Sharp with two dots. Repeat signs. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16715,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16257\/?format=json","num_voices":"4","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"19v","folio_end":"21r","composition":"Patrem omnipotentem [Credo] 'Cursor'","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #4."},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 34-41"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"(Credo) Patrem omnipotentem ..."},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"(Credo) Patrem omnipotentem ..."},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4788,4789,4790,4791],"source_attribution":".Z. cursor","notes":[{"note":"5 statements of T\/Ct. T canon: 'primo sine pausis, secundo cum pausis, 3o converso (or 'contrario'?) de primo'; 2nd opening 'primo cum pausis, secundo sine pausis'. Ct: 'primo sine rubeis, secundo cum rubeis, 3o converso et dicitur semper cum pausis'; 2nd opening 'primo cum rubeis et semper cum pausis, secundo sine rubeis' (not 'pausis', as in Reaney). T, Ct, no opening rests. 'Sine pausis' refers to the omission of internal rests; the third T statement is as the first; the rubric presumably ought to read simply 'ut primo'. Similarly, the third Ct statement should omit the red notes, as in the first. Red notes are not mensurally significant and simply serve the canon, being marked for omission in some statements. Long self-contained Amen. Page turn at 'Et in spiritum'.","note_type":"General Note"},{"note":"Red coloration, Ct only, not mensural; see notes. Red bars. Sharps with one or two dots. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16716,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16200\/?format=json","num_voices":"3","genres":["Mass Ordinary","Sanctus [& Benedictus]"],"folio_start":"21v","folio_end":"22r","composition":"Sanctus 'Vineux' (KSA group)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #2.2; facs."},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 33-4"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1948a, after p. 232"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/2."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Sanctus ..."},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Sanctus ..."},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Sanctus ..."}],"pages":[4792,4793],"source_attribution":"du fay","notes":[{"note":"Chant sources for the Vineux T (also for the following Sanctus & Agnus) are Tournai, Biblioth\u00e8que capitulaire, MS 471, ff. 18v\u201319r (troped 'Qui vertice Thabor affuisti'), Lille, Archives d\u00e9partementales du Nord, MS 134, frag.12, f. 2r\u2013v (from Cambrai; it shares a fascicle with the 'Missa ad tollendam schismam'); and Paris, Biblioth\u00e8que de l'Arsenal, MS 204, f. 22v (facsimile in WrightC 1989, 137). Another polyphonic setting of a Sanctus (troped 'Qui januas')\u2013Agnus pair, sharing much material with each other and closely related to Du Fay's pair, is in Dijon, f. 3: see WrightC 1974, also Planchart 1993. PlanchartD suggests that the Vineux pieces reflect the early and still-schismatic years of the Council of Constance, which Du Fay may have visited from Cambrai, armed also with the Loqueville Sanctus Vineux; he also suggests that Zacar may have headed the Council chapel c. 1412-13, providing a reason for the interpolation of his Gloria and Credo (18v, 19v) into Du Fay's mini-cycle. Measured incipits in T. Marked in Martini's inventory with a pointing finger.","note_type":"General Note"},{"note":"No coloration. Red bars. Fermatas at some cadences without barlines. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16717,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6361\/?format=json","num_voices":"4","genres":["Mass Ordinary","Sanctus [& Benedictus]","Troped Sanctus"],"folio_start":"22v","folio_end":"23r","composition":"Sanctus 'Vineux' Tr: Qui januas mortis confregisti","composers":[{"full_name":"Loqueville, Richard (\u20131418)","url":"https:\/\/www.diamm.ac.uk\/people\/171\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"[c2]","voice_text":"Sanctus","mensuration":"o"},{"voice_type":"II","languages":["Latin"],"clef":"[c1]","voice_text":"Sanctus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"[c4]","voice_text":"Sanctus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"[c4]","voice_text":"Sanctus"}],"pages":[4794,4795],"source_attribution":"Loqueville","notes":[{"note":"Tr: Qui januas morth confregisti [ = Tr: Qui vertici Thabor affuisti*] Publ. cf. AOs n.105. Intonation and chant in T. For Vineux sources, see note to preceding Sanctus. Marked in Martini's inventory with a pointing finger. 'Sanctus vineus secundum loqueville'","note_type":"General Note"},{"note":"Sharps with one, two or no dots. Red triplet minims in I, no other coloration. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"*B-Tc 471","note_type":"Concordances"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16718,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22868\/?format=json","num_voices":"3","genres":["Agnus Dei","Mass Ordinary"],"folio_start":"23v","folio_end":"24r","composition":"Agnus Dei (KSA group)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Vol. 1\/iv and 1\/v"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"(Agnus) Qui tollis","mensuration":"[O]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"(Agnus) Qui tollis"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(Agnus) Qui tollis"}],"pages":[4796,4797],"source_attribution":"du fay","notes":[{"note":"See note to the paired Sanctus Vineux. Recto (Ct) recopied at stage II. See pasted capitals #1 and #3. This Agnus was followed by a Kyrie heading the following cycle, and the recopy undertaken in order to remove it.","note_type":"General Note"},{"note":"No coloration. Red bars. Sharps with dots, verso (stage I) only.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16719,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22869\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"23v","folio_end":"24r","composition":"Jone gente","composers":[{"full_name":"Hasprois, Johannes Symonis (fl. 1378-1428)","url":"https:\/\/www.diamm.ac.uk\/people\/27\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c1","voice_text":"Jone gente","mensuration":"[c-dot]"},{"voice_type":"II","languages":["French"],"clef":"c1","voice_text":"Jone gente"},{"voice_type":"Tenor","languages":["French"],"clef":"c3","voice_text":"Jone gente"}],"pages":[4796,4797],"notes":[{"note":"Rondeau cinquain, octosyllables. No additional stanzas given. II and T recopied on stage-II recto; I original, on verso. Equal cantus parts.The nearly-vertical composer name in the left margin appears to date from stage I and cannot be attributed to trimming.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. ","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16720,"url":"https:\/\/www.diamm.ac.uk\/compositions\/14606\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"24v","folio_end":"25r","composition":"Et in terra pax [Gloria] [OH 31]","composers":[{"full_name":"Gervays, Claude (fl. c1400)","url":"https:\/\/www.diamm.ac.uk\/people\/133\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4799,4800],"source_attribution":"gervasius de anglia","notes":[{"note":"Long self-contained Amen, as in OH. The entire verso leaf was recopied, replacing two stage-I leaves, to eliminate a Kyrie from the beginning of this composite English cycle. Uses pasted capital #2.","note_type":"General Note"},{"note":"Red coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16721,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22871\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"25v","folio_end":"26r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Dunstaple, John (ca. 1390\u20131453)","url":"https:\/\/www.diamm.ac.uk\/people\/3\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4801,4802],"source_attribution":"Johannes dunstaple anglicus","notes":[{"note":"The texted part labelled 'Contratenor' is a second, low, cantus part, not a true Ct by the English standards set in OH. Amen not self-contained.","note_type":"General Note"},{"note":"Red coloration. One flagged semiminim. Red bars. Red sharp with dot. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16722,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22872\/?format=json","num_voices":"3","genres":["Mass Ordinary","Sanctus [& Benedictus]"],"folio_start":"26v","folio_end":"27r","composition":"Sanctus","composers":[{"full_name":"Benet, John (\u2013ca. 1458)","url":"https:\/\/www.diamm.ac.uk\/people\/123\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Hughes, H V<\/a>, and Harry Ellis Wooldridge<\/a> (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century.<\/em> 2 vols. London: The Plainsong and Medieval Music Society.","pages":"I"},{"prerendered":"Hughes, H V<\/a>, and Harry Ellis Wooldridge<\/a> (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century.<\/em> 2 vols. London: The Plainsong and Medieval Music Society.","pages":"II"},{"prerendered":"Wolf, Johannes<\/a>. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen.<\/em> 3 vols. Leipzig.","pages":"facs."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Sanctus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Sanctus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Sanctus"}],"pages":[4803,4804],"source_attribution":"Jo benet Anglicus","notes":[{"note":"Related to following Agnus, also to Benet's Gloria in Tr92 (ff. 165v-167v, #1521), published together with this Sanctus and Agnus in EECM 42, #1.","note_type":"General Note"},{"note":"Red coloration. Red bars. Sharp with dot. T double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16723,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22873\/?format=json","num_voices":"3","genres":["Agnus Dei","Mass Ordinary"],"folio_start":"27v","folio_end":"28r","composition":"Agnus Dei","composers":[{"full_name":"Benet, John (\u2013ca. 1458)","url":"https:\/\/www.diamm.ac.uk\/people\/123\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Hughes, H V<\/a>, and Harry Ellis Wooldridge<\/a> (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century.<\/em> 2 vols. London: The Plainsong and Medieval Music Society.","pages":"II (facs.)"},{"prerendered":"Hughes, H V<\/a>, and Harry Ellis Wooldridge<\/a> (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century.<\/em> 2 vols. London: The Plainsong and Medieval Music Society.","pages":"I"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"(Agnus) Qui tollis"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"partly texted"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(Agnus) Qui tollis"}],"pages":[4805,4806],"source_attribution":"Jo benet de anglia","notes":[{"note":"See note to preceding Sanctus.","note_type":"General Note"},{"note":"Red coloration. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16724,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22874\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"28v","folio_end":"30r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Romanus, Antonius","url":"https:\/\/www.diamm.ac.uk\/people\/278\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra\/Laudamus"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Et in terra\/Laudamus"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4807,4808,4809,4810],"source_attribution":"Anthonius Romanus","notes":[{"note":"Paired with Credo at 30v, well matched. Two very long Amens, self-contained, unus (a2, ,c) followed by chorus (a4, x). Honisch 2006 suggests that the original Amen may have been on the short figural melisma after 'patris', and this bipartite Amen added. II has duets only, Ct and T in tuttis only; an a versi setting (Bent 2004b). Page turn at 'Qui sedes'.","note_type":"General Note"},{"note":"Red coloration. Flagged semiminims (some hooked). Red bars. Sharps with no, one or two dots. Some fermatas; non-adjacent fermatas in 'cum sancto'. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16725,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22875\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"29v","folio_end":"30r","composition":"Helas emy madame","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c3","voice_text":"Helas emy madame"},{"voice_type":"Contratenor","languages":["none"],"clef":"c5"},{"voice_type":"Tenor","languages":["French"],"clef":"c4","voice_text":"Helas emy madame"}],"pages":[4809,4810],"source_attribution":"Ar de lantins (red)","notes":[{"note":"Rondeau quatrain, decasyllables. No additional stanzas given. See Fallows 1999 for further bibliography.I and T texted. Refrain text only underlaid.","note_type":"General Note"},{"note":"Void coloration. Red and black bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16726,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22876\/?format=json","num_voices":"4","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"30v","folio_end":"32r","composition":"Patrem \/ Factorem","composers":[{"full_name":"Romanus, Antonius","url":"https:\/\/www.diamm.ac.uk\/people\/278\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Patrem\/Factorem"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Patrem\/Factorem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4811,4812,4814,4815],"source_attribution":"Anthonius Romanus","notes":[{"note":"Paired with Gloria at 28v, well matched. II has duets only; Ct and T tuttis only. Very long self-contained Amen (a3; cf. #27, which has Amen a4), an a versi setting: see Bent 2004b, 2007a, where the Amen is misreported as also being a4. Page turn at 'Et resurrexit'.","note_type":"General Note"},{"note":"Red coloration (in upper parts only). Flagged semiminims. Red bars. Sharps with two or no dots. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16727,"url":"https:\/\/www.diamm.ac.uk\/compositions\/315\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"32v","folio_end":"33r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Cordier, Baude (fl. early 15 century)","url":"https:\/\/www.diamm.ac.uk\/people\/11\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4816,4817],"source_attribution":"baudet cordier","notes":[{"note":"Here paired with Credo at f.33, q.v. Both are a3, text in I only, same ranges, clefs and signatures and c mensuration. Long self-contained Amen in Gloria only (same in Apt). Sectional, tonal and especially stylistic differences weaken claims of a composed pairing. But Reaney (CMM 11\/1) et al. suggest a pairing with Credo at f.49v (Tapissier), with which it shares clefs and signatures, mensural scheme and tonality. Both are in Apt, which does not scribally pair movements. The Tapissier Credo Amen in Apt is more similar than the Tapissier Amen in Q15 (f. 49v) to the Cordier Gloria Amen (Q15=Apt), qualifying them as a pair in Apt. See Palmer 1998 and note to #44.","note_type":"General Note"},{"note":"One red coloration group (Amen, II). Red bars. Sharp with two dots.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16728,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22878\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"33v","folio_end":"35r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Velut, Gilet","url":"https:\/\/www.diamm.ac.uk\/people\/433\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 132-6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4818,4819,4820,4821],"source_attribution":".G. velut","notes":[{"note":"= Credo at f.112v, where it is paired with Gloria at f.111v by Velut, q.v. See notes to Gloria at f.32v and Credo at f.49v for the low status of the pairing with the former. Reaney observes that in this copy (only) sharps approached from above have one dot, from below, two. Short (2-note) Amen only, self-contained. Page turn at 'Et resurrexit'.","note_type":"General Note"},{"note":"No coloration. Red bars. Sharps with one or two dots.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16729,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22879\/?format=json","num_voices":"2","genres":["Rondeau","Song"],"folio_start":"33v","folio_end":"34r","composition":"Mon vrai desir","voices":[{"voice_type":"I","languages":["French"],"clef":"c4","voice_text":"Mon vray desir"},{"voice_type":"II","languages":["French"],"clef":"c4","voice_text":"Mon vray desir"}],"pages":[4818,4819],"notes":[{"note":"Acrostic: marguerite. Rondeau quatrain, decasyllables. Full text completed after I; II also texted, equal voices. End of recto voice II on stave extension is trimmed off.","note_type":"General Note"},{"note":"Void coloration. One red bar. I, II double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16730,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17383\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"35v","folio_end":"37r","composition":"Et in terra pax [Gloria] (iv\/4) (Amen tropes Resurrexit dominus; Tu m\u2019a monte)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"(partly texted)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Et in terra"}],"pages":[4822,4823,4824,4825],"source_attribution":".G. dufay","notes":[{"note":"Paired with following Credo, well matched. Short self-contained Amen with fermatas, followed by very long self-contained Amen with trope, all texts unique to Q15: 'Resurexit dominus Alleluya\/Et aparuit petro Alleluya': a common phrase most often found in the Peregrinus plays (PlanchartD). French trope texts added to Amen at stage II: 'tu ma monte su la pance et riens na fait \/otre te reface dieu que ce ma fait'. (BU includes Q15's stage-I vernacular Credo trope, on which see note on Credo following, but not this one for the Gloria, added later; this may be significant.) The long Amen ('aliud Amen') is present in all sources except MuEm. Ao 62v has (textless) upper parts labelled primus and secundus discantus. In Ca11, short Amen precedes long Amen, also textless, no tropes. Ct in long Amen is grammatically inessential but is compositionally integrated with the imitative presentation of the trope. PlanchartD suggests that the two Amens are alternatives, one for most of the year, one for the Easter season, but that both may now be sung. Page turn at 'Quoniam'. M36 is marked in Martini's inventory with a pointing finger. 35', 36' have been added in modern pencil at the tops of ff. A35v, 36v.","note_type":"General Note"},{"note":"Red coloration. Red bars. Sharps with one or two dots. Fermatas for 'Jesu Christe' and short 'Amen'. Extra portions of (9th) staves on first opening.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16731,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22881\/?format=json","num_voices":"4","genres":["Credo (patrem omnipotentem)","Mass Ordinary","Troped Credo"],"folio_start":"37v","folio_end":"40r","composition":"Patrem omnipotentem [Credo] (iv\/4) (Amen tropes Dic Maria, La vilanella)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["Latin","insufficient"],"clef":"c3","voice_text":"(partly texted)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem"}],"pages":[4826,4827,4829,4830,4831,4832],"source_attribution":".G. du fay","notes":[{"note":"Paired with preceding Gloria, well matched. Short self-contained Amen (4-note, with fermatas) followed by very long Amen, also self-contained, with tropes. Short Amen followed in all sources by long 'aliud Amen' as in the Gloria, except Ca11 where the short Amen is 'aliud' and follows the long. Only Ao is textless. Q15 texts, in I: 'Dic Maria quid fecisti postquam Jesum amisisti'; II: 'Matrem flentem sociavi, quam ad domum reportavi'; Ct: 'Et in terra me prostravi et utrumque deploravi'; T: 'O Maria noli flere, iam surexit Christus vere' (from the prose Surgit Christus cum trophaeo, AH 54, 366: PlanchartD). For all except the first of these, as a second row of underlay, \u2018La vilanella non e bella se non la dominica\u2019, apparently quoting an Italian song tune in all voices in turn, all texts added at stage I. BU thus varies the void-notation musical 'quotations': I, 'Dic Maria quod [q'd] fecisti postquam yhesus ammisisti'; II (informal script), \u2018la vilanella non e bella se non la dominica'; T, no text; Ct (informal script), 'Et in terra me prostravi et utrumque adoravi'. Ca11, Ca6 long Amen texted 'O Maria virgo pia esto nobis propitia' (notated with '3', Q15 red) in all four voices, 'an all-purpose Marian trope' (PlanchartD), could be a Marian sequence (Honisch 2006). Ct in long Amen is grammatically inessential but is compositionally integrated with the imitative presentation of the trope. PlanchartD suggests that the two Amens are alternatives, one for most of the year, one for the Easter season, but that both may now be sung. Page turns at 'Crucifixus', 'Et unam'. M39 is marked in Martini's inventory with a pointing finger. 37' has been added in modern pencil at the top of f. A37v.","note_type":"General Note"},{"note":"Red coloration and minim triplets. Flagged semiminims. Red bars. Sharps with one or two dots. Fermatas, also on breves and semibreves ('Ex Maria virgine').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16732,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22882\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"40v","folio_end":"41r","composition":"Et in terra pax [Gloria] (iv\/3.1)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":true},{"full_name":"Lantins, Hugo de (fl. 1420-30)","url":"https:\/\/www.diamm.ac.uk\/people\/277\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4833,4834],"source_attribution":"Hugo .de. lantins","notes":[{"note":"Paired with following Credo, well matched despite the different ascriptions. Accepted (by Besseler and others) as a work of Du Fay. Schoop 1971, 48-9, argues for authorship of Hugo de Lantins, as ascribed in Ao and Q15, where in both cases it is paired with Du Fay's Credo, and suggests that the Ox copyist 'corrected' the ascription on the wrong piece, Ox #124. Or was it ascribed to Du Fay in Ox on the assumption that pairs must be by the same composer? Fallows 1995a agrees with Schoop, but indexes this only as a work of Lantins, and the Gloria Ox #124, ff. 59v-60, attributed to Hugo, only as a work of Du Fay; although probably correct, this conceals the actual attributions. Fallows 1982, 175-7 suggests some kind of cooperation or rivalry between the two composers. Short (2-note) Amen, not self-contained.","note_type":"General Note"},{"note":"No coloration. Red bars. Sharps with two red dots. One sharp (end of I) has two red dots in black sharp. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16733,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6210\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"41v","folio_end":"43r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 73-4"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #3.2"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/3"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Patrem"}],"pages":[4835,4836,4837,4838],"source_attribution":".G. du fay","notes":[{"note":"Paired with preceding Gloria, well matched despite the different ascriptions. Short 2-note Amen, not self-contained. Page turn at 'Et in spiritum'.","note_type":"General Note"},{"note":"No coloration. Red bars. Sharps with one or two dots. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16734,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22884\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"42v","folio_end":"43r","composition":"Un seul confort","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":true},{"full_name":"Lantins, Hugo de (fl. 1420-30)","url":"https:\/\/www.diamm.ac.uk\/people\/277\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1950. Pi\u00e8ces polyphoniques profanes de provenance li\u00e9geoise (XVe si\u00e8cle). Flores Musicales Belgicae,<\/em> 1 [Lantins edition]: .","pages":"Edition: 58 (as Hugo)"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c1","voice_text":"Ung seul confort"},{"voice_type":"Contratenor","languages":["French"],"clef":"c4","voice_text":"Ung seul confort"},{"voice_type":"Tenor","languages":["French"],"clef":"c4","voice_text":"Ung seul confort"}],"pages":[4837,4838],"source_attribution":"[La]ntins","notes":[{"note":"Rondeau quatrain, decasyllables. Refrain only. All voices end with a semibreve.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Sharps with one or no dots. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16735,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22885\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"43v","folio_end":"43 bisr","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 23-9"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4839,6925],"source_attribution":"Ar de lantins","notes":[{"note":"Paired with following Credo, well matched, except for its long self-contained Amen (unlike the Credo).","note_type":"General Note"},{"note":"Red coloration. Flagged semiminims in major prolation, some hooked. Red bars. Fermatas ('Jesu Christe').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16736,"url":"https:\/\/www.diamm.ac.uk\/compositions\/92081\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"43 bis v","folio_end":"45r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 30-8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"[no designation]","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[6926,4840,4841,4842],"source_attribution":"Ar de lantins","notes":[{"note":"Paired with preceding Gloria, well matched. Short (5-note) self-contained Amen with fermatas. Page turn at 'Et in spiritum'.","note_type":"General Note"},{"note":"Red coloration. Red bars. Fermatas ('Amen').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16737,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22887\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"44v","folio_end":"45r","composition":"Chanter ne scay ce poyse moi","composers":[{"full_name":"Lantins, Hugo de (fl. 1420-30)","url":"https:\/\/www.diamm.ac.uk\/people\/277\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1950. Pi\u00e8ces polyphoniques profanes de provenance li\u00e9geoise (XVe si\u00e8cle). Flores Musicales Belgicae,<\/em> 1 [Lantins edition]: .","pages":"Edition: 56-7 (as Hugo"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c1","voice_text":"Chanter ne scay"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["French"],"clef":"c3","voice_text":"Chanter ne scay"}],"pages":[4841,4842],"source_attribution":"Ar de la\/ntins","notes":[{"note":"Rondeau quatrain, octosyllables. Full text completed after Ct. See Fallows 1999 for discussion of authorship and further bibliography. Only 'de Lantins' is visible, but he reads traces of Hugo; see also Schoop 1971, 48. 'Ar de la' was added at stage II to compensate trimmed ascription, the line break shown above by \/; this is a primary witness for the binding that terminated stage I.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims, void minim triplets. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16738,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22888\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"45v","folio_end":"46r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Luca, D","url":"https:\/\/www.diamm.ac.uk\/people\/460\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4844,4845],"source_attribution":".D. luca","notes":[{"note":"Irregularly paired with following Credo. Long self-contained Amen.","note_type":"General Note"},{"note":"Red coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16739,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22889\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"46v","folio_end":"48r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Feragut, Beltrame","url":"https:\/\/www.diamm.ac.uk\/people\/275\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 81-7"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4846,4847,4848,4849],"source_attribution":"Feragut","notes":[{"note":"Irregularly paired with preceding Gloria. Long self-contained Amen, also in BU (I and T only), where in I only it is preceded by an integral short (3-note) Amen. Page turn at 'Et in spiritum'. 46', 47' have been added in modern pencil at the tops of ff. A46v, 47v.","note_type":"General Note"},{"note":"Red coloration and flagged semiminims in ,c. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16740,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22890\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"48v","folio_end":"49r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Fabri, Thomas","url":"https:\/\/www.diamm.ac.uk\/people\/461\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/1, 78-82"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4850,4851],"source_attribution":"Tomas fabri scolaris tapisier","notes":[{"note":"Paired with following Credo, well matched. See Palmer 1998 for this pairing, and notes to the Credo. The identification of Fabri as a pupil of Tapissier, with whose Credo this Gloria is paired, is a rare testimony from this period to a teacherly relationship; Tapissier's tutelage is documented from other sources (see New Grove II). Long self-contained Amen. 48' has been added in modern pencil at the top of f. A48v.","note_type":"General Note"},{"note":"Red coloration in Amen only, in ,c with flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16741,"url":"https:\/\/www.diamm.ac.uk\/compositions\/319\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"49v","folio_end":"51r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Tapissier, Johannes (ca. 1370\u2013ca. 1410)","url":"https:\/\/www.diamm.ac.uk\/people\/4\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 23B #53, 244-9"},{"prerendered":"St\u00e4blein-Harder, Hanna<\/a>. 1962. Fourteenth-Century Mass Music in France.<\/em> Corpus mensurabilis musicae, vol. 29.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: 1962 #52"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/1, 61-9"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4852,4853,4854,4855],"source_attribution":"Tapisier","notes":[{"note":"Paired with preceding Gloria, well matched. Palmer 1998 notes musical links (cadential, textures, Amens and rhythmic patterns) with the Gloria; Endo 1999 suggests scribal editing to match the structure better to that of Gloria. Palmer suggests that the long self-contained Amen (in Q15 only) might be by Fabri (composer of the Gloria), replacing an original Tapissier Amen (allegedly the short Amen in Apt, more consistent in style with the Credo); it is disparate from the body of this Credo but similar to that of the Gloria, particularly its Amen; but more likely by the Q15 scribe. Otherwise there are strong grounds for pairing this with Cordier Gloria at f. 32v, matching in clefs, voicing, finals; also by same scribe in Apt, where they have similar Amens, that of Cordier being 'contained' in Tapissier's (St\u00e4blein-Harder 1962, Palmer 1998). Page turn at 'Et in spiritum'.","note_type":"General Note"},{"note":"Red coloration in Amen only, in ,c with flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16742,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22892\/?format=json","num_voices":"2","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"51v","folio_end":"52r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Feragut, Beltrame","url":"https:\/\/www.diamm.ac.uk\/people\/275\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 70-73"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"(partly texted)Domine Deus"}],"pages":[4856,4857],"source_attribution":"Feragut","notes":[{"note":"Irregularly paired with following Credo, with which it corresponds in general alternation and mensurations, but not tonally. Long self-contained Amen.T texted for 'Domine deus'.","note_type":"General Note"},{"note":"Red coloration in ,c. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16743,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22893\/?format=json","num_voices":"2","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"52v","folio_end":"54r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Feragut, Beltrame","url":"https:\/\/www.diamm.ac.uk\/people\/275\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 74-80"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4859,4860,4861,4862],"source_attribution":"feragut","notes":[{"note":"Irregularly paired with preceding Gloria, with which it corresponds in general alternation and mensurations, but not tonally. Long self-contained Amen. Page turn at 'Et iterum'.","note_type":"General Note"},{"note":"Red coloration in ,c. Flagged (hooked) semiminims in ,c, Amen only. Red bars. Sharps with dot.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16744,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22894\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"54v","folio_end":"55r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 39-42"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4863,4864],"source_attribution":"Ar de lantins","notes":[{"note":"Paired with following Credo, well matched. 2-note Amen, not self-contained.","note_type":"General Note"},{"note":"No coloration. Red bars. Fermatas ('Jesu Christe').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16745,"url":"https:\/\/www.diamm.ac.uk\/compositions\/92082\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"55v","folio_end":"57r","composition":"Patrem Omnipotentem [Credo]","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 43-50"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4865,4866,4867,4868],"source_attribution":"Art de lantins","notes":[{"note":"Paired with preceding Gloria, well matched. 2-note Amen, not self-contained. Page turn at 'Et iterum'.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16746,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22896\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"55v","folio_end":"56r","composition":"Mon douce espoir mon souvenir","composers":[{"full_name":"Lantins, Hugo de (fl. 1420-30)","url":"https:\/\/www.diamm.ac.uk\/people\/277\/?format=json","uncertain":true},{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1950. Pi\u00e8ces polyphoniques profanes de provenance li\u00e9geoise (XVe si\u00e8cle). Flores Musicales Belgicae,<\/em> 1 [Lantins edition]: .","pages":"Edition: 50-1"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c1","voice_text":"Mon doulx espoir"},{"voice_type":"Contratenor","languages":["French"],"clef":"c3","voice_text":"Mon doulx espoir"},{"voice_type":"Tenor","languages":["French"],"clef":"c3","voice_text":"Mon doulx espoir"}],"pages":[4865,4866],"source_attribution":"Ar [de] Lantins","notes":[{"note":"Rondeau quatrain, octosyllables. Ascription trimmed. 'Ar' replaced in red at stage II after trimming. See also the song at f. 44v. Filler for an opening containing a Credo by Arnold.","note_type":"General Note"},{"note":"Void coloration. Red bars. Sharps with no dot.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16747,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17384\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"57v","folio_end":"58r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Legrant, Guillaume","url":"https:\/\/www.diamm.ac.uk\/people\/168\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 53-5"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #18"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c3","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4f2","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4f2","voice_text":"Et in terra"}],"pages":[4869,4870],"source_attribution":"le grant guilheme","notes":[{"note":"Irregular pairing with following Credo, also in Ox (see Fallows 1995b). Reaney (CMM 11\/2 p. IV) proposes a more convincing pairing with the Credo Ao #80, 99v-102. Ao here does not pair movements. Endo 1999 suggests that Ao #80 was composed later to match this Gloria. For layout, signing and pairing see Bent 1996a, and 2004b for a versi status. Self-contained Amen (14 B + L), homophonic, 10-11 notes, with octave Ct cadence.","note_type":"General Note"},{"note":"Red coloration. Red bars. Fermatas. Double clefs not erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16748,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22898\/?format=json","num_voices":"4","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"58v","folio_end":"60r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Legrant, Guillaume","url":"https:\/\/www.diamm.ac.uk\/people\/168\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 56-62."},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #19, 127-33;"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c2"}],"pages":[4871,4872,4874,4875],"source_attribution":".le grant G.","notes":[{"note":"Irregularly paired with preceding Gloria, q.v. for the weak case for pairing. For layout, signing and pairing see Bent 1996a, and 2004b for a versi status. Long self-contained Amen (17 B + L). Mensurations reversed from the Gloria; tuttis are here in c. Ct has octave leaps. In Ox, the date 1426 is added later, Schoop 1971, 38; Boone 1999, 45. Page turns at 'Et resurrexit', 'Et iterum'.","note_type":"General Note"},{"note":"Red coloration. Red bars. Two fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16749,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22899\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"60v","folio_end":"61r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Loqueville, Richard (\u20131418)","url":"https:\/\/www.diamm.ac.uk\/people\/171\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/3 #6."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra pax\/Laudamus"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Et in terra pax\/Laudamus"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4876,4877],"source_attribution":"loqueville","notes":[{"note":"Irregularly paired with following Credo, which is quite differently structured. Self-contained short (3-note) Amen with fermatas. Long Amen in Zwettl. II has duets only, Ct and T tuttis only. Order of voices on ZW f.77r is: I 'Et in terra' (duo), 'Laudamus', 'Gracias'; T 'Laudamus'; Ct 'Laudamus'; II 'Et in terra', 'Gracias'; Trompetta 'Et in terra', 'Gracias'. The trompetta is added to the duos. For trompetta and a versi status see Bent 2004b, Bent 2007a. Other parts completed on Zw 77v, but all fragmentary.","note_type":"General Note"},{"note":"Red coloration. Flagged semiminims in ,c. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16750,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22900\/?format=json","num_voices":"2","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"61v","folio_end":"63r","composition":"Patrem","composers":[{"full_name":"Lovanio","url":"https:\/\/www.diamm.ac.uk\/people\/448\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Hutchins, Robert Ralph<\/a>. 1999. Polyphonic Mass Music by Some Early Fifteenth-Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis and Hugo de Lantins. University of California, Los Angeles, Ph.D.","pages":"Edition: 594-611"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4878,4879,4880,4881],"source_attribution":"lovanio","notes":[{"note":"Irregularly paired with previous Gloria, which is quite differently structured. Long self-contained Amen. Page turn at 'Et resurrexit'.","note_type":"General Note"},{"note":"Red coloration. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16751,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16207\/?format=json","num_voices":"2","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"63v","folio_end":"65r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Salinis, Hymbert de (ca. 1378\u2013)","url":"https:\/\/www.diamm.ac.uk\/people\/30\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 34-40"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4882,4883,4884,4885],"source_attribution":"H de salinis","notes":[{"note":"Paired with following Credo, well matched in alternation, cleffing, tonality, mensuration. 2-note self-contained Amen with fermatas. Trope text AH 47 p. 279, celebrating the end of the Schism, set as duets. Earlier thought to have been associated with the Council of Constance (Reaney CMM 11\/7, p. IX); DiBacco\/N\u00e1das 1998 (and Bent 1998a, 29) instead propose Pisa 1409, when Salinis was present as a familiar of the new Pope and singer in his chapel, and this election was thought, prematurely, to end the Schism. 'Contratenor' inscribed on first opening (only), but no music was copied. 'Hugo' is the indexer's only obvious error; he may momentarily have confused Hugo de Lantins with Hubertus de Salinis, but correctly has 'Huberti' for the next occurrence. Page turn at 'Qui tollis'. M64 and 65 are marked in Martini's inventory with pointing fingers.","note_type":"General Note"},{"note":"Red and red void coloration. Red bars. Fermatas for 'Cum', 'dei patris Amen'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16752,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16208\/?format=json","num_voices":"2","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"65v","folio_end":"67r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Salinis, Hymbert de (ca. 1378\u2013)","url":"https:\/\/www.diamm.ac.uk\/people\/30\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 41-6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem"}],"pages":[4886,4887,4889,4890],"source_attribution":"H de salinis","notes":[{"note":"Paired with previous Gloria, well matched. Self-contained 2-note Amen with fermatas. Page turn at 'Et iterum'. See note on Gloria for pairing.","note_type":"General Note"},{"note":"Red coloration for imperfection and red void for sesquitertia. Red bars. Fermatas for 'Patrem', 'vitam venturi seculi Amen'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16753,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16219\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"67v","folio_end":"69r","composition":"Et in terra pax [Gloria] 'Rosetta'","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #5"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 41-8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"b flat between 1\/2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c5","voice_text":"(texted on first opening)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c5","voice_text":"(texted on first opening)"}],"pages":[4891,4892,4893,4894],"source_attribution":"Zacar Rosetta","notes":[{"note":"Irregularly paired with following Credo. Long self-contained Amen. Page turn at 'Qui tollis'.I, II texted. T and Ct texted on first opening; T but not Ct on second.","note_type":"General Note"},{"note":"Red coloration. Red bars. Double clefs, not erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16754,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16220\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"69v","folio_end":"72r","composition":"Patrem omnipotentem [Credo] 'Scabioso'","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #1"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 48-57"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c3","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["Latin","insufficient"],"clef":"c5","voice_text":"( texted on first and third.)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c5","voice_text":"Patrem"}],"pages":[4895,4896,4897,4898,4899,4900],"source_attribution":"Zacar Scabioso","notes":[{"note":"Irregularly paired with previous Gloria. Long self-contained Amen. Parody of the ballata D\u2019amor languire, identified by N\u00e1das\/Ziino 1990 from newly found leaves in Lucca. For the reading 'Scabioso' instead of the form Scabroso adopted hitherto, see Marchi 2000, ch. 7, 99-102, who points out that the music of 'Et incarnatus' quotes literally the opening of the piedi of the ballata, where the words are Grattar como rognoso, e non \u00f2 scabi. Discussed along with other 'borrowings' in Cuthbert 2004. Page turns at 'Et incarnatus', 'Qui cum patre'. No Martini number (71) was entered on the second opening.","note_type":"General Note"},{"note":"Red coloration. Red bars. Double clefs, not erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16755,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16221\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"72v","folio_end":"74r","composition":"Et in terra pax [Gloria] 'Fior gentil'","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #6"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 58-63"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"}],"pages":[4901,4902,4904,4905],"source_attribution":"Zacar Fior gentil","notes":[{"note":"Irregularly paired with following Credo. Unusual final cadence. Very long self-contained Amen. Page turn at 'Qui tollis'.","note_type":"General Note"},{"note":"Red and red void coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16756,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16222\/?format=json","num_voices":"2","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"74v","folio_end":"76v","composition":"Patrem omnipotentem [Credo] 'Deus Deorum'","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #20"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 64-71"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c4f2","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c4f2","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"f4","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f4","voice_text":"Patrem"}],"pages":[4906,4907,4908,4909,4910],"source_attribution":"Zacar deus deorum","notes":[{"note":"Irregularly paired with previous Gloria. Long self-contained Amen. Flat signatures in T and Ct erased. All parts texted. II has duets only, Ct and T in tuttis only. For a versi layout see Bent 2004b. Final recto of Ct was recopied at stage II without text and accidentals; see pasted capital #4. Uses pasted capital #3. Page turns at 'Et resurrexit', 'Et iterum', 'Confiteor'.","note_type":"General Note"},{"note":"Red coloration, including in recopied final recto. Flagged semiminims. Red bars. Double clefs, not erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16757,"url":"https:\/\/www.diamm.ac.uk\/compositions\/14655\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"76v","folio_end":"77r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Bosquet, Johannes (\u2013ca. 1406)","url":"https:\/\/www.diamm.ac.uk\/people\/94\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 23A #44, 182-3"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 4-7"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4910,4911],"source_attribution":"Bosquet","notes":[{"note":"Attached to the following matching Gloria-Credo pair, with which it shares some features, tonality, cleffing and concision. The text is telescoped between upper parts of this very short setting. 2-note integral Amen. No Ct in Q15; recto recopied at stage II (with II and T).","note_type":"General Note"},{"note":"No coloration. Red bars, also in recopied recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16758,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17401\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"77v","folio_end":"78r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Loqueville, Richard (\u20131418)","url":"https:\/\/www.diamm.ac.uk\/people\/171\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/3 #8, 11-14"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #20,"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra\/Laudamus"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et in terra\/Laudamus"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4912,4913],"source_attribution":"loqueville","notes":[{"note":"Paired with following Credo, well matched, but the movements were united only at stage II. Amen not self-contained. The text alternates between upper parts of this short setting, labelled cursiva in Ox. The small pasted L on the recto may possibly have been cut from an earlier copy of the same Gloria (on account of the unusualness of Glorias starting at 'Laudamus'); this gathering was disturbed in order to insert this Gloria, uniting it with Loqueville's Credo #62; see note to #60.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16759,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17415\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"78v","folio_end":"79r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Loqueville, Richard (\u20131418)","url":"https:\/\/www.diamm.ac.uk\/people\/171\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/3 #9"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem\/Factorem"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Patrem\/Factorem"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"(some texting)"}],"pages":[4914,4915],"source_attribution":"loqueville","notes":[{"note":"Paired originally with Bosquet Gloria at f. 76v and more suitably at stage II with Loqueville's at f. 77v, well matched. Amen not self-contained. The additional Ct (Ao) may not be compatible with II. Text is telescoped and alternated between I and II. Uses pasted capital #4. See pasted capital #8, cut from the replaced leaf f. R77.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16760,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22904\/?format=json","num_voices":"2","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"79v","folio_end":"80r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Salinis, Hymbert de (ca. 1378\u2013)","url":"https:\/\/www.diamm.ac.uk\/people\/30\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 47-9"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"(partial text)"}],"pages":[4916,4917],"source_attribution":"Hubertus de salinis","notes":[{"note":"Irregularly paired with following Credo, which it matches only in composer, cleffing and tonality, not in mensuration or scoring. Amen not self-contained. Q1 gives Q15's cantus I up to 'deprecationem nostram' and cantus II from 'Qui sedes' to the end, which, unlike Q15, places cantus I on top for the final cadence. Q1 also provides for fuller T texting (Bent 1980a).","note_type":"General Note"},{"note":"Red coloration ('Cum sancto' only). Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16761,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22905\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"80v","folio_end":"82r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Salinis, Hymbert de (ca. 1378\u2013)","url":"https:\/\/www.diamm.ac.uk\/people\/30\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 50-5"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem"}],"pages":[4919,4920,4921,4922],"source_attribution":"H. de salinis","notes":[{"note":"Irregularly paired with previous Gloria, which it matches only in composer, cleffing and tonality, not in mensuration or scoring. 2-note Amen, after fermata, not bar. Uses pasted capitals #5 and #6,both cut from the replaced middle leaf of these two openings, f. R80.","note_type":"General Note"},{"note":"No coloration. Fermatas on 'Patrem' and at the end; 'Amen' fermatas in II and T only.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16762,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12916\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"82v","folio_end":"83r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Cividale, Antonius de","url":"https:\/\/www.diamm.ac.uk\/people\/162\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/5, 14-17"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4923,4924],"source_attribution":"F. A. de civitato","notes":[{"note":"Paired with following Credo, with which it shares mensuration, tonality, cleffing and general style, well matched. T stated three times, other parts varied. The long self-contained Amen stands outside that structure. The index correctly expands the composer's name, demonstrating inside knowledge.","note_type":"General Note"},{"note":"Void coloration. Red bars. T, Ct double clefs, F erased. Tenor repeat signs.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16763,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22907\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"83v","folio_end":"85r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Cividale, Antonius de","url":"https:\/\/www.diamm.ac.uk\/people\/162\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/5, 18-24"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c5"},{"voice_type":"Tenor","languages":["none"],"clef":"c5"}],"pages":[4925,4926,4927,4928],"source_attribution":"Fr. Antonius de civitato","notes":[{"note":"Paired with previous Gloria, with which it shares mensuration, tonality, cleffing and general style, well matched. Some recurrent T motives but no repetitions. Very long self-contained Amen.","note_type":"General Note"},{"note":"Void coloration. Red bars. T, Ct double clefs, F erased. Extra (9th) stave on last recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16764,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22787\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"85v","folio_end":"86r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Lantins, Hugo de (fl. 1420-30)","url":"https:\/\/www.diamm.ac.uk\/people\/277\/?format=json","uncertain":true},{"full_name":"Forest","url":"https:\/\/www.diamm.ac.uk\/people\/137\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Hutchins, Robert Ralph<\/a>. 1999. Polyphonic Mass Music by Some Early Fifteenth-Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis and Hugo de Lantins. University of California, Los Angeles, Ph.D.","pages":"Edition: 621-8, and with concordances, 629-52"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4929,4930],"source_attribution":"H. de lantins","notes":[{"note":"Paired with following Credo by short motto (Bukofzer 1950, 220) and more strikingly (Gossett 1966) by related T patterns stated X3 (Gloria) and X4 (Credo); well matched. Amen not self-contained. The attribution to Forest in the often unreliable MS MuEm seems less likely than Q15\u2019s to Hugo de Lantins.","note_type":"General Note"},{"note":"No coloration. Two flagged seminimins in Ct. Red bars. Repeat signs.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16765,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22909\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"86v","folio_end":"87r","composition":"Patrem","composers":[{"full_name":"Lantins, Hugo de (fl. 1420-30)","url":"https:\/\/www.diamm.ac.uk\/people\/277\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Hutchins, Robert Ralph<\/a>. 1999. Polyphonic Mass Music by Some Early Fifteenth-Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis and Hugo de Lantins. University of California, Los Angeles, Ph.D.","pages":"Edition: 653-64"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4931,4932],"source_attribution":"Hugo de lantins","notes":[{"note":"Paired with previous Gloria, q.v.; well matched. Amen not self-contained. See pasted capital #7, cut from the replaced f. R86. T and Ct are mislabelled 'Et in terra' on the recopied recto.","note_type":"General Note"},{"note":"Void coloration on recopied recto (one group only, Ct).","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16766,"url":"https:\/\/www.diamm.ac.uk\/compositions\/14556\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"87v","folio_end":"89r","composition":"Et in terra pax [Gloria], [Tro] Gloria Laus Honor","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"(Ct texted with trope Gloria laus.)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Et in terra"}],"pages":[4934,4935,4936,4937],"source_attribution":"Zacar","notes":[{"note":"Irregularly paired with following Credo. Fermatas at 'Sanctus' only. Long self-contained Amen. Ct not relabelled on second opening. Uses pasted capital #7. Page turn at 'Qui tollis'. M88 and 89 are marked in Martini's inventory with pointing fingers.","note_type":"General Note"},{"note":"Void coloration. Red bars. Two fermatas (on 'sanctus').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16767,"url":"https:\/\/www.diamm.ac.uk\/compositions\/14537\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"89v","folio_end":"91r","composition":"Patrem omnipotentem [Credo] (III)","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #21"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 77-85"},{"prerendered":"Perz, Miroslaw<\/a> (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia,<\/em> 13-14 : .","pages":"Edition: XIV, 395-403 (from Warsaw378)."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Patrem) factorem"},{"voice_type":"II","languages":["Latin"],"clef":"c3","voice_text":"(Patrem) factorem"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"(Patrem) factorem"}],"pages":[4938,4939,4940,4941],"source_attribution":"Zacar","notes":[{"note":"Irregularly paired with preceding Gloria. 2-note Amen with fermatas; additional long Amen (both self-contained) in Q15; long Amen only in ModA, Warsaw378. Incipit 'Patrem omnipotentem' in I, polyphony from 'Factorem'; T and Ct texted. Page turn at 'Et iterum'.","note_type":"General Note"},{"note":"No coloration. Red bars. Fermatas on 'patris' and short 'Amen'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16768,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22912\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"91v","folio_end":"93r","composition":"Et in terra pax [Gloria] [BH1]","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 1-2 (miscited as #94.)"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 24 #1"},{"prerendered":"Clercx, Suzanne<\/a>, and Suzanne Clercx-Lejeune<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","pages":"Edition: #21"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Et in terra"}],"pages":[4942,4943,4944,4945],"source_attribution":"Jo Ciconie","notes":[{"note":"Paired with following Credo (at f. 93v), well matched. Self-contained long Amen, with longer ending than in Tr. Honisch 2006 thinks Tr may be original, commenting that the unique 'extended duet on the pentultimate note in the T ... is unparalleled in Ciconia's oeuvre, is stylistically dissimilar to the rest of the Amen', and may therefore have been extended by the Q15 scribe. Page turn at 'Qui sedes'.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16769,"url":"https:\/\/www.diamm.ac.uk\/compositions\/68942\/?format=json","num_voices":"3","genres":["Chanson"],"folio_start":"92v","folio_end":"93r","composition":"L'aultre jour juer m'aloye","composers":[{"full_name":"Insula, Francus de","url":"https:\/\/www.diamm.ac.uk\/people\/398\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 24"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c1","voice_text":"lautre iour"},{"voice_type":"Contratenor","languages":["French"],"clef":"c3","voice_text":"lautre iour"},{"voice_type":"Tenor","languages":["French"],"clef":"c3","voice_text":"lautre iour"}],"pages":[4944,4945],"notes":[{"note":"Eight-line balade, lines of 7 and 4 syllables. Full text, all three stanzas, follows Ct; Ox has only one stanza. See Fallows 1999 for further bibliography.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16807,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22914\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"93v","folio_end":"96r","composition":"Patrem omnipotentem [Credo] [BH2]","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 3-6 (cited as #95)."},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 24 #2"},{"prerendered":"Clercx, Suzanne<\/a>, and Suzanne Clercx-Lejeune<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","pages":"Edition: #27"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem"}],"pages":[4946,4947,4949,4950,4951,4952],"source_attribution":"Jo ciconie","notes":[{"note":"Paired with preceding Gloria (at f. 91v), well matched. Long self-contained Amen.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16771,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22915\/?format=json","num_voices":"2","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"96v","folio_end":"97r","composition":"Et in terra pax [Gloria] [BH3]","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 24 #3"},{"prerendered":"Clercx, Suzanne<\/a>, and Suzanne Clercx-Lejeune<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","pages":"Edition: #22"},{"prerendered":"Perz, Miroslaw<\/a> (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia,<\/em> 13-14 : .","pages":"Edition: XIV, 332-9 (from Warsaw8054)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4953,4954],"source_attribution":"Jo ciconie","notes":[{"note":"Irregularly paired with following Credo. 2-note Amen followed by very long Amen, unique to Q15, both self-contained. Ct: 'Laudamus te dicitur ter primo et secundo ut iacet tertio per semy'; no rubric for T, which must do likewise. As in 'Doctorum principem' at f. 299v, the need to alter a semibreve before another semibreve signals that this was originally conceived in Italian notation. Both pieces require the reinterpretation of the same notated tenor in imperfect and perfect mensurations.","note_type":"General Note"},{"note":"No coloration. Flagged semiminims in Amen in ,c Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16772,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12726\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"97v","folio_end":"98v","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Cameraco","url":"https:\/\/www.diamm.ac.uk\/people\/101\/?format=json","uncertain":true},{"full_name":"Semeriaco, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/1521\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 23B #62, 303-6."},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 14-18;"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[4955,4956,4957],"source_attribution":"[J. DE CAMERACO]*","notes":[{"note":"Irregularly paired with preceding Gloria. Short self-contained (2-note) Amen in Q15, long in Bar853, which is seriously mistranscribed in PMFC 23 due to a misunderstanding of coloration. The three versions differ considerably. All except the first verso was recopied, with textless Ct and T. Uses pasted capitals #8, #9. See pasted capitals #32 and #42 for stage-I copy. Strohm 1992, fn. 63 suggests that the unusual name of the papal singer Johannes de Semeriaco was 'corrected' to the familiar Latin name of Cambrai (Comeriaco, Cameraco). Coussemaker transcribed Stras only to 'erit finis', presumably the first opening? Q15 page turns at 'Et incarnatus', 'Et in spiritum'.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16773,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22917\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"98v","folio_end":"100r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Romanus, Antonius","url":"https:\/\/www.diamm.ac.uk\/people\/278\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: CMM"},{"prerendered":"Gallo, Franco Alberto<\/a> (editor). 1965. Antonii Romani Opera. Antiquae Musicae Italicae Monumenta Veneta Sacra,<\/em> 1: .","pages":"Edition: #6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4957,4958,4959,4960],"source_attribution":"Antonius Romanus","notes":[{"note":"Now entirely a stage-II recopy; pasted capital #22 attests its presence in stage I (with early script s-form), starting at the top of an opening. Long self-contained Amen. Page turn at 'Qui tollis'. Martini first wrote \u2018N. 99\u2019, deleted and replaced correctly by \u2018100\u2019.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16774,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22918\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"99v","folio_end":"100r","composition":"De bien amer quand l'ai enpris","composers":[{"full_name":"Fontaine, Pierre (ca. 1380\u2013ca. 1450)","url":"https:\/\/www.diamm.ac.uk\/people\/95\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Wolf, Johannes<\/a>. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen.<\/em> 3 vols. Leipzig.","pages":"Edition: III #33"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c1","voice_text":"De bien amer"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4959,4960],"source_attribution":"P. fontaine","notes":[{"note":"Rondeau quatrain, octosyllables. See Fallows 1999 for more details. Fully recopied at stage II, probably replacing the stage-I song one page at a time, even though no longer physically attested at stage I, after which no songs were newly added. If newly added at stage II, this would be the only one, unlikely, given such a strong pattern. It follows a recopied Gloria.","note_type":"General Note"},{"note":"In this source, the piece is a fifth up from Oxford 213 (as in the Cantus of the Sevilla Chansonnier) and has a completely new Contratenor. (Clemens Goldberg, 2024)","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16775,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22919\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"100v","folio_end":"101r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Grossin, Estienne","url":"https:\/\/www.diamm.ac.uk\/people\/167\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 7-8"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/3 #21"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Et in terra"}],"pages":[4961,4962],"source_attribution":"grosin","notes":[{"note":"Endo 1999 suggests scribe was awaiting a true match but instead copied the old Credo, adjusting its sectional plan to match the Gloria. I (only) has extended Amen in Tr87, in addition to Q15's short Amen, which is not self-contained. Stage-III addition, no red, on unused but foliated stage-II opening.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Ct on 6-line staves. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16776,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22920\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"101v","folio_end":"102r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Grossin, Estienne","url":"https:\/\/www.diamm.ac.uk\/people\/167\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"de Van, Guillaume<\/a>. 1948. Inventory of Manuscript Bologna, Liceo Musicale, Q 15 (olim 37). Musica disciplina,<\/em> 2: 231-57.","pages":"Facs.before p. 233"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4964,4965],"notes":[{"note":"Attributed in Q15 index only. Copied later than the preceding Gloria (f. 100v). 2-note Amen, not self-contained. Stage III (fine pen), no red, bridging from stage II to three substituted stage-III bifolios in the middle of gathering IX.","note_type":"General Note"},{"note":"Void coloration. Void flagged semiminim triplets.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16777,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16153\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"102v","folio_end":"104r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":true},{"full_name":"Legrant, Guillaume","url":"https:\/\/www.diamm.ac.uk\/people\/168\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"#6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"f between 1\/2"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4966,4967,4968,4969],"notes":[{"note":"= #1, q.v. This two-opening copy (stage III, fine pen), has an additional alius contratenor not present in the single-opening #1 (early stage III), nor in Ao; it does not participate in the figural self-contained Amen, but was completed editorially by Reaney. The hitherto unnoticed attribution of this Gloria in the Q15 index to Brassart (though anonymous in both Q15 copies) competes with the Aosta attribution to Jo. le Grant. Three substituted stage-III bifolios in the middle of gathering IX (R101-6) have stage-III roman foliation without red. Page turn at 'Qui tollis'.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Ct uses leger line. Fermata (on 'criste' and 'Amen').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16778,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22921\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"104v","folio_end":"105r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Gemblaco (Gembloux), Johannes Franchois de","url":"https:\/\/www.diamm.ac.uk\/people\/163\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/11 (1952)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c3","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"f3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"(Partly texted)"}],"pages":[4970,4971],"notes":[{"note":"Paired with following Credo, well matched. This anonymous pair is attributed to Gemblaco by Feininger in DPLSER and Feininger 1975; discussed in detail by Gossett 1966, 222-31, as based on the same musical material (parody), but without reference to Feininger. 2-note self-contained Amen, variously notated (black, void, fermatas). One of only three Glorias left anonymous in the Q15 index. Late stage-III script, fine pen. Three substituted stage-III bifolios in the middle of gathering IX (R101-6) have stage-III roman foliation without red.","note_type":"General Note"},{"note":"Void coloration. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16779,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22922\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"105v","folio_end":"107r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Gemblaco (Gembloux), Johannes Franchois de","url":"https:\/\/www.diamm.ac.uk\/people\/163\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/11 (1952)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c3","voice_text":"(Patrem) factorem"},{"voice_type":"Contratenor","languages":["none"],"clef":"f3"},{"voice_type":"Tenor","languages":["none"],"clef":"f3"}],"pages":[4972,4973,4974,4975],"notes":[{"note":"Paired with preceding Gloria, well matched; q.v. for pairing, and modern attribution to Gemblaco. Very long self-contained Amen. Three substituted stage-III bifolios in the middle of gathering IX (ff. R101-6) have stage-III roman foliation without red. Late stage-III script, fine pen. Page turn at 'Et in spiritum'.","note_type":"General Note"},{"note":"Void coloration and void triplets in circle. Flagged semiminims in ,c. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16780,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22923\/?format=json","num_voices":"2","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"107v","folio_end":"108r","composition":"Et in terra pax [Gloria] (III)","composers":[{"full_name":"Bosquet, Johannes (\u2013ca. 1406)","url":"https:\/\/www.diamm.ac.uk\/people\/94\/?format=json","uncertain":true},{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":true},{"full_name":"Capua, Nicolaus de","url":"https:\/\/www.diamm.ac.uk\/people\/273\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 23A #45, 184-9 [Bosquet]"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 7-12 [Bosquet]"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Laudamus te"}],"pages":[4976,4977],"notes":[{"note":"Irregularly paired with following Credo. Q15 has only voices I and II. Q15 shares shorter Amen with MuEm; BU for once has the longer Amen. MuEm and BU have all four parts, though with different contratenors. The editors of PMFC 23 favour Bosquet and therefore the MuEm version, suggesting that the different (and more lively) BU Ct, as well as the longer Amen, might have been added by Nicolaus de Capua.Stage-II copy with red; but the first verso (f. R106v) is a stage-III replacement without red. Martini indexes this as 'du vilage' but that must refer to the following Credo lower on the same opening.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16781,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22424\/?format=json","num_voices":"4","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"107v","folio_end":"109r","composition":"Patrem omnipotentem [Credo], du vilage (Dominicale)","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 16-19 (Q15 concordance not noted)."},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #22;"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 85-91"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Patrem) omnipotentem"}],"pages":[4976,4977,4979,4980],"source_attribution":"Patrem du vilage Zacar","notes":[{"note":"Irregularly paired with previous Gloria. Amen not self-contained. The filiation is discussed exhaustively in Memelsdorff 2004, with reference to other Zacara mass movements. The upper-voice ornamentations of Cop are judged to date from the 1440s. Stage-II copy with red; but the first verso (f. R106v) is a stage-III replacement without red. Two bifolios in the centre of this gathering were replaced with three, hence the stage-III change of the folio number from cv to cvii, raised by two thereafter until the duplication of cxi\u2013cxii. The additional attribution to Zacar in the margin is in the hand of Gaspari. Page turns at 'Et incarnatus', 'Crucifixus'.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16782,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17382\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"109v","folio_end":"110r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Grossin, Estienne","url":"https:\/\/www.diamm.ac.uk\/people\/167\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/3, 44-6;"},{"prerendered":"Perz, Miroslaw<\/a> (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia,<\/em> 13-14 : .","pages":"Edition: XIV, 228-32 (from Warsaw8054)"}],"voices":[{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"Et in terra (= Gloria)"}],"pages":[4981,4982],"source_attribution":"grosin","notes":[{"note":"Irregularly paired with following Credo. Self-contained Amen. T notated for three statements with vertically aligned \/xx signatures. No red (though some red show-through); early stage-III copy on stage-II opening.","note_type":"General Note"},{"note":"Void coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16783,"url":"https:\/\/www.diamm.ac.uk\/compositions\/14590\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"110v","folio_end":"111r","composition":"Patrem omnipotentem [Credo] [OH 83]","composers":[{"full_name":"Power, Leonel (\u20131445)","url":"https:\/\/www.diamm.ac.uk\/people\/111\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 46\/2 #83"}],"voices":[{"voice_type":"Contratenor","languages":["Latin"],"clef":"c5","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["none"],"clef":"c5"}],"pages":[4983,4984],"source_attribution":"de anglia","notes":[{"note":"Irregularly paired with previous Gloria. Long Amen not self-contained. Ct texted, labelled later; not a true Ct and not so labelled in OH. Now entirely a stage-II recopy; presence in stage I is attested by pasted capital #52. Uses pasted capital #10.","note_type":"General Note"},{"note":"Red and red void coloration. Red void triplets. Flagged semiminims in both [x] and [,c]. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16784,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22926\/?format=json","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"111v","folio_end":"112r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Velut, Gilet","url":"https:\/\/www.diamm.ac.uk\/people\/433\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 127-31"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4985,4986],"source_attribution":"gilet velut","notes":[{"note":"Irregularly paired with following Credo, q.v. Long self-contained Amen. Uses pasted capital #11.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16785,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22878\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"112v","folio_end":"113v","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Velut, Gilet","url":"https:\/\/www.diamm.ac.uk\/people\/433\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 132-6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4987,4988,4989],"source_attribution":"gilet velut","notes":[{"note":"= f. 33v. Recopied here presumably in order to effect an irregular pairing with previous Gloria by the same composer. See note to Gloria f. 32v for the unsuitability also of the earlier pairing. 2-note self-contained Amen. Uses pasted capitals #12, #13, #14. Page turn at 'Et in spiritum'.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6091,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5918\/?format=json","num_voices":"3","genres":["Benedicamus Domino","Motet"],"folio_start":"113v","folio_end":"114r","composition":"Benedicamus Domino (I)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 53, 24"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (5), 35"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #9"},{"prerendered":"Planchart, Alejandro Enrique<\/a>. 2018. Guillaume Du Fay.<\/em>  Cambridge: CUP."},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 9\/1"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Benedicamus domino","mensuration":"[O]"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3","mensuration":"[O]"},{"voice_type":"Tenor","languages":["none"],"clef":"c3","mensuration":"[O]"}],"pages":[4989,4990],"source_attribution":"index: Du Fay","notes":[{"note":"Chant in festis solemnibus, identified by Besseler as GR Mass II, in T a fourth higher. PlanchartD notes that the chant is not a Benedicamus chant but an Ite missa est. The same tune, as the Benedicamus domino for Lauds on solemn feasts, appears in LU 124, AR 59 (variant) and LR 44. Page filler, added at late stage III (fine pen).","note_type":"General Note"},{"note":"Void coloration, void semiminims. Fermata on penultimate.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16786,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22928\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"114v","folio_end":"115r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 51-72"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c4","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"f4"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f4","voice_text":"Et in terra"}],"pages":[4991,4992],"source_attribution":"Ar de lantinis","notes":[{"note":"Paired with following Credo, well matched. Like the immediately preceding Velut Credo (f.112v), this Lantins pair may have been recopied to effect this pairing. Long Amen, not self-contained. The end of the Amen differs in Q15, 3 breves longer than in BU. Widaman 1988 I, 181-211 argues that the BU copies of this Gloria-Credo pair may derive from Q15. See pasted capitals #45, #13, #58. Now entirely a stage-II recopy. Presence of this piece in stage I is attested by pasted capital #45, but it was probably not adjacent to #the Credo. Uses pasted capitals #15, #16, plus a 'T' of small status.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16787,"url":"https:\/\/www.diamm.ac.uk\/compositions\/98457\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"115v","folio_end":"117r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 73-109"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c4","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"f4"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f4","voice_text":"Patrem"}],"pages":[4993,4994,4995,4996],"source_attribution":"Ar de lantinis","notes":[{"note":"Paired with previous Gloria, q.v., well matched. Long Amen, not self-contained. Ending of Amen is different in Q15, 4 breves longer than in BU, recomposed by conservative BU scribe according to Widaman 1988, who also argues (I 181-211) that the BU copies of this Gloria -Credo pair may derive from Q15. T is texted. Pasted capitals #13 and #58 attest the presence of this Credo in stage I but not adjacent to the Gloria, q.v. for pairing and recopy. Uses pasted capitals #17, #18, #19, #20. Page turn at 'Cuius regni'.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Void triplets. Red bars. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16788,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17399\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"117v","folio_end":"118r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Gemblaco (Gembloux), Johannes Franchois de","url":"https:\/\/www.diamm.ac.uk\/people\/163\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #13, 93-8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[4997,4998],"source_attribution":"Jo franchois (de gemblaco added)","notes":[{"note":"Paired with following Credo, well matched; not adjacent in Ox, Ao. Long Amen is not self-contained, unlike the Amen(s) of the paired Credo, q.v. 'De gemblaco' was added in a separate operation from the attribution to Johannes Franchois, but by the same scribe, and probably soon afterwards. See Strohm 1990, 155. Uses pasted capitals #21, #22.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16789,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17411\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"118v","folio_end":"120r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Gemblaco (Gembloux), Johannes Franchois de","url":"https:\/\/www.diamm.ac.uk\/people\/163\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #14-14bis, 99-109"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Patrem) factorem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"(Patrem) factorem"}],"pages":[4999,5000,5001,5002],"source_attribution":"Jo franchois","notes":[{"note":"Paired with preceding Gloria, q.v., well matched. Short (5-note with fermatas) followed by long Amen (both self-contained), in Q15, which is stylistically matched to the body of the Credo; this long Amen is also in Ca11, Ca6, but without the short Amen. Ox has two short Amens only (the last 2 notes of the Q15 short Amen, then the first 3); Ao has this 3-note Amen followed by the long Amen. Uses pasted capitals #23, #24, #25. Page turn at 'Et in spiritum'.","note_type":"General Note"},{"note":"Void coloration. Void triplets. Red bars. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16790,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22932\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"120v","folio_end":"121r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #4"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5003,5004],"source_attribution":"Jo de lymburgia","notes":[{"note":"Paired with following Credo, well matched. 2-note Amen, not self-contained. Uses pasted capitals #26, #27, #28.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16791,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22933\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"121v","folio_end":"123v","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #5"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5005,5006,5007,5008,5009],"source_attribution":"Jo de lymburgya","notes":[{"note":"Paired with preceding Gloria, well matched. 'Long' Amen not self-contained. Uses pasted capitals #29, #30, #31 for 'Et vitam'. Page turn at 'Crucifixus'. There appears to be a | mark on 122v, at far left-hand edge of page.","note_type":"General Note"},{"note":"Void coloration and minim triplets. Flagged semiminims. Red bars. Fermatas at two cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16792,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22752\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"124r","folio_end":"124r","composition":"Kyrie Cum Jubilo in festis B.M.V. ou De domina","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:1\/4 #14"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11, IV"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 9-10;"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/18"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie"},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie"}],"pages":[5010],"source_attribution":"du fay","notes":[{"note":"Threefold, sectional, no repetitions marked. GR IX (Melnicki 1954 #171), for Lady Masses, Marian feasts and commemorations. Late stage III, fine pen.","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16793,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16211\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"124v","folio_end":"125r","composition":"Kyrie 'angelorum'","composers":[{"full_name":"Binchois, Gilles (ca. 1400\u20131460)","url":"https:\/\/www.diamm.ac.uk\/people\/153\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 48"},{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/5 (1949; from Tr87)"},{"prerendered":"Kaye, Philip<\/a> (editor). 1992. The Sacred Music of Gilles Binchois.<\/em>  Oxford.","pages":"Edition: #9"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c1","voice_text":"Kyrie"},{"voice_type":"II","languages":["Latin","Greek"],"clef":"c1","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c3","voice_text":"Kyrie"}],"pages":[5011,5012],"source_attribution":"binchois (kyrie angelorum added)","notes":[{"note":"For the signatures, see Bent 1996a, Bent 2000. Sectional repeats shown by vertically aligned signatures with and without strokes, three signatures for Kyrie, Christe, two for the last Kyrie, with separate final statement. Tr871 scribe gives musical incipit of Gloria Tr #1366 to signal pairing; MuEm and Tr871 lack 3rd section; for transmission see WrightP 1989, 153-7. Late stage III, fine pen.","note_type":"General Note"},{"note":"Void coloration. Repeats indicated by aligned circle signatures with and without strokes.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16794,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16212\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"125v","folio_end":"125v","composition":"Kyrie 'orbis factor'","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1, IV (no 12)"},{"prerendered":"D\u00e8zes, Karl<\/a>. 1927. Messen- und Motettens\u00e4tze des 15. Jahrhunderts.<\/em>  Augsburg.","pages":"Edition:"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/16"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c1","voice_text":"Kyrie"},{"voice_type":"II","languages":["Latin","Greek"],"clef":"c1","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c3","voice_text":"Kyrie"}],"pages":[5005,5006,5007,5013],"source_attribution":"In dominicis diebus du fay","notes":[{"note":"Kyrie, Christe, Kyrie, sectional, no repeats indicated. GR XI (Melnicki 1954 #16), for Sundays in the use of the Roman curia (Kovarik 1975, MMMA 19, XIII). Late stage III, fine pen.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16795,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16213\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"126r","folio_end":"126v","composition":"Kyrie 'fons bonitatis'","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1, IV"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #16"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 1-2"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/10"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c1","voice_text":"Kyrie"},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie"}],"pages":[5008,5009,5014,5015],"source_attribution":"du fay Kyrie fons bonitatis","notes":[{"note":"Chant: Kyrie GR II, Melnicki 1954 #48, in voice I. Kyrie, Christe, Kyrie, sectional, no repeats indicated. Note the index variant, 'pietatis' not 'bonitatis'. Late stage III, fine pen. The added 'Martini' number 127 on f. A126 recto and 'seguito del..' to 127 on f. 126v appear to be by Gaspari, attempting to reconcile Martini's numeration of openings with piece numbers.","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16796,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16214\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"127r","folio_end":"127r","composition":"Kyrie 'Rex genitor'","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:1, IV #18"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 11-12"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition:5\/13."}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c1","voice_text":"Kyrie"},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c3","voice_text":"Kyrie"}],"pages":[5005,5006,5007,5008,5009,5010,5016],"source_attribution":"du fay In semiduplicibus maioribus","notes":[{"note":"Chant, paraphrased in voice I, is an Italian variant of Kyrie GR VI (Melnicki 1954 #47), for semiduplex feasts in the use of the Roman curia (Kovarik 1975, MMMA 19, XIII). PlanchartD reports that the Q15 rubric shows that in Du Fay\u2019s time it was used for major semiduplex feasts; that Besseler failed to identify the chant because the opening melody uses the melody found in the modern Vatican books as Christe 5; that the Q15 scribe suppresed the chant in all the Kyries he copied; that since this particular Kyrie, in its Italian form, has the shape ABA CAC DED\u2019, and since Du Fay\u2019s setting paraphrases Kyrie 1 (A), Christe 2 (A) and Kyrie 5 (E), it is obvious, as Kovarik 1975 argued, that all Du Fay\u2019s paraphrase Kyries were intended for alternatim performance, even though Q15 presents only Kyrie, Christe, Kyrie (sectional) with no repeats or chant indicated. Late stage III, fine pen. The added 'Martini' number 128 on f. A127 recto appears to be by Gaspari.","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16797,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22934\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"127v","folio_end":"128r","composition":"Kyrie Qui de stirpe regia","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition:II #1"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie Qui de stirpe regia"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie Qui de stirpe regia"}],"pages":[5017,5018],"source_attribution":"lymburgia","notes":[{"note":"Kyrie. Rex virginum amator deus Marie decus eleyson Trope text: AH 47, 60-1. Sectional repeats shown by vertically aligned signatures (see notes to Binchois Kyrie f.124v) with and without strokes, two signatures for Kyrie (double row of text), one for Christe single text), two for the last Kyrie (double row of text) implying ninefold performance with alternatim. Late stage III, fine pen. Marked in Martini's inventory with a pointing finger; 'bis' supplied by Gaspari, and in his inventory.","note_type":"General Note"},{"note":"No coloration. Void semiminims and triplets. Repeats indicated by aligned circle signatures with and without strokes.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16798,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17368\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"128v","folio_end":"129r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:35\/1 #14"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"f4"},{"voice_type":"Tenor","languages":["none"],"clef":"f3"}],"pages":[5019,5020],"source_attribution":"brasart","notes":[{"note":"Apart from the Gloria at f. 1v\/102v, this and the following piece are Brassart's only mass movements in Q15, different in range and musically unrelated except for the opening x mensuration. However, both have (unidentified but different) chant-like tenor parts. 5-note Amen with fermatas, not self-contained. Late stage III, fine pen.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Fermatas ('Amen').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16799,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17366\/?format=json","num_voices":"2","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"129v","folio_end":"132r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:35\/1 #15 (with facs. of first opening"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5022,5023,5024,5025,5026,5027],"source_attribution":"brasart","notes":[{"note":"Duets are not sectional, and are indicated only in Q15. T rests in duets for I and Ct. Unrelated to preceding Gloria, but paired as Ao #41 with Gloria Ao #40 ('Dunstable'), Rex seculorum (Endo 1999). See note to Gloria f. 128v. Long Amen, not self-contained. Page turns at 'Crucifixus', 'Et unam'. Late stage III, fine pen.","note_type":"General Note"},{"note":"Void coloration and semiminims. Fermatas ('et homo factus est') and at one section end.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16800,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22937\/?format=json","num_voices":"3","genres":["Mass Ordinary","Sanctus [& Benedictus]"],"folio_start":"132v","folio_end":"134r","composition":"Sanctus","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:1\/4 #6.1;"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 64-7"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition:5\/6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Sanctus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Sanctus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Sanctus"}],"pages":[5028,5029,5030,5031],"source_attribution":"du fay","notes":[{"note":"Plainsong incipit in T, Benedictus in I. Duos are all signed \/x. T part of 'Qui venit' duo is below the following Agnus on f. 133v; Ct cue is on f. 134. PlanchartD reports that the music for the Agnus Dei which follows is a literal repetition of the first 58 bars of the Sanctus except for the perhaps inauthentic addition of two concluding measures in Tr92; the identity extends to the first two intonations of the Agnus Dei. No plainsong version of the T has been found, and probably none existed; PlanchartD argues that the intonations were surely written by Du Fay for this piece; they follow the exact pattern he used for the intonation of the Sanctus and Agnus Dei of the Missa sine nomine (f. 15v, 16v). Late stage III, fine pen.","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16801,"url":"https:\/\/www.diamm.ac.uk\/compositions\/23325\/?format=json","num_voices":"3","genres":["Agnus Dei","Mass Ordinary"],"folio_start":"133v","folio_end":"134r","composition":"Agnus Dei","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:I, IV #6.2 and see #104;"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Agnus dei"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"partial text"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"partial text"}],"pages":[5030,5031],"source_attribution":"[G. DUFAY]","notes":[{"note":"Contrafact of preceding Sanctus; see note to that piece. Duo (Agnus II) is signed \/x. The Agnus is attributed only in the index. Note (on f. 134) the pasted stub of a removed but fully written leaf. Late stage III, fine pen.","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16802,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16224\/?format=json","num_voices":"4","genres":["Mass Ordinary","Sanctus [& Benedictus]","Troped Sanctus"],"folio_start":"134v","folio_end":"136v","composition":"Sanctus 'Papale' Ave verum corpus","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition:14\/15, 148-52"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:1\/4 #7.1"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/7"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Sanctus) Ave verum corpus"},{"voice_type":"II","languages":["none"],"clef":"c1"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"(Sanctus) Ave verum corpus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(partial text)"}],"pages":[5032,5033,5034,5035,5037],"source_attribution":"du fay","notes":[{"note":"Agnus paired by Tr92 scribe is not in Q15; designation 'papale' in Tr92 only. Chant incipits preceding I (Sanctus), T (Benedictus), both void and measured, in C4b clef. Divisi notes. The duo voices are written consecutively in I; 'secundus contratenor' following Ct has the Ct 2 part unique to Q15 for Besseler's edition section D, followed (with clef change) by cantus II for section E, squashed in. Cantus II in Tr92 and Tr93 is notated within the Ct part, neither of which has the Contratenor secundus for section D. On f. 136, T music for Osanna is marked 'vacat' and rewritten on the following verso. Discussed in Fallows 1982, 180-1, and Planchart 1998, who notes that it was surely composed for the papal chapel when it had choirboys (1425-7). Note (on f. 135) the pasted stub of a removed but fully written leaf. F. 137 is blank. Page turns at 'Domine deus', 'Osanna'. Late stage III, fine pen. M135 and 136 are marked in Martini's inventory with pointing fingers.","note_type":"General Note"},{"note":"Void coloration, intonation and semiminims. Fermata preceding 'Osanna'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16803,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17404\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"137v","folio_end":"139r","composition":"Et in terra pax [Gloria] (iv\/5)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:1\/4 #5.1"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 48-51"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/5"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5039,5040,5041,5042],"source_attribution":"G du fay [indexer]","notes":[{"note":"Paired with following Credo, well matched. Very long self-contained Amen. Pasted capitals #15 and #54 attest the presence of this Gloria in stage I, as also was the matching Credo; but they were not adjacent, and must both have been single-opening copies without Ct. Ao index: 'Et in terra dufay cum uno medio\u2019. Attribution in Q15 and index are both by the indexer only, but corroborated by Ao, Tr87, Tr92. Page turn at 'Qui tollis'. Late stage III, fine pen.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Fermatas ('Jesu Christe').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16804,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17409\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"139v","folio_end":"142r","composition":"Patrem omnipotentem [Credo] (iv\/5)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #5.2 (Tr90 does not lack cantus II as reported);"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 51-6"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/5"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5043,5044,5045,5046,5047,5048],"source_attribution":"[G. DUFAY]","notes":[{"note":"Paired with preceding Gloria, well matched. Short self-contained Amen, 2 + 3 notes, with fermatas. Pasted capital #25 attests the presence of this Credo in stage I, as also was the matching Gloria; but they were not adjacent, and must both have been single-opening copies without Ct. Page turns at 'Qui propter', 'Et in spiritum'. Late stage III, fine pen.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Fermatas ('Amen').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16805,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22941\/?format=json","num_voices":"3","genres":["Song"],"folio_start":"142v","folio_end":"142v","composition":"untexted","voices":[{"voice_type":"I","languages":["none"],"clef":"c1"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"}],"pages":[5049],"notes":[{"note":"Later scribe (Germanic hand), unidentified. See Bent 2004a. F. A143 blank. No Martini number on this opening.","note_type":"General Note"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6092,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6185\/?format=json","num_voices":"3","genres":["Asperges me","Motet"],"folio_start":"143v","folio_end":"143v","composition":"Asperges me Domine (II)","composers":[{"full_name":"Binchois, Gilles (ca. 1400\u20131460)","url":"https:\/\/www.diamm.ac.uk\/people\/153\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (14\/15), 91-93"},{"prerendered":"Bent, Margaret<\/a>. 2000. The Use of Cut Signatures in Sacred Music by Binchois. Binchois Studies,<\/em> edited by Margaret Bent<\/a>, 277-312. Oxford."},{"prerendered":"Blachly, Alexander<\/a>. 1995. Mensuration and Tempo in 15th-Century Music: Cut Signatures in Theory and Practice. Columbia University, Ph.D."},{"prerendered":"Kaye, Philip<\/a> (editor). 1992. The Sacred Music of Gilles Binchois.<\/em>  Oxford.","pages":"Edition: 30"},{"prerendered":"Kaye, Philip<\/a> (editor). 1992. The Sacred Music of Gilles Binchois.<\/em>  Oxford.","pages":"Edition:"},{"prerendered":"Kaye, Philip<\/a> (editor). 1992. The Sacred Music of Gilles Binchois.<\/em>  Oxford.","pages":"178"},{"prerendered":"Kirkman, Andrew<\/a>, and Dennis Slavin<\/a> (editors). 2000. Binchois Studies.<\/em>  Oxford.","pages":"Edition:"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c4","voice_text":"(Asperges me) domine","mensuration":"o"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"f4","voice_text":"\u2026 secundum \u2026 sicut","mensuration":"o"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f4","voice_text":"\u2026 secundum \u2026 sicut","mensuration":"o"}],"pages":[5052],"source_attribution":"binchois","notes":[{"note":"See Bent 2000, Blachly 1995, Kirkman\/Slavin 2000 for relationship to Kaye 1992 #29. Signatures aligned for repeats (see notes to Kyrie f.124v). Plainsong incipits and doxology in I, mensural notation mostly in breves; chant paraphrase in I. Late stage III, fine pen.","note_type":"General Note"},{"note":"Void coloration and semiminims. Repeats indicated by aligned circle signatures with and without strokes.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6093,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5914\/?format=json","num_voices":"4","genres":["Offertory","Proper"],"folio_start":"144r","folio_end":"144r","composition":"Mihi autem nimis","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology."},{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-48. Series I: Ordinarium missae (1948) & Series II: Proprium missae (1947).<\/em> Monumenta Polyphoniae Liturgicae Sanctae Ecclesiae Romanae.  Rome.","pages":"Edition: (II.1), 31-33"},{"prerendered":"Planchart, Alejandro Enrique<\/a>. 1976. Guillaume Dufay's Masses: A View of the Manuscript Traditions. Papers read at the Dufay Quincentenary Conference, Brooklyn College, December 6-7, 1974,<\/em> 26-60,150-1. Brooklyn."},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #2.1"},{"prerendered":"Bent, Margaret<\/a>. 1999. Music and the Early Veneto Humanists. Proceedings of the British Academy (1998 Lectures and Memoirs),<\/em> 101: 101-30."},{"prerendered":"Planchart, Alejandro Enrique<\/a>. 2018. Guillaume Du Fay.<\/em>  Cambridge: CUP."},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Nimis honorati","mensuration":"[O]"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Nimis honorati","mensuration":"[O]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Nimis honorati","mensuration":"[O]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"Nimis honorati","mensuration":"[O]"}],"pages":[5053],"source_attribution":"Introitus misse sancti iacobi G. du fay; R121v: Repiticio","notes":[{"note":"Introit: plainsong introit for apostles (LU 1304) in T. Chant incipit of antiphon in T, of psalm and end of doxology in I. 'Repeticio': intonation in I, which also paraphrases introit for apostles. According to PlanchartD the repeticio is a second setting (a3) of the Introit. See also Planchart 1976, Bent 1999. This plenary mass was possibly assembled for the first time in Q15, c. 1430.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16770,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17373\/?format=json","num_voices":"4","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"144v","folio_end":"146r","composition":"Missa Sancti Jacobi: Kyrie","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:1\/2 #2.2"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.4 (1949)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition:3\/2"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie"},{"voice_type":"II","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie"},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie"}],"pages":[5054,5055,5056,5057],"source_attribution":"[G. DUFAY]","notes":[{"note":"Sectional, full through-composed nine-fold setting. Melody of Kyrie Vatican IV (Melnicki #18) paraphrased in I, sections 3, 6, 9. Ascribed to Du Fay only in the index, but it follows the attributed introit on the same opening. Duet parts for I, II notated successively within I, not within differently-cleffed Ct (see Bent 2004b). Tr87 lacks Kyrie 1; II and T (labelled 'pro tenore') conflated, in different order. Tr93\/90 sections 3, 6, 9 only. No rests in T, Ct.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16806,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17385\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"145v","folio_end":"147r","composition":"Missa Sancti Jacobi: Gloria","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:1\/2 #2.3"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.4 (1949)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"(incipit)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(incipit)"}],"pages":[5056,5057,5058,5059],"notes":[{"note":"Attribution of the Gloria to Du Fay is only in the index, but it directly follows the attributed Kyrie on the same opening, and the attribution of the mass on the first recto is taken to apply to the whole cycle. Long self-contained Amen. Duets cued in T and Ct and written successively within I, not within differently-cleffed Ct (see Bent 2004b). Page turn at 'Qui tollis'.","note_type":"General Note"},{"note":"Void coloration and triplets. Flagged semiminims. Red bars. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6094,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5915\/?format=json","num_voices":"4","genres":["Alleluia","Proper"],"folio_start":"146v","folio_end":"148r","composition":"Missa Sancti Jacobi: Alleluia","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition:"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #2.4"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.4 (1949)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"[A]lleluya Alleluya","mensuration":"[O]"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Alleluya luya","mensuration":"[O]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Alleluya","mensuration":"[O]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"Alleluya","mensuration":"[O]"}],"pages":[5058,5059,5060,5061],"source_attribution":"du fay","notes":[{"note":"Unidentified plainsong incipits in T; black for the Alleluia, void for the verse. 'du fay' appears at beginning of Alleluya, halfway down f.R123v, and is repeated on f. R124v for the verse Clarens stella (page turn). Duo cued in T but not Ct.","note_type":"General Note"},{"note":"Void coloration and triplets. Red bars. Fermatas for Alleluia intonation and some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16808,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17413\/?format=json","num_voices":"4","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"148v","folio_end":"150r","composition":"Missa Sancti Jacobi: Credo","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 76-9 (Q15 concordance not noted)"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #2.5"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.4 (1949)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"(incipit)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(incipit)"}],"pages":[5062,5063,5064,5065],"source_attribution":"du fay","notes":[{"note":"Duets written successively within I, not within differently-cleffed Ct (see Bent 2004b). Duos cued in T and Ct. The very long Amen is self-contained, except in Tr92, where the Amen differs and is continuous from the preceding section, which also differs from the other sources. The Q15 Amen is as in Ao and Tr87, but Tr87 has voice I only (on f. 153v) and omits Ct and T, filling the remainder of the opening with a Du Fay song. Both Amens appear to bear (fleeting) motivic connections to the body of the movement, showing the difficulty of assigning priority on such grounds (Honisch 2006). May have been in stage I; see pasted capital #52. Page turn at 'Et ascendit'.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas ('Ex Maria virgine', 'Amen').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6095,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5916\/?format=json","num_voices":"4","genres":["Offertory","Proper"],"folio_start":"150v","folio_end":"151r","composition":"Missa Sancti Jacobi: In omnem terram (Offertory)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition:"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #2.6"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.4 (1949)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"In omnem terram","mensuration":"[c-dot]"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"In omnem terram","mensuration":"[c-dot]"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"In omnem terram (partial text)","mensuration":"[c-dot]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"In omnem terram","mensuration":"[c-dot]"}],"pages":[5067,5068],"source_attribution":"Offertorium sancti iacobi G. du fay","notes":[{"note":"Chant offertory for apostles (LU 1327) from '[ter-]ram' to 'fines' paraphrased in T, down a 5th. T rests in duos.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16809,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17425\/?format=json","num_voices":"4","genres":["Mass Ordinary","Sanctus [& Benedictus]"],"folio_start":"151v","folio_end":"152r","composition":"Missa Sancti Jacobi: Sanctus","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #2.7"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.4 (1949)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Sanctus"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Sanctus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Sanctus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"Sanctus"}],"pages":[5069,5070],"source_attribution":"du fay","notes":[{"note":"Sanctus chant Vatican II (LU 21, Thannabaur #203) paraphrased in T, in I in the duo; void chant incipits in T. Duos cued in T, Ct.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16810,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6362\/?format=json","num_voices":"4","genres":["Agnus Dei","Mass Ordinary"],"folio_start":"152v","folio_end":"153r","composition":"Missa Sancti Jacobi: Agnus Dei","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #2.8"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.4 (1949)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"(Agnus) Qui tollis"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"(Agnus) Qui tollis"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"(Agnus) Qui tollis"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"(Agnus) Qui tollis"}],"pages":[5071,5072],"source_attribution":"du fay","notes":[{"note":"Publ. cf. AOs n\u00b0 106. Agnus chant Vatican XI (LU 48, Schildbach #220) paraphrased in T, with void chant incipit, and in I in the duo. Duos cued in Ct, not in T. Marked in Martini's inventory with a pointing finger.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6096,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5917\/?format=json","num_voices":"3","genres":["Communion","Proper"],"folio_start":"152v","folio_end":"153r","composition":"Missa Sancti Jacobi: Communio - Vos qui secuti estis me","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition:"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/2 #2.9"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.4 (1949)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 3\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"(Vos) qui secuti","mensuration":"[O]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(Vos) qui secuti","mensuration":"[O]"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(Vos) qui secuti","mensuration":"[O]"}],"pages":[5071,5072],"source_attribution":"post communio du fay","notes":[{"note":"Plainsong of the communion for apostles (St Matthew, LU 1392, GR 448, GT 438) paraphrased in I, with void incipit. The Q15 designation 'post communio' is incorrect for 'communio'. Canon: 'Si trinum queras \/a summo tolle figuras \/et simul incipito \/dyatessaron in subeondo'.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16811,"url":"https:\/\/www.diamm.ac.uk\/compositions\/23202\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"153v","folio_end":"155r","composition":"Et in terra pax [Gloria] [Kaye 1a]","composers":[{"full_name":"Binchois, Gilles (ca. 1400\u20131460)","url":"https:\/\/www.diamm.ac.uk\/people\/153\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/5 (1949; from Tr92"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #8, 53-62"},{"prerendered":"Kaye, Philip<\/a> (editor). 1992. The Sacred Music of Gilles Binchois.<\/em>  Oxford.","pages":"Edition: #1a"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c4","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"f4","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["none"],"clef":"f4"}],"pages":[5073,5074,5075,5076],"source_attribution":"binchois","notes":[{"note":"Irregularly paired with following Credo. Very long Amen, not self-contained. For mensuration signs in the various sources, see Bent 2000, table 12.6. Q15's pairing with the Credo (also in Ox and Tr92) is weaker than with Kaye 1992 #1b (paired in Ca6), not present in Q15. Ca11 does not pair movements. That Credo is identical in structure and vocal scoring; musical motifs link the two movements. See also Kaye 1992, Bent 2004b, Endo 1999 and notes to paired Credo following. Duets are not self-contained, linking to sections a3 with terminal cadences (as in Credo Kaye #1b). 'Contratenor' so labelled on second opening only; it alternates Ct function with that of duets while the T rests. Uses pasted capitals #32, #33. Feininger published Kyrie (f.124v) and this Gloria-Credo with a Sanctus and Agnus as a 'missa de angelis'. Page turn at 'Qui sedes'.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16812,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22943\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"155v","folio_end":"157r","composition":"Patrem omnipotentem [Credo] 'Aversi' [Kaye 19]","composers":[{"full_name":"Binchois, Gilles (ca. 1400\u20131460)","url":"https:\/\/www.diamm.ac.uk\/people\/153\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/5 (1949; from Tr92)"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #9, 63-74"},{"prerendered":"Kaye, Philip<\/a> (editor). 1992. The Sacred Music of Gilles Binchois.<\/em>  Oxford.","pages":"Edition: #19"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c4","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"f4"},{"voice_type":"Tenor","languages":["none"],"clef":"f4"}],"pages":[5077,5078,5079,5080],"source_attribution":"binchois","notes":[{"note":"Irregularly paired with preceding Gloria. Despite identical clefs, signatures, finals and similar ranges, the different vocal scoring alternation, texting, cadence pitches and mensural scheme and style weaken this pairing; see Kaye 1992, Bent 2000, Endo 1999 and note to the Gloria. Duets and sections a3 are self-contained. Very long self-contained Amen in Q15, Ca and Ox; much shortened in Tr92, which Palmer 1998 thinks is the original; Honisch and I disagree. Ox index labels this 'Aversi'. The scribe might have presented this as an a versi piece had it been in stage I; see Bent 2004b, and for texting and layout in other sources. Uses pasted capitals #34, #35, #36, #36a. The section 'Qui ex Patre' is quoted by Tinctoris, Proportionale musices III.2, from a 'libro ... regio' (royal book), as 'autenti triti irregularis': see Bent 2000, also (table 12.7) for mensuration signs in the various sources. Page turn at 'Et iterum'.","note_type":"General Note"},{"note":"Void coloration and triplets. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16813,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16227\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"157v","folio_end":"158r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Gemblaco (Gembloux), Johannes Franchois de","url":"https:\/\/www.diamm.ac.uk\/people\/163\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Igoe, James T<\/a>. 1970. Johannes Franchois de Gembloux. Nuova Rivista Musicale Italiana,<\/em> 4: 3-50.","pages":"Edition: 29-31"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5082],"source_attribution":"Johannes francois (de gemblaco added)","notes":[{"note":"Paired with Credo at f. 158v, well matched. 2-note Amen, not self-contained. 'De gemblaco' was added in a separate operation from the attribution to 'Johannes Francois', but by the same scribe, and probably soon afterwards; see note to the Credo. Uses pasted capitals #37, #38.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16814,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16225\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"157v","folio_end":"158r","composition":"Kyrie 'Cunctipotens genitor'","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #10"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 13"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"}],"pages":[5082,5083],"source_attribution":"du fay","notes":[{"note":"Publ. cf. AOs n\u00bb 20. Kyrie, Christe, Kyrie, sectional, repeat signs for full ninefold performance. Melody paraphrased in I: GR III (Melnicki 1954 #18). Early stage-III addition, no red.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Fermatas on final Kyrie. Repeat signs.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16815,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16226\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"158v","folio_end":"159r","composition":"Patrem omnipotentem [Credo] 'Alma redemptoris'","composers":[{"full_name":"Gemblaco (Gembloux), Johannes Franchois de","url":"https:\/\/www.diamm.ac.uk\/people\/163\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Igoe, James T<\/a>. 1970. Johannes Franchois de Gembloux. Nuova Rivista Musicale Italiana,<\/em> 4: 3-50.","pages":"Edition: 21-8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5084,5085],"source_attribution":"Johannes (de gemblaco added)","notes":[{"note":"T: Patrem. Alma redemptoris mater. Paired with Gloria at f. 157v, well matched. Amen not self-contained. 'De gemblaco' was added in a separate operation from the attribution to Johannes [Franchois], but by the same scribe, and probably soon afterwards. See note on the Gloria. Chant-based T is labelled 'Alma redemptoris mater'. Uses pasted capital #39. Marked in Martini's inventory with a pointing finger.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16816,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22944\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"159v","folio_end":"160r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Reson, Johannes","url":"https:\/\/www.diamm.ac.uk\/people\/272\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 109-11"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5086,5087],"source_attribution":"Johannes Reson","notes":[{"note":"Paired with following Credo, q.v., with which it agrees in clefs, signatures, mensurations, final, voices, despite different composer, well matched. Self-contained Amen. Uses pasted capitals #40, #41.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16817,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22945\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"159v","folio_end":"161r","composition":"Patrem omnipotentem [Credo]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #2."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5086,5087,5088,5089],"source_attribution":"Johannes de lymburgia","notes":[{"note":"Paired with prvious Gloria, well matched despite different composer. Hamm 1964 suggested that Lymburgia composed this Credo to go with Reson's Gloria (see also Reaney in C MM 11\/2; the converse is less likely), which it follows lower on the same opening. 'Long' self-contained Amen.","note_type":"General Note"},{"note":"No coloration. Fermata at one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16818,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16229\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"161v","folio_end":"162r","composition":"Missa Admirabilis splendor: Kyrie eleison","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #11"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c1","voice_text":"Kyrie"},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"c3","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c3","voice_text":"Kyrie"}],"pages":[5090,5091],"source_attribution":"Jo de lymburgia","notes":[{"note":"##127-31 grouped as a cycle; 'more of a composite Mass than a complete one' (Hamm 1965), differing in finalis, scoring and number of voices; Besseler 1931, 200 identified a network of headmotives that links them quite strongly, further discussed in Gossett 1966. Kyrie, Christe, Kyrie, sectional; threefold underlay within each section in I only yields full ninefold performance. T and Ct major prolation M = S of \/x in I. Pasted capital K is 'small', not 'large pasted'.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims in Ct. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16819,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16230\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"161v","folio_end":"163r","composition":"Missa Admirabilis splendor: Et in terra pax [Gloria]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #12."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Et in terra"}],"pages":[5090,5091,5092,5093],"source_attribution":"Jo de lymburgia","notes":[{"note":"##127-31 grouped as a cycle; see note to the Kyrie. Amen not self-contained. Ct major prolation M = S of \/x in I. Uses pasted capital #42. Page turn at 'Qui tollis'.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermata at one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16820,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16231\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"162v","folio_end":"164r","composition":"Missa Admirabilis splendor: Patrem omnipotentem [Credo]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #13"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem"}],"pages":[5092,5093,5094,5095],"source_attribution":"Jo de lymburgia","notes":[{"note":"##127-31 grouped as a cycle; see note to the Kyrie. Amen not self-contained. Page turn at 'Qui propter'.","note_type":"General Note"},{"note":"Void coloration, semiminims and triplets. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16821,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16228\/?format=json","num_voices":"2","genres":["Mass Ordinary","Sanctus [& Benedictus]","Troped Sanctus"],"folio_start":"164v","folio_end":"165r","composition":"Missa Admirabilis splendor: Sanctus","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #14"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Sanctus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c2","voice_text":"Sanctus"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Sanctus"}],"pages":[5097,5098],"source_attribution":"Jo de lymburgia","notes":[{"note":"##127-31 grouped as a cycle; see note to the Kyrie. Of the two undifferentiated Ct parts, the upper is texted and more properly a cantus II, taking the duets with I, while T and Ct II rest. Most scoring changes coincides with a new mensuration sign. Uses pasted capital #43. Marked in Martini's inventory with a pointing finger.","note_type":"General Note"},{"note":"The Sanctus alone of the mass movements is troped 'Admirabilis splendor'","note_type":"General Note"},{"note":"Void coloration and triplets. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16822,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16232\/?format=json","num_voices":"4","genres":["Agnus Dei","Mass Ordinary"],"folio_start":"165v","folio_end":"166r","composition":"Missa Admirabilis splendor: Agnus Dei","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #15"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Agnus dei"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Agnus dei"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Agnus dei"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"}],"pages":[5099,5100],"source_attribution":"Johannes (de lymburgia added)","notes":[{"note":"##127-31 grouped as a cycle; see note to the Kyrie. Of the two undifferentiated Ct parts, the upper is texted and really a cantus II, the lower expendable. Unlike the preceding Sanctus, no duets.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16823,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22946\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"165v","folio_end":"167r","composition":"Et in terra pax [Gloria]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5099,5100,5101,5102],"source_attribution":"Jo de lymburgia","notes":[{"note":"Paired with following Credo, well matched. Long self-contained Amen. Uses pasted capital #44. Page turn at 'Qui tollis'.","note_type":"General Note"},{"note":"No coloration. Flagged semiminims. Red bars. Long leger lines in Ct.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16824,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22947\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"166v","folio_end":"168r","composition":"Patrem (partially texted)","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #7"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin","insufficient"],"clef":"c3","voice_text":"(partially texted)"}],"pages":[5101,5102,5103,5104],"source_attribution":"Jo de lymburgia","notes":[{"note":"Paired with preceding Gloria, well matched, except that this has a self-contained 2-note Amen with fermatas. Page turn at 'Qui propter'.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences and 'Amen'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16825,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22948\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary","Troped Gloria"],"folio_start":"168v","folio_end":"170r","composition":"Et in terra pax [Gloria] [Tro] Spiritus et alme","composers":[{"full_name":"Zacharie, Nicolaus","url":"https:\/\/www.diamm.ac.uk\/people\/518\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 138-43."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Et in terra"}],"pages":[5105,5106,5107,5108],"source_attribution":"n. zacarie","notes":[{"note":"2-note Amen in Ct and T only, followed by long Amen in all parts, both self-contained. T is labelled only on recto continuation. Ber40582, now in Krak\u00f3w, single-opening presentation, I, T not labelled, continued on missing recto, both parts texted. Uses pasted capitals #45, #46, #47. Page turn at 'Mariam sanctificans'. M168 and 169 are marked in Martini's inventory with pointing fingers. ","note_type":"General Note"},{"note":"Void coloration including void flagged semiminims. Void triplets in Amen. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6097,"url":"https:\/\/www.diamm.ac.uk\/compositions\/86523\/?format=json","num_voices":"3","genres":[],"folio_start":"169v","folio_end":"170r","composition":"Benedicamus Domino (II)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (5), 36"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #10"},{"prerendered":"Planchart, Alejandro Enrique<\/a>. 2018. Guillaume Du Fay.<\/em>  Cambridge: CUP."},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 9\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Benedicamus domino"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"f3","voice_text":"Benedicamus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"benedicamus domino"}],"pages":[5107,5108],"notes":[{"note":"ModB has the chant response (overlooked by Besseler): it is the first Benedicamus domino for second vespers on solemn feasts, LU 125, transposed up a fifth and paraphrased in I (PlanchartD). Late stage-III addition, fine pen, no red.","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16826,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22949\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"170v","folio_end":"171v","composition":"Et in terra pax [Gloria] 'Spiritus et alme'","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 81-2;"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #24"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/22."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"(partially texted)"}],"pages":[5109,5110,5112],"source_attribution":"g. dufay [indexer]","notes":[{"note":"Plainsong alternation in T. Self-contained Amen. Attribution in Q15 and index by indexer only, corroborated by Tr92. Stage-III addition on opening left blank at stage II, no red except for foliation. Marked in Martini's inventory with a pointing finger.","note_type":"General Note"},{"note":"Void coloration and for chant alternatim. Flagged semiminims. Fermatas, mostly for tropes.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16827,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22950\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"171v","folio_end":"172r","composition":"Et in terra pax [Gloria] 'in galli cantu'","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #26"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 18-20"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/20"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(partially texted)"}],"pages":[5112,5113],"notes":[{"note":"Plainsong alternation in T, paraphrasing Mass XIV. No music provided in Q15 for Amen; word 'Amen' in I only. Tr92 provides an 11-note monophonic Amen in clef C4. Chant and polyphony are exactly out of phase with Tr92, ff. 91v-92 (CMM 1\/4 #25), but the two settings cannot be merged (Hamm 1964, 76). This complementarity is reflected in Gaspari's note at the foot of f. A171: 'N.B. nelle due seguenti pagine trovasi la musica del coro non notata nelle presenti'. Not attributed by the main scribe; the Q15 indexer corroborates Tr92's attribution to Du Fay, adding the designation 'de feria'. Stage-III addition on opening left blank at stage II, no red except for foliation.","note_type":"General Note"},{"note":"Void coloration, chant alternatim and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16828,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16233\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"172v","folio_end":"173v","composition":"Missa O pulcherrima: Kyrie verbum incarnatum","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #1-1bis, 1-9"},{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 111-35"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c1","voice_text":"Kyrie verbum incarnatum "},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c3","voice_text":"Kyrie verbum incarnatum "}],"pages":[5114,5115,5116],"source_attribution":"Missa (added) Ar de lantinis","notes":[{"note":"This mass, headed 'Missa Ar de lantinis', previously known in the literature as Verbum incarnatum, was redesignated O pulcherrima by Strohm 1990 and Strohm 1993, 176-7, being related to Arnold's antiphon of that name, Q15 f.216v. Sectional, all nine statements composed and texted with trope. All movements have a clear headmotive; see the Sanctus and Agnus for their different notation. Index lists it as 'Kirrieleyson ar de lantins panis angelorum', which is the text of Kyrie 2. Widaman 1988 I, 221-35 observes that the unusual recto-verso layout of this and the following Gloria in Ox supports Reaney's case for Q15 copying from Ox. Redundant repeated sectional labels and signatures in Ox suggest copying from a bunched layout (Bent 2004b). Uses pasted capital #48. M172 and 173 are marked in Martini's inventory with pointing fingers.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16829,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16234\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"173v","folio_end":"174r","composition":"Missa O pulcherrima: Et in terra pax [Gloria]","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #2-2bis, 10-15"},{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Et in terra"}],"pages":[5116,5117],"source_attribution":"fuga trium temporum","notes":[{"note":"Attribution of the Gloria to Lantins is only in the Q15 index, but it directly follows the attributed Kyrie on the same opening, and the attribution of the mass on the first opening is taken to apply to the whole cycle. Ox additionally attributes it in the index. See Kyrie f.172v, also for the designation O pulcherrima of this cycle, previously known as Verbum incarnatum. Self-contained Amen has 14 notes all with fermatas, in groups punctuated by breve rests. Ox punctuates less precisely; BU notates it without ligatures or rests, re-rehythmicised. Q15 and Ox only have the opening of the Gloria in canon ('fuga trium temporum' in Ox and Q15), with 'Tuba sub fuga'; BU has a shorter, non-canonic opening.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas for 'Jesu Christe', 'Amen'. Extra (10th) stave on recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16830,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16235\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"174v","folio_end":"176r","composition":"Missa O pulcherrima: Patrem omnipotentem [Credo]","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #3-3bis"},{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 161-95"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem"}],"pages":[5118,5119,5120,5121],"source_attribution":"Ar de lantinis","notes":[{"note":"See Kyrie for the designation O pulcherrima of this cycle, previously known as Verbum incarnatum. Self-contained Amen has c. 14 notes all with fermatas, in groups punctuated by breve rests. Page turn at 'Et in spiritum'.","note_type":"General Note"},{"note":"Void coloration (including void flagged). Flagged semiminims. Red bars. Fermatas for 'Amen' and one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16831,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16236\/?format=json","num_voices":"3","genres":["Mass Ordinary","Sanctus [& Benedictus]","Troped Sanctus"],"folio_start":"175v","folio_end":"177r","composition":"Missa O pulcherrima: Sanctus [Tro: Qui hominem limo]","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #4, 29-33"},{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: 196-220"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Sanctus"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Sanctus"}],"pages":[5120,5121,5122,5123],"source_attribution":"Ar de lantinis","notes":[{"note":"See Kyrie for the designation O pulcherrima of this cycle, previously known as Verbum incarnatum. In both Ox and Q15, this movement and the Agnus are notated in \/x in note values augmented in relation to the other movements, which are all in ,c in both sources. M175 and 176 are marked in Martini's inventory with pointing fingers.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16832,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16237\/?format=json","num_voices":"3","genres":["Agnus Dei","Mass Ordinary"],"folio_start":"176v","folio_end":"177r","composition":"Missa O pulcherrima: Agnus Dei","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #5, 34-36"},{"prerendered":"Widaman, Jean<\/a>. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D.","pages":"Edition: II 221-33"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Agnus) Qui tollis"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"(Agnus) Qui tollis"}],"pages":[5122,5123],"source_attribution":"[AR. DE LANTINS]*","notes":[{"note":"Not attributed in MS or index, but it follows on the same opening from the attributed and related Sanctus, and is covered by the attribution of the whole 'missa'; see Kyrie, also for the designation O pulcherrima of this cycle, previously known as Verbum incarnatum. In both Ox and Q15, this movement and the Sanctus are notated in \/x in note values augmented in relation to the other movements, which are all in ,c in both sources.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas ('dona nobis pacem').","note_type":"Copying Style"},{"note":"*GB-Ob 213\r\nPS","note_type":"Concordances"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16833,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16238\/?format=json","num_voices":"2","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"177v","folio_end":"179r","composition":"Et in terra pax [Gloria] 'Ad ogni vento'","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #8;"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 92-7 (for Melk, p. xli)"},{"prerendered":"Perz, Miroslaw<\/a> (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia,<\/em> 13-14 : .","pages":"Edition: XIV, 322-31 (from Warsaw8054)."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Et in terra"}],"pages":[5124,5125,5127,5128],"source_attribution":"Zacar (ad ongni vento added)","notes":[{"note":"After 'Tu solus altissimus Jesu Christe': 'Valeamus cum sancto spiritu'. Long self-contained Amen. Uses pasted capitals #49, #50. Page turn at 'Quoniam'. Deletion in red on final recto. M178 is marked in Martini's inventory with a pointing finger.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16834,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16239\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"179v","folio_end":"180r","composition":"Et in terra pax [Gloria] 'Anglicana'","composers":[{"full_name":"Zacara da Teramo, Antonio (ca. 1350\u2013ca. 1413)","url":"https:\/\/www.diamm.ac.uk\/people\/132\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 13 #9"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/6, 97-103"},{"prerendered":"Perz, Miroslaw<\/a> (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia,<\/em> 13-14 : .","pages":"Edition: XIV, 413-9 (from Warsaw378)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5129,5130],"source_attribution":"Zacar anglicana","notes":[{"note":"Long self-contained Amen. Uses pasted capitals #51, #52.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16835,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22951\/?format=json","num_voices":"4","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"180v","folio_end":"181r","composition":"Et in terra pax [Gloria] 'ad modum tubae'","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 145-7"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #22"},{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/3 (1949; no source specified; canonic cantus II in red)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/27"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5131,5132],"source_attribution":"G. du fay Ad habendum triplum fuga duo tempora","notes":[{"note":"Ct and T both marked 'ad modum tube'. Heading on verso above cantus I is 'Ad habendum triplum fuga duo tempora', and in index, 'cum fuga'. See Aosta for confirmation of the synonymy, here, of 'tuba' and 'trompeta'; see Bent 2007a. No signum for canonic entry in Q15. Two divisi notes in I for Amen, not self-contained. Uses pasted capital #53.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16836,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22952\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"181v","folio_end":"182r","composition":"Et in terra pax [Gloria]","voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra\/Laudamus"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et in terra\/Laudamus"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5133,5134],"notes":[{"note":"Irregularly paired with Credo at f. 182v. Alternating text and melisma between the upper parts; possibly English (Hamm 1968), older Old Hall style (example Queldryk?) , but not a matching pair with the Credo, q.v. Self-contained Amen. Pasted capital #56 contains music from the original stage-I copy of the recto; pasted capital #54 may be the capital from the stage-I recto of this same anonymous Gloria. One of the few indexed pieces left anonymous by the indexer. Martini erroneously attributes it to Cordier, whose song fills the opening.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16837,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22953\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"181v","folio_end":"182r","composition":"Se coeur damant (incipit texted)","composers":[{"full_name":"Cordier, Baude (fl. early 15 century)","url":"https:\/\/www.diamm.ac.uk\/people\/11\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/1, 8"},{"prerendered":"Strohm, Reinhard<\/a>. 1993. The Rise of European Music 1380-1500.<\/em>  Cambridge.","pages":"Edition: 142"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c1","voice_text":"Se cuer damant"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["French","insufficient"],"clef":"c3","voice_text":"(incipit texted)"}],"pages":[5133,5134],"source_attribution":"baudet cordier","notes":[{"note":"Rondeau quatrain, decasyllables. See Fallows 1999. Recto recopied at stage II, with full text following Ct.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16838,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6370\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"182v","folio_end":"184r","composition":"Patrem omnipotentem [Credo] 'Anglicus'","composers":[{"full_name":"Anglia, Robertus de (fl. 1454-74)","url":"https:\/\/www.diamm.ac.uk\/people\/2407\/?format=json","uncertain":true},{"full_name":"Bodoil, Jo.","url":"https:\/\/www.diamm.ac.uk\/people\/309\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Harrison, Frank Llewellyn<\/a> (editor). 1963-. Early English Church Music.<\/em>  London: Stainer & Bell.","pages":"Edition: 42, appendix."},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 61, 25-7 (Q15 concordance not noted)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Patrem"}],"pages":[5135,5136,5137,5138],"source_attribution":"Anglicanum patrem","notes":[{"note":"Irregularly paired with Gloria on preceding opening. Long Amen, not self-contained. Identified by the scribes of Q15 and Aosta as English, this Credo has been convincingly paired with the Gloria at f.192v, although they do not appear together in any manuscript. Trowell 1960 and Hamm 1968 accept the pairing and its Englishness; Curtis (EECM 42) accepts the pairing but (like Strohm 1993 and Lefferts 2003) questions its authorship\/Englishness. Adjacence to the anonymous Gloria (f.181v) cannot count as a scribal pairing, as the Gloria (possibly English) originated in the first layer; there was extensive recopying in this gathering. See pasted capital #10, probably attesting presence in stage I. Uses pasted capital #55. Page turn at 'Et ascendit'.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16839,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22955\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"184v","folio_end":"185r","composition":"Et in terra pax [Gloria] [BH8]","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 24 #8"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #12, 88-92"},{"prerendered":"Clercx, Suzanne<\/a>, and Suzanne Clercx-Lejeune<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","pages":"Edition: #23"},{"prerendered":"Perz, Miroslaw<\/a> (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia,<\/em> 13-14 : .","pages":"Edition: XIV, 307-10 (from Warsaw8054)."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5139,5140],"source_attribution":"Jo ciconie","notes":[{"note":"Irregularly paired with following Credo. Self-contained long Amen, also in Warsaw8054. The same music is used for 'Laudamus' and 'Qui tollis', for 'Gratias' and 'Qui sedes'. These are written out in I to accommodate the different texts, but given as double incipits in T and Ct, where the music is notated only once. Uses pasted capital #56.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16840,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22956\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"185v","folio_end":"187r","composition":"Patrem omnipotentem [Credo] [BH11]","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 24 #11"},{"prerendered":"Clercx, Suzanne<\/a>, and Suzanne Clercx-Lejeune<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","pages":"Edition: #28"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c3","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5142,5143,5144,5145],"source_attribution":"Jo ciconie","notes":[{"note":"Irregularly paired with preceding Gloria. Self-contained long Amen. The only surviving stage-I mass movement with the T at the top of the recto above Ct. The number of cut Ts of recto status indicates that there must have been many more such, at least some of them from a dismantled mass section. Page turn at 'Et resurrexit'. Hole in parchment was repaired before copying.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16841,"url":"https:\/\/www.diamm.ac.uk\/compositions\/7353\/?format=json","num_voices":"3","genres":["Kyrie eleison","Motet"],"folio_start":"187v","folio_end":"188r","composition":"Kyrie eleison (KGC group - iv\/1)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #1.1"},{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/1 (1947; no source specified)"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 24;"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/1"}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie"}],"pages":[5146,5147],"source_attribution":"Du fay","notes":[{"note":"Publ. cf. AOs n\u00b0 26. Grouped with following Gloria & Credo, well matched. Full ninefold underlay, the thee main sections bounded by fermatas, not bars.","note_type":"General Note"},{"note":"No coloration. Red bars. Fermatas at some cadences. F clefs erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16842,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17402\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"187v","folio_end":"188r","composition":"Et in terra pax [Gloria] (KGC group - iv\/1)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #1.2 (with facs.)"},{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/1 (1947; no source specified);"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 25-6"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/1"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5146,5147],"notes":[{"note":"Grouped with adjacent Kyrie & Credo, well matched. 2-note Amen with fermatas, not self-contained. One of very few Glorias not indexed; this very compact setting may have been missed as it does not start at the top of an opening. Although not separately ascribed, it follows directly from the preceding Kyrie. Hole in parchment was repaired before copying.","note_type":"General Note"},{"note":"No coloration. Red bars. Fermatas ('Amen'). F clefs erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16843,"url":"https:\/\/www.diamm.ac.uk\/compositions\/17406\/?format=json","num_voices":"3","genres":["Credo (patrem omnipotentem)","Mass Ordinary"],"folio_start":"188v","folio_end":"189r","composition":"Patrem omnipotentem [Credo] (KGC group - iv\/1)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #1.3"},{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/1 (1947; no source specified)"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: , II 26-9"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/1"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Patrem"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Patrem"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5148,5149],"source_attribution":"du fay","notes":[{"note":"Grouped with prceding Kyrie & Gloria, well matched. 2-note Amen with fermatas, not self-contained. Ct not labelled, as it is in Kyrie & Gloria. Extra stave enables single-opening copy.","note_type":"General Note"},{"note":"No coloration. Red bars. Fermatas ('Patrem', 'est', 'Amen'). F clefs erased. Extra stave on recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16844,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22960\/?format=json","num_voices":"2","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"189v","folio_end":"190r","composition":"Et in terra pax [Gloria] [incipits]","composers":[{"full_name":"Natalis, N","url":"https:\/\/www.diamm.ac.uk\/people\/399\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Hutchins, Robert Ralph<\/a>. 1999. Polyphonic Mass Music by Some Early Fifteenth-Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis and Hugo de Lantins. University of California, Los Angeles, Ph.D.","pages":"Edition: 612-20"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"(incipits)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Et in terra"}],"pages":[5150,5151],"source_attribution":"N. natalis","notes":[{"note":"\u2018Et in terra pax hominibus\u2019, marked \u2018unus\u2019, is (unusually) not a duet but measured monophony, continuing without a stave divider to \u2018bone voluntatis\u2019 (chorus), set for I and T. Other \u2018unus\u2019 passages are duets for I and Ct while T rests. 'Long' Amen, not self-contained. Uses pasted capital #57. Pasted capital #12 was cut from the original recto, here recopied; the pre-1425 stage-I copy of this Gloria preceded a Credo, perhaps the companion to this Gloria, or perhaps removed because it did not match. The following opening (with roman folio 168) is now blank (and has no Martini number) but provided with gold P on red, on the page (late); indented for a Patrem to follow this Natalis Gloria. This \u2018single-work\u2019 composer may be Nicolaus Natalis, ma\u00eetre de chant and succentor at St Lambert in Li\u00e8ge 1421-2 (see Planchart in MGG2 supp.).","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences, 'Amen'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16845,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16240\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"191v","folio_end":"192r","composition":"Et in terra pax [Gloria] 'de quaremiaux'","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #23"},{"prerendered":"Feininger, Laurence K<\/a> (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae.<\/em>  Roma.","pages":"Edition: I\/10 (1951)"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 31-2 (with facs.)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/23"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"f3"}],"pages":[5154,5155],"source_attribution":"Et in terra de quaremiaux dufay","notes":[{"note":"2-note Amen with fermatas, not self-contained. Uses pasted capitals #58, #59.","note_type":"General Note"},{"note":"Void coloration and triplets. Red bars. Fermatas ('Amen'). Tenor repeats indicated by aligned signatures with and without strokes.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16846,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22961\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"192v","folio_end":"193r","composition":"Et in terra pax [Gloria] [Kaye 15]","composers":[{"full_name":"Bodoil, Jo.","url":"https:\/\/www.diamm.ac.uk\/people\/309\/?format=json","uncertain":true},{"full_name":"Binchois, Gilles (ca. 1400\u20131460)","url":"https:\/\/www.diamm.ac.uk\/people\/153\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Harrison, Frank Llewellyn<\/a> (editor). 1963-. Early English Church Music.<\/em>  London: Stainer & Bell.","pages":"Edition: 42, appendix"},{"prerendered":"Kaye, Philip<\/a> (editor). 1992. The Sacred Music of Gilles Binchois.<\/em>  Oxford.","pages":"Edition: #15"},{"prerendered":"Marix, Jeanne<\/a> (editor). 1937. Les musiciens de la cour de Bourgogne au XVe si\u00e8cle (1420-1467) : Messes, motets, chansons.<\/em>  Paris.","pages":"Edition: 160-3"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"(partially texted)"}],"pages":[5156,5157],"source_attribution":"binchois","notes":[{"note":"'Long' Amen, not self-contained. Trowell (New Grove II, s.v. Bodoil) attributes this Gloria to Bodoil, on grounds of its undisputed pairing with Credo at f.182v, q.v., which is attributed to J. Bodoil in Tr92. Strohm 1993, 245 rejects both the Binchois and English attributions for this pair and proposes instead a northerner in Italy. Late stage III addition on opening left blank at stage II, fine pen, no red except for foliation.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16847,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22332\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"193v","folio_end":"194r","composition":"Et in terra pax [Gloria] (iv\/21)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/4 #21"},{"prerendered":"Bockholdt, Rudolf<\/a>. 1960. Die fr\u00fchen Messenkompositionen von Guillaume Dufay.<\/em>  Tutzing.","pages":"Edition: II 35-7"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 5\/25"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c4","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c5","voice_text":"(partially texted)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(partially texted)"}],"pages":[5158,5159],"notes":[{"note":"Long self-contained homophonic Amen, 27 notes, all with fermatas. Not attributed in body of MS, but in the index only, corroborating Tr87. Late stage-III addition on opening left blank at stage II, fine pen, no red except for foliation. The following opening (ff. A194v-195) is blank (no Martini number), but carries the roman foliation 179.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Many fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6098,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5919\/?format=json","num_voices":"3","genres":["Introit","Proper"],"folio_start":"195v","folio_end":"196r","composition":"Salve sancta parens","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Gossett, Philip<\/a>. 1966. Techniques of Unification in Early Cyclic Masses and Mass Pairs. Journal of the American Musicological Society,<\/em> 19: 205-31."},{"prerendered":"Hamm, Charles E<\/a>. 1965. The Reson Mass. Journal of the American Musicological Society,<\/em> 18: 5-21."},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 73"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"sAncta parens"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"salue sancta parens"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"sancta parens"}],"pages":[5162,5163],"source_attribution":"lymburgia","notes":[{"note":"Introit. Chant GR [87]. Intonation and chant in T. Grouped with the Kyrie & Gloria at ff. 196v, 197v, perhaps also that at 195v; see Hamm 1965 and Gossett 1966 on this group, probably the torso of an incompletely copied cycle using Marian chants and tropes, and for parallels with the Lantins group at the beginning of the MS. Stage-II foliation with red; no other red used. Script is early stage III.","note_type":"General Note"},{"note":"No coloration. Flagged semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16848,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16241\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"195v","folio_end":"196r","composition":"Kyrie O sacra virgo","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":true}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie o sacra virgo"},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"f3","voice_text":"Kyrie o sacra virgo"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"f3","voice_text":"Kyrie o sacra virgo"}],"pages":[5162,5163],"notes":[{"note":"This follows Lymburgia's introit on the same page, copied at the same time, and may be covered by the same attribution. It precedes another Lymburgia Kyrie and may belong to the same cycle; see note to Salve sancta parens (f.195v). The first Kyrie has two repeat signs (except in Ct), the Christe none, the final Kyrie two, implying alternatim, with chant for invocations 2, 4, 6, 8 of a ninefold performance with each text stated three times. Stage-II foliation with red; no other red used. Script is early stage III.","note_type":"General Note"},{"note":"Void coloration. Repeat signs.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16849,"url":"https:\/\/www.diamm.ac.uk\/compositions\/98510\/?format=json","num_voices":"3","genres":["Kyrie eleison","Mass Ordinary"],"folio_start":"196v","folio_end":"197r","composition":"Kyrie eleison","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #9."}],"voices":[{"voice_type":"I","languages":["Latin","Greek"],"clef":"c2","voice_text":"Kyrie"},{"voice_type":"Contratenor","languages":["Latin","Greek"],"clef":"c4","voice_text":"Kyrie"},{"voice_type":"Tenor","languages":["Latin","Greek"],"clef":"f3","voice_text":"Kyrie"}],"pages":[5164,5165],"source_attribution":"lymburgia","notes":[{"note":"Chant GR 29*, Kyrie IX (with B flats) in T. Hamm 1965 suggests the scribe brought this together with the following Gloria, though not so intended by the composer. Sectional polyphony provided for two Kyries, two Christes, three Kyries, suggesting chant for only two sections. Grouped with Salve sancta parens (f. 195v) and the Gloria on next opening; see note to the former. The rare mensuration sign \/,c occurs otherwise only in the Lantins mass at the beginning of the ms, the only other instance of Salve sancta parens followed by Kyrie and Gloria, also by a single composer. Stage-II foliation with red; no other red used. Script is early stage III.","note_type":"General Note"},{"note":"No coloration. Void semiminims. Fermatas for some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16850,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22964\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary","Troped Gloria"],"folio_start":"197v","folio_end":"199r","composition":"Et in terra pax [Gloria] ('Spiritus et alme')","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #10"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"f3"},{"voice_type":"Tenor","languages":["none"],"clef":"f3"}],"pages":[5166,5167,5168,5169],"source_attribution":"lymburgia","notes":[{"note":"Grouped with Salve sancta parens at f. 195v and the Gloria on preceding opening; see note to the former. 2-note self-contained Amen with fermatas. Duet tropes for I with Ct while T rests. The index gives no composer and no folio; however, this is the next Gloria in order. Another candidate for the indexed piece is the anonymous Gloria at f.203v, the last Gloria in the manuscript, perhaps more likely, as it is both anonymous and lacking an identifying trope. Stage II, with red. Page turn at 'Qui tollis'.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas ('Amen').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16851,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22965\/?format=json","num_voices":"3","genres":["BVM","Canticle","Magnificat"],"folio_start":"199v","folio_end":"201r","composition":"Magnificat sexti toni: Anima mea [K.749]","composers":[{"full_name":"Dunstaple, John (ca. 1390\u20131453)","url":"https:\/\/www.diamm.ac.uk\/people\/3\/?format=json","uncertain":true},{"full_name":"Binchois, Gilles (ca. 1400\u20131460)","url":"https:\/\/www.diamm.ac.uk\/people\/153\/?format=json","uncertain":true},{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 169-74;"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #33"},{"prerendered":"Kirsch, Winfried<\/a>. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts.<\/em>  Tutzing.","pages":"No. 749"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 8\/3"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Magnificat) anima mea"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"(Magnificat) anima mea"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(Magnificat) anima mea"}],"pages":[5171,5172,5173,5174],"source_attribution":"du fay","notes":[{"note":"Magnificat intonation (tone VI) in I. Kirsch 1966 #749. All verses set, through-composed. Late stage-III copy (fine pen) on openings left unused but foliated at stage II. No red. No Martini number on the second opening; he skips an opening between 197 and 198.","note_type":"General Note"},{"note":"Void coloration and semiminims. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16852,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22966\/?format=json","num_voices":"4","genres":["BVM","Magnificat"],"folio_start":"201v","folio_end":"202r","composition":"Magnificat octavi toni: Et exultavit spiritus meus [K.891]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II #24, 46-50"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #22"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et exultavit"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Et exultavit"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"(incipit)"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"(incipit)"}],"pages":[5175,5176],"source_attribution":"lymburgia","notes":[{"note":"Versets pairsNo incipit; tone VIII in T. Kirsch 1966 #891. Even-numbered verses set, vv. 6 and 12 to the same music. Late stage-III copy (fine pen) on opening left unused but foliated at stage II. No red.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Fermatas at one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6099,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6607\/?format=json","num_voices":"1","genres":["Alma redemptoris mater","BVM","Motet"],"folio_start":"202v","folio_end":"202v","composition":"Alma redemptoris mater","composers":[{"full_name":"Forest","url":"https:\/\/www.diamm.ac.uk\/people\/137\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: #5"},{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: 296"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 53, 34-5"},{"prerendered":"Cumming, Julie Emelyn<\/a>. 1999. The Motet in the Age of Du Fay.<\/em>  Cambridge.","pages":"Edition: 92-3 (from Tr)"},{"prerendered":"Cumming, Julie Emelyn<\/a>. 1999. The Motet in the Age of Du Fay.<\/em>  Cambridge.","pages":"Edition: 91-5"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Alma redemptoris (incomplete)","mensuration":"c"}],"pages":[5177],"notes":[{"note":"Sup. seul' Publ. cf. AOs n- 147Marian antiphon. First three staves of voice I only were copied; lacks T and Ct present in the other sources. It is a strange coincidence that another motet by Forest, Ascendit Christus, was incompletely copied in OH, also with an incomplete top part only. Late stage-III copy (fine pen) on opening left unused but foliated at stage II. No red. It has some of the metrical irregularity associated with some English composers including Forest and Power, a central duet for I and T. 'English cantilena' (Cumming 1999, 91-5). Presumably excluded by Cox because text has liturgical status.","note_type":"General Note"},{"note":"Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16853,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22967\/?format=json","num_voices":"3","genres":["Gloria (et in terra pax)","Mass Ordinary"],"folio_start":"203v","folio_end":"205r","composition":"Et in terra pax [Gloria]","voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c2","voice_text":"Et in terra"},{"voice_type":"Contratenor","languages":["none"],"clef":"c2"}],"pages":[5179,5180,5181,5182],"notes":[{"note":"Long self-contained Amen. The last Gloria entry in the index could refer to this or the one at f.197v, q.v. Copied earlier than most other pieces in gathering XVIII, where most openings were left blank at stage II to be filled at stage III. One of the few pieces with T copied above Ct; Ct added later, fine pen. Otherwise early stage-III script; no red except in foliation.","note_type":"General Note"},{"note":"Void coloration. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6100,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5921\/?format=json","num_voices":"3","genres":["Lauda"],"folio_start":"204v","folio_end":"205r","composition":"Recordare frater pie","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cattin, Giulio<\/a>. 1958. Contributi alla storia della lauda spirituale: Sulla evoluzione musicale e letteraria della lauda nei secoli XIV e XV. Quadrivium,<\/em> 2: 45-75.","pages":"Edition: 62-3"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 343"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #43"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 342-343;"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Recordare frater pie "},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Recordare frater pie "},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Recordare"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Recordare"}],"pages":[5181,5182],"source_attribution":"lymburgia","notes":[{"note":"Text: AH 50, 573-4. 13 stanzas, 2 underlaid, 11 more beneath. Refrain repeat specified after last stanza. Signatures correspond to scoring, refrain in \/x a3 (I, T, Ct), followed by strophe ('Per quam sumus') in x a2 ('unus'), I and II notated successively within I, as in a versi compositions. Late stage-III script (fine pen). See Diederichs 1986, 143-4.","note_type":"General Note"},{"note":"Void coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6101,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5922\/?format=json","num_voices":"3","genres":["Responsory"],"folio_start":"205v","folio_end":"206r","composition":"Ostendit mihi","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2) 146"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #16."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Ostendit mihi"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5183,5184],"source_attribution":"lymburgya","notes":[{"note":"Responsory: see Marbach 1907, 536. For chant see LA 227, LR 272. Cantilena motet. Presumably excluded by Cox because text has liturgical status. 'Alleluia' is set only at the end. Etheridge inserts the word at two other points. Cumming 1999: \u2018cut-circle\u2019. Late stage-III addition (fine pen) on opening left blank and foliated at stage II. ","note_type":"General Note"},{"note":"Void coloration. Fermata at one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6102,"url":"https:\/\/www.diamm.ac.uk\/compositions\/85693\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"206v","folio_end":"207r","composition":"Supremum est mortalibus bonum II: O sancta pax","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 1-14"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 1-14;"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 76, 24-5"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 24-25"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1), 59-63"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1,2), 23-27;"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/1 #14"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 2.5 (1948)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 2\/13"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Supremum est mortalibus bonum \r"},{"voice_type":"II","languages":["Latin"],"clef":"c3","voice_text":"Supremum est mortalibus bonum \r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Supremum "}],"pages":[5186,5187],"source_attribution":"du fay au faulx bourdon","notes":[{"note":"Names Eugenius IV and Sigismund. It has been reckoned to be for the Treaty of Viterbo, April 1433 in a chain of misreadings detailed in Fallows 1982, 280, n. 16, who correctly endorses (as does PlanchartD) the case for the entrance of Sigismund in Rome in May 1433 made by Pirro 1940, 70; Sigismund is here 'rex'; he was crowned Holy Roman Emperor on 31 May. See also L\u00fctteken 1993, 289-91. Edition and translation of text in Holford-Strevens 1997, 140-1, 'pure French syllabism', in decasyllables. A texted 20-breve introductory duet, self-contained, demarcated with fermata is expanded to three voices by fauxbourdon, which unusually (though appropriately) is indicated in I rather than, as usual, in the T. Two different cantus firmi are used. The first (freely composed) presents two T color statements (with proportional instruction 4\/3 for color 2) each of three 30-breve taleas (no isorhythm in I, Ct). Duets for I, II close each talea, except in taleas II and IV, which have fauxbourdon specified within I during T rests. The second (non-isorhythmic) c.f. paraphrases the first phrase of the antiphon Isti sunt duae olivae (12 B, up a fourth. 101-6), followed by 21 B with fermata chords for the names of Eugenius and Sigismund (107-9), 110-13 fauxbourdon, 114-20 free section for I, II, T. I has passages 'au faulx bourdon' during T rests, and a 22-B Amen. There is no music a4 except for an incompatible overlap of fb and 4-part writing at bar 71. An erasure at beginning of T adjusts spacing in order to insert rests which were at first omitted. T was prefaced by \/x over 4\/3, erased, now \/x only. Q15 color 1 \/x, color 2 4\/3, MuEm 4\/3 (in I, possibly \/c\/3), ModB c3. Q15 color 2 written identically (perhaps copied from 2 openings?) on the same folio (A206v) with 4\/3 signature, as 'Residuum tenoris O sancta pax'. There are no overlaps to confirm successive mensural relationships, but the unusual signatures \/c\/3 and 4\/3 are hard to explain except possibly as a tempo change (see Hamm 1964, 57 n.1), since the motet is organised in perfect tempus throughout. Mensuration and tempo further discussed in PlanchartO who observes that this is Du Fay\u2019s first motet with II significantly lower than I and even crosses below the T. See L\u00fctteken 1993, 320 ff., 407 ff., 478; Cox 1977 I, 34-9; Cumming 1999: \u2018French isorhythmic; three-voice tenor motet\u2019; 158-63 identifies its \u2018multiple generic and subgeneric references\u2019 and discusses the startling innovations suited to the sacred \u2013 secular confluence it celebrates. Allsen 1992 #98; 212-7 discuss postlude and fb passages, and dispute the rhetorical interpretation of Elders 1981. For important text variants see Rumbold\/WrightP 2006, 107 n. 179. Early stage III, no red.","note_type":"General Note"},{"note":"Void coloration. Void semiminims (BU flagged). Fermatas for 'Eugenius et rex Sigismundus'. Sharp with two dots. Extra (10th) staves on both pages, no rastrum.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6103,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5924\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"207v","folio_end":"209r","composition":"Balsamus et munda \/ isti sunt agni novelli","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2) 15-27"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 15-27"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1), 54-58"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1,2), 5-10"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/1 #13"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 2.2 (1948)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 2\/2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Balsamus et munda"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Balsamus et munda"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"isti sunt agnj nouelli"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Balsamus et munda"}],"pages":[5188,5189,5190,5191],"source_attribution":"du fay","notes":[{"note":"T uses the first 18 notes of the Matins responsory Isti sunt agni novelli (LR 169, CAO 7012), for Saturday in albis. For papal distribution of agnus dei, 7 April 1431. Copied immediately after the later motet Supremum (#168), 1433. See Cox 1977 I, 39-42; Allsen 1992 #88, Turner 2002, L\u00fctteken 1993, 286 ff., 312 ff., 413 ff., 440. Cumming 1999: \u2018French isorhythmic\u2019. On the occasion and performance of this work, see WrightC 1974. Two openings necessitated rewriting of the T. Color 1 (f. R191v), 'Tenor dicitur de modo perfecto et tempore imperfecto, simili modo retrogradendo' (perfect modus and imperfect tempus, then in retrograde); color 2 (f. R192v), 'Canon tenor dicitur per semi et eodem modo retrograditur accipiendo pro fine nigras' (diminished by half, forwards and then in retrograde, taking the black notes at the end). The T rhythm is arranged as fully retrogradable, a perfect rhythmic palindrome; thus, of two T color statements, each contains two identical taleas, of which the second reverses the pitches of the first. The second talea is reduced to half and retrograded in the same way, keeping the 'black' notes to the end. The final 2-note cadential ligature is here not black but void, perhaps indicating that this instruction was taken over without adjustment from a copy in void notation with a final black ligature. Within (but not between) each color the two taleas are isorhythmic in all parts. No introductory duet. Overlap from bar 85; upper voices in v while lower are still in x; sesquitertia at minim level. For \/x in I, II at 92 and 111: S = M of major prolation. Early stage III, no red.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Long freehand leger lines for the Ct on the rectos.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6104,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5925\/?format=json","num_voices":"3","genres":["Lauda"],"folio_start":"208v","folio_end":"209r","composition":"Salve salus","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Wolf, Johannes<\/a>. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen.<\/em> 3 vols. Leipzig.","pages":"Edition: II 56, III #35"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #44"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2) 346"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 346-347"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"salue salus mea deus "},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"salue salus mea deus "},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"salue salus\r"}],"pages":[5190,5191],"source_attribution":"lymburgia","notes":[{"note":"Text: Wackernagel 1877 I 123-4. 12 stanzas; refrain (first stanza) repeat specified after last stanza. See Diederichs 1986, 146-7. Late stage-III addition (fine pen).","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6105,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5926\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"209v","folio_end":"210v","composition":"Tu nephanda prodigi \/ T: Emitat \/ Si inimicus meus \/ Emitat caelum","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 28-43"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 28-43"},{"prerendered":"Blume, Friedrich<\/a> (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklop\u00e4die der Musik.<\/em>  Kassel.","pages":"Edition: VII Tafel 5"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #41; facs."},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 325"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Tu nephanda prodigi\/T: Emitat"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Si inimicus meus"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Emitat celum"}],"pages":[5192,5193,5194],"source_attribution":"lymburgia","notes":[{"note":"Three simultaneous texts throughout. Text of II paraphrases Psalm 54: 13-16 (Vulgate). The other two texts trope the same theme, usually defined generally as enemies of the Church, although addressed in the second person singular. Lewis 1994 links the T text to Numbers 16: 30, with resonances also in I and II, giving a revised reading of the text and relating it to psalm commentaries which see this passage as an anticipation of Judas's betrayal; she identifies and contextualises its anti-semitic thrust, including scorpion imagery, and links it to a 1434 Council of Basel decree restricting the rights of Jews. Word painting: dissonance in bars 29-31, where the cauda of cantus I matches the tail of the scorpion (Reaney, MGG VII, 102); bars 67-84, cantus II descends through an octave into hell, 'in infernum' (Cox, I, 47). Two different concurrent mensurations in second half, from bar 57 ('Hoc debet'): I, T, Ct in x, II in c. See Cox 1977, I, 42-9. Cumming 1999: \u2018retrospective double-discantus\u2019. Early stage III, no red.","note_type":"General Note"},{"note":"Void coloration. Two flagged semiminims in Ct. '3' for 3\/2, '2' for 2\/1 proportions. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6106,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5706\/?format=json","num_voices":"3","genres":["Lauda"],"folio_start":"210v","folio_end":"211r","composition":"Ave fuit prima salus","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Cambon, Elise M<\/a>. 1975. The Italian and Latin Lauda of the Fifteenth Century. Tulane University, Unpublished Ph.D. dissertation.","pages":"Edition: 380-3"},{"prerendered":"Luisi, Francesco<\/a>. 1977. La Musica vocale nel Rinascimento.<\/em>  Torino: RAI Radiotelevisione Italiana.","pages":"Edition: (2), 16;"},{"prerendered":"Feininger, Laurence K<\/a>. 1975. Eine neue Quelle zur Polyphonie des 15. Jahrhunderts.<\/em> Festschrift Walter Senn zum 70. Geburtstag,<\/em> 53-63. Munich and Salzburg.","pages":"Edition: 62"},{"prerendered":"Foschini, Gaetano F<\/a>. 1898. La musica all'Eposizione Generale Italiana di Torino 1898. Rivista musicale italiana,<\/em> 5: 786-836.","pages":"Edition: 814"},{"prerendered":"Gallo, Franco Alberto<\/a>, and Giuseppe Vecchi<\/a> (editors). 1968. I pi\u00f9 antichi monumenti sacri italiani.<\/em> I: Edizione fotografica, Monumenta Lyrica Medii Aevi Italica, 3: Mensurabilia, 1, vol. 3, Mensurabilia, 1.  Bologna: Universita degli studi di Bologna.","pages":"Edition: pl. CXLI"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 320 (from nearly identical version in BU), Milan version, 321."},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 123-6 (facsimiles 322-3)"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 320-321"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Ave fuit"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Ave fuit"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Ave fuit"}],"pages":[5194,5195],"notes":[{"note":"LuisiLG (2), 16; DiedeA, 320-321;Foschini 1898, 814; Diederichs 1986, 320 (from nearly identical version in BU), Milan version, 321. For a transcription of the version in MS Feininger, see Feininger 1975, 62. Facs. of Ven in Gallo\/Vecchi 1968, pl. CXLI; facs. and transcription in Cambon 1975, 380-3. For a musically unrelated version in Florence, Bibl. Nat. Centrale II.XI.18, ff. 194v-195, in non-mensural cantus planus binatim, see Diederichs 1986, 123-6 (facsimiles 322-3). See also Diederichs 1986, 118-26. Late stage-III addition (fine pen).","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6107,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5928\/?format=json","num_voices":"2","genres":["Canonic"],"folio_start":"211v","folio_end":"212r","composition":"Inclita stella maris","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II, 44-65"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 44-65"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1.1), 5-10"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition:(1), 1-5"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition:1\/1 #1"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.2 (1947)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 1\/21"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Inclita stella maris"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"}],"pages":[5196,5197],"source_attribution":"du fay","notes":[{"note":"II, fuga ex I: 'Est fuga de se canendo \/ de tempore perfecto \/ et simul incipiendo \/ et est concordans \/ sy placet absque contratenores'. Ct cum fuga: '[C]ontra concordans cum fuga et cuilibet per se'. Ct cum omnibus: 'Secundus contratenor concordans cum omnibus non potest cantari nisi pueri dicant fugam'. This is the only mensuration canon in Q15. Cumming 1999, 142 makes comparisons with other canonic cantus pieces and caccia procedure. The enormously important indication of the participation of boys in complex composed polyphony has been discussed, with other aspects of this piece, by Fallows 1983, 128-31. The canon can be sung alone, the parts functioning mutually as discant and tenor; or it can be sung with the 'Contratenor cum fuga' to make a three-part piece; or this Ct can be sung with either canonic part to make alternative (and rather unsatisfactory, though grammatically complete) two-part versions; or all four parts can be sung together. For the absence of a designated T see Bent 2007a. A small cross on the staff, looking rather like a deleted S rest, follows the first note of bar 64 (shown by Besseler as a signum), the exact midpoint of the motet (128 perfect breves plus final). Besseler fails to respect the simultaneous mensurations; the mensuration canon uses c and x; Ct I is signed x, Ct II c. PlanchartO notes its avoidance of cadences, and that Besseler placed this motet early because he did not like it. See Cox 1977, I 49-51. Commentary and edition\/translation of text (continuous pentameters in four-line stanzas) in Holford-Strevens 1997, 120-2; it makes extensive use of rime equivoque (the same word with different meanings, or combinations of syllables that form a complete word used elsewhere. Uses pasted capital #60. '[C]ontra' had a small pasted capital, now lost, of which some decoration remains on the page.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas. 8 6-line staves for I on verso. Extra (10th) stave on recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6108,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5929\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"212v","folio_end":"213r","composition":"Rite majorem Jacobum canimus \/ Artibus summis miseri reclusi","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 65-80"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 65-80"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1), 38-45"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1,2), 28-35"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/1 #11"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 2.6 (1948)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 2\/11"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Rite maiorem iacobum canimus"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"ARtibus summis miseri reclusi"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"ora pronobis dominum"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5198,5199],"source_attribution":"du fay","notes":[{"note":"On St James the Great. T: Ora pro nobis dominum, que te vocavit Jacobum. Acrostic: robertus auclou curatus sancti jacobi. Auclou, possibly the author of the text, was curate of St Jacques de la Boucherie in Paris 1425-7, and in 1426 secretary to Cardinal Louis Aleman, papal legate in Bologna, when Du Fay was also there. Possibly related to the Missa Sancti Jacobi, ff. 144-153 above, but see Planchart 1988, 129 on possible Bolognese provenance of c.f. and motet. See PlanchartD. Problems in this text (notably whether Jesus or John was intended in stanza 2) are elucidated by Holford-Strevens 1997, 99-102, edition and translation 117-20. Sapphic hendecasyllables in four-line stanzas with false quantities. Fallows 1982 notes large-scale voice-exchange in the upper voices. 'Tenor ora pro nobis dominum qui te vocavit Jacobum' and Ct both notated once with repeat signs and aligned mensuration signs ,c and x for two color statements with mensural transformation. No introductory duet. Each color contains two taleas, isorhythmic in all parts (within each color only) including the Solus tenor, which in this case is a lower-voice conflation only when T and Ct are sounding, but for the first 6 breves of each talea rather a trompetta-like part (see Bent 2007a). I (only) changes to \/x for the end of each talea requiring S = M of ,c, and back again. See Cox 1977 I, 52-6, Allsen 1992, #96, L\u00fctteken 1993, 302, 474. Cumming 1999: \u2018French isorhythmic\u2019. Uses pasted capital #61.","note_type":"General Note"},{"note":"Void coloration. Red bars. T, Ct repeat signs. Extra (10th) stave on verso.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6109,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5930\/?format=json","num_voices":"3","genres":["Hymn","Motet"],"folio_start":"213v","folio_end":"214r","composition":"Surrexit Christus hodie","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #27."},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 240"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Surexit xpus hodie"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Surexit xpus hodie"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"Surexit xpus hodie"}],"pages":[5201,5202],"source_attribution":"Jo de lymburgya","notes":[{"note":"Hymn text set as a motet. Hymn melody in T(?) and for Alleluia refrain marked 'Chorus semper respondens', presumably after every fourth stanza: 'Chorus alleluia' in I after stanza 4. Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018unus-chorus\u2019. NosowR: the cantus firmus and refrain come from a sequence found among later 15th-century additions to Vicenza, Seminario vescovile, MS U.VIII.11, ff. 16v-17 (see Cattin 1970a for contents; Bent 1995 for the core of the MS as Bartolomeo Rossi\u2019s bequest). NosowR clarifies the form: in Q15, the red bar lines in I show where to sing the refrain, the first time followed by \u2018chorus Alleluya\u2019. Lymburgia places the refrain after (4-line) strophes 2, 3, 5, 6, the Vicenza MS only after strophes 3 and 6. The Alleluya refrain itself is indicated at the very end of cantus I, signalled \u2018Corus semper respondens\u2019 in F3 clef, the T corresponding to the setting of the first two lines of the text (not four as in the Vicenza MS), presumably cueing the Alleluya refrain to be sung by all three parts.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6110,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5931\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"214v","folio_end":"215r","composition":"Nova vobis gaudia \/ noua","composers":[{"full_name":"Grenon, Nicolas (ca. 1375\u20131456)","url":"https:\/\/www.diamm.ac.uk\/people\/97\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 80-9"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 80-89"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (7), 31-33"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/7 #10"},{"prerendered":"Marix, Jeanne<\/a> (editor). 1937. Les musiciens de la cour de Bourgogne au XVe si\u00e8cle (1420-1467) : Messes, motets, chansons.<\/em>  Paris.","pages":"Edition: 233"},{"prerendered":"Marix, Jeanne<\/a> (editor). 1937. Les musiciens de la cour de Bourgogne au XVe si\u00e8cle (1420-1467) : Messes, motets, chansons.<\/em>  Paris.","pages":"Edition : 233-6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Noua vobis gaudia refero \r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Noua vobis gaudia refero \r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"noua"}],"pages":[5203,5204],"source_attribution":"grenon","notes":[{"note":"For Christmas, with 'Noel' refrain. T chant unidentified, but similar to 5th-mode Kyrie of Mass VIII (LU 37). Two identical T color statements, each consisting of two nearly identical taleas, over which the equal cantus parts (single text) present four isorhythmic statements. 2-note Amen outside this structure. See Cox 1977 I, 57-9, Allsen 1992, #119, and 44-5 on layout of T; No\u00ebl refrains at end of each talea, with overlapping rhythmic modules in all voices, very similar to those in the piece at f. 296v, Brassart's Gratulemur cristicole. Cumming 1999: \u2018French isorhythmic\u2019.","note_type":"General Note"},{"note":"No coloration. Red bars. T repeat signs.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6111,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5932\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"215v","folio_end":"217r","composition":"Pulcra es amica","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: 360"},{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: #20"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #30"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 258"},{"prerendered":"Lewis, Ann<\/a> (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs.<\/em> Antico Edition - Renaissance Church Music, vol. 3.  Newton Abbot.","pages":"Edition: #1"},{"prerendered":"Lewis, Ann<\/a> (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs.<\/em> Antico Edition - Renaissance Church Music, vol. 3.  Newton Abbot.","pages":"Edition: 2"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Pulcra es amica mea\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Pulcra es amica mea\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Pulcra"}],"pages":[5205,5206,5207,5208],"source_attribution":"Jo de lymburgia","notes":[{"note":"Text: Song of Songs 6: 3-9. Cantilena motet. Cumming 1999: \u2018cut-circle\u2019. Presumably excluded by Cox because text has liturgical status. Uses pasted capitals #62, #63.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars.Fermata at one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6112,"url":"https:\/\/www.diamm.ac.uk\/compositions\/98511\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"216v","folio_end":"217r","composition":"O pulcherrima mulierum","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #2"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #43-43bis, 269-72"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 269-271"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"O pulcerima mulierum"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"o pulcerima"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"dilectus"}],"pages":[5207,5208],"source_attribution":"Ar de lantinis","notes":[{"note":"Marian antiphon. Text: Song of Songs, adapted from 5: 9, 10, 13, 16. Cantilena motet. Cumming 1999: \u2018cut-circle\u2019. Presumably excluded by Cox because text has liturgical status. Apparently the basis for Arnold's mass cycle (Strohm 1990): see note on the Kyrie at f.172v. T in BU is divided up and texted.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas on 'filie Jerusalem'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6113,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5934\/?format=json","num_voices":"3","genres":["BVM","Motet","Salve Regina"],"folio_start":"217v","folio_end":"218r","composition":"Salve regina mater misericordiae","composers":[{"full_name":"Reson, Johannes","url":"https:\/\/www.diamm.ac.uk\/people\/272\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (2), 111-114"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"SAlue regina"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"salue"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"salue"}],"pages":[5209,5210],"source_attribution":"Jo reson","notes":[{"note":"Marian antiphon. BU lacks several portions near the end. See Cox 1982, 445-7. Presumably excluded by Cox 1977 because text has liturgical status. Cumming 1999: \u2018continental cantilena\u2019; 131 observes chant paraphrase in bars 1-8. ","note_type":"General Note"},{"note":"Void coloration. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6114,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6203\/?format=json","num_voices":"4","genres":["Lauda"],"folio_start":"217v","folio_end":"218r","composition":"In natali Domini Vs. Virgo mater peperit","bibliography":[{"prerendered":"Besseler, Heinrich<\/a>. 1952. The Manuscript Bologna Biblioteca Universitaria 2216. Musica Disciplina,<\/em> 6: 39-65.","pages":"Edition: version 324, Tr87 327-8,"},{"prerendered":"White, Richard James<\/a>. 1975. The Battre Section of Trent Codex 87. Indiana University, Unpublished Ph.D. dissertation.","pages":"Edition: (2), 5"},{"prerendered":"Wolf, Johannes<\/a>. 1923), second, un-revised edition (B\u00fcckeburg und Leipzig: Kistner and Siegel 1927. Musikalische Schrifttafeln f\u00fcr den Unterricht in der Notationskunde.<\/em>  Leipzig.","pages":"Edition: pl. 58 (facs. of f. 24)"},{"prerendered":"Cattin, Giulio<\/a>. 1968. Le composizioni musicali del ms. Pavia Aldini 361. L'Ars Nova italiana del Trecento,<\/em> 2 [Convegni di Studio 1961-1967] : 1-21.","pages":"Edition: 15"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 324-329"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 325-6"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Jn natali dominj\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Jn natale domini\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Jn nataly domini"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"Jn nataly domini"}],"pages":[5209,5210],"notes":[{"note":"Refrain precedes strophe (\u2019Virgo mater\u2019). Settings of the same texts with similar musical incipits are in sources in Hradec Kralov\u00e9 and Brussels: see Diederichs 1986, 126-32. Late stage-III addition (fine pen).","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6115,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5936\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"218v","folio_end":"219r","composition":"O lux et decus \/ Amen","composers":[{"full_name":"Lantins, Hugo de (fl. 1420-30)","url":"https:\/\/www.diamm.ac.uk\/people\/277\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: (2), 55"},{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II 55, #26"},{"prerendered":"Allsen, Jon Michael<\/a>. 1993. Intertextuality and Compositional Process in Two Cantilena Motets by Hugo de Lantins. Journal of Musicology,<\/em> 11: 174-202.","pages":"Edition:"},{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #6"},{"prerendered":"Allsen, Jon Michael<\/a>. 1992. Style and Intertextuality in the Isorhythmic Motet, 1400\u20131440. University of Wisconsin-Madison, Ph.D. diss.","pages":"Edition: 197-198"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"O lux et decus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"o lux et decus"},{"voice_type":"Tenor","languages":["Latin","Hebrew"],"clef":"c3","voice_text":"Amen"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"o lux et decus"}],"pages":[5211,5212],"source_attribution":"hugo (added) de lantinis","notes":[{"note":"Text is an antiphon from a rhymed Office for St James the Great (variant form in AH 26, 129-31). Presumably excluded by Cox because text has liturgical status. Allsen 1993 reports how this motet was adapted and partly recomposed from the BU Christus vincit, set as laudes for the Doge Francesco Foscari, therefore not before April 1423. Cumming 1992, 346-53 discusses the three Foscari motets (including #206 and Christus vincit). Cumming 1999: \u2018cut-circle\u2019. Major prolation becomes tempus perfectum; the void breves of BU's second half in v become, in Q15, normal breves in c. Despite anomalies and contratenor revision in the BU copy, Allsen argues that it fits the laudes text better. He leaves open the question whether Hugo was also responsible for this revision as well as the original version. There is no obvious reason why a Foscari version should have been suppressed for Q15, as it contains other music for that doge (ff. 242v, 250v).Imitative cantilena motet. 2-note Amen. Uses pasted capital #64.","note_type":"General Note"},{"note":"Christus vincit (in BU2216) re-worked here as O lux et decus","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6116,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6327\/?format=json","num_voices":"3","genres":["Ave Maria","Motet"],"folio_start":"219v","folio_end":"220r","composition":"Ave mater o Maria","composers":[{"full_name":"Sarto, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/166\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 89-97"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 89-97"},{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #21"},{"prerendered":"Cumming, Julie Emelyn<\/a>. 1999. The Motet in the Age of Du Fay.<\/em>  Cambridge.","pages":"Edition: 106-7"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Ave mater o maria"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"tu in vale delictorum\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"salue virgo\r"}],"pages":[5213,5214],"source_attribution":"Johannes de sarto","notes":[{"note":"To the Virgin Mary. Cantilena motet, florid style, similarities with Brassart, O flos fragrans (f.293v) (Peter Wright, New Grove II), which was copied later into Q15. Nosow 1992, 167 observes (citing Kurt von Fischer) that the first two lines quote a well-known lauda; he also compares the opening to that of Te dignitas presularis (f. 295v). See Cox 1977 I, 59-62, who observes that both uncut and cut signatures have the L-B coloration 'normally' associated with \/x. Cumming 1999: \u2018cut-circle\u2019, and see 105-8; the change of mensuration comes at a different point in I. Such pieces offer some support for my arguments (Bent 1996a and subsequently) that cut signs do not necessarily prescribe diminution at this date. Final cadence divisi creates an interesting clash with T; Ct differs strongly from Tr92. Uses pasted capital #65. See WrightP 1992.","note_type":"General Note"},{"note":"(Ct last phrase only texted \/ Ten partial text)","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Void minim triplets. Red bars. Fermatas on 'Salve virgo' and inconsistently for final cadence which also has void divisi in I.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6117,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5938\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"220v","folio_end":"221r","composition":"Descendi in ortum meum \/ partial text","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: #23"},{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: 376"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 253"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #29"},{"prerendered":"Lewis, Ann<\/a> (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs.<\/em> Antico Edition - Renaissance Church Music, vol. 3.  Newton Abbot.","pages":"Edition: #2"},{"prerendered":"Lewis, Ann<\/a> (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs.<\/em> Antico Edition - Renaissance Church Music, vol. 3.  Newton Abbot.","pages":"Edition: 7"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c3","voice_text":"DEscendi in ortum meum"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"f4","voice_text":"et germinassent mala punica"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f4","voice_text":"Reuertere Reuertere Alleluya"}],"pages":[5216,5217],"source_attribution":"Johannes de lymburgia","notes":[{"note":"Text: Song of Songs 6: 10, 12 (used as a processional antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018continental cantilena; cut-circle\u2019; 131 observes that parts of the chant are paraphrased in I. Uses pasted capitals #66, #67.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas on 'Alleluya'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6118,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5939\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"220v","folio_end":"221r","composition":"Spes nostra salus","composers":[{"full_name":"Bodoil, Jo.","url":"https:\/\/www.diamm.ac.uk\/people\/309\/?format=json","uncertain":true},{"full_name":"Power, Leonel (\u20131445)","url":"https:\/\/www.diamm.ac.uk\/people\/111\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Hamm, Charles E<\/a> (editor). 1969-. Leonel Power: Complete Works.<\/em> Corpus mensurabilis musicae, vol. 50.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: 12-13"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 50\/1 #9"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Spes nostra "},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"spes nostra "},{"voice_type":"Tenor","languages":["Latin"],"clef":"c5","voice_text":"spes nostra "}],"pages":[5216,5217],"source_attribution":"de anglia","notes":[{"note":"Text: Trinity antiphon. Presumably excluded by Cox because text has liturgical status. Attributed to Power by Hamm 1968. This short, straightforward setting has no changes of scoring. 'English cantilena' (Cumming 1999). Some stage-III paper is anticipated in stage II; this, like the following two pieces, is a stage-II copy, with 9 staves, roman foliation. Darker ink than the preceding piece.","note_type":"General Note"},{"note":"Void coloration for imperfection and sesquialtera. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6119,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6417\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"221v","folio_end":"222r","composition":"Benedicta es caelorum regina","composers":[{"full_name":"Power, Leonel (\u20131445)","url":"https:\/\/www.diamm.ac.uk\/people\/111\/?format=json","uncertain":true},{"full_name":"Anglia, Robertus de (fl. 1454-74)","url":"https:\/\/www.diamm.ac.uk\/people\/2407\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 81"},{"prerendered":"Hamm, Charles E<\/a> (editor). 1969-. Leonel Power: Complete Works.<\/em> Corpus mensurabilis musicae, vol. 50.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: 25-27"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 50, I"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"BEnedicta es celorum regina \r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"benedicta\r\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c5","voice_text":"benedicta"}],"pages":[5218,5219],"source_attribution":"de anglia","notes":[{"note":"Sequence text. Chant in middle voice, called 'Contratenor' in non-English sources. 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Duet for I and T ('Tu preclara') marked unus in I only; Ct has 'duo' instead of rests; final duet ('Per illud') not so signalled. Attributed to Power by Hamm 1968. The Continental sources set 'Benedicta' a3, 'Tu preclara' a2, omit 'Te Deus', set 'Sanctificant' a3, 'Per illud' a2, and omit the final 'Nunc mater', which must have been a3. The English source in poorly-aligned score also omits the final section but misplaces a setting of 'Te Deus' a2 at this point, before a missing folio. Transmission problems in this piece may be due both to copying from the unfamiliar format of score, and to anomalies in the English sources. For the transmission see WrightP 1989, 227-30. Although partly on paper III, this, like the pieces preceding and following, is a stage-II copy, with pasted capitals. Uses pasted capital #68. Some stage-III paper is anticipated in stage II.","note_type":"General Note"},{"note":"Void coloration for imperfection, sesquialtera, minim triplets. Flagged semiminims. Red bars. Fermatas for 'Ave' only.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6120,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5941\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"222v","folio_end":"222v","composition":"Martires Dei incliti \/ Martires Dei incliti","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 98-100"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 98-100"},{"prerendered":"Bent, Margaret<\/a>. 2003. Musicisti vicentini intorno al vescovo Pietro Emiliani. Quattrocento Vicentino. La Dedizione alla Serenissima tra Musica Cronaca e Storia,<\/em> edited by Margaret Bent<\/a>,  Vicenza: Conservatorio di Musica di Vicenza.","pages":"Edition:"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #39"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 311"},{"prerendered":"Gallo, Franco Alberto<\/a>, and Giovanni Mantese<\/a>. 1964. Ricerche sulle origine della cappella musicale del duomo di Vicenza.<\/em>  Venice.","pages":"Edition: 80-2, with facs"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Martires dei incliti"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Martires dei incliti"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Martires dei incliti"}],"pages":[5220],"source_attribution":"lymburgia","notes":[{"note":"In honour of SS Leuntius and Carpophorus, patron saints of Vicenza (20 August). See Cox 1977 I, 62-5, with discussion of whether cut or uncut time is intended; as elsewhere, diminution cannot be objectively verified. Cumming 1999: \u2018cut-circle\u2019. On the last page of the gathering; f. R207 is blank. This is classed as an early stage-III copy, on the stage-III paper anticipated before the stage-II foliation was entered. Unlike preceding two pieces, it has no use of red.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6121,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5942\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"223v","folio_end":"224r","composition":"Congruit mortalibus (partially texted)","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 101-109"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 315"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Congruit mortalibus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Mortalibus plurimum"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Congruit mortalibus"}],"pages":[5222,5223],"source_attribution":"lymburgia","notes":[{"note":"For Giovanni Contarini, named as patriarch of Constantinople in 1409 by Gregory XII (who preceded him as patriarch), d. 1451. He studied at Oxford 1392-1398\/9, Paris 1400-9, and was a brother-in-law of Pietro Emiliani, Bishop of Vicenza, whose deceased wife had been Contarena Contarini. See Cox 1977 I, 66-9. 2-note Amen. Cumming 1999: \u2018cut-circle\u2019. Late stage-III script (fine pen).","note_type":"General Note"},{"note":"Void coloration and semiminims. Fermatas for 'O', 'Johannes Contarine', 'Amen', two cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6122,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5943\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"224v","folio_end":"226r","composition":"Salve vere gratialis \/ Salve vere gratialis","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 110-121"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Salve vere gracialis"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"salue"}],"pages":[5224,5225,5226,5227],"notes":[{"note":"For Antonio Corario (Correr), nephew of Gregory XII, cardinal 1408; he replaced Pietro Marcello as bishop of Ceneda when Marcello moved to Padua 1409. Died by 31 March 1445. Martini annotates this: 'Ant Corario Cardinale\/creato nel 1408 \/mor\u00ec nel 1445'. See Cox 1977 I, 69-76, for tentative attribution to Lymburgia, on grounds of style, and placing between two Lymburgia works, a suggestion originally made by Gaspari ('Lyburgia'). Cumming 1999: \u2018cut-circle\u2019. Late stage-III script (fine pen).","note_type":"General Note"},{"note":"No coloration. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6123,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5944\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"226v","folio_end":"227r","composition":"In hac die celebri","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 122-125"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 304"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Jn hac die celebri"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c5","voice_text":"Jn hac die celebri"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c5","voice_text":"Jn hac die celebri"}],"pages":[5228,5229],"source_attribution":"lymburgia","notes":[{"note":"On St George. Note the unusual combination of flat signatures, here with F (not bb) final. See Cox 1977 I, 76-8. Cumming 1999: \u2018cut-circle\u2019.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6124,"url":"https:\/\/www.diamm.ac.uk\/compositions\/113458\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"227v","folio_end":"228r","composition":"Haec dies quam fecit","voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Hec dies Quam fecit"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c5","voice_text":"Quam fecit dominus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c5","voice_text":"Quam fecit dominus"}],"pages":[5231,5232],"notes":[{"note":"Easter Gradual. Chant paraphrased in I, intonation in void notes. Presumably excluded by Cox because text has liturgical status. New Grove II (article by Bent) notes that this is attributed to Lymburgia by modern scholars, but I cannot now trace the source of this claim. The piece should therefore remain anonymous, though it follows a series of works by, or probably by, Lymburgia. Late stage-III script (fine pen). Cumming 1999: \u2018borderline\u2019.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6125,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5946\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"228v","folio_end":"229r","composition":"Descendi in ortum \/ poma convallium si floruissent","bibliography":[{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: 344"},{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: #16"},{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #15"},{"prerendered":"Nosow, Robert<\/a>. 1992. The Florid and Equal-Discantus Motet Styles of Fifteenth-Century Italy. University of North Carolina, Ph.D.","pages":"Edition: 357-62, without Ct"},{"prerendered":"Nosow, Robert<\/a>. None. Ritual Meanings in the Fifteenth-Century Motet.<\/em>","pages":"Edition: 357"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"descendi in ortum meum"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"descendi in ortum meum"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"poma conualium si floruissent\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Reuertere"}],"pages":[5233,5234],"notes":[{"note":"Text: Song of Songs 6: 10, 12 (used as a processional antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018devotional double-discantus\u2019. Ct expendable and probably later. Late stage-III script (fine pen). Nosow 1992, 64-6 suggests possible authorship of C. de Monte.","note_type":"General Note"},{"note":"No coloration. Fermatas. Extra (9th) stave on recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6126,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6733\/?format=json","num_voices":"3","genres":["Alma redemptoris mater","BVM","Motet"],"folio_start":"229v","folio_end":"230r","composition":"Alma redemptoris mater (IJD3) II: Tu que genuisti III: Virgo prius ac posterius","composers":[{"full_name":"Dunstaple, John (ca. 1390\u20131453)","url":"https:\/\/www.diamm.ac.uk\/people\/3\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 51-52"},{"prerendered":"Hamm, Charles E<\/a> (editor). 1969-. Leonel Power: Complete Works.<\/em> Corpus mensurabilis musicae, vol. 50.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: 28-30"},{"prerendered":"Lewis, Anthony<\/a> (editor). 1951-. Musica Britannica: A National Collection of Music.<\/em>  London.","pages":"Edition: 106-107"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Alma redemptoris mater"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Alma"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Alma"}],"pages":[5235,5236],"source_attribution":" leonelle [indexer]","notes":[{"note":"Publ. cf. AOs n\u00b0 137Marian antiphon. Free chant paraphrase, mostly in I. 'Binchois' deleted and replaced by the indexer with 'Leonelle', yet another Binchois\/English confusion (see Beata Dei at f. 311v). Duet ('Tu que') I and T (Ct rests). 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Late stage-III script (fine pen).","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6127,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5948\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"230v","folio_end":"231v","composition":"Gaude virgo mater Christi II: Gaude Christo ascendente","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (5), 1-4"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #1"},{"prerendered":"Nosow, Robert<\/a>. 1992. The Florid and Equal-Discantus Motet Styles of Fifteenth-Century Italy. University of North Carolina, Ph.D.","pages":"Edition: 369-75 (without Ct)"},{"prerendered":"Nosow, Robert<\/a>. None. Ritual Meanings in the Fifteenth-Century Motet.<\/em>","pages":"Edition: 369"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Gaude virgo mater"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Gaude virgo mater"},{"voice_type":"Contratenor","languages":["none"],"clef":"c6"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5237,5238,5239],"source_attribution":"du fay","notes":[{"note":"Text is (sometimes) a sequence for the feast of the Seven Joys; see Planchart 1988b. Published as a sequence by Besseler in CMM 1, though through-composed, set as a cantilena motet. No chant used. Ct in both sources inessential and possibly inauthentic. See Nosow 1997, 112-16. Cumming 1999: \u2018devotional double-discantus\u2019. Late stage-III script (fine pen). '6 righe' annotation (Gaspari?)","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. 6-line Ct on ff. A231r, 232r (not by DuFay; possibly 'Righe' is a composer attribution? - C. Goldberg)","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16854,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22968\/?format=json","num_voices":"2","genres":["Lauda"],"folio_start":"231v","folio_end":"232r","composition":"Dilectoza cortesia","bibliography":[{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 304-5"}],"voices":[{"voice_type":"I","languages":["Italian"],"clef":"c2","voice_text":"Dilectoza cortesia"},{"voice_type":"II","languages":["Italian"],"clef":"c2","voice_text":"Dilectoza cortesia"}],"pages":[5239,5240],"notes":[{"note":"Italian lauda\/strambotto. Strophe in [x], preceding refrain ('Sancto Jesu amore', with fermatas), then continuing in \/x. See Diederichs 1986, 99-101. Late stage-III script (fine pen).","note_type":"General Note"},{"note":"No coloration. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6128,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5949\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"232v","folio_end":"233r","composition":"Gaude tu baptista \/ Gaude tu baptista","composers":[{"full_name":"Benoit (de Sirede)","url":"https:\/\/www.diamm.ac.uk\/people\/373\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 126-136"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (3), 98-102"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"GAude tu baptista cristi"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"dum non natus extitisti"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"GAude tu baptista cristi"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"dum non natus extitisti"}],"pages":[5241,5242],"source_attribution":"fuga sex temporum Benenoit","notes":[{"note":"John the Baptist, sequence text (AH 39, 173, from Cambrai missals). Anderson (in progress) addresses the theological symbolism of this work and suggests a scribal pairing with the preceding Du Fay motet (f.230v) on the source sequence (Gaude virgo mater Christi), an example of the scribe's habit of pairing or grouping works. In the opening duet, II is derived canonically from I (signum, and 'fuga sex temporum' indication); rests in II, which, however, could easily complete the canon in this equal-cantus motet (as in the pieces at ff.247v, 269v, 276v, 292v). Texted introductory duet is self-contained, demarcated with fermata; rests in T, Ct are repeated before color 2; the Amen also is within the structure. Each talea is prefaced by a texted duet for I and II, the first in canon, the second free. T, Ct are isorhythmic, 1 color, 2 taleas; upper parts not. The combination of isorhythm and canon is quite rare. See Cox 1977 I, 78-80, Allsen 1992, #67. Cumming 1999: \u2018French isorhythmic\u2019. Late stage-III script (fine pen).","note_type":"General Note"},{"note":"Void coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6129,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5950\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"233v","folio_end":"234r","composition":"Ave Jesu Christe","voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Aue yhesu criste"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Aue yhesu criste"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Aue yhesu criste"}],"pages":[5243,5244],"notes":[{"note":"Music for the duos is presented successively (implying divisi) within I; T and Ct participate only in chorus. The scribe might have presented this as an a versi piece had it been in stage I; see Bent 2004b. The resulting length of part I requires its continuation on the recto, with T and Ct compactly beneath. Lauda text? Cumming 1999: \u2018unus-chorus\u2019. Late stage-III script (fine pen).","note_type":"General Note"},{"note":"Void coloration. Extra (9th) stave on recto at stage III.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6130,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5951\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"234v","folio_end":"235r","composition":"Tota pulchra es amica mea et macula","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: 366"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 279"},{"prerendered":"Lewis, Ann<\/a> (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs.<\/em> Antico Edition - Renaissance Church Music, vol. 3.  Newton Abbot.","pages":"Edition: 13"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Tota pulcra es"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Tota pulcra es"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"veni veni veni veni\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"veni venj venj"}],"pages":[5246,5247],"source_attribution":"lymburgia","notes":[{"note":"Text: Song of Songs, adapted from 4: 7, 1, 6: 4, 6, 7: 11, 4: 7 (used as a processional antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Untexted introductory duet (not a melisma on the opening syllable), not demarcated from body of motet, wide-spaced echo imitation, in fact a written-out canon. Cumming 1999: \u2018devotional double-discantus\u2019. Late stage-III script (fine pen).","note_type":"General Note"},{"note":"No coloration. Void semiminims. Fermatas for 'Veni'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6131,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5952\/?format=json","num_voices":"3","genres":["Lauda"],"folio_start":"235v","folio_end":"235v","composition":"Imnizabo regi meo","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: 2), 340"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 340-341"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Jmnizabo regi meo \r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Jmnizabo regi"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Jmnizabo"}],"pages":[5248],"source_attribution":"lymburgya","notes":[{"note":"Refrain ('Imnizabo') precedes strophe ('Eya ergo'); refrain repeat specified after each of 17 stanzas. 2 stanzas underlaid, 15 more beneath. The last 2 text stanzas continue on f. R207 recto, confirming that gathering XX was already situated here during and not after copying; this is the only case, small but telling, where a stage-III gathering is bridged to the existing manuscript. See Diederichs 1986, 140-3. Late stage-III script (fine pen).","note_type":"General Note"},{"note":"No coloration. One void semiminim.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6132,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5953\/?format=json","num_voices":"3","genres":["Motet","Regina caeli laetare"],"folio_start":"236r","folio_end":"236r","composition":"Regina caeli laetare","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #17"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 153"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"REgina celi letare "},{"voice_type":"Tenor","languages":["Latin"],"clef":"f2","voice_text":"letare "}],"pages":[5249],"source_attribution":"Jo de lymburgia","notes":[{"note":"Marian Antiphon. Chant AR 57 (transposed) in I, with intonation (black notation). Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018continental cantilena\u2019. Copied (or at least attributed) after foliation, therefore possibly one of the latest pieces to have a pasted capital. Uses pasted capital #69 for T. The 'R' is drawn on the page, approaching the style of the stage-I capitals, perhaps for the start of this gathering.","note_type":"General Note"},{"note":"No coloration. Flagged semiminims. Red bars. Fermatas on intonation and one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6133,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5954\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"236v","folio_end":"237r","composition":"Missus est Gabriel angelus ad Mariam","composers":[{"full_name":"Rubeus, Petrus","url":"https:\/\/www.diamm.ac.uk\/people\/465\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (5), 96-98"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/5, 96-8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"MIssus est Ad mariam"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"GAbriel Angelus Ad mariam"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"missus desponsatam"}],"pages":[5250,5251],"source_attribution":"P. Rubeus","notes":[{"note":"Equal-cantus Italian motet with echo imitation at beginning. The two texts (essentially the same but with a differing central portion) blend the texts of two responsories (not antiphons, as previously thought), both prescribed for the Annunciation and for Advent: 'Missus est Gabriel angelus' (CAO 7170) and 'Suscipe verbum virgo Maria' (CAO 7744), making 'a polyphonic, texturally elaborate paraphrase of Luke I:26-32'; see the analysis and extensive discussion of context in Rothenberg 2004, also Nosow 1997, 116, who also reports (from PesceL 1987, I, 74-7) a confraternity-sponsored Annunciation procession in Treviso, where Rubeus\/Rosso was active (variously as singer, canon and magister scolarum) between 1417 and his death in 1449 (details in Nosow, New Grove II), and a 1443 document citing a performance in procession of what must be this piece: 'et a messer pre piero rosso f\u00e9 el canto se canta in +[croce] di via: missus est angelus Gabriel'. The motet was sung in the Annunciation procession at least in 1443, 1444 and 1447 (NosowR). On the confraternity see also Bryant\/Pozzobon 1995, 49-52. For further discussion see Owens 2008, who cites (from PesceL 1987, II 597) Rosso's obligation in 1438 to teach a group of boys the \u2018canto del agnol e de la Maria\u2019, not the motet, but rather the play performed by boys in the Cathedral later that day. Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018Italian\u2019. Uses pasted capitals #70, #71, #72. Given Rosso's likely birthdate c. 1393, the pasted M (#70) could possibly represent a stage-I copy of this motet.","note_type":"General Note"},{"note":"Void coloration and triplets. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16855,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22969\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"237v","folio_end":"238r","composition":"Vergine bella","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/6 #5;"},{"prerendered":"Lisio, Giuseppe<\/a>. 1893. Una stanza del Petrarca musicata dal Du Fay tratta da due codici antichi e le poesie volgari contenute in essi.<\/em>  Bologna.","pages":"Edition: (from BU) and many early editions"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 1\/24"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Virgene bella"},{"voice_type":"Contratenor","languages":["insufficient","Italian"],"clef":"c4","voice_text":"(partially texted)"},{"voice_type":"Tenor","languages":["insufficient","Italian"],"clef":"c4","voice_text":"(texted in sections 2 and 3)"}],"pages":[5252,5253],"source_attribution":"du fay","notes":[{"note":"One of very few Petrarch settings before the late 15th century (others are by Ludovico de Arimino, Jacopo da Bologna). See Pirrotta 1966. The canzone form is rarely set to music, but presented as a motet (Planchart 1988b, Bent 1980b); Nosow 1992, 259-69 discusses the verse form, cites Carducci for lauda connections, and notes that O invidia and Passato \u00e8 il tempo are other capoversi from Petrarch's Canzoniere. Fallows 1995a cites 'Sacrosancta immortale et degna spina' by Jacopo Brachali pistoiese (Vatican, Rossi 424 f. 208). Cumming 1999: \u2018cut-circle\u2019; 119-22 notes similarities to Du Fay\u2019s balades Mon chier amy, Resvelli\u00e9s vous, C\u2019est bien raison, and Grossin\u2019s Imera dat hodierno. Bujic 1991 addresses some difficulties Trecento composers might have had in setting the canzone form and shows how Dufay structured his setting according to the form of Petrarch's stanza. Petrarch's obsequies were observed annually by the Padua Chapter on 20 July. Bent 1999 suggests the 50th anniversary of his death in 1424 as a possible occasion for composition of this unusual text; the last (366th) canzone of the Canzoniere; 1424 was a leap year. Uses pasted capitals #73, #74. Pasted capital #72 almost certainly attests its presence in stage I, but with no obvious scope or reason for change. Martini annotates this: 'Le parole sono del Petrarca Canz. XLIX [sic]\/mor\u00ec nel 1374'.","note_type":"General Note"},{"note":"(partially texted: in sections 2 and 3)","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Fermatas at one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6134,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5955\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"238v","folio_end":"239r","composition":"Tota pulchra es amica mea et macula II: Flores apparuerunt","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #1C"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 262-266"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: #41, 262-6"},{"prerendered":"Cumming, Julie Emelyn<\/a>. 1999. The Motet in the Age of Du Fay.<\/em>  Cambridge.","pages":"Edition: 128-9 (from BU"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Tota pulcra es"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Tota pulcra es"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"flores veni de lybano veni"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5254,5255],"source_attribution":"Ar de lantinis","notes":[{"note":"Text: Song of Songs, adapted from 4: 7, 1, 6: 4, 6, 7: 11, 4: 7 (used as a processional antiphon for Marian feasts). Cadential sketch on last stave, void notation with black coloration, possibly a variant for voice II, which cadences above I. Presumably excluded by Cox because text has liturgical status. Cumming 1999, 127-31: \u2018cut-circle; declamation; double discantus\u2019. Ox and BU are a3 with I, Ct, T. Only Q15 and MuEm are a4 with a second cantus that was clearly added to that texture; anomalies pointed out by Nosow 1992, 131-7. Uses pasted capital #75.","note_type":"General Note"},{"note":"Void coloration and minim triplets. Red bars. Fermatas at one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6135,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6301\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"239v","folio_end":"240r","composition":"Imera dat hodierno","composers":[{"full_name":"Grossin, Estienne","url":"https:\/\/www.diamm.ac.uk\/people\/167\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 137-142"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (14\/15) 208-209"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: 59-61"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Imera dat hodierno"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Jmera dat hodierno\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Jmera dat hodierno\r"}],"pages":[5256,5257],"source_attribution":"grosin","notes":[{"note":"On the Holy Spirit. Through-composed. See Cox 1977 I, 80-1. Cumming 1999: \u2018cut-circle; declamation\u2019. Uses pasted capital #76.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6136,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5957\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"240v","folio_end":"241r","composition":"Surge propera","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: 371"},{"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","pages":"Edition: #22"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 271"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #31"},{"prerendered":"Lewis, Ann<\/a> (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs.<\/em> Antico Edition - Renaissance Church Music, vol. 3.  Newton Abbot.","pages":"Edition: #3"},{"prerendered":"Lewis, Ann<\/a> (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs.<\/em> Antico Edition - Renaissance Church Music, vol. 3.  Newton Abbot.","pages":"Edition: 10"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Surge propera"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Surge propera"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"flores vox turturis audita"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"surge \r"}],"pages":[5258,5259],"source_attribution":"Jo de lymburgia","notes":[{"note":"Text: Song of Songs 2: 10-13. Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018cut-circle; devotional double-discantus\u2019.","note_type":"General Note"},{"note":"No coloration. Red bars. Fermatas at one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6137,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5958\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"241v","folio_end":"242r","composition":"Puer natus in Bethlehem","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 230"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: #26"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Puer natus in bethlelem\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Puer natus in bethlelem\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"puer natus in bethleem\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"puer natus\r"}],"pages":[5260,5261],"source_attribution":"Jo de lymburgia","notes":[{"note":"Hymn text set as motet, equal cantus parts. No chant. Presumably excluded by Cox because text has liturgical status. Duet ('unus') for 'Trino uno sempiterno' only. Cumming 1999: \u2018devotional double-discantus\u2019. Uses pasted capital #77.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6138,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5959\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"242v","folio_end":"243r","composition":"Carminibus festos \/ O requies populi","composers":[{"full_name":"Romanus, Antonius","url":"https:\/\/www.diamm.ac.uk\/people\/278\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 143-154"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (6), 171-177"},{"prerendered":"[No Author] 1931-. Acta Musicologica.<\/em>  International Musicological Society .","pages":"Edition: (Mon.Ven.Sac.1), 7;"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"CArminibus festos"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"O requies populi"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"dux ventum francisce"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5262,5263],"source_attribution":"Antonius Romanus","notes":[{"note":"For Francesco Foscari as doge, elected 15 April 1423. Celebrations on 23 April (St George's day), with which this may be associated; reference to 'turba' in II. See Cumming 1987, 308-19, Cumming 1992, 342-6. Text in hexameters. Equal-cantus. Cumming 1999: \u2018Italian\u2019. Ct would not have fitted on one opening with stage-I spacing, and may therefore have been added if this was a recopy. Cumming 1999 judged the Ct to be essential, on the basis of two pitch errors in Q15 (corrected in Reaney); but as in all other motets of this type it is grammatically inessential. Two sections, each of which moves from \/x to c in I, II over ,c andc in T, Ct (inequality); possible notational translation of I, II from ,c with minim equivalence. Rhythmically identical in T, Ct (variations in cantus rhythms to accommodate text). ,cSee #215, #181 and Cox 1978 , 81-6, Allsen 1992, #130.","note_type":"General Note"},{"note":"Void coloration. Red bars. Extra (10th) stave on both pages.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6139,"url":"https:\/\/www.diamm.ac.uk\/compositions\/98516\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"243v","folio_end":"244r","composition":"Ave gemma claritatis","composers":[{"full_name":"Lantins, Hugo de (fl. 1420-30)","url":"https:\/\/www.diamm.ac.uk\/people\/277\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 155-163;"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 155-63"},{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #4"},{"prerendered":"Nosow, Robert<\/a>. 1991. The Equal-Discantus Motet Style after Ciconia. Musica disciplina,<\/em> 45: 221-75.","pages":"Edition: 270-5"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Ave gemma claritas"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Ave gemma claritas"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"katerina virgo felix "},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5264,5265],"source_attribution":"hugo de lantinis","notes":[{"note":"Text based on two antiphons from a rhymed Office for St Catherine, Ave gemma claritatis (entire) and the last four lines of Inclita sancte virginis. Equal-discantus motet supported by T with inessential Ct. Introductory duet in wide-spaced non-overlapping echo imitation recites the same words and music to different T and Ct lines (as in some Ciconia motets) but with different melismatic cadences (ouvert\/clos). Discussed in Nosow 1991, 251\u20134. See Cox 1977 I, 87-90, Allsen 1993. Cumming 1999: \u2018devotional double-discantus\u2019. Uses pasted capital #78.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6140,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5961\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"244v","folio_end":"245r","composition":"O felix flos florencia \/ O felix flos florencia \/ texted only in final section","composers":[{"full_name":"Cividale, Antonius de","url":"https:\/\/www.diamm.ac.uk\/people\/162\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 164-73 (correcting error in Reaney, bar 83)."},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 164-173"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (5), 25-28"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/5, 25-8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"O felix flos florencia\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"GAude felix dominice\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"o felix flos florencia\r"}],"pages":[5266,5267],"source_attribution":"Fr. Antonius de civitato","notes":[{"note":"For Florence, and Leonardo Dati, Minister General of the Dominicans, 1414. Izbicki 2000, 174-5: Dati\u2019s sermon texts contain numerous references not only to patristic texts but also to classical texts and even some early figures of Renaissance humanism, including Petrarch and Boccaccio. Equal-cantus Italian motet with free accompanying T. Cumming 1999: \u2018Italian\u2019. All three parts join in the opening imitation See Cox 1977 I 91-3. Uses pasted capitals #79, #80. ","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6141,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6074\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"245v","folio_end":"247r","composition":"Ad honorem sancte trinitatis","composers":[{"full_name":"Grenon, Nicolas (ca. 1375\u20131456)","url":"https:\/\/www.diamm.ac.uk\/people\/97\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 174-187"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: 18-24"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 203-214"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"AD honorem sancte trinitatis\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"OElorum regnum supernum\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"ad honorem sancte trinitatis "},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5268,5269,5270,5271],"source_attribution":"grenon","notes":[{"note":"For All Saints, Trinity. T, labelled only in Ox but not Q15, 'Isti semper celestibus', is unidentified, but similar to 'Homo quidam' (AM 1189). Introductory duet with wide-spaced echo imitation, equal cantus parts, melismatic on opening syllable, not self-contained, a lengthy written-out canon for I and II, outside the structure. Essential Ct. The perfect-modus T, on one opening in Ox, is there marked 'cise per [medium]' for the second statement, which in Q15 is rewritten on the second opening with \/x. Ct in Q15 ('ut iacet') has repeat signs and is not recopied on the next opening. In fact T and Ct (despite 'Canon dicitur ut iacet') are notated to fit the written values of the second statement, with perfect modus and tempus for all parts. The first statement is also in perfect modus but must be read in augmentation in relation to the upper parts, of which two perfect breves relate to one T breve (2:1). Each T and Ct statement contains two isorhythmic taleas, which correspond to strict upper-part isorhythm, 2 statements within each section. In both sources the upper parts continue across the T repeat with no change of signature. The versions of Q15 and Ox have very closely related readings. Closely related in form to Du Fay's O gemma, lux et speculum; Allsen 1992, 280-1 suggests that Grenon's motet may have been a direct compositional response to Du Fay's. See Cox 1977, I 94-101, Allsen 1992, #117. Cumming 1999: \u2018French isorhythmic\u2019. Uses pasted capitals #81, #82.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6142,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5963\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"246v","folio_end":"247r","composition":"Ave verum corpus","composers":[{"full_name":"Reson, Johannes","url":"https:\/\/www.diamm.ac.uk\/people\/272\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (2), 114-116"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Ave verum corpus natum\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Aue verum corpus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Aue verum corpus natum"}],"pages":[5270,5271],"source_attribution":"Jo Reson","notes":[{"note":"Hymn text set as a motet. On the body of Christ. Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018borderline\u2019. Uses pasted capital #83.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6143,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6057\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"247v","folio_end":"249r","composition":"Sancte Sebastiane","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 188-202"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition:(1), 24-29"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1,2), 17-22"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"SAncte sebastiane \r"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"O Martir sebastiane\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"O quam mirram refulsit gracia\r"},{"voice_type":"Tenor","languages":["Hebrew"],"clef":"c4","voice_text":"Amen"}],"pages":[5272,5273,5275],"source_attribution":"du fay","notes":[{"note":"Invocation to St Sebastian against plague, possibly that in Padua of 1426-8. Erroneously dated 1437 by De Van (edition 1948, I.xiv); Besseler 1958 proposed 1429, when Du Fay was in Rome, corroborated by Hamm 1964, 41, noting plague outbreak in Rome that year; Besseler's edition later suggests 1420-6, Du Fay's Malatesta period. De Van discovered that the two cantus texts (like those of the pieces at ff. 212v, 289v) derive from the asymmetrical division of a longer poem, also that the Ct text was known. PlanchartO: the texts consist of two rhymed prayers found in numerous breviaries, collectaneae, and books of hours. See AH 33, ##191-2, RH III # 13708, and vol. V. I uses the first 29 and II the last 12 verses of one prayer, the Ct a second prayer in its entirety.) Q15 lacks 'O' for voice I, present in Ox. Texted canonic introductory duet notated within I, with signum; II has rests, though it could easily complete the canon of this equal-cantus motet (as in the pieces at ff. 232v, 269v, 276v292v). Two statements of the long T color, notated identically on both openings,both in major modus, but in ,x then \/x, the mensural shift affecting only the single pair of minims in each talea. Each color contains three taleas, nearly isorhythmic in all parts within each color. No change of Ct mensuration confirms that the \/x of the other parts for color 2 ('Amen') equates their S to its M, therefore that the T repeat is diminished to a third. Introductory duet and final cadence are outside this structure. The Ox incipit \u2018Gloria et honore\u2019 is probably erroroneous; no plainsong has been identified as the T c.f. (PlanchartO). See Besseler CMM 1\/1 p. XIV for relationship to Du Fay's balade Resvelli\u00e9s vous (1423: CMM 1\/6 #11), and suggested Malatesta linkage yielding a date 1420-6. For this balade as a possible basis for the mass see notes to Du Fay's mass (f.10v). (See O gemma lux f.292v for the relationship to another balade.) Resvelli\u00e9s vous indicates proportions by numerals within ,c. Cumming 1999: \u2018French isorhythmic\u2019. Double notes in I and II at bar 90 in Ox only. PlanchartO: a ligature at the same place in each talea is drawn incorrectly in both manuscripts as B\u2013L instead of L\u2013L. A later \u2018correction\u2019 in Ox 213 exaggeratedly elongates the first note of each ligature (rather than erasing the tail); noted but misinterpreted in Fallows 1995a. Besseler and De Van tacitly correct the error. See also Fallows 1982, Cox 1977 I, 102-9, Allsen 1992, #95, L\u00fctteken 1993, 278 ff., 468.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6145,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12311\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"249v","folio_end":"250r","composition":"Jesu salvator saeculi \/ Quo vulneratus scelere","composers":[{"full_name":"Salinis, Hymbert de (ca. 1378\u2013)","url":"https:\/\/www.diamm.ac.uk\/people\/30\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: 203-208"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (7), 60-61"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 276-277"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Yhesu saluator seculi\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Qvo vulneratus scelere "},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5277,5278],"source_attribution":"hubertus de salinis","notes":[{"note":"On the passion of Christ, or Holy Week. Equal-cantus motet, 2 voices over free accompanying T opening with echo imitation; alternating texted sections with lively syncopated melismas. See Cox 1977 I, 109-12: II paraphrases stanza 2 of the hymn Vexilla regis (LU, 575); T quotes the begininng of the hymn melody. Both texts have the form ababcdcd: 8 (Fallows 1995). Cumming 1999, 134-8 calls it a 'retrospective double discantus motet'. It headed the original form of Ox, and can perhaps be read as a salutation of new beginnings through Church councils; we know Salinis was at Pisa (Bent 1998a, 29). Pasted capital #73 was cut from the stage-I verso.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16856,"url":"https:\/\/www.diamm.ac.uk\/compositions\/68938\/?format=json","num_voices":"2","genres":["Chanson","Rondeau"],"folio_start":"249v","folio_end":"250r","composition":"Ma seul amour et ma belle maistresse","composers":[{"full_name":"Briquet (fl. early 15th century)","url":"https:\/\/www.diamm.ac.uk\/people\/466\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/2, 13-14"},{"prerendered":"Nicholson, Edward W. B<\/a>, Stainer Sir John<\/a>, C\u00e9cie Stainer<\/a>, and John F. R. Stainer<\/a>. 1898; reprinted as EBM I: 1966. Dufay and his Contemporaries: Fifty Compositions (Ranging from about A.D. 1400 to 1440) Transcribed from MS. Canonici misc. 213, in the Bodleian Library, Oxford, with an introduction by E.W.B. Nicholson, and a critical analysis of the music by Sir John Stainer.<\/em>  London.","pages":"Edition: 82"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c1","voice_text":"Ma seul amour"},{"voice_type":"Tenor","languages":["French"],"clef":"c3","voice_text":"Ma seul amour"}],"pages":[5277,5278],"source_attribution":"briquet","notes":[{"note":"Rondeau quatrain, decasyllables. See Fallows 1999. Full text after I; Ox has refrain text only. Paris4917 T is simplified and untexted.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6146,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5967\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"250v","folio_end":"252r","composition":"Plaude decus mundi \/ Venetum clarissima","composers":[{"full_name":"Monte, Christoforus de","url":"https:\/\/www.diamm.ac.uk\/people\/1472\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 208-222"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 6-8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Plaude decus mundi"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Plaude decus mundi"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Plaudite decus\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Plaude"}],"pages":[5279,5280,5281,5282],"source_attribution":"xpoforus de monte","notes":[{"note":"For doge Francesco Foscari, elected 4 April 1423. See also Carminibus festos at f. 242v. Equal-cantus Italian motet with inessential and somewhat problematic Ct. Brief echo imitation at beginning. The mensurations produce ABABA form. The bracketed mensurations (c x), occur in I and II over continuing x in T, Ct. Ciconian-style close sequential minim imitations. Close affinities shown by Cox 1977 I, 112-17. Texts in classical hexameters (Schmidt-Beste 1994, 94). Cumming 1999: \u2018Italian\u2019. Paired (by Cumming 1987, 304) with Romanus #206; p. 321, text in hexameters; see also Cumming 1992, 335-41, which refers to contemporary Venetian inscriptions, and claims that the date of Foscari's election is expressed in the music: 14 breves of c (for 1400); shift to ,c (2 times 3) for 'vigenisque tribus', 23. Pasted capital #84 was cut from the final stage-I recto; for the 'O' see #216. Martini annotates this, on f. A250v: 'Nel 1328 ritrovasi\/tra i dogi un Francesco Dandolo', and on f. A251v: 'trovasi un Francesco \/Foscari doge\/nel 1422'.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermata before and after page turn.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6147,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5968\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"252v","folio_end":"253r","composition":"O felix templum \/ O felix templum","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 223-237"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 68-72;"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 243-248"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"O felix templum"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"O felix templum"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"qui presul diui muneris\r"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5283,5284],"source_attribution":"Jo ciconie","notes":[{"note":"For Stefano Carrara, son of Francesco Novello, administrator of the see of Padua from 1396; dedication of an altar to St Stephen 1400; perhaps for his induction as bishop, 1402, until the fall of the Carrara 1405. Wide-spaced non-overlapping echo imitation at beginning, each statement differently accompanied by T; echo imitation also for 'Stephane'. Not isorhythmic. See Cox 1977 I, 118-23. For a contrapuntal analysis, see Bent 2003a. Cumming 1999: \u2018Italian\u2019. The stage-II verso of this composite copy contains voice I and T, the late stage-III recto voice II (fine pen). The stage-II recto is now one of the rear flyleaves and includes an inessential and problematic Ct added at that stage and rejected at stage III: see O felix templum at f.341r. Pasted capital #92 attests a stage-I copy, whose spacing would have precluded a contratenor. Uses pasted capital #84, cut from the stage-I verso of this piece; pasted capital #64 faced it on the recto. Italian notation in Ox (without Ct) offers evidence for the original version.","note_type":"General Note"},{"note":"Void minim triplets. Red bars on verso. Extra (10th) stave on verso.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6148,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6080\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"253v","folio_end":"254r","composition":"Venite adoremus Dominum \/ Salve sancta aeterna","composers":[{"full_name":"Carmen, Johannes","url":"https:\/\/www.diamm.ac.uk\/people\/470\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 238-255"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (1), 39-48"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 167-173"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Venite adoremus dominum\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"salue sancta eterna trinitas "},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Venite adoremus"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5285,5286],"notes":[{"note":"On God and the Trinity. Paired (by WrightC 1979, 131) with Tapissier's Eya dulcis (Ox #322); both pre-date 1417, the end of the Schism, to which they refer; perhaps even 1409 (Council of Pisa). Equal-cantus motet with essential Ct. The stage-I final flyleaf (see the Carmen at 341v) establishes presence in stage I; see also the notes to pasted capital #64. 'Carmen' is added in a later hand (Gaspari?). Complex non-coinciding isorhythm (see Allsen 1992). Two statements of T and Ct, not written out, repeats indicated. Each contains two differently rhythmicised color statements overlapped with three taleas. Of this total of six taleas, two are in each mensuration. For the shift from ,c to x the same number of minims are counted, but for the last two the T has no warning of the change to c. The cantus parts have paired isorhythmic taleas in the mensurations specified. T canon (Turner 2002, 175): 'Tibi color cantus bis pronunciandus unde duo primi [primi omitted in this recopy, present in Ox and at the Carmen at 341v] colores de maiori in tempore imperfecto. Ultimus cum primo de maiori [at f.341v illegible, Ox minori] in tempore inperfecto [both Q15 versions: Ox perfecto; Ox adds Item] secundus et ultimus de eadam in tempore inperfecto'. Ct canon: \u2018Contratenor dicitur bis\u2019 (f. R[225]); \u2018Contratenor ad modum tenoris\u2019 (f.341v): Allsen and Turner report readings incompletely. The essential Ct is consistent with presence of Solus T. See Cox 1977 I, 124-8, Allsen 1992, #77. Cumming 1999: \u2018French isorhythmic\u2019. Late stage-III script (fine pen).","note_type":"General Note"},{"note":"Void coloration. An extra (9th) stave on both tightly filled pages.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6149,"url":"https:\/\/www.diamm.ac.uk\/compositions\/497\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"254v","folio_end":"255r","composition":"Sub Arturo [Arcturo] plebs vallata \/ Fons citharizantium ac organizantium \/ In omnem terram","composers":[{"full_name":"Alanus, Johannes (fl. late 14th or early 15th century)","url":"https:\/\/www.diamm.ac.uk\/people\/48\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 255-269"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 9-11"},{"prerendered":"G\u00fcnther, Ursula<\/a> (editor). 1965. The Motets of the Manuscripts Chantilly, mus\u00e9e cond\u00e9, 564 (olim 1047) and Modena, Biblioteca estense, a. M. 5, 24 (olim lat. 568).<\/em> Corpus mensurabilis musicae, vol. 39.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: 49-52"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (5), 172-177"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"sub arturo plebs uallata"},{"voice_type":"II","languages":["Latin"],"clef":"c3","voice_text":"Fons citharizancium"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Jn omnem terram "}],"pages":[5287,5288],"source_attribution":"Jo alani","notes":[{"note":"Text of I enumerates 14 English musicians of the late 14th century; II is a history of music (Tubal, Pythagoras, Boethius, Gregory, Guido, Franco, to which J. Alanus appends his own name) and builds in the proportional relationship resulting from the mensurally derived color statements, 'bis sub emiolii normis recitatur', i.e. 9:6:4. For occasion and disputed dating see Trowell 1957, Bowers 1990, Bent 1977, 1998d, 200). See Cox 1977 I, 129-38, Allsen 1992 XI (p. 539). T to be read in the three successive mensurations which in the final c section, mistranscribed by G\u00fcnther but correctly by Harrison, conflict with the ,c of I and II. The T is included as a music example, and named 'Sub Arturo', at the end of an early 15th-century Italian treatise in Florence, Biblioteca Medicea Laurenziana, MS Redi 71; ed. Carapetyan 1957. The stage-I final flyleaf establishes its presence in stage I. Here, the late stage-III verso (fine pen) faces the stage-I recto.","note_type":"General Note"},{"note":"Void coloration and red bars on recto only. T repeat signs. Extra (9th) stave on recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6150,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5971\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"255v","folio_end":"256r","composition":"Aurea flamigeri \/ Aurea flamigeri","composers":[{"full_name":"Romanus, Antonius","url":"https:\/\/www.diamm.ac.uk\/people\/278\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 270-289"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (6), 177-183"},{"prerendered":"[No Author] 1931-. Acta Musicologica.<\/em>  International Musicological Society .","pages":"Edition: (Mon.Ven.Sac.1), 13"}],"voices":[{"voice_type":"I","languages":["Italian"],"clef":"c1","voice_text":"Avrea flamigeri "},{"voice_type":"II","languages":["Italian"],"clef":"c1","voice_text":"Avrea flamigeri "},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5290,5291],"source_attribution":"Antonius Romanus","notes":[{"note":"For Gianfrancesco Gonzaga of Mantua; feted by Venetians 1414, 1432. It doubtless precedes his naming as marchese by Sigismund, 1432, and in any case was copied into Q15 well before 1425. Nosow 1992, 53 suggested the awarding of the papal golden rose, 1418, but now retracts this (pers. com.). Equal-cantus Italian motet with wide-spaced non-overlapping echo imitation at beginning. Cox 1977 I, 139-44 describes the form as semicircular, with the form ABCBD, prefaced by the opening duet. Cumming 1999: \u2018Italian\u2019. Text irregular, rhymed. Leofranc Holford-Strevens writes (pers. com.): \u2018Since someone might suppose that \u201cAurea flammigeri iam excedis'\u201dwas the beginning of a hexameter (completed say \u201csidera caeli\u201d) with a rough but not incredible elision \u2018i(am)excedis\u2019, it might be worth remarking that the text, despite a tendency to lines of six or seven syllables, exhibits neither metrum (classical quantitative metre) nor rhythmus (regulated syllable-count with or without attention to accent), and would pass for prose if it were not rhymed.\u2019 Originally copied without Ct at stage I. The Ct was added at stage II, but proved too long for the space available; recopied on a pasteover (now lifted), also of four staves, but in more compressed form. In I, after the passage in v the restatement of the opening (unstated) mensuration should be x but is in fact ,,c, perhaps attesting that the scribe was directly transcribing from a major-prolation source.","note_type":"General Note"},{"note":"Void coloration. Red bars. Extra stave on verso, two extra staves on recto, plus 4-stave pasteover.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6151,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5972\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"256v","folio_end":"257r","composition":"Dominicus a dono","composers":[{"full_name":"Monte, Christoforus de","url":"https:\/\/www.diamm.ac.uk\/people\/1472\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 290-299"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 290-9"},{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #13"},{"prerendered":"Cumming, Julie Emelyn<\/a>. 1999. The Motet in the Age of Du Fay.<\/em>  Cambridge.","pages":"Edition: 74-5"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"DOminicus A dono "},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"DOminicus A dono "},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5292,5293],"source_attribution":"xpoforus de monte","notes":[{"note":"Da Col 2001 shows that this motet is not for St Dominic, but for someone (perhaps but not necessarily a Dominican) of that name. Christoforus de Monte (Feltre) was himself a Dominican. The text gives autobiographical information: Christoforus was born and raised in Feltre, and learned singing in the mountains that nurtured him. See Cox 1977 I, 145-8; Cumming 1999: 71, 80-2, \u2018Italian\u2019. Equal-cantus Italian motet; opens with echo imitation in I, II. Problematic Ct, probably added (Nosow and Cumming agree). Text in classical hexameters (Schmidt-Beste 1994, 94).","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims in Ct. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6152,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5973\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"257v","folio_end":"258r","composition":"Jesus postquam monstraverat \/ Jesus postquam monstraverat","composers":[{"full_name":"Brixia, Matheus de","url":"https:\/\/www.diamm.ac.uk\/people\/468\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 300-310"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 300-10"},{"prerendered":"Bent, Margaret<\/a>. 2003. Musicisti vicentini intorno al vescovo Pietro Emiliani. Quattrocento Vicentino. La Dedizione alla Serenissima tra Musica Cronaca e Storia,<\/em> edited by Margaret Bent<\/a>,  Vicenza: Conservatorio di Musica di Vicenza.","pages":"Edition:"},{"prerendered":"Gallo, Franco Alberto<\/a>, and Giovanni Mantese<\/a>. 1964. Ricerche sulle origine della cappella musicale del duomo di Vicenza.<\/em>  Venice.","pages":"Edition: 73-9 (facs. ibid)"},{"prerendered":"Nosow, Robert<\/a>. 1991. The Equal-Discantus Motet Style after Ciconia. Musica disciplina,<\/em> 45: 221-75.","pages":"Edition: (without Ct)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Ihesus postquam monstraverat"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Ihesus postquam monstraverat"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Jhesus postquam monstrauerat\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Jhesus postquam monstraueat "}],"pages":[5294,5295],"source_attribution":"matheus de brixia","notes":[{"note":"Text is a processional hymn. Problematic Ct despite its participation in opening imitation. Equal-cantus Italian motet with wide-spaced non-overlapping echo imitation at beginning in I, II. Cumming 1999: \u2018Italian\u2019. See Cox 1977 I, 148-50.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermata for one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6153,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5974\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"258v","folio_end":"259r","composition":"Ave verum corpus","composers":[{"full_name":"Lantins, Hugo de (fl. 1420-30)","url":"https:\/\/www.diamm.ac.uk\/people\/277\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #7"},{"prerendered":"Nosow, Robert<\/a>. 1992. The Florid and Equal-Discantus Motet Styles of Fifteenth-Century Italy. University of North Carolina, Ph.D.","pages":"Edition: 349-56, with both Contratenors"},{"prerendered":"Nosow, Robert<\/a>. None. Ritual Meanings in the Fifteenth-Century Motet.<\/em>","pages":"Edition: 349-356"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Aue verum corpus natum"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Aue verum corpus natum"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Aue verum corpus natum"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Aue verum corpus natum"}],"pages":[5296,5297],"source_attribution":"H. de lantins","notes":[{"note":"Hymn text set as a motet. On the body of Christ. Cantilena, extremely florid cantus. Cumming 1999: \u2018cut-circle; transitional four-voice\u2019.Presumably excluded by Cox because text has liturgical status. Most unusually, all voices are texted and both voices on the recto are labelled Contratenor; Allsen and I agree that both seem authentic. Some striking juxtapositions arise from logically-notated accidentals. Possibly related to the more modest Reson Ave verum at f.248v?","note_type":"General Note"},{"note":"Void coloration and minim triplets. Flagged semiminims. Red bars. Extended fermata passages for invocations ('O dulcis' etc.) and 'Amen'. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6154,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5975\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"259v","folio_end":"260r","composition":"Plasmatoris humani \/ Verbigine mater ecclesia","composers":[{"full_name":"Grenon, Nicolas (ca. 1375\u20131456)","url":"https:\/\/www.diamm.ac.uk\/people\/97\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 311-322"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 311-22"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (7), 25-30"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 25-33"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Plasmatoris humani"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"UErbigine mater ecclesia"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5298,5299],"source_attribution":"Nicolaus grenon","notes":[{"note":"Easter. T unlabelled and unidentified, though clearly related to the Easter Gradual Haec dies, of which it uses the opening phrase, albeit disguised (Reaney, CMM 11\/7, p. XVI). A single, fully notated color, with some approximate melodic correspondences but no rhythmic relationship between the two sections. T, Ct 2 taleas in each of the two sections, but with strong variants in the first three perfect longs of each talea of section I; section II, 2 identical taleas. The upper parts of each section fall into two strictly isorhythmic halves corresponding to the T, Ct taleas. In section I (unsigned) S of I, II = M of T, Ct. All parts are signed x for section II. See Cox 1997 I, 151-4; Allsen 1992 #120. Cumming 1999: \u2018French isorhythmic\u2019.","note_type":"General Note"},{"note":"Void coloration (one group in T only). Red bars. Extra (9th) stave on both pages.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6155,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5976\/?format=json","num_voices":"3","genres":["Alma redemptoris mater","BVM","Motet"],"folio_start":"260v","folio_end":"261r","composition":"Alma redemptoris mater II Et stella maris III Virgo prius","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (5), 115-117"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1, V #47"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 1\/1"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"ALma Redemptoris"},{"voice_type":"II","languages":["Latin"],"clef":"c3","voice_text":"Alma Redemptoris "},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Alma Redemptoris "}],"pages":[5300,5301],"source_attribution":"du fay","notes":[{"note":"Marian antiphon. Chant in T. Ward 1998 writes: 'There are enough differences in the readings to make a common ancestor for the copies unlikely. The Leipzig version is accurate except for the failure to provide the necessary retorted C for the momentary passage in 4:3 diminution in the superius.' Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018continental cantilena\u2019. Uses pasted capital #85.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas for final invocations and a cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6156,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5977\/?format=json","num_voices":"3","genres":["BVM","Motet"],"folio_start":"261v","folio_end":"262r","composition":"Ave Regina caelorum (1)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (5), 120"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #49"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Ave Regina celorum"},{"voice_type":"II","languages":["Latin"],"clef":"c4","voice_text":"Ave regina celorum"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Ave regina celorum"}],"pages":[5302,5303],"source_attribution":"du fay","notes":[{"note":"Marian antiphon. Not based on chant. Ox Du Fay ascription over erasure of Arnoldus de Lantins (Boone 1990). Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018declamation\u2019.","note_type":"General Note"},{"note":"No coloration. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16857,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22971\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"261v","folio_end":"262r","composition":"Mon seul vouloir","composers":[{"full_name":"Gemblaco (Gembloux), Johannes Franchois de","url":"https:\/\/www.diamm.ac.uk\/people\/163\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1950. Pi\u00e8ces polyphoniques profanes de provenance li\u00e9geoise (XVe si\u00e8cle). Flores Musicales Belgicae,<\/em> 1 [Lantins edition]: .","pages":"Edition: 75"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c2","voice_text":"Mon seul voloir"},{"voice_type":"Contratenor","languages":["French"],"clef":"c4","voice_text":"Mon seul voloir"},{"voice_type":"Tenor","languages":["French"],"clef":"c4","voice_text":"Mon seul voloir"}],"pages":[5302,5303],"source_attribution":"Jo gemblaco","notes":[{"note":"Rondeau quatrain, decasyllables. See Fallows 1999. For reasons of available space, Ct is on the verso, I and T on recto. (Full) residual text is on blank stave above Ct.","note_type":"General Note"},{"note":"Void coloration. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6157,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5678\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"262v","folio_end":"263v","composition":"O Maria virgo davitica virginum flos \/ O Maria maris stella plena gratie","bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 323-329"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (12), 147-150"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"O maria virgo dauitica\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"O maria maris stella "},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5304,5305,5306],"notes":[{"note":"Text of II: AH 20, 188. Both texts are those of Montpellier 52 f. 88v. Q15 replaces the last two words ('In veritate', which reflect the Mo T Veritatem) with 'mente sobria'; other variants are minor. The texts of Psallat chorus (f.279v) are also in fascicle 4 of Montpellier. Ao 169v-171 has an entirely different motet on text I, O Maria virgo davitica, with a different final couplet, three texted voices and a repeating (chant?) T (g a b a g f g d f g a b a g); if chant,it is unidentified. The second half of the motet rhythmically replicates the first, isorhythmic in all parts, plus final chord. Both Q15 and MuEm, anomalously, have I, II and solus tenor. Only Pad has the T and Ct in addition; the Ct is essential, as is characteristic of all solus tenor pieces. See Cox 1977 I, 154-7, Allsen 1992, #15. Cumming 1999: \u2018Italian\u2019. Cited in anonymous Breslau treatise (Ward 1981, 330).","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16858,"url":"https:\/\/www.diamm.ac.uk\/compositions\/68947\/?format=json","num_voices":"2","genres":["Chanson"],"folio_start":"262v","folio_end":"262v","composition":"Et c'est ass\u00e9s pour m'esjouir","composers":[{"full_name":"Vide, Jacobus (fl. ?1405-33)","url":"https:\/\/www.diamm.ac.uk\/people\/96\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Marix, Jeanne<\/a> (editor). 1937. Les musiciens de la cour de Bourgogne au XVe si\u00e8cle (1420-1467) : Messes, motets, chansons.<\/em>  Paris.","pages":"Edition: 19"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c2","voice_text":"Et cest asses"},{"voice_type":"Tenor","languages":["French"],"clef":"c3","voice_text":"Et cest asses"}],"pages":[5304],"source_attribution":"Jacobus vide","notes":[{"note":"Rondeau quatrain, octosyllables. The final stanza is lacking in both Q15 and Ox. For reasons of available space, the T is on the verso and I on the recto. Fallows 1999 says '2 equal voices', but I goes higher, and the T is so labelled, rare in truly equal-voice works.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6158,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5979\/?format=json","num_voices":"4","genres":["Ave Maria","Motet"],"folio_start":"263v","folio_end":"264r","composition":"Ave Maria gratia plena \/ Ave Maria gratia plena","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Mixter, Keith E<\/a> (editor). 1965-71. Johannis Brassart: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (2), 13-15"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 330-337"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15 (VII) 95-97"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 35, II"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Ave Maria gracia plena "},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"O maria gracia plena\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"O maria"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"}],"pages":[5306,5307],"source_attribution":"Johannes brasart","notes":[{"note":"Addressed to the Virgin Mary. The texts are new tropes and variants to the standard Ave Maria, used variously as antiphon, Alleluia verse, offertory and prayer. No use of chant has been identified. T and Ct repeat first 12 breves for the wide-spaced imitation of I and II (equal-cantus, different texts); T has two further isorhythmic statements of this talea, which is then restated twice in x (but not renotated) with slight mensural transformation. No upper-part isorhythm. See Cox 1977 I, 157-61, who draws attention to Tr87's variants, and Allsen 1992, #71. Cumming 1999: \u2018French isorhythmic\u2019.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermata at one cadence. T, Ct double clefs, F erased. Repeat sings T, Ct.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16859,"url":"https:\/\/www.diamm.ac.uk\/compositions\/68754\/?format=json","num_voices":"3","genres":["Chanson","Rondeau"],"folio_start":"263v","folio_end":"264r","composition":"Par droit je suis bien complaindre et gemir","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/6 #43"},{"prerendered":"Nicholson, Edward W. B<\/a>, Stainer Sir John<\/a>, C\u00e9cie Stainer<\/a>, and John F. R. Stainer<\/a>. 1898; reprinted as EBM I: 1966. Dufay and his Contemporaries: Fifty Compositions (Ranging from about A.D. 1400 to 1440) Transcribed from MS. Canonici misc. 213, in the Bodleian Library, Oxford, with an introduction by E.W.B. Nicholson, and a critical analysis of the music by Sir John Stainer.<\/em>  London.","pages":"Edition: 115-7"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 10\/46"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c2","voice_text":"Par droit ie puis"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5306,5307],"source_attribution":"du fay","notes":[{"note":"Rondeau quatrain, decasyllables. Full text, residue beneath I. See Fallows 1999 for further bibliography. The fuga is indicated in Q15 only by a signum. The canonic voices function mutually as cantus and tenor and are supported by two contratenors. Ox: 'fuga duorum temporum' and signa for canonic entry; 'Contratenor concordans cum fuga' and 'contratenor concordans cum omnibus'.","note_type":"General Note"},{"note":"Void coloration. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6159,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5878\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"264v","folio_end":"265r","composition":"Cuius fructus ventris \/ Te Maria rogitassem","bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 338-345"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 338-45"},{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Cvius fructus ventris ihesus\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"TW maria rogitassem "},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5308,5309],"notes":[{"note":"On the Virgin Mary. T canon: 'iste dicitur de modo perfecto et tempore perfecto'. The notated T color contains two taleas, each ending with melodic identity. Repeat signs notwithstanding, this T is to be performed one and a half times, stopping in the middle. This results in three isorhythmic taleas; upper voices correspond isorhythmically. Equal cantus parts. Cumming 1999: \u2018French isorhythmic\u2019. See Cox 1977 I, 161-4; Allsen #8; WrightC 1974, 310, n. 7. Allsen argues (1992, 46-7) that the unusual tenor form results from clear tonal planning by the composer. He reports that Dijon gives a superior reading of the text and music of I, and that Ao\u2019s musical and textual readings are superior to those of Q15, and notes close stylistic resemblance to contemporary motets of Cypriot-French and Franco-Burgunduan provenance.","note_type":"General Note"},{"note":"No coloration. Repeat signs. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6160,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5981\/?format=json","num_voices":"4","genres":["BVM","Lauda","Motet","Salve Regina"],"folio_start":"265v","folio_end":"266r","composition":"Salve regina (tro: Virgo mater ecclesiae)","composers":[{"full_name":"Salinis, Hymbert de (ca. 1378\u2013)","url":"https:\/\/www.diamm.ac.uk\/people\/30\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (7), 56-59"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"SAlue regina "},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Slue Regina"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Salue regina"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Salve regina"}],"pages":[5310,5311],"source_attribution":".H. De salinis","notes":[{"note":"Marian antiphon. Salve regina chant freely paraphrased in I. Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018unus-chorus\u2019, but this is a special case of a versi scoring; see Bent 2004b. Four notated parts. First section a3. Duets for the tropes, four parts only for the exclamations and final phrase. ","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas on invocations. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6161,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5982\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"266v","folio_end":"267r","composition":"Ave mater \/ Ave mater pietatis","bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 346-354"},{"prerendered":"Nosow, Robert<\/a>. None. Ritual Meanings in the Fifteenth-Century Motet.<\/em>","pages":"Edition: 343"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Ave mater pietatis \r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Ave mater pietatis \r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Aue mater"}],"pages":[5312,5313],"notes":[{"note":"See Cox 1977 I, 165-6. Cumming 1999: \u2018cut-circle\u2019.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermatas for 'Vale pulcerrima florum'. Ct texted for fermata passage","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6162,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6053\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"267v","folio_end":"268r","composition":"Flos florum fons ortorum","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 355-362"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1), 6-7"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition:(1,1), 11-1"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1, I"},{"prerendered":"Nosow, Robert<\/a>. None. Ritual Meanings in the Fifteenth-Century Motet.<\/em>","pages":"Edition:363"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Flos florum fons ortorum"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Flos florum fons ortorum"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Flos florum fons ortorum"}],"pages":[5314,5315],"source_attribution":"G. Dufay","notes":[{"note":"For the Virgin. Presence in stage I confirms Hamm's dating of this piece earlier than Besseler's. See Cox 1977 I, 166-70. Cumming 1999: \u2018cut-circle\u2019. Stylistic discussion in Nosow 1992, 152-61. The text survives in three late 15th-century German manuscripts; it may be a Germanic devotional poem that found its way to northern Italy via the Adriatic coast (cf. notes to Vasilissa ergo gaude for Germanic liturgical influence there); this piece may date from Du Fay\u2019s Malatesta period, which tallies well with its presence in Q15 stage I, and in the melodic writing of the cantus, which recalls Resvelli\u00e9z vous (PlanchartO).","note_type":"General Note"},{"note":"Void coloration. Minim triplets. Red bars. Fermatas for final phrase.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6163,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5984\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"268v","folio_end":"269r","composition":"Anima mea liquefacta est","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 53 (XXVII)"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition:(53), 20-21"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (5), 113-114"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1, V"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c3","voice_text":"Anima mea liquefacta est"},{"voice_type":"II","languages":["Latin"],"clef":"c3","voice_text":"Anima mea liquefacta est"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f4","voice_text":"Anima mea liquefacta est"}],"pages":[5316,5317],"source_attribution":"Dufay","notes":[{"note":"Song of Songs 5: 6-8 (used as a processional antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Wide-spaced imitative opening, all three parts, with chant paraphrase in all parts. Cumming 1999: \u2018continental cantilena; devotional double-discantus\u2019. Uses pasted capital #86.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6164,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5985\/?format=json","num_voices":"8","genres":["Ave Maria","Motet"],"folio_start":"269v","folio_end":"270r","composition":"Ave virgo lux Maria","composers":[{"full_name":"Gemblaco (Gembloux), Johannes Franchois de","url":"https:\/\/www.diamm.ac.uk\/people\/163\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 363"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 363-366"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 76 (XL)"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 19-21"},{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #9"},{"prerendered":"Igoe, James T<\/a>. 1970. Johannes Franchois de Gembloux. Nuova Rivista Musicale Italiana,<\/em> 4: 3-50.","pages":"Edition: 34-40"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Introitus"}],"pages":[5319,5320],"source_attribution":"Jo. Franchois","notes":[{"note":"Addressed to the Virgin Mary. The Sancta Maria chant is in the Ct (Magnificat antiphon, LU 1255). The T appears to carry yet another chant, not yet identified. T and Ct color in ,c containing two taleas is then repeated (written out) in c, i.e. with mensural transformation resulting in a reduction by one-third. I and II are isorhythmic within each pair of taleas. Introitus and final stand outside this scheme. 8 notated parts plus Introitus canon within I, indicated by a signum. 'Introitus' (so labelled) is untexted, self-contained (demarcated with bar). No rests in II, which starts with the texted portion, but could easily also complete the canon of this equal-cantus motet (as in the pieces at ff.232v, 247v, 276v, 292v). 'Trumpetta Introitus' is added as a third voice to the Introitus. The texted body of the motet can be performed a5 with I, II, 'Contratenor', 'Alius Tenor' and 'Tenor', or a4 with I, II, 'Solus Tenor' and 'Contratenor cum solo tenore'. Cumming 1999: \u2018French isorhythmic\u2019. See Cox 1977 I, 170-3; Bent 2007a on trompetta parts. Allsen 1992 #116; p. 508 he notes the many short imitative points in the upper voices. Strohm 1993, 243, suggests it was modelled on Pycard\u2019s Gloria OH #28. Nosow accepts this (MGG 2, Johannes Franchois de Gemblaco) in discussing the mass music, and notes the possible identity of the composer with the \u2018Jehan Francois\u2019 named in Du Fay\u2019s song He compagnons and thence links with other composers in Malatesta service.","note_type":"General Note"},{"note":"Void coloration. Signum for Introitus canon. Red bars. Repeat signs and aligned mensuration signs for lower parts. Fermatas for 'Amen'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6165,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5986\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"270v","folio_end":"271r","composition":"Apostolo glorioso \/ Cum tua doctrina \/ Andreas Christi famulus","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 379-395"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 22-23"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1), 33-38"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1,2), 11-16"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Apostolo glorioso"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Apostolo glorioso"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Cum tua doctrina"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Andreas cristi famulus "},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Solus Tenor","languages":["none"],"clef":"c3"}],"pages":[5321,5322],"source_attribution":"du fay","notes":[{"note":"For Pandolfo Malatesta, bishop of Patras, maybe for the restoration of the cathedral of St Andrew, 1426. Nosow 1992, 101-2 suggests 1424. Either date is consistent with Patras being the last place in Greece where Italian was spoken. Planchart 2008a shows that Du Fay was in Patras in late 1424, and posits that the motet was written instead for the installation of Pandolfo, adding the speculation that the text may be by Pandolfo\u2019s father, known as \u2018Malatesta dei Sonetti\u2019. 'Introitus' (so labelled) opens with wide-spaced imitation between I and II, then Ct I and Ct II, all untexted; self-contained, demarcated with fermata. Solus T enters with Ct I and provides the normal basso seguente function. Two T color statements, the second diminished to a third: 'Et dicitur bis primo de modo perfecto de tempore imperfecto; secundus per tercium demptis primis pausis et nota sequente'. Each color contains two taleas which are isorhythmic in all parts within but not between the color statements. Introitus and final cadence stand outside this structure. Possibly a scribal pairing with Ave virgo (f.269v), with which it shares melismatic self-contained Introitus, so named, and additional parts; pairing may be strengthened (Nosow, pers. com.) by presence of Franchois at the Malatesta courts. Alternative performance solutions using the solus tenor are less obvious here than usual; if the ST must be used, it should probably be with I and II only. Edition and translation of text in Holford-Strevens 1997, 138-40. Cumming 1999: \u2018French isorhythmic\u2019, despite its Italian texts. See Cox 1997 I, 174-7. Allsen 1992 #87, L\u00fctteken 1993, 400 ff., 438; Turner 2002. Uses pasted capital #87.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Fermata at end of Introitus.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6166,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5987\/?format=json","num_voices":"3","genres":["Motet","Regina caeli laetare"],"folio_start":"271v","folio_end":"272r","composition":"Regina caeli laetare","composers":[{"full_name":"Power, Leonel (\u20131445)","url":"https:\/\/www.diamm.ac.uk\/people\/111\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Hamm, Charles E<\/a> (editor). 1969-. Leonel Power: Complete Works.<\/em> Corpus mensurabilis musicae, vol. 50.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: 17-19"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 50\/1 #11"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"REgina celi letare Alleluya"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"letare Alleluya\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4f2","voice_text":"letare Alleluya Alleluya\r"}],"pages":[5323,5324],"notes":[{"note":"Text: Marian antiphon. Attributed to Power in Hamm 1968. Presumably excluded by Cox because text has liturgical status. 'English cantilena' (Cumming 1999). Uses pasted capitals #88, #89.","note_type":"General Note"},{"note":"Red coloration (some red void) and intonation. Flagged semiminims. Red bars. Stage-I Ct double clefs, not erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16860,"url":"https:\/\/www.diamm.ac.uk\/compositions\/14773\/?format=json","num_voices":"3","genres":[],"folio_start":"272r","folio_end":"272r","composition":"Se vous scavies","composers":[{"full_name":"Cesaris, Johannes (fl. 1406-17)","url":"https:\/\/www.diamm.ac.uk\/people\/31\/?format=json","uncertain":true},{"full_name":"Passet","url":"https:\/\/www.diamm.ac.uk\/people\/469\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/1, 26 (as Cesaris)"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c2","voice_text":"Se vous scavies"},{"voice_type":"Tenor","languages":["none"],"clef":"c5"},{"voice_type":"Contratenor","languages":["none"],"clef":"c5"}],"pages":[5324],"source_attribution":"passet","notes":[{"note":"Rondeau quatrain, decasyllables. See Fallows 1999 for further bibliography and for attribution: 'Reaney ... publishes this among the works of Cesaris but in the commentary (p. xiv) strongly favours Passet since he finds the work \u201ctoo mediocre to have been written by\u201d Cesaris.' I texted: remaining text below.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6167,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5988\/?format=json","num_voices":"3","genres":["BVM","Motet","Salve Regina"],"folio_start":"272v","folio_end":"273v","composition":"Salve regina","composers":[{"full_name":"Power, Leonel (\u20131445)","url":"https:\/\/www.diamm.ac.uk\/people\/111\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Hamm, Charles E<\/a> (editor). 1969-. Leonel Power: Complete Works.<\/em> Corpus mensurabilis musicae, vol. 50.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: 13-17"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 50\/1 #10"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"SAlue regina"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Salue Regina salue\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Salue regina salue\r"}],"pages":[5325,5326,5327],"source_attribution":"leonellus polbero","notes":[{"note":"Text: Marian antiphon, with trope 'Virgo mater' set as duets. The 'versus' marking here denotes not a versi scoring, but the 'verses' of the trope. Chant paraphrase of Alma redemptoris mater in I. One of very few cases in stage I with an opening \/x signature; relationship of inequality with [,c] of lower parts. 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims, some hooked. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16861,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22975\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"273v","folio_end":"274r","composition":"Or vois-je bien","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1950. Pi\u00e8ces polyphoniques profanes de provenance li\u00e9geoise (XVe si\u00e8cle). Flores Musicales Belgicae,<\/em> 1 [Lantins edition]: .","pages":"Edition: 32-3"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c2","voice_text":"Or voy je bien"},{"voice_type":"Tenor","languages":["French"],"clef":"c4","voice_text":"Or voy je bien"},{"voice_type":"Contratenor","languages":["French"],"clef":"c4","voice_text":"Or voy je bien"}],"pages":[5327,5328],"source_attribution":"Ar (added) de lantins","notes":[{"note":"Rondeau quatrain, decasyllables. 'Ar' added at stage II. See also the pieces at ff.44v, 55v (lower) for stage-II post-trimming additions of 'Ar'.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. T, Ct double clefs, F erased (except first mid-stave Ct F clef).","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6168,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5989\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"274v","folio_end":"275r","composition":"Pie pater Dominice","composers":[{"full_name":"Cividale, Antonius de","url":"https:\/\/www.diamm.ac.uk\/people\/162\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 396-407"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (5), 29-32"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Pie pater dominice\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"O petre martir inclite\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"O thoma lux ecclesie\r"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"}],"pages":[5329,5330],"source_attribution":"fr Antonius de civitato","notes":[{"note":"Three texts for the Dominican saints Dominic, Peter Martyr and Thomas Aquinas. Equal-cantus Italian motet with free T and Ciconian hockets at the end, opening imitation I, II. Cumming 1999: \u2018Italian\u2019. See Cox 1977 I, 178-83. Ct added at stage III, on new extra stave; unlabelled and untexted.","note_type":"General Note"},{"note":"No coloration. Red bars. Extra (9th) stave (stage III) on recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6169,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5990\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"275v","folio_end":"276r","composition":"Ducalis sedes inclita\/Stirps [\u2026] veneti","composers":[{"full_name":"Romanus, Antonius","url":"https:\/\/www.diamm.ac.uk\/people\/278\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 408-418;"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (6), 166-171;"},{"prerendered":"[No Author] 1931-. Acta Musicologica.<\/em>  International Musicological Society .","pages":"Edition: (Mon.Ven.Sac.1), 1"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Dvcalis sedes inclita"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Stirps mocinico veneti "},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Ducalis"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"}],"pages":[5331,5332],"source_attribution":"Anthonius Romanus","notes":[{"note":"For Tommaso Mocenigo, elected Doge 7 January 1414; celebrations followed on 25 April, St Mark's Day. I[ntroitus] for opening melisma with echo imitation; equal-cantus. Additional (9th) stave on both pages. Ct (not in BU) added at stage I, but with great compression on additional 10th stave. Rewritten at stage II on 5-stave pasteover; no text or incipits. BU not only lacks Ct but is notated throughout in ,c, directly attesting notational translation in one direction or the other, probably by Q15. The doge's name is replaced by a capital 'N[omen]', a rare example at this period of recycling. See Cox 1977 I, 183-91, Cumming 1987, 290-304. Cumming 1999: \u2018Italian\u2019. Memelsdorff 1998 proposed that Fa #42 may be an intabulation of this or of a similar post-Ciconian motet. It uses a number of phrases that correspond to this motet, not, however, in the same order. Martini annotates this: 'Tomaso Mocenigo fu doge dal 1413 fino al 1422'.","note_type":"General Note"},{"note":"Void coloration. Red bars. Extra (9th) stave on both pages, plus additional freehand stave on recto and pasteover.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6170,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6168\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"276v","folio_end":"277r","composition":"Vasilissa ergo gaude","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 419-430"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (53), 30-32"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1), 21-24"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1,2), 1-5"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"UAsilissa ergo gaude\r"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Cleophe clara gestis"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Concupivit rex "},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"}],"pages":[5333,5334],"source_attribution":"G. du fay","notes":[{"note":"For the wedding of Cleophe Malatesta and Theodore Paleologus, Mystra, January 1421, or before the bride left Rimini, 20 August 1420. See also Dabrowska 2005. Texted canonic introductory duet within I; self-contained, demarcated with bar. II has rests, though it could easily complete the canon of this equal-cantus motet (as in the pieces at ff.232v, 247v, 269v, 292v). T 'Concupivit rex', a single color. Apart from introductory duet and final cadence, the two halves of the motet are perfectly isorhythmic in all parts, i.e. without diminution. Ct is contrapuntally inessential but all four parts participate in Ciconia-like rhythmic imitations at the end of each half. Cumming 1999, 84: 'French isorhythmic motet' imitating Italian style; I would, rather, call it a tenor-based Italian motet. See Cox 1977, 191-4, L\u00fctteken 1993, 267 ff., 482. Holford-Strevens 1997, 102-6 gives a magisterial re-edition and interpretation of this text. Allsen 1992, #99, and 113-15 notes that, despite its clearly Italian features, the rhythmic modules that close each half are identical in length and construction to those that close each talea of Rex Karole, an influential French motet of the preceding century. The chant phrase used as the color is completed in the two pitches of the cadential chords which stand outside the isorhythmic structure (Allsen 1992, 120). Fallows 1982 (1987 edition, p. 310) notes Benthem\u2019s observations about number symbolism (number of notes) as meriting consideration.","note_type":"General Note"},{"note":"No coloration. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6171,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5992\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"277v","folio_end":"278r","composition":"Petrum Marcello venetum \/ O Petre, antistes inclite","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 431-449"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 94-102"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"PEtrum marcello venetum"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"O petre antistes inclite\r"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5335,5336],"source_attribution":".Jo. ciconie","notes":[{"note":"For Pietro Marcello, bishop of Padua, 16 November 1409-28, perhaps for his installation (PMFC 24, 207). I and II are isorhythmic. T canon: 'Canon tenores dicuntur sic: primo usque ad secundam talliam ut iacent; 2o diminuuntur resumendo et sic successive alie talie procedant'. T and Ct; normal statement followed immediately by diminution; second half of the motet repeats this pattern. The upper parts are also replicated in the two halves of the motet (isorhythmic). T and Ct 'ad longum' are provided. Ct is inessential but integrated, and better than some; accompanies brief opening duet before T entry. See Cox 1977 I, 194-200; Allsen 1992 #81; Allsen 2003, 60-4 (on \u2018ad longum\u2019 parts); Turner 1999, 120; Brown 1959. Cumming 1999: \u2018Italian\u2019.","note_type":"General Note"},{"note":"Void coloration. Red bars. Extra (9th) stave, both pages.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6172,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5993\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"278v","folio_end":"279r","composition":"Salve pater creator","composers":[{"full_name":"Carmen, Johannes","url":"https:\/\/www.diamm.ac.uk\/people\/470\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 450-460"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (1), 48-54"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"SAlue pater creator omnium"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"FElix et beata "},{"voice_type":"Tenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5337,5338],"source_attribution":"Carmen","notes":[{"note":"On God (Trinity) and the Virgin Mary. 3 color statements to 2 taleas; see Allsen 1992 for proportions, Turner 2002, 177 for canon: 'Tenor dicitur ter quari (for quere?) de prolatione sui moteti'. See Cox 1977 I, 200-3; Allsen 1992 #76, Allsen 2003, 54-7 (on \u2018ad longum\u2019 part). Cumming 1999: \u2018French isorhythmic\u2019.","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6173,"url":"https:\/\/www.diamm.ac.uk\/compositions\/1506\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"279v","folio_end":"280r","composition":"Psallat chorus in novo carmine \/ Eximie pater egregie, rector \/ Aptatur","composers":[{"full_name":"Salinis, Hymbert de (ca. 1378\u2013)","url":"https:\/\/www.diamm.ac.uk\/people\/30\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 460-468"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (7), 62-64"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Psallat chorus in nouo carmine"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Eximine pater et regie \r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"sancte lamberte"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"psallat "}],"pages":[5339,5340],"source_attribution":"Hubertus de salinis","notes":[{"note":"On St Lambert, patron saint of Li\u00e8ge. The earlier theory, that Salinis came from Slins (Salinis) near the known musical centre of Li\u00e8ge, is more persuasive than Besan\u00e7on (pace Nosow, New Grove II; further support for Besan\u00e7on is given by Nosow in MGG 2). Both texts are adapted from a widely-circulated St Nicholas motet (Montpellier #60, fascicle 4) on the tenor Aptatur. 'Aptatur' ends both triplum and duplum parts in both versions, though the Salinis motet is no longer on that tenor. 'Domine Nicholae' and 'Hac die, Nicholae' in the two original texts are here replaced by 'Sancte Lamberte'; other variants are minor. Cumming 1999: \u2018retrospective double-discantus\u2019. Cf. also O Maria virgo at f.262v. See Cox 1977 I, 204-6.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas ('sancte Lamberte').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16862,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22976\/?format=json","num_voices":"3","genres":["Rondeau","Song"],"folio_start":"279v","folio_end":"280r","composition":"Par un regard un ris amoureux","composers":[{"full_name":"Gemblaco (Gembloux), Johannes Franchois de","url":"https:\/\/www.diamm.ac.uk\/people\/163\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Wolf, Johannes<\/a>. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen.<\/em> 3 vols. Leipzig.","pages":"Edition: III #34"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1950. Pi\u00e8ces polyphoniques profanes de provenance li\u00e9geoise (XVe si\u00e8cle). Flores Musicales Belgicae,<\/em> 1 [Lantins edition]: .","pages":"Edition: 74"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c2","voice_text":"Par ung regart"},{"voice_type":"Tenor","languages":["French"],"clef":"c4","voice_text":"Par ung regart"},{"voice_type":"Contratenor","languages":["French"],"clef":"c4","voice_text":"Par ung regart"}],"pages":[5339,5340],"source_attribution":"[Gem]blaco","notes":[{"note":"Rondeau quatrain, decasyllables (or rondeau sixain, see Fallows 1999). 'de Gemblaco' written in later \u2013 by Martini?","note_type":"General Note"},{"note":"Void coloration. Red bars. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6174,"url":"https:\/\/www.diamm.ac.uk\/compositions\/98524\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"280v","folio_end":"281r","composition":"In pharaonis atrio (2p. Nescit quo fit)","bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 469-473"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"In pharaonis atrio"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c5","voice_text":"In pharaonis atrio"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c5","voice_text":"In pharaonis atrio"}],"pages":[5341,5342],"notes":[{"note":"See Cox 1977 I, 207-10. Cumming 1999: \u2018declamation\u2019.","note_type":"General Note"},{"note":"No coloration. Red bars. T, Ct, double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16863,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22412\/?format=json","num_voices":"3","genres":["Chanson"],"folio_start":"281r","folio_end":"281r","composition":"J'aime bien celui qui s'en va","composers":[{"full_name":"Fontaine, Pierre (ca. 1380\u2013ca. 1450)","url":"https:\/\/www.diamm.ac.uk\/people\/95\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 22, 100 (Tr87)"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/6 #86"}],"voices":[{"voice_type":"I","languages":["French"],"clef":"c4","voice_text":"Jaime bien"},{"voice_type":"Tenor","languages":["French"],"clef":"f4","voice_text":"Jaime bien"},{"voice_type":"Contratenor","languages":["French"],"clef":"f4","voice_text":"Jaime bien"}],"pages":[5342],"source_attribution":"fontaine","notes":[{"note":"Rondeau quatrain, octosyllables, in a woman's voice. See Fallows 1999 for further bibliography. Bent 1998c takes this song as a paradigmatic example of how dyadic primacy and Ct instability are often poorly reflected in modern editions; it was copied in one MS (Ox) with I and T, in another (Q15) with Ct, in yet another (EscA) with an entirely different Ct, attributed by Besseler 1950, 49 to Du Fay. Strohm 1993, 148-9 thinks that the trompetta-like alternative Ct parts to Fontaine's songs, including this, are by him and date from the 1410s, despite the early date of the Q15 Ct. The Q15 attribution has a tilde over the letter t, significance uncertain.","note_type":"General Note"},{"note":"Void coloration. Red bars. F clefs in I erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6175,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5996\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"281v","folio_end":"282r","composition":"Verbum tuum","composers":[{"full_name":"Rondelly, Jo","url":"https:\/\/www.diamm.ac.uk\/people\/471\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 474"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 474-481"},{"prerendered":"Allsen, Jon Michael<\/a> (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy.<\/em> Recent Researches in the Music of the Middle Ages and Early Renaissance.  Madison: A-R Editions.","pages":"Edition: #10"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"UErbum tuum uerbum sane \r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"IN cruce te prouidens \r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Verbum tuum"}],"pages":[5343,5344],"source_attribution":"Jo Rondelly","notes":[{"note":"On Easter and the Cross. T (probably not chant) written in full, stated four times, mensurally reinterpreted in each statement. Echo imitation at the beginning, interlude after second T statement and short postlude; final statement combines upper-voice \/x over T in ,c. Formally similar to a simpler Italian motet, Deo gratias conclamemus in D-Mbs3224 (Allsen 1992, 93-4, 533-4). See Cox 1977 I, 210-13; Allsen 1992 #131. 'French isorhythmic motet' (Cumming 1999).","note_type":"General Note"},{"note":"No coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6176,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5997\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"282v","folio_end":"283r","composition":"Magne Deus potentiae","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Mixter, Keith E<\/a> (editor). 1965-71. Johannis Brassart: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (2), 24-26"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 482"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (3), 482-490"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 35\/2 #10"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Magne deus potencie"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Genus regale esperie\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"iste dicitur"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5345,5346],"source_attribution":"Jo brasart","notes":[{"note":"For a pope or other magnate? T canon: 'Tenor iste dicitur bis, primo de modo et tempore perfectis, secundo per tercium sed prime pause non dicuntur'. 'Tenor ad longum' added at stage II (script, no red). Accordingly, the first statement consisting of three taleas is restated in diminution to a third, omitting the rests of the introductory duet, which stands outside this scheme. Opening melisma on first syllable of that duet, not self-contained, with wide-spaced echo imitation. No upper-part isorhythm. 'Deus' is often given as 'decus' (including in CMM) from a misread erasure of the same words (I: 'gne deus potenci', II: 'nus rega') in order to reposition the syllables. For the problematic dating, see L\u00fctteken 1993, 286 ff., where he acknowledges that presence in Q15 must place it no later than the early 1430s. In fact, its presence in the first layer dates it before 1425. Bent 1998a, 34-5, rejects earlier ideas that it was for the 1431 coronation of Eugenius IV and suggests a possible papal connection with Martin V during Brassart\u2019s Rome visit 1424-5. Cumming 1999: \u2018French isorhythmic\u2019. See Cox 1977 I, 213-16; Allsen 1992 #73. Allsen 2003, 52-4 (on \u2018ad longum\u2019 part).","note_type":"General Note"},{"note":"No coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6177,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5998\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"283v","folio_end":"284r","composition":"O flos in divo \/ Sacris pignoribus","composers":[{"full_name":"Loqueville, Richard (\u20131418)","url":"https:\/\/www.diamm.ac.uk\/people\/171\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 491-497"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (3), 21-23"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"O flos in diuo \r"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"SAcris pignoribus \r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4f2","voice_text":"Jste dicitur"}],"pages":[5348,5349],"source_attribution":"R. Loqueville","notes":[{"note":"On St Ivo. Color contains 2 taleas, the second in retrograde; two different taleas. T canon: 'Iste dicitur sicut iacet; 2o retrogradendo'. See Cox 1977 I, 216-21; Allsen 1992 #125. Cumming 1999: \u2018French isorhythmic\u2019.","note_type":"General Note"},{"note":"Void coloration. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6178,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5684\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"284v","folio_end":"285r","composition":"O virum omnimoda veneratione \/ O lux et decus tranensium \/ O beate Nicolae supplicum vota suscipe","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 498-507"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 81-84"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"O virum omnimoda "},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"O lux et decus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"o beate nicholae \r"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5350,5351],"source_attribution":"Jo ciconie","notes":[{"note":"On St Nicholas of Trani. Equal-cantus Italian motet with wide-spaced non-overlapping echo imitation at beginning, each statement differently accompanied by T. See Cox 1977 I, 221-4. Dated 1394 (by Di Bacco\/N\u00e1das 1994). Cumming 1999: \u2018Italian\u2019. Problematic Ct present in all three sources, with interesting variants. The sign \/ is on the recto, over 'O lux'.","note_type":"General Note"},{"note":"No coloration. Red bars. Red staves on recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6179,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6000\/?format=json","num_voices":"2","genres":["Contrafactum"],"folio_start":"285v","folio_end":"286r","composition":"O beatum incendium [= Aler m'en veus]","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 508-515"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 112-113"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c4","voice_text":"O beatum incendium "},{"voice_type":"II","languages":["Latin"],"clef":"c4","voice_text":"O beatum incendium "}],"pages":[5352,5353],"source_attribution":"Jo ciconie","notes":[{"note":"See Cox 1977 I, 224-7. Latin contrafactum of Aler m'en veus. Cumming 1999: \u2018borderline 2v\u2019.","note_type":"General Note"},{"note":"No coloration. Red bars. Red staves on verso. I, II double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6180,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6001\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"286v","folio_end":"287r","composition":"O Padua sidus preclarum","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 516-529"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 73-76"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"O padua sidus preclarum"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"O padua sidus preclarum"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c5c4","voice_text":"O padua sidus preclarum"}],"pages":[5354,5355],"source_attribution":"Jo ciconie","notes":[{"note":"See Cox 1977 I, 228-30. For a contrapuntal analysis, see Bent 2003a. Equal-cantus Italian motet. Cumming 1999: \u2018Italian\u2019.","note_type":"General Note"},{"note":"No coloration. Minim triplets originally flagged, converted by erasure to void unflagged. Added (9th) stave, both pages.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6181,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6002\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"287v","folio_end":"288r","composition":"Venecie mundi splendor","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 530"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 530-538"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 24 #14"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 77-80"},{"prerendered":"Clercx, Suzanne<\/a>, and Suzanne Clercx-Lejeune<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","pages":"Edition: #40, facs. pl. IX"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"UEnecie mundi splendor"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Michael qui stena domus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Jtalie\r"}],"pages":[5356,5357],"source_attribution":"Jo ciconie","notes":[{"note":"For Michele Steno, doge from 1 December 1400; maybe not inaugural, Padua still being under Carrara rule, but from 3 January 1406, when Zabarella made an oration, and handed to the Doge the emblems of the Signoria in a ceremony in piazza S. Marco, a possible occasion for this motet. Equal-cantus Italian motet. See Cox 1977 I, 231-5, Cumming 1987, 264-80 referring to contemporary Venetian sculpture; Cumming 1999: \u2018Italian\u2019.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Minim triplets originally flagged, converted by erasure to void unflagged. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6182,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6003\/?format=json","num_voices":"2","genres":["Motet"],"folio_start":"288v","folio_end":"289r","composition":"O Petre Christi discipuli \/ O Petre Christi discipuli","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 539-545"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 114-116"}],"voices":[{"voice_type":"I","languages":["Italian"],"clef":"c4f2","voice_text":"O petre cristi discipule\r"},{"voice_type":"II","languages":["Italian"],"clef":"c4f2","voice_text":"O petre cristi discipule\r"}],"pages":[5358,5359],"source_attribution":"Jo ciconie","notes":[{"note":"See Cox 1977 I, 235-8. Possibly a contrafactum, though Nosow 1992, 191-4 argues that it is original. He and Di Bacco\/N\u00e1das 1994, 33 suggest that it is addressed to three Peters: St Peter, protector of the new Pisan Pope Alexander V, 1409 (Pietro Filargo), and a third Peter, Pietro Marcello, bishop of Padua from 1409. The Padua connection, based on Ciconia\u2019s presence there, and presumed in PMFC 24, 209, is superseded in Bent 1998a, 25, where the third Peter is proposed as Pietro Emiliani, bishop of Vicenza from 1409 and a proteg\u00e9 of Filargo. Cumming 1999: \u2018borderline 2v\u2019.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Double clefs, not erased. 7 6-line staves on both pages.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6183,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6072\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"289v","folio_end":"290r","composition":"Ut per te omnes celitus \/ Ingens alumnus Padue","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 546-555"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 103-107"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 180-185"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Ut per te omnis celitum\r"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Ivgens alumpnus padue \r"},{"voice_type":"Tenor","languages":["none"],"clef":"c4f2"}],"pages":[5360,5361],"source_attribution":"Jo ciconie","notes":[{"note":"On St Francis, Francesco Zabarella and Franciscans. First words in Ox: 'Ut te per omnes'; Q15: 'Ut per te omnis'. See f.299v for Ciconia's other Zabarella motet. The two halves of the motet are rhythmically replicated, i.e. isorhythmic in all parts. Inessential Ct (C4) present in Ox only (presumably added to a composition originally without it). Ligaturing at end of T changed by erasure from the paired S of Ox to groups of three S (two in ligature, one separate); neither would work in pure Italian notation. See Cox 1977, 238-42, Allsen 1992 #82, Cumming 1987, 220-9, with reference to the relationship between San Francesco and Francesco Zabarella, especially in Padua. Cumming 1999: \u2018Italian\u2019.","note_type":"General Note"},{"note":"No coloration. Red bars. T double clefs F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6184,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6165\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"290v","folio_end":"291r","composition":"Summe summi tu patris","composers":[{"full_name":"Velut, Gilet","url":"https:\/\/www.diamm.ac.uk\/people\/433\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 556"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (14\/15), 221"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (2), 145-148"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Svmme summy tu patris vnice \r"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Svmma summy tu matris filij \r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4f2","voice_text":"Summe summy \/"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4f2","voice_text":"Summe summy tu patris vnice \/ "}],"pages":[5362,5363],"source_attribution":"Gillet velut","notes":[{"note":"The opening of T and Ct are repeated, but giving different words (double underlay) for 'patris\/matris' coinciding with their appearance in the upper parts. Introductory duet with wide-spaced melismatic echo imitation of I and II (on first syllable, not self-contained). Thereafter, Ct has some of II's text, T of I. See Cox 1977 I, 243-8. Cumming 1999: \u2018retrospective double-discantus\u2019.","note_type":"General Note"},{"note":"No coloration. Fermatas for final phrase. Red bars. Repeat signs within T, Ct. T, Ct double clefs, F erased.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6185,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6006\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"291v","folio_end":"292r","composition":"Prevalet simplicitas \/ Prevalet simplicitas","composers":[{"full_name":"Ruttis, Ar de","url":"https:\/\/www.diamm.ac.uk\/people\/472\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (3), 565-570"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 278-279"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Praevalet simplicitas "},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Prevalet simplicitas"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5364,5365],"source_attribution":"Ar de Ruttis","notes":[{"note":"See Cox 1977 I, 248-9. Cumming 1999: \u2018retrospective double-discantus\u2019.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6186,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6007\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"291v","folio_end":"292r","composition":"Caro mea vere est \/ Caro mea vere est","composers":[{"full_name":"Rubeus, Petrus","url":"https:\/\/www.diamm.ac.uk\/people\/465\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (5), 99-100"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Caro mea vere"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Caro mea vere"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"carnem"}],"pages":[5364,5365],"source_attribution":"P. Rubeus","notes":[{"note":"Alleluia verse, Corpus Christi. Presumably excluded by Cox because text has liturgical status. Equal-cantus Italian motet, echo imitation at opening.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6187,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6008\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"292v","folio_end":"293r","composition":"O gemma lux et speculum","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 571-584"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1,2), 36-41"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1), 29-33"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"O gemma lux et speculum"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"SAcer pastor barensium"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"beatus nicolaus"},{"voice_type":"Contratenor","languages":["none"],"clef":"f4"}],"pages":[5366,5367],"source_attribution":"dufay","notes":[{"note":"On St Nicholas of Bari (Myra). T: Antiphon for Vespers and Lauds for St Nicholas: Beatus Nicolaus adhuc puerulus multe ieiunio maceratus corpus. Facs. PM XII, 42 (CMM 1\/1 p. xiv). Dated in the 1420s (see Cox 1977, I 250-3; Allsen 1992 #94; L\u00fctteken 1993, 462 and elsewhere). Allsen 1992, 268-80: probable compositional relationship with the St Nicholas motet by Hugo de Lantins Celsa sublimatur\/Sabine presul with which this is paired in Ox. Edition and translation of text in Holford-Strevens 1997, 125-9; irregular accentual iambics. Untexted opening melisma on first syllable, continuing with text, canonic introductory duet, indicated by signum, self-contained, demarcated with fermata. II has rests, though it could easily complete the canon of this equal-cantus motet (as in the pieces at ff.232v, 247v, 269v, 276v). T canon: 'Qui dicitur sic: primo de modo perfecto et tempore imperfecto maioris prolacionis. 2o tantummodo primus color resumitur de minori imperfecto, servando modum, primis pausis demptis'. One and a half color statements, the first divided into two taleas, isorhythmic in all parts. T of color 2 diminished by one third by mensural transformation, but with no upper-voice repetition or internal isorhythm. Introductory duet and final cadence stand outside this scheme. Ct inessential but integrated. Cumming 1999: \u2018French isorhythmic\u2019. Melody and rhythm are similar to the balade Je me complains (Ox date 1425, also with flagged semiminims; CMM 1\/6 #1) cf. CMM 1\/1, p. xiv and comments to Sancte Sebastiane (f.247v). Uses pasted capital #90.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Red bars. Repeat signs.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6188,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6009\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"293v","folio_end":"294r","composition":"O flos fragrans","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Mixter, Keith E<\/a> (editor). 1965-71. Johannis Brassart: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (2), 3-5"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: c."},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (14\/15), 102-104"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"o flos fragrans iam vernalis\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"flos\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"pia virgo maria"}],"pages":[5368,5369],"source_attribution":"Jo brasart","notes":[{"note":"See Cox 1977 I, 254-5. Cumming 1999: \u2018cut-circle\u2019. See WrightP 1992 and #276.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas ('pia virgo Maria').","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6189,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6328\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"294v","folio_end":"295r","composition":"Ave mater nostri redemptoris","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (14\/15), 213-215"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 291"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"aue mater nostri redemptoris"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Aue mater nostri Redemptoris"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Ave mater nostri redemptoris"}],"pages":[5370,5371],"source_attribution":"Jo de lymburgia","notes":[{"note":"On the Virgin. Excluded by Cox presumably on (dubious) grounds of liturgical status of text. Cumming 1999: \u2018cut-circle\u2019. One of only three works by or possibly by Lymburgia preserved outside Q15 (the others are Veni dilecte at ff. 304v and the anonymous Magnificat at f.336v).","note_type":"General Note"},{"note":"No coloration. Flagged semiminims. Red bars.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6190,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6011\/?format=json","num_voices":"3","genres":["Lauda"],"folio_start":"295r","folio_end":"295r","composition":"Salve virgo regia","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cattin, Giulio<\/a>. 1958. Contributi alla storia della lauda spirituale: Sulla evoluzione musicale e letteraria della lauda nei secoli XIV e XV. Quadrivium,<\/em> 2: 45-75.","pages":"Edition: 64"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #45"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: 2), 349"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 344-5"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Salue virgo regia"},{"voice_type":"II","languages":["Latin"],"clef":"c4","voice_text":"salue virgo regia"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"salue virgo regia"}],"pages":[5371],"source_attribution":"lymburgia","notes":[{"note":"Refrain precedes strophe ('Ecce mundi'). 5 stanzas (1 underlaid, 4 beneath), refrain repeat not specified. Added at late stage III (fine pen) below a stage-II piece. See Diederichs 1986, 145-6.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6191,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6012\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"295v","folio_end":"296r","composition":"Te dignitas praesularis - O Martine (2p. Exaudire nos qui dignus es)","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Mixter, Keith E<\/a> (editor). 1965-71. Johannis Brassart: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (2), 8-10"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (3), 594-602"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 83-84"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"tE dignitas presularis "},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"tE dignitas presularis "},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"o martine"}],"pages":[5372,5373],"source_attribution":"Jo brasart","notes":[{"note":"The end of this text quotes an antiphon for St Martin (Mixter in CMM 35\/2, p. xv). Nosow 1992, 116 and Bent 1998a discuss this as composed for Martin V, as well as for St Martin, Bent adding it and Brassart\u2019s Magne deus (f.282v) to the list of motets composed for popes but not for their coronations. The restatement of the opening mensuration x after the fermatas is not taken to imply a change. See Cox 1977 I, 255-7. Cumming 1999: \u2018cut-circle\u2019.","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas on 'O Martine'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6192,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6013\/?format=json","num_voices":"3","genres":["Cantio","Lauda","Motet"],"folio_start":"296v","folio_end":"296v","composition":"Gratulemur Christicole \/ Gratulemur Christicole \/ Gratulemur Christicole","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Mixter, Keith E<\/a> (editor). 1965-71. Johannis Brassart: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (2), 1-2"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (3), 603-606"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Gratulemur xpicole"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Gratulemur xpicole"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Gratulemur xpicole"}],"pages":[5374],"source_attribution":"Jo brasart","notes":[{"note":"For Christmas; imitative 'noe' close both refrain and stanzas. Allsen 1992, 48-9, n. 31 observes close musical similarity between these and the ending of each talea of Grenon\u2019s Christmas motet, Nova vobis gaudia (f.214v), in each case with a rhythmic sequence using similar modules. Opening refrain 'Gratulemur' is to be repeated after each of 7 quatrain stanzas, the last 6 of which are written under II. This strophic form with refrain is otherwise found in Q15 only in laude; so classified in Nosow 1992, 116 and Cumming 1999, 321 n. 12.Wright (New Grove II) calls it 'cantio'. See Cox 1977 I, 257-60, processional hymn, refrain before and after each stanza. Early stage III, no red.","note_type":"General Note"},{"note":"No coloration. Void semiminims. No red.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12698,"url":"https:\/\/www.diamm.ac.uk\/compositions\/98393\/?format=json","num_voices":"2","genres":["Hymn"],"folio_start":"296v","folio_end":"297r","composition":"Dilecto Jesu Christo","bibliography":[{"prerendered":"Cattin, Giulio<\/a>. 1968. Le composizioni musicali del ms. Pavia Aldini 361. L'Ars Nova italiana del Trecento,<\/em> 2 [Convegni di Studio 1961-1967] : 1-21.","pages":"Edition: 16-17"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 308-9"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 306-7"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"dilecto yhesu cristo"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"dilecto yhesu cristo"}],"pages":[5374,5375],"notes":[{"note":"Strophe in [x] precedes refrain ('Cantare iubilare vo per suo amore') in \/x. See Diederichs 1986, 101-5; very similar to Dilectoza cortesia (f.231v). Late stage III (fine pen). A later, musically unrelated setting of the same text in Pavia 361 #10, ff. 10v-11, is published in Cattin 1968, 16-17 and Diederichs 1986, 308-9.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6193,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6014\/?format=json","num_voices":"2","genres":["Motet","Offertory","Proper"],"folio_start":"297v","folio_end":"298r","composition":"Recordare virgo mater (Introitus)","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 18"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #3"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Introitus Recordare virgo mater","mensuration":"cut-o"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Introitus Recordare virgo mater","mensuration":"cut-o"},{"voice_type":"Concordans","languages":["Latin"],"clef":"c4","voice_text":"Recordare sy placet"}],"pages":[5377,5378],"source_attribution":"lymburgia","notes":[{"note":"Trope text: AH 49, 321; troped Offertory. Stanza 2: 'Ab hac familia'. Presumably excluded by Cox because text has liturgical status. 'Introitus' (so labelled) is untexted, non-canonic, self-contained, demarcated with bar. No T. 'Concordans de Recordare sy placet' is an optional accompaniment to an equal-cantus 2-part piece. Rests are given for the internal duets but not for the Introitus.","note_type":"General Note"},{"note":"No coloration. Red bars. Fermatas on 'suscipe pia'. Divisi in I, final cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6194,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6015\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"298v","folio_end":"299r","composition":"Excelsa civitas vincencia","composers":[{"full_name":"Feragut, Beltrame","url":"https:\/\/www.diamm.ac.uk\/people\/275\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 607-613"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (7), 90-92"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 249-252"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"excelsa ciuitas vincencia"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"eya eya beata"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5379,5380],"source_attribution":"feraguti","notes":[{"note":"For Francesco Malipiero, bishop of Vicenza, May 1433. After this date, his name was erased and that of his predecessor (Pietro Emiliani) substituted; finally, the indexer visibly deleted Emiliani's name and restored that of Malipiero. Seeing only this last correction, earlier scholars believed that the motet was originally written for Emiliani in 1409 and recycled for the new bishop. Fallows expands Ox attribution to 'Beltrame' as in Ox #5. See Cox 1977 I, 261-5, Bent 1987, Bent 1999. Cumming 1999: \u2018cut-circle\u2019. ","note_type":"General Note"},{"note":"Void coloration. Red bars. Fermatas on final phrase.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6195,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6016\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"299v","folio_end":"300r","composition":"Doctorum principem \/ Melodia suavissima \/ Vir mitis","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 614-628"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 89-93"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Doctorum principem super ethera "},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Melodia suauissima cantemus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"vir mitis "},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5381,5382],"source_attribution":"io ciconia","notes":[{"note":"For Francesco Zabarella (see also Ut per te omnia, f.289v). 3 T statements repeated in different mensurations. As in the Gloria at f.96v, the need to alter a semibreve before another semibreve signals that this was originally conceived in Italian notation. The scribe compensated for this with an instruction to override the French rule: 'Et dicitur primo imperfecto 2o perfecto minori semper ultima semibrevis alteratur 3o imperfecto minori'. Both pieces require the reinterpretation of the same notated tenor in imperfect and perfect mensurations. There is no isorhythm; I withdraw the classification of this motet as isorhythmic in PMFC 24. Cumming 1999: \u2018Italian\u2019, but not as she states, \u2018double-statement', as there is no replication comparable to the others in this subgenre; nor is it 'isorhythmie proportionelle' (Clercx 1960); the threefold mensural transformation is neither isorhythmic nor proportional. The drone-creating Ct is inessential and problematic. See Cox 1977 I, 265-71; Allsen 1992 #80; Turner 2002, 176; Cumming 1987, 230\u201341. Early stage III, no red except for foliation.","note_type":"General Note"},{"note":"Void coloration for final T Ct ligatures only, following repeat signs; aligned mensuration signs T, Ct. No red.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6196,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6017\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"300v","folio_end":"301r","composition":"Albane misse caelitus \/ Albane doctor maxime","composers":[{"full_name":"Ciconia, Johannes (ca. 1370\u20131412)","url":"https:\/\/www.diamm.ac.uk\/people\/88\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 629-646"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 629"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: (24), 85-8"},{"prerendered":"Schrade, Leo<\/a> (editor). 1956-. Polyphonic Music of the Fourteenth Century.<\/em> 24 vols. Monaco.","pages":"Edition: 24 #16"},{"prerendered":"Clercx, Suzanne<\/a>, and Suzanne Clercx-Lejeune<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","pages":"Edition: #39, facs. pl. X"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Albane misse celitus "},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"Albane doctor maxime "},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5383,5384],"source_attribution":"Ciconia [within text, and by Gaspari]","notes":[{"note":"For Albane Michiel, bishop of Padua, 1406-9, possibly his first entry. The two halves of this motet are isorhythmic in all parts. Ct, although integrated into the rhythmic and melodic repetition scheme (see Brown 1964, 104), is inessential and problematic. Non-imitative opening duet (equal-cantus) before T entry. See Cox 1977 I, 271-4; Allsen 1992 #79. For details of the ascription, see PMFC 24, 206. Ciconia's name is given within the text, and supplied in the top margin by Gaspari, the copyist having left it anonymous. Cumming 1999: \u2018Italian\u2019. Uses illuminated pasted capital #91, depicting the martyrdom of St Christopher, which has nothing to do with the subject of Ciconia's motet on which it was re-used. Early stage III, no red except for foliation; the only such to have a pasted capital, and in this case the only pasted illumination. ","note_type":"General Note"},{"note":"No coloration. No red.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6197,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6018\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"301v","folio_end":"302r","composition":"Sanctus itaque patriarcha \/ Sanctus itaque patriarcha","composers":[{"full_name":"Cividale, Antonius de","url":"https:\/\/www.diamm.ac.uk\/people\/162\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 647-655"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (5), 33-35"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"SAnctus itaque patriarcha leuncius alexandriam "},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"sanctus itaque patriarcha leuncius Alexandriam "},{"voice_type":"Tenor","languages":["none"],"clef":"c3"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"}],"pages":[5385,5386],"source_attribution":"de civitato","notes":[{"note":"On St Leuncius of Brindisi and Trani, not the patron saint of Vicenza. Equal-cantus Italian motet with free accompanying tenor. Although the (inessential) Ct was copied at the same time as the other parts it creates awkward dissonance and doublings and can be omitted. See Cox 1977 I, 274-6. Cumming 1999: \u2018Italian\u2019. Early stage III, no red except for foliation.","note_type":"General Note"},{"note":"No coloration. No red.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6198,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6044\/?format=json","num_voices":"4","genres":["Motet"],"folio_start":"302v","folio_end":"303r","composition":"Summus secretarius","composers":[{"full_name":"Brassart, Johannes (ca. 1400\u20131455)","url":"https:\/\/www.diamm.ac.uk\/people\/152\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Mixter, Keith E<\/a> (editor). 1965-71. Johannis Brassart: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (2), 32-35"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (3), 656-669"},{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 235"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"summus secretarius \r"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"summus\r"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"}],"pages":[5387,5388],"source_attribution":"Jo brasart","notes":[{"note":"L\u00fctteken 1993, 364 questions the older view that it was addressed to a papal secretary, and judges an imperial destination equally likely. Nosow 1992, 117 suggests the Holy Spirit; however, the paraphrase of John 1.1 refers to Christ, the verbum, symbolized by the sun, who cannot be a \u2018summus secretarius\u2019. See Cox 1977 I, 276-80, who reports Mixter\u2019s 1961 suggestion that it could instead be addressed to St John the Evangelist, who is \u2018irroratus gnarius \/ misticis fluentis\u2019. Cumming 1999: \u2018other double-discantus\u2019. No T repetitions. Early stage III copy, no red except for foliation.","note_type":"General Note"},{"note":"Void coloration. No red. Extra (10th) stave (stage-III) on recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6199,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6020\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"303v","folio_end":"303v","composition":"O quam mirabilis progenies","composers":[{"full_name":"Sarto, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/166\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 670-676"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (14\/15), 215-217"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"O quam mirabilis progenies\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"habrae"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5389],"source_attribution":"io sarto","notes":[{"note":"Cantilena, florid style, Virgin Mary and her ancestors. See Cox 1977 I, 280-1. Cumming 1999: \u2018cut-circle\u2019. Early stage-III copy, no red except for foliation. For links with O flos fragrans (f.293v), see WrightP 1992.","note_type":"General Note"},{"note":"Void coloration. No red.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6200,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6021\/?format=json","num_voices":"2","genres":["Lauda"],"folio_start":"303v","folio_end":"304r","composition":"Alleluia. Katherina","bibliography":[{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 310-11 (formal scheme, 312-13)."}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Alleluya katerina \r"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Alleluya katerina \r"}],"pages":[5389,5390],"notes":[{"note":"Probably for St Catherine of Siena, who campaigned for the return of the papacy from Avignon to Rome before the Schism. See Diederichs 1986, 105-7. Added at late stage III (fine pen).","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6201,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6022\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"304v","folio_end":"304v","composition":"Si nichil actuleris \/ In pretio pretium","composers":[{"full_name":"Salinis, Hymbert de (ca. 1378\u2013)","url":"https:\/\/www.diamm.ac.uk\/people\/30\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 677-681"},{"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","pages":"Edition: (7), 65-66"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"sJ nichil actuleris\r"},{"voice_type":"II","languages":["Latin"],"clef":"c2","voice_text":"Jn precio precium"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5392],"source_attribution":"hubertus de salinis","notes":[{"note":"See AH 20, 10. Like Psallat chorus (f.279v), the texts are taken from a 13th-century composition, two stanzas of a conductus (F, f. 227r-v; not known to Cox 1977 I, 281-3); II has stanza 1 (first 5 words: Ovid, Fasti 1. 217), which is also in Fauvel (Dahnk 1935, 34, Paris f. fr. 146 f. 5); I has stanza 2, with an additional last line. II imagines a contemporary reception of Homer and Croesus; Homer's literary prowess would now mean nothing, while Croesus' wealth would bring him friendship, praise and honour (Reaney, CMM 11\/7, p. xviii). Equal cantus parts set the two texts with nearly simultaneous syllabification over a free accompanying tenor. Cumming 1999: \u2018retrospective double-discantus\u2019. Early stage-III copy, no red except for foliation.","note_type":"General Note"},{"note":"Void coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6202,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6187\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"304v","folio_end":"305r","composition":"Veni dilecte mi","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false},{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1), 102"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1,1), 29-30"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 288"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Veni dilecte my"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Venj"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"}],"pages":[5392,5393],"source_attribution":"lymburgia","notes":[{"note":"Text: Song of Songs 7: 11, 8: 2, 3: 4, 8: 2 (used as an antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Surely by Lymburgia; one of only three works by or possibly by him preserved outside Q15 (the others are Ave mater at f.294v and the anonymous Magnificat at f.336v), neither with attribution to him. Cumming 1999: \u2018declamation\u2019. Early stage-III copy, no red except for foliation.","note_type":"General Note"},{"note":"No coloration. Fermata at one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6203,"url":"https:\/\/www.diamm.ac.uk\/compositions\/7336\/?format=json","num_voices":"3","genres":["Lauda","Motet","Regina caeli laetare"],"folio_start":"305v","folio_end":"306r","composition":"Regina caeli laetare (2p. Resurrexit sicut dixit)","composers":[{"full_name":"Dunstaple, John (ca. 1390\u20131453)","url":"https:\/\/www.diamm.ac.uk\/people\/3\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 49-50"},{"prerendered":"Lewis, Anthony<\/a> (editor). 1951-. Musica Britannica: A National Collection of Music.<\/em>  London.","pages":"Edition: 101-103"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"REgina celi letare"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"letare"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"letare"}],"pages":[5394,5395],"source_attribution":"dunstaple","notes":[{"note":"Marian antiphon. Chant incipit in I (void). No change of scoring. 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Stage-III copy, late (fine pen), bridging gatherings, despite gold capital. The roman foliation 277 is in the hand of Gaspari. EEH II, 127: \u201cIt has not been found possible to fit the three parts of these motets to one another\u201d.","note_type":"General Note"},{"note":"Void coloration and intonation. Void semiminims. Extra staves (10th on stage-II verso, 9th on stage-III recto), both stage-III additions.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6204,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6025\/?format=json","num_voices":"4","genres":["BVM","Motet"],"folio_start":"306v","folio_end":"307r","composition":"Ave regina \/ Ave regina","composers":[{"full_name":"Power, Leonel (\u20131445)","url":"https:\/\/www.diamm.ac.uk\/people\/111\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Stainer, C\u00e9cie<\/a>, Edward W. B. Nicholson<\/a>, and John F. R. Stainer<\/a>. 1901, 1913. Early Bodleian Music I-II (1901); Early Bodleian Music III.<\/em>","pages":"Edition: (2), 89"},{"prerendered":"Harrison, Frank Llewellyn<\/a> (editor). 1963-. Early English Church Music.<\/em>  London: Stainer & Bell.","pages":"Edition: (8), 5-6"},{"prerendered":"Hamm, Charles E<\/a> (editor). 1969-. Leonel Power: Complete Works.<\/em> Corpus mensurabilis musicae, vol. 50.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: 9-11"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Aue regina celorum"},{"voice_type":"Ifirhliod","languages":["none"],"clef":"c1"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"},{"voice_type":"Contratenor","languages":["none"],"clef":"c2g4"}],"pages":[5396,5397],"source_attribution":"leonel","notes":[{"note":"Publ. cf. AOs n\u00b0 146Marian antiphon. Presumably excluded by Cox because text has liturgical status. Cumming 1999: \u2018other double-discantus\u2019. Notably long pointing finger on recto for end of Ct. Late stage III (fine pen). The roman foliation 278 is in the hand of Gaspari.","note_type":"General Note"},{"note":"Void coloration including flagged semiminims. Void semiminims in c, flagged in ,c.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12699,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12520\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"307v","folio_end":"308r","composition":"Magne dies laetitiae","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II 25"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #25"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Magne dies leticie\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Puer in fide claruit\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"puer in fide"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"puer in fide"}],"pages":[5398,5399],"source_attribution":"lymburgia","notes":[{"note":"Two alternative settings of the even verses 2, 4, 6 are provided, one with Ct and one with fauxbourdon. Odd-numbered verses (1, 3, 5, 7) in unrhythmicised chant (which, unlike the settings of 2, 4, 6, has a flat signature); Ward 1980, 399. T 'au faulx bourdon si placet'; Ct 'sine faulx bourdon'. Ct is copied between and not below I and T, as in Sanctorum meritis f. 325v. This hymn stands apart from the rest of the hymn cycle (ff.314v-327), but on the same bifolio as Lymburgia's Christe redemptor f.315v, possibly pointing to a Lymburgia core to the cycle, confirmed by shared characteristics with the cycle despite its separation (Anderson 2006, 350). Late stage III (fine pen). Martini annotates the first stave, left-hand margin: 'canto fermo'.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6205,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6026\/?format=json","num_voices":"3","genres":["Lauda"],"folio_start":"307v","folio_end":"308r","composition":"Verbum caro factum est","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 351"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Verbum caro factum est"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Verbum caro factum est"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Verbum caro factum est"}],"pages":[5398,5399],"source_attribution":"lymburgia","notes":[{"note":"Text: Wackernagel 1877 I, 163-5. Refrain 'Verbum caro' [x] , precedes strophe ,c ('In hoc anny') ,c. After refrain, 2 verses underlaid in I, 7 more beneath. See Diederichs 1986, 147-8. Copied using recto of opening left blank but foliated at stage II. No red. Late stage III (fine pen).","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6206,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6027\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"308v","folio_end":"309r","composition":"O Maria maris stella \/ texted only for duet \/ partial text","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 682-688"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 297"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"o Maria mari stella \r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"vena venie\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Audi seruos te [...]antes \r"}],"pages":[5400,5401],"source_attribution":"lymburgia","notes":[{"note":"On the Virgin. Text: AH 20, 188, nevertheless included by Cox 1977 I, 283-5. For this text, see O Maria (f.262v); Lymburgia here preserves the ending 'in veritate'. Cumming 1999: \u2018cut-circle\u2019. x marks re-entry of chorus after duet for I and Ct. Ct deemed illegible. Pasted flap (now lifted) at foot of page: 'de mantua ... franciscus', not in hand of Q15 scribe. Early stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6207,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6028\/?format=json","num_voices":"3","genres":["Lauda"],"folio_start":"309r","folio_end":"309r","composition":"Gaude flore virginali \/ Gaude flore virginali \/ Gaude flore virginali","bibliography":[{"prerendered":"Luisi, Francesco<\/a>. 1977. La Musica vocale nel Rinascimento.<\/em>  Torino: RAI Radiotelevisione Italiana.","pages":"Edition: (2), 48"},{"prerendered":"Feininger, Laurence K<\/a>. 1975. Eine neue Quelle zur Polyphonie des 15. Jahrhunderts.<\/em> Festschrift Walter Senn zum 70. Geburtstag,<\/em> 53-63. Munich and Salzburg.","pages":"Edition: 60"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 316"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 316-319"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Gaude flore virginali \r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Gaude flore virginali \r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Gaude flore virginali \r"}],"pages":[5401],"notes":[{"note":"New Grove II (article by Bent) notes that this is attributed to Lymburgia by modern scholars, but I cannot now trace the source of this claim. The piece should therefore remain anonymous. Nearly identical version with text 'Gaude virgo mater Christi' in MS Feininger; versions in FlorPan27 and Ven also have this text. Late stage III (fine pen). See Diederichs 1986, 111-118.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6208,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6029\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"309v","folio_end":"310r","composition":"O baptista mirabilis","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 309"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #37, but not transcribed"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"O baptista mirabilis\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"O baptista "},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"O baptista "}],"pages":[5402,5403],"source_attribution":"lymburgia","notes":[{"note":"On St John the Baptist. Deemed illegible. See Cox 1977 I, 285-6. Cumming 1999: \u2018cut-circle\u2019. Early stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6209,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6030\/?format=json","num_voices":"3","genres":["Lauda"],"folio_start":"309v","folio_end":"310r","composition":"In tua memoria \/ In tua memoria","composers":[{"full_name":"Lantins, Arnold de (\u20131432)","url":"https:\/\/www.diamm.ac.uk\/people\/150\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Borren, Charles van den<\/a> (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.<\/em>  Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society.","pages":"Edition: 267-268"},{"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","pages":"Edition: 350-352"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Jn tua memoria "},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Jn tua memoria"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5402,5403],"notes":[{"note":"Refrain precedes strophe ('Qui ad te'). See Diederichs 1986, 152-5. Late stage-III (fine pen).","note_type":"General Note"},{"note":"Flagged semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6210,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6031\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"310v","folio_end":"311r","composition":"Gaude felix padua","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: (2), 31"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #38, but not transcribed"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Gaude felix padua"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5404,5405],"source_attribution":"lymburgia","notes":[{"note":"On St Anthony of Padua. Music deemed illegible. Cumming 1999: \u2018cut-circle\u2019. Early stage-III script, no red.","note_type":"General Note"},{"note":"No coloration. Fermatas.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6211,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6993\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"311v","folio_end":"312r","composition":"Beata Dei genitrix (2p. Subveni clamantibus 3p. Sola sine exemplo)","composers":[{"full_name":"Dunstaple, John (ca. 1390\u20131453)","url":"https:\/\/www.diamm.ac.uk\/people\/3\/?format=json","uncertain":false},{"full_name":"Binchois, Gilles (ca. 1400\u20131460)","url":"https:\/\/www.diamm.ac.uk\/people\/153\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (76), 61-63"},{"prerendered":"Lewis, Anthony<\/a> (editor). 1951-. Musica Britannica: A National Collection of Music.<\/em>  London.","pages":"Edition: 108-109"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c3","voice_text":"Beata dei geni [...]"},{"voice_type":"Contratenor","languages":["none"],"clef":"c5"},{"voice_type":"Tenor","languages":["none"],"clef":"c5"}],"pages":[5407,5408],"source_attribution":"binchois","notes":[{"note":"Marian antiphon. 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Short non-self-contained duet for T, Ct. Alma redemptoris f. 229v is another case of Binchois\/English confusion. Lower parts clefless, bb final. Early stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration and semiminims. Triplet minims marked '9'.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6212,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6629\/?format=json","num_voices":"2","genres":["Motet"],"folio_start":"312v","folio_end":"313r","composition":"Sub tuam protectionem","composers":[{"full_name":"Dunstaple, John (ca. 1390\u20131453)","url":"https:\/\/www.diamm.ac.uk\/people\/3\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (14\/15), 198-201"},{"prerendered":"Lewis, Anthony<\/a> (editor). 1951-. Musica Britannica: A National Collection of Music.<\/em>  London.","pages":"Edition: 125-126"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Sub tuam proteccionem"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"sub tuam Et "},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"sub tuam "},{"voice_type":"[no designation]","languages":["none"]}],"pages":[5409,5410],"source_attribution":"dunstable","notes":[{"note":"Marian antiphon. Duet ('Et propter') for I, T, signalled by 'duo' in Ct; other sources supply an awkward Ct for this passage, which is not in two keyboard arrangements in the Buxheim organ book no. 40, ff. 17v-18v, and no. 158, ff. 86r-v (MB 8 #51a, 51b). 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Early stage-III script, no red. EEH II, 127: \u201cIt has not been found possible to fit the three parts of these motets to one another\u201d.","note_type":"General Note"},{"note":"Void coloration and semiminims. Fermata before duet.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6213,"url":"https:\/\/www.diamm.ac.uk\/compositions\/5882\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"313v","folio_end":"314r","composition":"Quam pulchra es et quam decora","composers":[{"full_name":"Egidius","url":"https:\/\/www.diamm.ac.uk\/people\/503\/?format=json","uncertain":true},{"full_name":"Dunstaple, John (ca. 1390\u20131453)","url":"https:\/\/www.diamm.ac.uk\/people\/3\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Harrison, Frank Llewellyn<\/a> (editor). 1963-. Early English Church Music.<\/em>  London: Stainer & Bell.","pages":"Edition: II, 127-9"},{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 190-1"},{"prerendered":"Hughes, H V<\/a>, and Harry Ellis Wooldridge<\/a> (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century.<\/em> 2 vols. London: The Plainsong and Medieval Music Society.","pages":"Edition: I, pll. 59-60"},{"prerendered":"Lewis, Anthony<\/a> (editor). 1951-. Musica Britannica: A National Collection of Music.<\/em>  London.","pages":"Edition: 8 #44"},{"prerendered":"Lewis, Anthony<\/a> (editor). 1951-. Musica Britannica: A National Collection of Music.<\/em>  London.","pages":"Edition: 112-113"}],"voices":[{"voice_type":"Hoquetus","languages":["Latin"],"clef":"c2","voice_text":"Quam pulcra es "},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Quam pulcra es "},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Quam pulcra es "}],"pages":[5411,5412],"source_attribution":"dunstable","notes":[{"note":"Text: Song of Songs 7: 6-12 (used as a processional antiphon for Marian feasts). No duets; breve rest before 'Veni' (fermatas). \u2018Declamation; English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Early stage-III script, no red. For the attribution see Bent 1980, Fallows 1994, WrightP 2000.","note_type":"General Note"},{"note":"Void coloration. Void semiminims in x. Flagged in ,c. Fermatas on 'Veni' and one cadence.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6214,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6035\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"314v","folio_end":"315r","composition":"O beate sebastiane","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: (2), 689-695"},{"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","pages":"Edition: II 689"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1), 10-11"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (1,1), 22-24"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/1 #4"},{"prerendered":"de Van, Guillaume<\/a> (editor). 1947-9. Guglielmus Dufay, Opera Omnia.<\/em> Corpus Mensurabilis Musicae, vol. 1. 4 vols. Rome.","pages":"Edition: 1.6 (1947)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 1\/23"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"O beate sebastiane"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"sebastiane"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"sebastiane"}],"pages":[5413,5414],"source_attribution":"du fay","notes":[{"note":"Text is a variant of a widely known antiphon for St. Chrysogonus that went back to the Old Roman repertory, (Vatican, Biblioteca Apostolica Vaticana, Archivio di San Pietro B 79, f. 172v) but was used in the Gregorian repertory as a vespers antiphon for St. Denis (CAO 3999) as well for a number of other martyrs. Du Fay\u2019s motet does not make any reference to the plainsong, but the nature of the text supports the hypothesis made by Hamm\/Scott 1972, 102, 114-5 that the motet was intended to be interpolated into the Vespers of St. Sebastian. (All this from PlanchartO?) One of very few pieces in Q15 (cf. Supremum est f.206v) with an initial \/x signature, in I only (and not in ModB); all parts organised in x throughout, with S equivalence, no other signatures, nor in ModB. Besseler transcribes without further reduction. See Cox 1977 I, 286-9, and Berger 1989. Cumming 1999: \u2018cut-circle\u2019. Early stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims. Fermatas on 'Sebastiane'. 6-line staves for Ct on recto.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12700,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12521\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"314v","folio_end":"315r","composition":"Conditor alme siderum","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 161"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #11"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/1"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Conditor alme siderum\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Conditor alme siderum\r"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"Qui condolens "}],"pages":[5413,5414],"source_attribution":"In adventu domini du fay","notes":[{"note":"Ward 1980, 184. MMMA 1, no. 23.2. Verses 2, 4, 6 ('Te ...'), set (fauxbourdon), chant for verses 1, 3, 5 ('Occasum ..', set in Q15 only), 7 ('Laus ...' - this is v. 5 in CS15 and ModB). T 'au faulx bourdon'. Anderson 2006, 330-3 suggests that this hymn, the only one that does not begin at the top of a page, was an afterthought, or not yet available at the inital copying of hymns in Q15; indeed, the slightly finer script might confirm this. ModB gives chant for vv. 1, 3, 6, and sets 2, 4, 7 (5). The hybrid setting in CS15 occupies ff. 2v-5; Du Fay's I and T are given on 4v for the final verse ('Laus', v .7, which is chant in Q15), with indications on f. 5 that the final verse is to have Ct in fauxbourdon. Early stage-III script, no red. Gaspari's catalogue lists this as '311 bis', though he did not add that within the manuscript.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12701,"url":"https:\/\/www.diamm.ac.uk\/compositions\/86529\/?format=json","num_voices":"3","genres":[],"folio_start":"315v","folio_end":"316r","composition":"Criste redemptor ... Ex patre","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II #19, 28-9"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #24"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Criste redemptor omnium"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Criste redemptor omnium"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Criste redemptor omnium"}],"pages":[5415,5416],"source_attribution":"In natale dominj lymburgia","notes":[{"note":"Ward 1980, 163-5. MMMA 1, no. 71. 7 stanzas all set in polyphony; stanza 7 (Gloria tibi) is not underlaid but marked 'ut supra'. Otherwise, each pair of stanzas is newly composed, in each of the three mensurations, making this the most elaborate hymn in the cycle. Unrelated to Du Fay's setting; unusual in setting the Amen. Some inconsistency of notated rests between lines of the hymn led Etheridge to mistranscribe semiminims as sesquitertia. If Conditor alme (f.314v) was indeed a later addition, this becomes the first hymn of the Q15 cycle, rather than an addition to it, as has been suggested. It precedes Du Fay\u2019s fauxbourdon setting of the same text (f.316v), and sets the chant (AR 255) 'slowly and squarely in the tenor and up a fourth (in F, but with no flat in the tenor signature)'; Anderson 2006, 338. Early stage-III script, no red. Roman foliation 287 is in the hand of Gaspari.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12702,"url":"https:\/\/www.diamm.ac.uk\/compositions\/20632\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"316v","composition":"Christe redemptor omnium . Tu lumen tu splendor (Christmas setting)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 160-1 (Q15 not there cited)"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #12a"},{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II #11, 14"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/2 (version 1)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Criste redemptor omnium"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Tu lumen tu splendor patris"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"criste redemptor"}],"pages":[5417],"source_attribution":"In natale dominj du fay","notes":[{"note":"Ward 1980, 162. MMMA 1, no. 71. Verses 2, 4, 6 set (fauxbourdon), chant for verses 1, 3, 5, 7 (likewise ModB). Musically identical with Christe redemptor f. 322v which likewise has no contratenor. T 'au faulx bourdon'. Du Fay\u2019s fauxbourdon setting was evidently here appended, as a scribal pairing, to Lymburgia\u2019s more elaborate setting at f.315v, which was probably in place earlier and is musically unrelated (Anderson 2006, 338). The hybrid setting in CS15 occupies ff. 5v-8; Sherr 1996 also claims v. 6 as Du Fay's, although it is neither so attributed nor corresponding. Early stage-III script, no red.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12149,"url":"https:\/\/www.diamm.ac.uk\/compositions\/11970\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"317r","folio_end":"317r","composition":"Hostis Herodes impie","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (14\/15), 162"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: V 42-43"},{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: (2), 19"},{"prerendered":"Blume, Friedrich<\/a> (editor). 1929-. Das Chorwerk.<\/em>  Berlin\/Wolfenb\u00fcttel.","pages":"Edition: (49), 6-7"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c between 4\/5","voice_text":"hostis herodes impie\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Jbant magi quam uiderant"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Jbant magi"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"Jbant magi"}],"pages":[5418],"source_attribution":"In epiphania dominj du fay","notes":[{"note":"Ward 1980, 298. MMMA 1, no. 53. Verses 2, 4 set, chant for verses 1, 3, 5 (likewise ModB). The hybrid setting in CS15 occupies ff. 8v-10. Tr92 underlays vv. 1, 2 only. Early stage-III script, no red. Roman foliation 288 is in the hand of Gaspari, as is '313 bis', corresponding to his catalogue.","note_type":"General Note"},{"note":"Void coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12703,"url":"https:\/\/www.diamm.ac.uk\/compositions\/20639\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"317v","folio_end":"317v","composition":"Ad cenam agni","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II #20, 32"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #23;"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Ad cenam agni prouidi\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Ad cenam ajni prouidi"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"Ad cenam agni prouidi"}],"pages":[5419],"source_attribution":"In octava pasce lymburgia","notes":[{"note":"Ward 1980, 2a, 2b. MMMA 1, no. 3. Odd-numbered verses set, 1 and 5 a3 (free); 3 and 7 in fauxbourdon, chant in cantus. T 'au falx bordon'. Even-numbered verses are to be supplied in chant (not provided). This implies a double alternatim: two distinct polyphonic realisations in alternation with implicit chant. Du Fay's setting of this hymn is not in Q15, but elsewhere (two dovetailed settings in ModB, one with Ct, one fauxbourdon); this and others perhaps deliberately omitted by Q15 scribe (Anderson 2006, 345-6). Early stage-III script, no red.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12704,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12525\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"318r","folio_end":"318r","composition":"Jesu nostra redemptio","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #18"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/8"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Jhesu nostra redempcio\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Que te uicit clemencia\r"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5420],"source_attribution":"In asencione domini du fay","notes":[{"note":"Ward 1980, 364. MMMA 1, no. 513. Verses 2, 4, 6 set, chant for verses 1, 3 and 5 (ModB sets 2, 4). Early stage-III script, no red. Roman foliation 289 is in the hand of Gaspari, as is 314 bis, corresponding to his catalogue.","note_type":"General Note"},{"note":"Void coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12705,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12526\/?format=json","num_voices":"3","genres":["Hymn","Veni creator spiritus"],"folio_start":"318v","folio_end":"318v","composition":"Veni creator spiritus","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15 (VII) 167-8 (Q15 not there cited)"},{"prerendered":"Pope, Isabel<\/a>. 1964. The musical manuscript Montecassino N879 [sic; recte 871]. Anu\u00e1rio Musical,<\/em> 19: 123-53.","pages":"Edition: ms 871"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1, V #19 (with facs.)"},{"prerendered":"D\u00e8zes, Karl<\/a>. 1927. Messen- und Motettens\u00e4tze des 15. Jahrhunderts.<\/em>  Augsburg."},{"prerendered":"Loyan, Richard K<\/a>. 1973. The music in the manuscript Florence, Fondo Magliabechiano XIX. 112bis. University of California, Ph.D. Dissertation."},{"prerendered":"Wolf, Johannes<\/a>. 1931); American reprint: 'Music of earlier times. Vocal and instrumental examples; 13th century to Bach'. (New York, 1946. Sing-und Spielmusik aus \u00e4lterer Zeit.<\/em>  Leipzig.","pages":"Edition:"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/9"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Venj creator spiritus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Qui paraclitus diceris\r"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5422],"source_attribution":"In pentecoste dufay","notes":[{"note":" Qui paraclitus diceris Ward 1980, 622. MMMA 1, no. 17. Verses 2, 4, 6 set, chant for verses 1, 3, 5, 7 (likewise ModB). The hybrid setting in CS15 occupies ff. 29v-32. Early stage-III script, no red.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12706,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12527\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"319r","folio_end":"319r","composition":"O lux beata","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 164"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #20 (with facs.)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/10"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"O Lux beata trinitas\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Te mane laudum carmine"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5423],"source_attribution":"In festo sancte trinitatis du fay","notes":[{"note":"Ward 1980, 418. MMMA 1, no. 22. Verses 1, 3 set (CS15, v. 2). Q15 has chant for v. 2, placed after the polyphonic voices; ModB sets only v. 1, followed by chant for v. 2. The hybrid setting in CS15 occupies ff. 32v-34; it is not specified for Trinity but 'in diebus ferialibus sabbati' (Anderson 2006, 347). Unexplained fragment of a freehand stave in right-hand margin. Early stage-III script, no red. '315 bis' supplied by Gaspari, corresponding to his catalogue.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12707,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12528\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"319v","folio_end":"319v","composition":"Lucis creator optime","composers":[{"full_name":"Feragut, Beltrame","url":"https:\/\/www.diamm.ac.uk\/people\/275\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 100-101"},{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: , II #21, 34"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c3","voice_text":"Lucis creator optime\r"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5424],"source_attribution":"In dominicis diebus feraguti","notes":[{"note":"Ward 1980, 388; cf. LU 256. Odd-numbered verses 1, 3, 5 set (in fauxbourdon). T 'au faulx bourdon'. Even-numbered verses to be supplied in chant (not provided); cf. Benoit's setting in ModB ff. 16v-17, which provides plainsong for alternate (odd-numbered) verses. Like Lymburgia's Christmas and Easter hymns, this has no chant, and likewise sets the odd-numbered verses. Benoit's setting in ModB sets the even verses; it was probably composed by this time but not included in Q15 (Anderson 2006, 348-9). Early stage-III script, no red.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12708,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12529\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"320r","folio_end":"320v","composition":"Pange lingua gloriosi corporis misterium","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 165"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #21"},{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II #15, 21-2"},{"prerendered":"Anderson, Michael Alan<\/a>. 2006. The Organization and Complexes of the Q 15 Hymn Cycle. Studi musicali,<\/em> 35: 327-61.","pages":"Edition: fig. 7"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/11"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Pange lingua gloriosi"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Pange lingua gloriosi\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Nobis"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"Verbum caro panem uerum\r"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"Verbum caro panem uerum\r"}],"pages":[5425,5426],"notes":[{"note":"Ward 1980, 451. MMMA 1, no. 56. Text by Aquinas. Verses 2, 6 set (v. 4 in ModB but not Q15), chant for verses 1, 3, 5. The T is followed by 'nobis', the first word of v. 2. This and Jesu corona (f.327v) are the only Du Fay hymns unascribed in Q15. 'Verte folium' is written on the stave after I and \u2018verte residuum\u2019 after the Ct, perhaps to direct to chant verses not there repeated or an indication to continue singing the polyphony for v. 4. Although it appears to be distinct compositionally and in transmission, #302 may interact with #302a not only because of the 'verte folium\/verte residuum\u2019 indications and missing verses, but also the transferral of the chant in #302a to an inner voice, which changes the final of the hymn, but, at the same time, keeps the chant at pitch to reconnect with the chant of #302. It was possible to perform them together as another 'double' conception of alternatim by different composers and one compiler (Anderson 2006, 341-4). The hybrid setting in CS15 occupies ff. 34v-37 but vv. 4 and 6 are different harmonisations, v. 4 with melody in the T. See note to #302a. Early stage-III script, no red. 'N316 bis' supplied by Gaspari, corresponding to his catalogue.","note_type":"General Note"},{"note":"Void coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12709,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12530\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"321r","folio_end":"321r","composition":"Urbs beata Jerusalem. Nova veniens e caelo","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #22 (and app. #57, 57a)"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/12"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Vrbs beata iherusalem"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Noua ueniens"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5427],"source_attribution":"In dedicacione ecclesie du fay","notes":[{"note":"Ward 1980, 567. MMMA 1, no. 140. Verses 2, 4 set, chant for verses 1, 3, and 6 (ModB vv. 1, 3, 5). This is one of only four hymns of the 19 attributed to Du Fay that sets at least one even verse in monophony (Anderson 2006, 334 n. 12). PlanchartO: the version of Q15, and the way verse 6 is entered in ModB, open the possibility that Du Fay originally set a version of the hymn without the verse 5 found in most chant books, and thus his \u2018verse 6\u2019 in Q15 would be verse 5 of the version he first set, following his usual practice. The hybrid setting in CS15 occupies ff. 68v-70. Early stage-III script, no red. 'N317 bis' supplied by Gaspari, corresponding to his catalogue.","note_type":"General Note"},{"note":"Void coloration (Ct). Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12710,"url":"https:\/\/www.diamm.ac.uk\/compositions\/20635\/?format=json","num_voices":"3","genres":["Ave maris stella","BVM","Motet"],"folio_start":"321v","folio_end":"321v","composition":"Ave maris stella Sumens illud ave","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Blume, Friedrich<\/a>, and Kurt Gude<\/a> (editors). 1929-79. Das Chorwerk.<\/em>  Wolfenb\u00fcttel\/Berlin.","pages":"Edition: 49"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1, V #23 and app. #58"},{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II #13, 17-18"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/13"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Aue maris stella"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"sumens illud aue"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Aue maris stella"}],"pages":[5428],"source_attribution":"[G. DUFAY]","notes":[{"note":"Ward 1980, 83. MMMA 1, no. 67. Verses 1, 3, 5, 7 set, chant for verses 2, 4, 6. Besseler's edition uses Q15, but follows ModB's opposite arrangement of the verses, making it consistent with Du Fay's other hymns. The T 'au faulx bourdon' is followed immediately by the chant for the even-numbered verses, which is in turn followed by a Ct 'sine faulx bourdon', written later, also transmitted in ModB, evidently a later-added alternative to the fauxbourdon setting, but not notably independent of it. The contratenor was presumably added after the hymn was 'fixed' in the fauxbourdon version (Anderson 2006, 336), a stage-III addition (in later script, fine nib) to a work already in stage-III. PlanchartO distinguishes four versions of the hymn: 1) this fauxbourdon version, reflected also in BU and MuEm; 2) this version with contratenor; 3) the version with contratenor in ModB, largely identical to this, but reversing which verses are set to polyphony and which in chant; this version is reflected in CS 15; 4) the version of Tr 92, with new T and Ct, most likely a variant of version 2. This hymn, Pange lingua at f.320r and Jesu corona at f.327r are not ascribed to Du Fay in Q15. The hybrid setting in CS15 occupies ff. 41v-46. Early stage-III script, no red.","note_type":"General Note"},{"note":"Two performance options: with fauxbourdon, or with alternative contratenor. ModB and CS15 offer only the latter option; MuEm (St Emmeram) and BU 2216 offer the faulxbourdon version. Tr90 provides another alternative Ct & T (not by Du Fay?) to go with Du Fay's Cantus.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12711,"url":"https:\/\/www.diamm.ac.uk\/compositions\/98531\/?format=json","num_voices":"3","genres":["Fauxbourdon\/faburden","Hymn"],"folio_start":"322r","folio_end":"322r","composition":"Christe redemptor omnium ... Conserva (v\/24a) with fauxbourdon","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #24a"},{"prerendered":"Bent, Margaret<\/a>. 2009. Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition.<\/em> 2 vols. Lucca: Lim Editrice."},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/14 (version 3)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Criste redemptor omnium"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"beata quoque agmina\r"}],"pages":[5429],"source_attribution":"In honore omnium sanctorum du fay","notes":[{"note":"MMMA 1, no. 71. Verses 2, 4, 6 set (fauxbourdon), chant for verses 1, 3, 5, 7. Musically the same as Christe redemptor at f.316v, conflated with this as Ward 1980, 162, likewise no Ct. T 'au faulx bourdon'. This and the adjacent setting (f.322v) of Christe redemptor \u2026 Conserva, both by Du Fay, both have the plainchant entered, apparently to avoid a page turn (not the case for Pange lingua f.320). The same chant melody forms the basis of the Christmas hymn Christe redemptor \u2026 Ex patre (f.316v). The cantus and T are also identical in Du Fay\u2019s fauxbourdon settings of these two hymns, though the music was recopied to accommodate the different texts (Anderson 2006, 338). Early stage-III script, no red. 'N318 bis' supplied by Gaspari, corresponding to his catalogue.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12712,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12532\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"322v","folio_end":"322v","composition":"Christe redemptor omnium\/conserva (v\/24b)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 160 (Q15 not there cited)"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #24b"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/14 (version 4)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Criste redemptor omnium\r"},{"voice_type":"II","languages":["Latin"],"clef":"c1","voice_text":"beata quoque agmina\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c3","voice_text":"beata quoque agmina\r"}],"pages":[5430],"source_attribution":"In honore omnium sanctorum du fay","notes":[{"note":"MMMA 1, no. 71. Verses 2, 4, 6 set, chant for verses 1, 3, 5, 7 (likewise ModB). Ward 1980, 152. Chant in cantus II, at the same pitch as the upper voice of the fauxbourdon setting of the same text at f.322, recopied to avoid page turn (Anderson 2006, 338-9). Newly composed cantus I, higher in range than 'II', is positioned below (and possibly copied later than) a new T, different from f.322, but placed first in CS15 and ModB. Tr921 has I, T, II; Tr922 has chant, I, T, II. This elaborated setting is much more widely disseminated than the fauxbourdon at f.322. The hybrid setting in CS15 occupies ff. 50v-53.Uses the same chant as Christe redemptor ... Ex Patre (f.316v); the cantus and T of these fauxbourdon settings are also identical, but recopied to accommodate the different texts. See pieces at ff.315v, 316v. Early stage-III script, no red.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12713,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12534\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"323r","folio_end":"323r","composition":"Tibi Christe splendor Patris","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #25"},{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II #12, 15-16"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/15"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Tibi criste splendor patris"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"Collaudamus uenerantes\r"}],"pages":[5431],"source_attribution":"In honore angelorum du fay","notes":[{"note":"Ward 1980, 556. MMMA 1, no. 112. Fauxbourdon setting only for vv. 2, 4, chant for verses 1, 3. PlanchartO: stylistically this piece appears to be one of Du Fay\u2019s earliest fauxbourdon settings, simple and unpretentious, but apparently lost in transmission, being absent from the later recensions of Du Fay\u2019s hymn cycle. In ModB, the absence of a hymn for the angels was apparently noticed only later, when two settings of Tibi Christe splendor were clumsily added (ff. 11v-13 = 14v\u201316), not by Du Fay; CS 15 also has two later, unique settings. Early stage-III script, no red. 'N319 bis' supplied by Gaspari, corresponding to his catalogue.","note_type":"General Note"},{"note":"No coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12714,"url":"https:\/\/www.diamm.ac.uk\/compositions\/23873\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"323v","folio_end":"323v","composition":"Ut queant Iaxis (Nuntius celso veniens)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 167"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #26"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/16"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"vt queant laxis resonare fibris"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Nuncius celso ueniens olimpo\r"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5432],"source_attribution":"In honore sancti iohannis baptiste du fay","notes":[{"note":"Ward 1980, 592. Verses 2, 4 set, chant for verses 1, 3, 5 (likewise ModB). Chant paraphrased in I (MMMA 1, no. 151) is the hymn melody used by most Italian hymnals, but is not the melody from which the solmization syllables were derived (PlanchartO).The hybrid setting in CS15 occupies ff. 37v-39. Early stage-III script, no red.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12715,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12536\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"324r","folio_end":"324r","composition":"Aurea luce et decore roseo","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #27"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/17"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Aurea luce et decore roseo\r"},{"voice_type":"Contratenor","languages":["Latin","Italian"],"clef":"c4","voice_text":"Janitor celi doctor orbis pariter\r"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5433],"source_attribution":"In honore apostolorum petri et pauli dufay","notes":[{"note":"Ward 1980, 66. AH 51, 216-7. MMMA 1, no. 152. Verses 1, 3, 5 set 'Aurea', 'jam bone', 'sit trinitati'), chant for verse 2 ('Janitor'); ModB sets vv. 1, 5, chant for v. 2. This is one of only four hymns of the 19 attributed to Du Fay that sets at least one even verse in monophony (Anderson 2006, 334 n. 12). PlanchartO: all the hymns that have an \u2018even verse\u2019 in the polyphony in Q 15 appear to have missing verses, so that the even verse in the polyphony was really an odd verse in Du Fay\u2019s setting; verse 5 of the \u2018official\u2019 text is in no source, and what seems to be missing in Q15 is really a second chant verse (found in CS 15). The hybrid setting in CS15 occupies ff. 39v-42. First Ct stave extends into the margin. Early stage-III script, no red. 'N320 bis' supplied by Gaspari, corresponding to his catalogue.","note_type":"General Note"},{"note":"Void coloration.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12716,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12537\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"324v","folio_end":"324v","composition":"Exultet caelum laudibus [2 versions, with Ct or with faulxbourdon]","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #28a, #28b"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/18"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Exultet celum laudibus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"vos secli iusti iudices\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"uos secli"}],"pages":[5434],"source_attribution":"In honore apostolorum du fay","notes":[{"note":"Ward 1980, 231a, 231b. MMMA 1, no. 114. Verses 2, 4, 6 set, chant for verses 1, 3, 5 (likewise ModB). Although presented as a single setting, this embodies two alternative versions: (1) cantus and T 'au faulx bourdon', (2) an alternative tenor fitting the same cantus, followed by a Ct. ModB has the same two versions, with the fauxbourdon setting placed second (Anderson 2006, 339-40). For a 'Contratenor secundus duffay' to a different setting of this hymn, see CMM I\/5, appendix I #52. The hybrid setting in CS15 occupies ff. 53v-56. Early stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12717,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12538\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"325r","folio_end":"325r","composition":"Deus tuorum militum (Hic nempe mundi gaudia)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #29, and app. #59, #60"},{"prerendered":"Bent, Margaret<\/a>. 2009. Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition.<\/em> 2 vols. Lucca: Lim Editrice."},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/19"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Deus tuorum militum\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"hic nempe mundi gaudia"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"hic nempe"}],"pages":[5435],"source_attribution":"In natale unius martiris du fay","notes":[{"note":"Ward 1980, 208. MMMA 1, no. 115. All three voices of Deus tuorum are identical in Jesu corona (f.327). Verses 2, 4 set., chant for verses 1, 3, 5 (likewise ModB). T 'au faulx bordon'. The hybrid setting in CS15 occupies ff. 56v-8; f. 57 has new T and Ct for Du Fay's cantus. PlanchartO notes and edits the two derived hymns that use Du Fay\u2019s cantus SPietro and CS15. Early stage-III script, no red. 'N321 bis' supplied by Gaspari, corresponding to his catalogue.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12718,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12539\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"325v","folio_end":"326r","composition":"Sanctorum meritis Hi sunt quos retinens","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 166"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #30"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/20"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"SAnctorum meritis inclita gaudia"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"hij sunt quos retinens"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5437,5438],"source_attribution":"du fay In natale plurimorum martirum","notes":[{"note":"Ward 1980, 548. MMMA 1, no. 70. Verses 2, 4, 6 set, chant for verses 1, 3, 5 likewise ModB). T continues on last stave of 326 recto. See also Magne dies (f.307v), where the Ct is likewise placed between and not following I and T (Anderson 2006, 336 n.16). The hybrid setting in CS15 occupies ff. 58v-62. Early stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12719,"url":"https:\/\/www.diamm.ac.uk\/compositions\/16884\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"326r","folio_end":"326r","composition":"Iste confessor (Qui pius prudens)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: 14\/15, 163"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #31 and app. #61"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/21"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Jste confessor dominj sacratus"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Qui pius prudens"}],"pages":[5438],"source_attribution":"In natale confessorum du fay","notes":[{"note":"Ward 1980, 344. MMMA 1, no. 146. Verses 2, 4 set, chant for verses 1, 3, 5 (likewise ModB). Chant melody shared with Virginis proles (f.326v). T 'au faulx bordon'. The hybrid setting in CS15 occupies ff. 62v-6; PlanchartO judges as excellent the second CS15 arrangement using Du Fay\u2019s cantus. See notes to #314. Early stage-III script, no red. 'N322 bis' supplied by Gaspari, corresponding to his catalogue.","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12720,"url":"https:\/\/www.diamm.ac.uk\/compositions\/12541\/?format=json","num_voices":"3","genres":["Hymn"],"folio_start":"326v","folio_end":"326v","composition":"Virginis proles","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II #18, 27"},{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: , II #28"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Virginis proles"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"hec tua uirgo"}],"pages":[5439],"source_attribution":"In natale virginum in noct' et in vespere lymburgia","notes":[{"note":"Ward 1980, 692. Verses 2, 4 set (fauxbourdon), chant for verses 1, 3, 5. T 'au faulx bordon'. Ward 1972, 177 notes that the text is found in Verona, but that the melody (St\u00e4blein 146) does not occur in Italian sources. Perhaps composed as a partner to Du Fay's Jesu corona (f. 327) for the same feast, sharing range and cleffing; use of chant is unusual or anomalous for Lymburgia. This piece serves as a linchpin for a small sequence or 'complex' in the hymn cycle; it shares the melody of Iste confessor (f.326), but is also connected (in a redundant way) with Jesu corona (f.327) as both are for the common of virgins (Anderson 2006, 340-41). Early stage-III script, no red.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":12721,"url":"https:\/\/www.diamm.ac.uk\/compositions\/23877\/?format=json","num_voices":"3","genres":["Motet"],"folio_start":"327r","folio_end":"327r","composition":"Jesu corona virginum (Qui pascis inter lilia)","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #31a (and app. #62, #63)"},{"prerendered":"Bent, Margaret<\/a>. 2009. Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition.<\/em> 2 vols. Lucca: Lim Editrice."},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 7\/22"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Jhesu corona uirginum\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Qui pascis inter lilia\r"}],"pages":[5440],"notes":[{"note":"Ward 1980, 208. MMMA 1, no. 115. Music is identical to #311. Verses 2, 4 set, chant for verses 1, 3, 5 (likewise ModB, with different v.5 used in CMM).T 'a faulx bourdon'. Q15 v. 5 is 'Deo patri sit gloria'. The hybrid setting in CS15 occupies ff. 66v-8. Early stage-III script, no red. N323 bis' is written in pencil in a later hand, neither Martini's, Gaspari's, nor the same as the pencil foliation.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6215,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6036\/?format=json","num_voices":"3","genres":["Sequence"],"folio_start":"327v","folio_end":"328v","composition":"Letabundus exultet fidelis","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (5), 5-7"},{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 1\/5 #2"},{"prerendered":"Planchart, Alejandro Enrique<\/a> (editor). 2009. Guillaume Du Fay, Opera Omnia.<\/em>  Grove online.","pages":"Edition: 6\/1"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Letabundus"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c3","voice_text":"Regem regum \r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"Regem\r"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"Regem\r"}],"pages":[5441,5442,5443],"source_attribution":"de nativitate dominj prosa du fay","notes":[{"note":"Alternatim setting, with polyphony for the second of each pair of verses. Chant in I and T. Parts are grouped on the page by verse ('bunched', see Bent 2004b). See Hamm 1964, 77. Planchart 2008b removes the modern attributions to Du Fay of the other sequences in Q15 (Veni sancte f.329, Mittit ad virginem f.339v), leaving this as the only one, which he posits as the first of a cycle started in his Rome years. Early stage-III script, no red.","note_type":"General Note"},{"note":"No coloration. Void semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6216,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6037\/?format=json","num_voices":"3","genres":["Sequence","Veni sancte spiritus"],"folio_start":"329r","folio_end":"330r","composition":"Veni sancte spiritus et emitte caelitus","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","pages":"Edition: (53), 29-30"},{"prerendered":"Besseler, Heinrich<\/a>, and Guillaume de Van<\/a> (editors). 1948-66. Guillaume Dufay: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology.","pages":"Edition: (5), 18-20"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Veni sancte spiritus\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"Veni pater pauperum"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c4","voice_text":"veni sancte pater"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"veni pater\r"}],"pages":[5444,5445,5446],"source_attribution":"prosa de sancto spiritu","notes":[{"note":"This Q15 setting not only follows a sequence with an uncontested attribution to Du Fay, but conforms to nearly all his other settings in starting the alternation with chant and placing it in I; the chant paraphrase closely matches that in voice II of Du Fay's attributed setting inTr92 #1453 (ff. 100v-101), CMM 1\/5 #6, to which this is in opposite phase by setting the stanzas not set there, i.e., the second of each pair, a procedure out of line with his normal practice. De Van 1948a treated this anonymous composition as an ascribed work, followed by Hamm 1964, 77. See Fallows 1982, 230, Planchart 1998, 106-9, who leave the attribution open, partly because the verses set seemed to complement Du Fay\u2019s attributed setting of this prose. But now Planchart 2008b shows that the scoring of the two versions is incompatible and argues against Du Fay\u2019s authorship. Stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration and semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16864,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22978\/?format=json","num_voices":"3","genres":["BVM","Canticle","Magnificat"],"folio_start":"330v","folio_end":"333r","composition":"Magnificat primi toni: Anima mea Dominum [K.887]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #18"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Magnificat) anima mea"},{"voice_type":"Contratenor","languages":["none"],"clef":"c4"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"},{"voice_type":"[no designation]","languages":["English"],"voice_text":"O Lord bow downe"}],"pages":[5447,5448,5449,5450,5452,5453],"source_attribution":"lymburgia","notes":[{"note":"Tone I and incipit in I, all verses set. Kirsch 1966 #887. Stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration for semiminims and minim triplets. Fermatas for plainsong incipit.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16865,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22979\/?format=json","num_voices":"3","genres":["BVM","Canticle","Magnificat"],"folio_start":"332v","folio_end":"334r","composition":"Magnificat secundi toni: Et exultavit spiritus meus [K.888]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #19"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"(Magnificat) Et exultavit"},{"voice_type":"Tenor","languages":["Latin"],"clef":"f3","voice_text":"(Magnificat) Et exultavit"}],"pages":[5452,5453,5454,5455],"source_attribution":"de 2 tono lymburgia","notes":[{"note":"Tone II specified, incipit with F3 clef precedes I in C2, paraphrase in T. Kirsch 1966 #888. Even-numbered verses set; 'Tenor au faulx bourdon'. Stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration for intonation and semiminims. Fermatas for some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16866,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22980\/?format=json","num_voices":"2","genres":["BVM","Canticle","Magnificat"],"folio_start":"333v","folio_end":"334r","composition":"Magnificat sexti toni: Et exultavit spiritus meus [K.889]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #20"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Magnificat) Et exultavit"},{"voice_type":"Tenor","languages":["none"],"clef":"f3"}],"pages":[5454,5455],"source_attribution":"de sexto tono lymburgia","notes":[{"note":"Plainsong incipit in I; tone VI in T. Even-numbered verses set. Kirsch 1966 #889. No fauxbourdon indicated. Stage-III script, no red.","note_type":"General Note"},{"note":"No coloration. Void intonation. Flagged semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16867,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22981\/?format=json","num_voices":"3","genres":["BVM","Canticle","Magnificat"],"folio_start":"334v","folio_end":"336r","composition":"Magnificat octavi toni: Anima mea Dominum [K.890]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","pages":"Edition: II #21"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Magnificat) anima mea"},{"voice_type":"Contratenor","languages":["none"],"clef":"c3"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5456,5457],"source_attribution":"lymburgia [intonations a3]","notes":[{"note":"Kirsch 1966 #890. Tone VIII. All verses set, including measured incipit a3 with fermatas. Stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims, also in \/x. Fermatas on measured incipit, all parts.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16868,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22982\/?format=json","num_voices":"3","genres":["BVM","Canticle","Magnificat"],"folio_start":"336v","folio_end":"336v","composition":"Magnificat octavi toni: Anima mea Dominum [K.373]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":true}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"(Magnificat) anima mea"},{"voice_type":"Contratenor","languages":["none"],"clef":"c2"},{"voice_type":"Tenor","languages":["none"],"clef":"c3"}],"pages":[5460,5463],"notes":[{"note":"Versets imp.Attribution suggested by Meinholz 1956, 13. Measured incipit in I. Tone VIII. Odd-numbered verses set. Kirsch 1966 #373, who suggests (fn. 216, 219) that this setting may be complementary to the other Magnificat on the opening. Stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration. Flagged semiminims.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16869,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22983\/?format=json","num_voices":"3","genres":["BVM","Magnificat"],"folio_start":"336v","folio_end":"338r","composition":"Magnificat octavi toni: Et exultavit spiritus meus [K.377]","composers":[{"full_name":"Lymburgia, Johannes de","url":"https:\/\/www.diamm.ac.uk\/people\/164\/?format=json","uncertain":true}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Et exultavit"},{"voice_type":"Contratenor","languages":["none"],"clef":"c2"},{"voice_type":"Tenor","languages":["none"],"clef":"c4"}],"pages":[5460,5461,5462,5463],"notes":[{"note":"Attribution suggested by Meinholz 1956, 13. Even-numbered verses set. No intonation. Tone VIII. Kirsch 1966 #377, who suggests (fn. 216, 219) that this setting may be complementary to the other Magnificat on the opening. Only two other works by Lymburgia are preserved outside Q15 (#265 and #279). MuEm has large initial signature,c in margin. Stage-III script, no red.","note_type":"General Note"},{"note":"Void coloration. Fermatas at some cadences.","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":16870,"url":"https:\/\/www.diamm.ac.uk\/compositions\/22984\/?format=json","num_voices":"3","genres":["BVM","Magnificat"],"folio_start":"338v","folio_end":"339r","composition":"Magnificat secundi toni: Et exultavit spiritus meus [K.763]","composers":[{"full_name":"Feragut, Beltrame","url":"https:\/\/www.diamm.ac.uk\/people\/275\/?format=json","uncertain":false}],"bibliography":[{"prerendered":"[No Author] 1947-. Corpus mensurabilis musicae.<\/em> The American Institute of Musicology. 110 vols. A-R Editions, Inc.","pages":"Edition: 11\/7, 102-105"},{"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","pages":"Edition: II #25, 51-4"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c2","voice_text":"Et exultavit"},{"voice_type":"Tenor","languages":["none"],"clef":"f3"}],"pages":[5464,5465],"source_attribution":"feragut [indexer]","notes":[{"note":"Versets pairsEven-numbered verses set. No intonation; no chant provided for odd verses. Kirsch 1966 #763: tone III or VIII, rejecting suggestions for II or VI (fn. 383). Embellishments with up- and down-stemmed minims inserted later in both parts, some marked with a cross. Attribution depends solely on the Q15 indexer. Late stage-III script (fine pen), no red.","note_type":"General Note"},{"note":"No coloration. Fermatas for (two-note) 'Amen'. ","note_type":"Copying Style"},{"note":"parts","note_type":"Layout"}],"fragment":false},{"pk":6217,"url":"https:\/\/www.diamm.ac.uk\/compositions\/6038\/?format=json","num_voices":"3","genres":["Sequence"],"folio_start":"339v","folio_end":"340v","composition":"Mittit ad virginem","composers":[{"full_name":"Du Fay, Guillaume (1397\u20131474)","url":"https:\/\/www.diamm.ac.uk\/people\/91\/?format=json","uncertain":true},{"full_name":"Merques, Nicolas","url":"https:\/\/www.diamm.ac.uk\/people\/180\/?format=json","uncertain":true}],"bibliography":[{"prerendered":"Planchart, Alejandro Enrique<\/a>. 1972. Guillaume Dufay's Masses: Notes and Revisions. The Musical Quarterly,<\/em> 58: 1-23.","pages":"Edition: 2008b (from Tr92)"}],"voices":[{"voice_type":"I","languages":["Latin"],"clef":"c1","voice_text":"Mittit ad uirginem\r"},{"voice_type":"Contratenor","languages":["Latin"],"clef":"c4","voice_text":"fortem expediat\r"},{"voice_type":"Tenor","languages":["Latin"],"clef":"c5","voice_text":"fortem"},{"voice_type":"[no designation]","languages":["Latin"],"voice_text":"fortem"}],"pages":[5466,5467,5468],"source_attribution":"prosa de beata virgine","notes":[{"note":"Attributed by Hamm 1964, 78, partly on the grounds that both Q15's other sequences, Letabundus and Veni sancte (f.327v, 329) are both by Du Fay; but the latter has no early attribution, and Gaude virgo (f. 230v) is a cantilena motet setting of a sequence text. Planchart 2008b argues against this attribution and provides extensive discussion, also of the revisions of the Tr92 version. Text attribution to Abelard is disputed in AH 54, 298. Voice parts are grouped by verse. 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Musik Lexikon: Zw\u00f6lfte v\u00f6llig neubearbeitete.<\/em> 3 vols. Mainz.","primary_study":false,"pages":"III, 765"},{"pk":1239,"prerendered":"Gossett, Philip<\/a>. 1966. Techniques of Unification in Early Cyclic Masses and Mass Pairs. Journal of the American Musicological Society,<\/em> 19: 205-31.","primary_study":false},{"pk":2945,"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","primary_study":false,"pages":"29-81","notes":"physical description; contents list (partial); concordances (partial); mention of MS; discussion"},{"pk":1514,"prerendered":"Kenney, Sylvia W<\/a>. 1966. In Praise of the Lauda.<\/em> Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese,<\/em> 489-99. New York.","primary_study":false,"pages":"493-5"},{"pk":2958,"prerendered":"Kirsch, Winfried<\/a>. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts.<\/em>  Tutzing.","primary_study":false,"pages":"124"},{"pk":709,"prerendered":"Mixter, Keith E<\/a> (editor). 1965-71. Johannis Brassart: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology.","primary_study":false,"pages":"l, xxx"},{"pk":2111,"prerendered":"Gallo, Franco Alberto<\/a> (editor). 1965. Antonii Romani: Opera.<\/em> Monumenta Veneta Sacra, vol. I.  Bologna.","primary_study":false,"pages":"vii-x, xv, 1-41","notes":"contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion"},{"pk":1309,"prerendered":"Hamm, Charles E<\/a>. 1965. The Reson Mass. Journal of the American Musicological Society,<\/em> 18: 5-21.","primary_study":false},{"pk":1759,"prerendered":"Mixter, Keith E<\/a>. 1965. Johannes Brassart: A Biographical and Bibliographical Study, II. Musica Disciplina,<\/em> 19: 99-108.","primary_study":false,"pages":"II XIX, 100"},{"pk":1170,"prerendered":"Gallo, Franco Alberto<\/a>, and Giovanni Mantese<\/a>. 1964. Ricerche sulle Origini della Cappella Musicale del Duomo di Vicenza.<\/em> Civilt\u00e0 Veneziana, Saggi, vol. 15.  Venice and Rome.","primary_study":false,"pages":"20-2,24-5,30,56-60,69-82","notes":"contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion"},{"pk":947,"prerendered":"Damilano, Don Piero<\/a>. 1963. Fonti musicali della lauda polifonica intorno alla met\u00e0 del sec. XV. Collectanea Historiae Musicae III,<\/em>","primary_study":false,"pages":"62, 76-89"},{"pk":2543,"prerendered":"Borren, Charles van den<\/a>. 1962. L'Enigme des 'Credo de Village'.<\/em> Hans Albrecht in Memoriam,<\/em> 48-54. Kassel.","primary_study":false,"pages":"49"},{"pk":4075,"prerendered":"Clercx-Lejeune, Suzanne<\/a>, and Suzanne Clercx<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","primary_study":false,"pages":"I, 67-71"},{"pk":2823,"prerendered":"Ficker, Rudolf von<\/a>. 1960. The transition on the Continent. New Oxford History of Music,<\/em> 3: 150ff.","primary_study":false,"pages":"150"},{"pk":4899,"prerendered":"Clercx-Lejeune, Suzanne<\/a>, and Suzanne Clercx<\/a>. 1959. Johannes Ciconia et la chronologie des manuscrits italiens, Mod. 568 et Lucca (Mn). L'Ars nova: Recueil d'\u00e9tudes sur la musique du XIVe si\u00e8cle,<\/em> 110-130. Paris: Les Belles Lettres.","primary_study":false,"pages":"124ff"},{"pk":2396,"prerendered":"Trumble, Ernest<\/a>. 1959. Fauxbourdon: An Historical Survey.<\/em> Musicological Studies, vol. 3.  Brooklyn.","primary_study":false,"pages":"14ff, passim"},{"pk":2057,"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","primary_study":false,"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)"},{"pk":1661,"prerendered":"Federhofer, Hellmut<\/a> (editor). 1954-. Musik Alter Meister.<\/em>  Graz.","primary_study":false,"pages":"XIII, [xiii]"},{"pk":2668,"prerendered":"Besseler, Heinrich<\/a>. 1950; Reprinted: 1974. Bourdon und Fauxbourdon, Studien zum Ursprung der niederl\u00e4ndischen Musik.<\/em>  Leipzig.","primary_study":false,"pages":"4, passim"},{"pk":1665,"prerendered":"Blume, Friedrich<\/a> (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklop\u00e4die der Musik.<\/em>  Kassel.","primary_study":false,"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"},{"pk":2404,"prerendered":"Van, Guillaume de<\/a>. 1948. Inventory of Manuscript Bologna, Liceo Musicale, Q 15 (olim 37). Musica Disciplina,<\/em> 2: 231-57.","primary_study":false,"pages":"with facs. of ff. 19v-20, l00v-101","notes":"contents list; concordances"},{"pk":652,"prerendered":"Besseler, Heinrich<\/a>. 1925. Studien zur Musik des Mittelalters: I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts. Archiv f\u00fcr Musikwissenschaft,<\/em> 7: 167-252.","primary_study":false,"pages":"234-5"},{"pk":2384,"prerendered":"Torchi, Luigi<\/a>. 1906. I Monumenti dell'antica musica francese a Bologna. Rivista Musicale Italiana,<\/em> 13: 451-505,575-615.","primary_study":false,"pages":"487-99"},{"pk":4129,"prerendered":"Gaspari, Gaetano<\/a> (compiler). 1905. Catalogo della biblioteca del Liceo musicale di Bologna compilato da Gaetano Gaspari: compiuto e pubblicato da Dr Raffaele Cadolini, aggiunto al bibliotecario.<\/em> 4 vols. Bologna.","primary_study":false,"pages":"IV ,239-45"},{"pk":2491,"prerendered":"Wolf, Johannes<\/a>. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen.<\/em> 3 vols. Leipzig.","primary_study":false,"pages":"I,197-8; III,82-6,177-84; II,54-6, 133-8"},{"pk":998,"prerendered":"Wooldridge, Harry Ellis<\/a>, and H V Hughes<\/a> (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century.<\/em> 2 vols. London: The Plainsong and Medieval Music Society.","primary_study":false,"pages":"I, plates 49-60; II, 116-29"},{"pk":930,"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","primary_study":false,"pages":"LXXVI, passim"},{"pk":2978,"prerendered":"Lisio, Giuseppe<\/a>. 1893. Una stanza del Petrarca musicata dal Du Fay tratta da due codici antichi e le poesie volgari contenute in essi.<\/em>  Bologna.","primary_study":false},{"pk":2894,"prerendered":"Haberl, Franz Xavier<\/a>. 1885-88. Bausteine f\u00fcr Musikgeschichte.<\/em> 3 vols. Leipzig.","primary_study":false,"pages":"I, 79ff"},{"pk":2613,"prerendered":"Ambros, August Wilhelm<\/a>. 1880-82. Geschichte der Musik. 2. Auflage.<\/em> 5 vols. Leipzig.","primary_study":false,"pages":"III passim"}],"identifiers":[{"identifier":"I-Bc15","type":2,"identifier_type":"RISM"},{"identifier":"BL","type":2,"identifier_type":"RISM"},{"identifier":"BolC Q15","type":3,"identifier_type":"CCM"},{"identifier":"Liceo Musicale 37","type":5,"identifier_type":"olim (Former shelfmark)"}],"notations":[{"name":"black full mensural"},{"name":"coloration in black void"},{"name":"coloration in red full"}],"authorities":[],"notes":[{"note":"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.\r\n\r\nContents: 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.\r\n\r\nThe 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\u2019s initiative.\r\n\r\nThe 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.\r\n\r\nAbout 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\/(C\u00e9saris) 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.\r\n\r\nAbout 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.","author":"Margaret Bent, 2009","type":1,"pk":1150,"note_type":"General Description"},{"note":"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\u2019s *Missa Sancti Jacobi* initated work on stage II, c. 1430, and survives as a plenary cycle only here.","author":"Margaret Bent, 2009","type":5,"pk":1155,"note_type":"Physical Description"},{"note":"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)","author":"Margaret Bent, 2009","type":8,"pk":1154,"note_type":"Watermark"},{"note":"black full mensural with red and black void coloration.","author":"Margaret Bent, 2009","type":10,"pk":1157,"note_type":"Notation"},{"note":"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.","author":"Margaret Bent, 2009","type":14,"pk":1152,"note_type":"Foliation"},{"note":"1-342","author":"Margaret Bent, 2009","type":14,"pk":1153,"note_type":"Foliation"},{"note":"About a third of the pieces have ornamented initials","author":"Margaret Bent, 2009","type":15,"pk":1158,"note_type":"Decoration"},{"note":"mostly paper, but some parchment","author":"Margaret Bent, 2009","type":17,"pk":1156,"note_type":"Surface"},{"note":"Four different sets of foliations. Please specify which version when requesting images.","author":"Margaret Bent, 2009","type":18,"pk":1149,"note_type":"DIAMM Note"},{"note":"Recordings of repertoire from I-Bc Q.15 may be found on these albums:\r\n\r\nEnsemble Ars Italica - Musica del XV Secolo in Italia - Tactus 40012201 [1991]\r\nMala Punica - Sidus Preclarum. Ciconia: Complete Motets - Erato 3984-21661-2 [1998]\r\nThe Clerks' Group - Dufay: Sacred music from Bologna Q15 - Signum 023 [2002]\r\nLa Reverdie - Guillaume Du Fay: Missa Sancti Jacobi - Arcana 342 [2006]\r\nLe Miroir de Musique - Johannes de Lymburgia: Gaude felix Padua - Ricercar 402 [2019]","author":"DIAMM, 2022","type":18,"pk":30799,"note_type":"DIAMM Note"},{"note":"RISM BIV\/5\r\n\r\nXVe s., 351ff. Papier et parchemin, 276 x 200 mm.\r\n\r\nFoliotation ancienne en chiffres romains ou arabes, compl\u00e9t\u00e9e sporadiquement par une foliotation moderne. La num\u00e9rotation des pi\u00e8ces ajout\u00e9e par Martini est souvent fautive et ne sera pas prise en compte ici. Les ff. 177v (au d\u00e9but du ms.), 120\/14, 120\/20, 167v \u00e0 169, 178v, 179, 187, 206\/1 sont blancs. Le f. 168 mq. Les ch. 111 et 112 employ\u00e9s deux fois. Les ch. 172 \u00e0 177 saut\u00e9s dans la foliotation. Notation mesur\u00e9e noire. 7 \u00e0 9 port\u00e9es par p. Initiales enlumin\u00e9es en coul. L'encre ayant rong\u00e9 le papier, certains incipit sont illisibles.\r\n\r\nMs. 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 d\u00e9truit un ms. ancien dont on a coup\u00e9 les capitales rouges ou bleues pour les coller sur le nouveau ms. Sur l'une d'elles actuellement d\u00e9coll\u00e9e, on peut voir sur l'envers quelques notes de musique de la m\u00eame \u00e9criture que le ms. qui nous est parvenu. Curieusement, les capitales originales (c'est-\u00e0-dire qui n'ont pas \u00e9t\u00e9 coll\u00e9es) sont absolument semblables \u00e0 celles provenant de l'ancien ms. (qui ont \u00e9t\u00e9 coll\u00e9es). Certains chiffres romains de la foliotation ont \u00e9t\u00e9 transform\u00e9s lors de cette r\u00e9fection 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 boulevers\u00e9 l'ordre de certains cahiers et auquel on a ajout\u00e9 ensuite quelques pi\u00e8ces. Quoiqu'il en soit, dans le ms. actuel on peut distinguer trois \u00e9tapes: J r\u00e9daction primitive.\r\n\r\n2\tpremier enrichissement du r\u00e9pertoire et transcription sur parchemin des feuillets us\u00e9s.\r\n\r\n3\tfusion avec un autre r\u00e9pertoire plus r\u00e9cent, transcription sur papier des feuillets usag\u00e9s, insertion de pi\u00e8ces profanes aux bas des p. rest\u00e9es libres. On a coutume de consid\u00e9rer ce ms. comme provenant de Piacenza (Ambros, Besseler) comme l'indique le P. Martini lui-m\u00eame (Ms. Mise. H. 83, f. 96) qui le dit \u00abvenuto da Piacenza in occasione del Capitolo dei Reverendi Canonici di S. Salvatore portatomi dal P. Monari dell'ordine sudetto nel maggio 1757.\u00bb Cependant, certains d\u00e9tails iconographiques (lettre orn\u00e9e du n\u00b0 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 \u00e9t\u00e9 commenc\u00e9 pour la cath\u00e9drale de Padoue, sans que l'on puisse pr\u00e9ciser o\u00f9 il a subi ensuite enrichissements et transformations (Clercx). Il fut en tout cas constitu\u00e9 pour l'usage d'une \u00e9glise comme le montre le riche r\u00e9pertoire de musique religieuse ordonn\u00e9 suivant la destination liturgique, tandis que les chansons sont dispers\u00e9es au hasard. Les 328 pi\u00e8ces (les nos 1, 31, 216, 217, 218 \u00e9tant copi\u00e9s en double) constituent un r\u00e9pertoire qui peut se situer entre 1400 et 1435 environ, Dufay avec 62 pi\u00e8ces et Johannes de Lymburgia avec 48, suivis par Ciconia avec 18 et Arnold de Lantins avec 17, \u00e9tant les mieux repr\u00e9sent\u00e9s. D'autre part, le style de la notation ne permet pas de dater le ms. apr\u00e8s 1440.\r\n\r\n\r\n\r\nOn a suivi la foliotation (ancienne ou r\u00e9cemment compl\u00e9t\u00e9e) telle qu'elle appara\u00eet actuellement sur le ms., substituant cependant les ch. arabes aux ch. romains.\r\n\r\n**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.**","author":"R\u00e9pertoire International des Sources Musicales","type":97,"pk":1148,"note_type":"RISM Description"},{"note":"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\r\n\r\n(Many of the Mass Ordinary sections are grouped into composite Masses and pairs)\r\n\r\nAlain-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\/(C\u00e9saris)-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\r\n\r\n342 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).\r\n\r\nCa. 1420-35 (Bent). Probably copied in Padua or Vicenza (see ClercxJC, CoxM). Padre Martini acquired the manuscript from Piacenza in 1757.\r\n\r\nVol 4\r\n\r\nComposers: Change \" Insula-1\" to \"Francus de Insula-1.\" Physical: Copied by a single scribe (Bent).\r\n\r\nDate\/provenance: Ca. 1420-35 (Bent). Probably copied in Padua or Vicenza (see ClercxJC, CoxM).","author":"Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550","type":98,"pk":1151,"note_type":"Census Catalogue of Music Description"}],"contributions":[{"pk":84801,"summary":"Annotated the Bosquet Gloria to indicate sources for composer attributions","contributor":"Clemens Goldberg","updated":"Tuesday, 27 January, 2026"},{"pk":84748,"summary":"image rotation fixed","contributor":"Michael Cuthbert","updated":"Wednesday, 19 November, 2025"},{"pk":84731,"summary":"Magnificat ocatvi toni 336v-338r: this piece has no attribution [incorrect attribution to 'lymburgia' in DIAMM removed]","contributor":"Clemens Goldberg","updated":"Tuesday, 4 November, 2025"},{"pk":84729,"summary":"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.","contributor":"Clemens Goldberg","updated":"Tuesday, 4 November, 2025"},{"pk":84662,"summary":"294v-295r, Ave virgo is copied on both pages, Salve virgo regia is complete on page 295r","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84684,"summary":"Foliation corrected for Du Fay's Christe redemptor","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84644,"summary":"297v-298r Recordare virgo : added 'voice' info for the third \"si placet\" voice","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84685,"summary":"f. 296v Dilecto Jesu Christo incorrectly shown as 2a pars of Brassart's Gratulemur Christicole: the two pieces now separated","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84692,"summary":"Corrected foliation for Zacara's 'scabioso' Credo","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84481,"summary":"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).","contributor":"Clemens Goldberg","updated":"Tuesday, 9 January, 2024"},{"pk":84210,"summary":"Provided list of recordings with music from MS","contributor":"Michael Stone","updated":"Monday, 10 January, 2022"},{"pk":83525,"summary":"Reported issue with inventory status.","contributor":"Karen Cook","updated":"Thursday, 26 April, 2018"},{"pk":81959,"summary":"NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description","credit":"Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550","updated":"Monday, 23 January, 2017"},{"pk":80280,"summary":"NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description","credit":"R\u00e9pertoire Internationale des Sources Musicales","updated":"Monday, 23 January, 2017"}],"commentary":{"public":[{"pk":2366,"comment":"There is a complete edition of this source in original and modern keys:\r\nhttps:\/\/www.goldbergstiftung.org\/bologna-q-15\/\r\n","author":"Clemens Goldberg","updated":"Wednesday, 3 December, 2025"},{"pk":2340,"comment":"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).","author":"Nicole Schwindt","updated":"Thursday, 1 June, 2023"},{"pk":2324,"comment":"The external links to the description of I-Bc Q.15 [https:\/\/www.diamm.ac.uk\/sources\/117] contain an error:\n\nThe 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:\nEnsemble Korymbos - Exit Rosa: Chants for the Nuns from Manuscript Q.11 of Bologna - Tactus 280002 [2011]\n\nRecordings of repertoire from I-Bc Q.15 may be found on these albums:\n\nEnsemble Ars Italica - Musica del XV Secolo in Italia - Tactus 400001 [1991]\nMala Punica - Sidus Preclarum. Ciconia: Complete Motets - Erato 3984-21661-2 [1998]\nThe Clerks' Group - Dufay: Sacred music from Bologna Q15 - Signum 023 [2002]\nLa Reverdie - Guillaume Du Fay: Missa Sancti Jacobi - Arcana 342 [2006]\nLe Miroir de Musique - Johannes de Lymburgia: Gaude felix Padua - Ricercar 402 [2019]","author":"Michael Stone","updated":"Sunday, 9 January, 2022"}]}}