| Archive | Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy (I-Bc) |
|---|---|
| Shelfmark | A.71 |
| Image Availability | DIAMM does not have images of this source. Please refer to the external links for image availability. |
| Surface | Paper |
| Numbering System | Pagination |
| Measurements | 215 x 145 mm |
| Other Identifiers |
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| Notations |
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| Relationships |
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| External Links | |
| Provenance |
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| Contents | 27 pieces from 6 composers |
The manuscript contains six treatises on music (Guillermo de Podino-3, Gafurius-2, anon-1); the polyphonic pieces are inserted between the treatises, or in some cases occur as musical examples within the treatises. Possibly compiled at the Spanish College in Bologna. The flyleaves preceding the manuscript proper contain a letter concerning the acquisition of the manuscript by Padre Martini.
(1) generally resembles Briquet #6649; (2) hand sur-mounted by five-petalled flower (not in Briquet).
black void mensural
Pagination, perhaps 18th century, 1-303.
18th-century index, probably by Padre Martini on front flyleaves
paper
RISM
XVe/XVIe s. 303 p. Papier, 215 x 150 mm.
Pagination du P. Martini. Les p. 132, 133, 221, 231, 236 à 240, 249, 250, 253, 257, 265, 277 à 283, 285, 292 à 295 sont blanches. Notation mesurée blanche. 10 portées par p. pleine. Sur un f. limin. n. ch. ajouté plus tard, table du ms. par le P. Martini. Initiales ornées en coul. et titres rubriqués.
Ms. considéré à tort par H. Hewitt (et à sa suite par H. Osthoff, cf. Bibliographie) comme la copie faite au XIXe s. d'un ms. «of the Carmelite monastery of St. Paul at Ferrara», celui-ci étant en réalité le ms. 117 de Faenza dont certaines pièces, transcrites en 1753 par le P. Martini, ont été réunies sous la cote A. 32 (2e partie), ms. qui ne présente donc aucun rapport avec A. 71. Dans une lettre non datée jointe au ms., adressée à Mons. Carampi (vraisemblablement l'archevêque de Montefiascone Giuseppe Garampi, primitivement à Rome, avec lequel le P. Martini entretint une correspondance de 1761 à 1780), on lit: «… sarebbe desiderio grande del P. Martini di fare acquisto del sudetto codice ma conoscendosi troppo ardito, si fa coragio di richiederne una copia.» Malgré ces réticences, Martini acquit le ms. qui entra au Civico Museo avec sa collection et dont il a lui-même rédigé la table. Les traités écrits ou glosés en espagnol suggèrent que certains fascicules tout au moins avaient été copiés à l'usage des étudiants du Collège espagnol de Bologne. Concernant les attributions non confirmées à Tinctoris, on a suivi Van den Borren qui considère les ex. anonymes du De arte contrapuncti comme «l'oeuvre personnelle de Tinctoris» (Biographie nat. de Belgique, XXV). Il semble justifié, en tout cas, de lui attribuer le no 14 dédié à Beatrice d'Aragon qui avait été son élève à Naples.
Ce recueil factice constitué à la fin du XVe s. ou au début du XVIe, contient les traités suivants:
p. 1-131 «Franchini Gafori Laudensis in delubri maioris choro phonacci Theoricum opus Musice discipline féliciter incipit» …
p. 134-190 »Guillermi de Podio presbiteri In Enchiridion de principiis musice discipline contra negantes illa et destruentes. Ad Johanem de Vera decretorum Doctor eximius et ecclesie Valentie precentorem dignissimus Prologus féliciter incipit.»
p. 191-207 «Cinco son las figuras de canto de orguano …» [Résumé des ch. VIII-XXXVIII de l'Ars musicorum de G. de Podio, imprimé à Valencia en 1495].
p. 207-220 Cf. dépouillement musical
p. 222-227 «Incipit compendium musicale de diversis questionibus et diffinitionibus»
p. 228-230 «Divisió monocordi diatonici …» [6 chap, sur le monocorde]
p. 232-235 Courts exemples musicaux de notation proportionnelle
p. 241-248 «Proportio inequalitatis est duarum inequalium quantitatum ad in vicem relatio …» [Extraits du Liv. IV de la Practica musice de Gaffurio]
p. 251-264 Cf. dépouillement musical
p. 266-276 «Canto es movimiento de voces concordante ...» (Cita Papa Johan in Tract ad Fulgentius.)
p. 284 «De proportione subsesquitertia» [Id. p. 248]
p. 286-297 Cf. dépouillement musical.
p. 298-300 Courts faux-bourdons à 4vx. sur les tons 1-4 et 6 des Psaumes, désignés à la table de Martini comme falsobordone
p. 301-303 «De proportione sesquialtera …» [Id. p. 246-248 avec 1 ex. suppl. p. 301]
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.
This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.
7 motets, 2 sets of falsobordone pieces, 2 French secular pieces = 11 + ca. 25 brief pieces illustrating mensural proportions and contrapuntal techniques
Josquin-1, Marlet-1, (Silva)-1, (Tinctoris)-2, (Willaert)-1, anonymous
vii + 152 + vi paper folios, 215 x 145. Pagination, perhaps from the 18th century, 1-303. The flyleaves preceding the manuscript proper contain a letter concerning the acquisition of the manuscript by Padre Martini and an 18th-century index, probably by Padre Martini. The manuscript contains six treatises on music (Guillermo de Podino-3, Gafurius-2, anon-1); the polyphonic pieces are inserted between the treatises, or in some cases occur as musical examples within the treatises.
1510-5 (O'DonSCB). Possibly compiled at the Spanish College in Bologna.
Vol 4
Contents:
Collection of treatises, with polyphonic examples:
5 psalms, 8 motets, 1 French secular piece, 1 set of textless melodic formulas
over breves in lower voice, 22 pieces illustrating mensural proportions and
contrapuntal techniques (some textless; some with Latin, French, or Italian
incipits or titles) = 37
Composers: Change "(Tinctoris)-2" to "Tinctoris-10 + 2?"; change "anony-mous" to "anon-21."
Physical: Watermarks: (1) generally resembles Briquet #6649; (2) hand sur-mounted by five-petalled flower (not in Briquet).
Date: Ca. 1515-20 (BlackLG).
Click an entry to see more information about that item.
| Folio / Pages | Composition / Item title | Source attribution | Composers (? Uncertain) |
|---|---|---|---|
| p. 207–p. 208 | In illo tempore loquente Jesu ad turbas | [A. DE SILVA] | |
|
Appears on:
p. 207–p. 208
Genres:
In illo tempore, Motet
Source Attribution:
[A. DE SILVA]
Voice:
[no designation]
Languages:
Latin
Voice Text:
In illo tempore loquente Iesu
General NotePubl. cf. Bc 19 n° 31 |
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| 209–210 | Regina caeli (4vv) - 1a pars (of 2): Regina caeli laetare alleluia [B084] | [A. WILLAERT] | |
|
Appears on:
209–210
Genres:
Motet, Regina caeli laetare
Source Attribution:
[A. WILLAERT]
Voice:
[no designation]
Languages:
Latin
Voice Text:
Regina caeli laetare alleluia
Item BibliographyLowinsky, Edward E. 1968. The Medici Codex of 1518, a choirbook of motets dedicated to Lorenzo de Medici, duke of Urbino. Monuments of Renaissance Music. Chicago and London. Pages: II. |
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| 209–210 | Regina caeli (4vv) - 2a pars (of 2): Resurrexit sicut dixit [B084] | [A. WILLAERT] | |
|
Appears on:
209–210
Genres:
Motet
Source Attribution:
[A. WILLAERT]
Voice:
[no designation]
Languages:
Latin
Voice Text:
Regina caeli laetare alleluia
General Note[2a p.]: Resurrexit sicut dixit . . . Item BibliographyLowinsky, Edward E. 1968. The Medici Codex of 1518, a choirbook of motets dedicated to Lorenzo de Medici, duke of Urbino. Monuments of Renaissance Music. Chicago and London. Pages: II. |
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| p. 211–212 | O quam pulchra | Antonius Marlet | |
|
Appears on:
p. 211–212
Genres:
Motet
Source Attribution:
Antonius Marlet
Voice:
[no designation]
Languages:
Latin
Voice Text:
O quam pulchra
General NoteLe nom de l'auteur au bas de la p. 212 |
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| 213–214 | Hodie Maria virgo puerum ofert in templo | - | Anonymous |
Hodie Maria virgo puerum ofert in temploAnonymous
Appears on:
213–214
Genres:
Motet
Voice:
[no designation]
Languages:
Latin
Voice Text:
Hodie Maria virgo puerum ofert in templo
General NoteIn purificatione beate Marie. |
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| 215–216 | Salve vera parens Christi regina | - | Anonymous |
Salve vera parens Christi reginaAnonymous
Appears on:
215–216
Genres:
BVM, Motet, Salve Regina
Voice:
[no designation]
Languages:
Latin
Voice Text:
Salve vera parens Christi regina
|
|||
| 217–218 | Tu quem virgineo peperisti corpore nati | - | Anonymous |
Tu quem virgineo peperisti corpore natiAnonymous
Appears on:
217–218
Genres:
Motet
Voice:
[no designation]
Languages:
Latin
Voice Text:
Tu quem virgineo peperisti corpore nati
|
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| 219–220 | Tu quem virgineo peperisti corpore nati | - | Anonymous |
Tu quem virgineo peperisti corpore natiAnonymous
Appears on:
219–220
Genres:
Motet
Voice:
[no designation]
Languages:
Latin
Voice Text:
Tu quem virgineo peperisti corpore nati
|
|||
| 251–252 | Se congié prens de mes belles amours 30.11 | JUSQUIN | |
|
Appears on:
251–252
Genres:
Chanson
Source Attribution:
JUSQUIN
Voice:
[no designation]
Languages:
Italian
Voice Text:
Si congi pran. [sic pour Se congié prens]
General Note[=0 Maria virgo sanctissima] [= Miserator dominus et misericors*] Canon Je vois devant. Je vois derrière. Va davant Lasa 4 pause de le sede. Va derero lasa 4 De le prime. Concordances*D-ddr-LEu 49 Item BibliographySmijers, Albert, Myroslaw Antonowycz, and Willem Elders (editors). 1925 - . Werken van Josquin des Prés: Wereldlijke Werken (1925); Missen (1931). Leipzig/ Amsterdam. |
|||
| 254 | untexted | - | - |
untexted
Appears on:
254
Voice:
[no designation]
Languages:
none
|
|||
| 255–256 | untexted | - | - |
untexted
Appears on:
255–256
Voice:
[no designation]
Languages:
none
Voice Text:
without text
|
|||
| 258 | Benedicta Virgo | - | Anonymous |
Benedicta VirgoAnonymous
Appears on:
258
Genres:
Motet
Voice:
[no designation]
Languages:
Latin
Voice Text:
Benedicta ... Virgo
General NoteSup. seul' |
|||
| 259–264 | O precor | - | Anonymous |
O precorAnonymous
Appears on:
259–264
Genres:
Motet
Voice:
[no designation]
Languages:
Latin
Voice Text:
O precor
General NoteCt: O preço2a p.: O precor. [Au bas de la p. 262, à la fin du B: «bene correctum est J. Tintoris»,suivi d'une autre version de la 2a p., p.263-264] |
|||
| 286 | Beatissima Beatrix prudens | [J. TINCTORIS?]* | |
|
Appears on:
286
Genres:
Mass Ordinary, Sanctus [& Benedictus]
Source Attribution:
[J. TINCTORIS?]*
Voice:
[no designation]
Languages:
Latin
Voice Text:
Beatissima Beatrix prudens
Concordances*Tinctoris, Liber de arte contrapuncti (anon.) Item BibliographyCoussemaker, Charles Edmond Henri de. 1963. Scriptorum de Musica Medii Aevi. Paris, 1864-76. Hildesheim. Pages: IV. Tinctoris, Johannes. 1961. The art of counterpoint (Liber de arte contrapuncti). Transi, and ed. with an introduction by Albert Seay. Musicological Studies and documents. edited by Johannes Tinctoris, A.I.M. |
|||
| 287 | - | - | Anonymous |
[Unknown Title]
Appears on:
287
|
|||
| 288 | Sancte Johannes baptista | [J. TINCTORIS?]*[ | |
|
Appears on:
288
Genres:
Motet
Source Attribution:
[J. TINCTORIS?]*[
Voice:
[no designation]
Languages:
Latin
Voice Text:
Sancte Ioannes baptista
Concordances*Tinctoris, Liber de arte contrapuncti (anon.) Item BibliographyCoussemaker, Charles Edmond Henri de. 1963. Scriptorum de Musica Medii Aevi. Paris, 1864-76. Hildesheim. Pages: IV. Tinctoris, Johannes. 1961. The art of counterpoint (Liber de arte contrapuncti). Transi, and ed. with an introduction by Albert Seay. Musicological Studies and documents. edited by Johannes Tinctoris, A.I.M. |
|||
| 289 | Alleluia | [J. TINCTORIS?]* | |
|
Appears on:
289
Genres:
Alleluia, Proper
Source Attribution:
[J. TINCTORIS?]*
Voice:
[no designation]
Languages:
Latin
Voice Text:
Alleluia
General Note[= Alleluya] Concordances*Tinctoris, Liber de arte contrapuncti (anon.) Item BibliographyCoussemaker, Charles Edmond Henri de. 1963. Scriptorum de Musica Medii Aevi. Paris, 1864-76. Hildesheim. Pages: IV. Tinctoris, Johannes. 1961. The art of counterpoint (Liber de arte contrapuncti). Transi, and ed. with an introduction by Albert Seay. Musicological Studies and documents. edited by Johannes Tinctoris, A.I.M. |
|||
| 289 | Alleluia | [J. TINCTORIS?]* | |
|
Appears on:
289
Genres:
Alleluia, Proper
Source Attribution:
[J. TINCTORIS?]*
Voice:
[no designation]
Languages:
Latin
Voice Text:
Alleluia
General Note[= Alleluya] Concordances*Tinctoris, Liber de arte contrapuncti (anon.) Item BibliographyCoussemaker, Charles Edmond Henri de. 1963. Scriptorum de Musica Medii Aevi. Paris, 1864-76. Hildesheim. Pages: IV. Tinctoris, Johannes. 1961. The art of counterpoint (Liber de arte contrapuncti). Transi, and ed. with an introduction by Albert Seay. Musicological Studies and documents. edited by Johannes Tinctoris, A.I.M. |
|||
| 290 | Alleluia | [J. TINCTORIS?]* | |
|
Appears on:
290
Genres:
Alleluia, Proper
Source Attribution:
[J. TINCTORIS?]*
Voice:
[no designation]
Languages:
Latin
Voice Text:
Alleluia
General Note[= Alleluya**] Concordances*E-Sc 28 **Tinctoris, Liber de arte contrapuncti (anon.) Item BibliographyBaker, Norma Klein. 1978. A fifteenth-century manuscript from the Segovia cathedral. University of Maryland, Ph.D. Dissertation. Coussemaker, Charles Edmond Henri de. 1963. Scriptorum de Musica Medii Aevi. Paris, 1864-76. Hildesheim. Pages: IV. Tinctoris, Johannes. 1961. The art of counterpoint (Liber de arte contrapuncti). Transi, and ed. with an introduction by Albert Seay. Musicological Studies and documents. edited by Johannes Tinctoris, A.I.M. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: 18. |
|||
| 290 | Philippe nescitis quid petatis | - | Anonymous |
Philippe nescitis quid petatisAnonymous
Appears on:
290
Genres:
Motet
Voice:
[no designation]
Languages:
Latin
Voice Text:
Philippe nescitis quid petatis
General NoteT et Ct: Phelipe. Nescitis quod petittis. |
|||
| 291 | Canon. Tempora pausabis nina post inde meabis cum pausa tum ibi juncta hoc solum teneas toto tenore gradatim cum tonis et semitonis usque diapason. | - | Anonymous |
|
Appears on:
291
Genres:
Canon
Voice:
Canon
Languages:
Latin
Voice Text:
ibifiet
Voice:
Canon
Languages:
Latin
Voice Text:
Sis diligens oculis ubi
Voice:
Contratenor
Languages:
Latin
Voice Text:
ibifiet
Voice:
Superius
Languages:
Latin
Voice Text:
Sis diligens oculis ubi
General NoteCanon. Tempora pausabis nina post inde meabis cum pausa tum ibi juncta hoc solum teneas toto tenore gradatim cum tonis et semitonis usque diapason. 2 [= 4]vx. A la fin du Sup.: Sis diligens oculis ubi Contratenor ibifiet. |
|||
| 296 | Sanctus= Si vis | [J. TINCTORIS?]* | |
|
Appears on:
296
Genres:
Mass Ordinary, Sanctus [& Benedictus]
Source Attribution:
[J. TINCTORIS?]*
Voice:
[no designation]
Languages:
Latin
Voice Text:
Si vis [= Sanctus]
General Note[= Sanctus] Concordances*Tinctoris, Liber de arte contrapuncti (anon.) Item BibliographyCoussemaker, Charles Edmond Henri de. 1963. Scriptorum de Musica Medii Aevi. Paris, 1864-76. Hildesheim. Pages: IV. Tinctoris, Johannes. 1961. The art of counterpoint (Liber de arte contrapuncti). Transi, and ed. with an introduction by Albert Seay. Musicological Studies and documents. edited by Johannes Tinctoris, A.I.M. |
|||
| 296 | Virginis Mariae laudes intonent christiani | [J. TINCTORIS?]* | |
|
Appears on:
296
Genres:
Motet
Source Attribution:
[J. TINCTORIS?]*
Voice:
[no designation]
Languages:
Latin
Voice Text:
Virginis Mariae laudes
General Note[= Virginis Marie laudes intonent christiani] Concordances"Tinctoris, Liber de arte contrapuncti (anon.) Item BibliographyCoussemaker, Charles Edmond Henri de. 1963. Scriptorum de Musica Medii Aevi. Paris, 1864-76. Hildesheim. Pages: IV. Tinctoris, Johannes. 1961. The art of counterpoint (Liber de arte contrapuncti). Transi, and ed. with an introduction by Albert Seay. Musicological Studies and documents. edited by Johannes Tinctoris, A.I.M. |
|||
| 296 | Ego Volo | - | Anonymous |
Ego VoloAnonymous
Appears on:
296
Genres:
Motet
Voice:
[no designation]
Languages:
Latin
Voice Text:
Ego Volo
General NoteSup. seul |
|||
| 297 | D'un autre aimer mon coeur s'abesseroit | [J. TINCTORIS]* | |
|
Appears on:
297
Genres:
Chanson
Source Attribution:
[J. TINCTORIS]*
Voice:
[no designation]
Languages:
French
Voice Text:
D'ung aultre, [amer]
Concordances*E-SE Item BibliographyBaker, Norma Klein. 1978. A fifteenth-century manuscript from the Segovia cathedral. University of Maryland, Ph.D. Dissertation. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: 18. |
|||
| 297 | Alleluia | [J. TINCTORIS?]* | |
|
Appears on:
297
Genres:
Alleluia, Proper
Source Attribution:
[J. TINCTORIS?]*
Voice:
[no designation]
Languages:
Latin
Voice Text:
Alleluia
General Note[= Alleluya] Concordances*Tinctoris, Liber de arte contrapuncti (anon.) Item BibliographyCoussemaker, Charles Edmond Henri de. 1963. Scriptorum de Musica Medii Aevi. Paris, 1864-76. Hildesheim. Pages: IV. Tinctoris, Johannes. 1961. The art of counterpoint (Liber de arte contrapuncti). Transi, and ed. with an introduction by Albert Seay. Musicological Studies and documents. edited by Johannes Tinctoris, A.I.M. |
|||
| 298 | untexted | [J. TINCTORIS?]* | |
|
Appears on:
298
Genres:
textless
Source Attribution:
[J. TINCTORIS?]*
Voice:
[no designation]
Languages:
none
Voice Text:
without text
General Note[avec 2 versions du Sup.] Concordances*Tinctoris, Liber de arte contrapuncti (anon.) Item BibliographyCoussemaker, Charles Edmond Henri de. 1963. Scriptorum de Musica Medii Aevi. Paris, 1864-76. Hildesheim. Pages: IV. Tinctoris, Johannes. 1961. The art of counterpoint (Liber de arte contrapuncti). Transi, and ed. with an introduction by Albert Seay. Musicological Studies and documents. edited by Johannes Tinctoris, A.I.M. |
|||
‡ denotes primary source study
Blackburn, Bonnie J. 1981. A Lost Guide to Tinctoris's Teachings Recovered. Early Music History, 29-116. Pages: 36-9,46ff. Notes: physical description; contents list; concordances; transcription (partial); mention of MS; discussion.
Hamm, Charles E, and Herbert Kellman (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Renaissance Manuscript Studies. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag. Pages: I, 68.
Kirsch, Winfried. 1977. Die Motetten des Andreas de Silva: Studien zur Geschichte der Motette im 16. Jahrhundert. Frankfurter Beiträge zur Musikwissenschaft. Tutzing. Pages: 24-7,42,78-82,91,433,443. Notes: contents list; concordances (partial); mention of MS; discussion.
Gümpel, Karl-Werner. 1973. Das Enchiridion de principiis musice discipline des Guillermus de Podio. Gesammelte Aufsätze zur Kulturgeschichte Spaniens, 359-96. Pages: (concerne surtout les traités).
O'Donoghue, Valerie Weinhouse. 1972. A Music Manuscript from the Spanish College of Bologna: A Study of the Manuscript Bologna, Civico Museo Bibliografico Musicale, MS A 71 (olim 159). University of Illinois, Unpublished Master's thesis. Notes: physical description; mention of MS; discussion; contents list; texts.
Kristeller, Paul Oskar. 1963-67. Iter Italicum, a finding list of uncatalogued or incompletely catalogued humanistic manuscripts of the Renaissance in Italian and other libraries. London/Leiden. Pages: I, 29ff.
Osthoff, Helmuth. 1962. Josquin Desprez. 2 vols. Tutzing. Pages: II, 220.
Stevenson, Robert. 1960. Spanish Music in the Age of Columbus. The Hague. Pages: 74-7. Notes: physical description; mention of MS; discussion.
Anglès, Higinio. 1947. La notacion musical espanola de la segunda mitad del sigio XV. Analecta Musicologica, 151ff. Pages: 161ff (Ed. du traité de Podio).
Hewitt, Helen Margaret (editor). 1942. Harmonice Musices Odhecaton A. Studies and Documents. Cambridge, Massachusetts: Mediaeval Academy of America. Pages: 119.
Anglès, Higinio (editor). 1941-1971. Monumentos de la Mùsica Espanola. Madrid (later Barcelona, later Rome). Pages: I, 128 (concerne seul* la 1ère partie du ms. sous la cote Cod. 159).
Anglès, Higinio. 1941. La musica espanda desde la edad media hasta nuestros dias. Catalogo de la exposicion historica celebrada en commemoracion del primer centenário del nacimiento del maestro Felipe Pedrell, 18 mayo-25 junio 1941, Barcelona. Pages: 64, n" 116.
Torchi, Luigi. 1906. I Monumenti dell'antica musica francese a Bologna. Rivista Musicale Italiana, 451-505,575-615. Pages: 479. Notes: mention of MS.
Gaspari, Gaetano. 1890-1943. Catalogo della Biblioteca del Liceo musicale di Bologna. 5 vols. Bologna. Pages: I, 159 et 215. Notes: physical description.
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Hi! Although the "Contributions" section notes Reinhard Strohm's correction of Guillermo de Podio's name, the "General Description" section still reads: "The manuscript contains six treatises on music (Guillermo de Podino…" [sic].
Contributions to this record are recorded here. If you wish to contribute information or a correction to this record, use the "Contribute a Change" link. This will then be reviewed by DIAMM staff and, if accepted, your contribution will be acknowledged here.
Corrected Guillermo de Podio's name.
NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description