P-Cug MM.12

Biblioteca Geral da Universidade, Coimbra, Portugal

Polyphonic Choirbook: Late 15th-early 16th century

Archive Biblioteca Geral da Universidade, Coimbra, Portugal (P-Cug)
Shelfmark MM.12
Image Availability DIAMM does not have images of this source. Please refer to the external links for image availability.
Surface Paper
Numbering System Foliation
Measurements 523 x 390 mm
Other Identifiers
  • CCM: CoimU 12
Notations
  • black void mensural
Relationships
External Links
Provenance
Contents 81 pieces from 19 composers
General Description

Copied by one main scribe and four additional scribes. From the monastery of Santa Cruz, in Coimbra.

DIAMM, 2017
Physical Description

The manuscript is in poor condition, with many folios loose and corroded by the ink.

DIAMM, 2017
Binding

Original covers of tan tooled leather, with five metal studs, similar to covers of CoimU 32.

DIAMM, 2017
Watermark

(1) circle and cross, with letters "MT"; (2) circle and cross, with letters "PM" (HardieP).

DIAMM, 2017
Notation

black void mensural

DIAMM, 2017
Date

Second quarter of 16th century (HardieP).

DIAMM, 2017
Foliation

Original foliation, 1-210; f. 36 missing.

DIAMM, 2017
Index

Incomplete original index on front flyleaf.

DIAMM, 2017
Surface

paper

DIAMM, 2017
Census Catalogue of Music Description

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

8 Masses, 12 Magnificats (1 incomplete), 1 Canticle, 2 psalms, 6 hymns, 35 motets = 64

(Anchieta/Compère/Peñalosa)-1, (Anchieta/Peñalosa)-1, Bento -1, Escobar-2, (Illario)-1, Morangam-7, Mouton-1, (Paiva)-2, Peñalosa-4, (Pregador)-1, A. Ribera-1, Vasco Pirez-3, Wreede-1, anon-38

i + 209 + i paper folios, 523 x 390. The manuscript is in poor condition, with many folios loose and corroded by the ink. Original foliation, 1-210; f. 36 missing. Original covers of tan tooled leather, with five metal studs, similar to covers of CoimU 32. Incomplete original index on front flyleaf.

Late 15th-early 16th century (MME). From the monastery of Santa Cruz, in Coimbra.

Vol. 4

Composers: Change "(Anchieta/Compère/Penalosa)-1" to "(Anchieta/Compère/ Peñalosa/A. Ribera)-1"; change "Peñalosa-4" to "Peñalosa-3"; add "(Escobar/Peñalosa)-1."

Physical: Copied by one main scribe and four additional scribes. Watermarks: (1) circle and cross, with letters "MT"; (2) circle and cross, with letters "PM" (HardieP).

Date: Second quarter of 16th century (HardieP).

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

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
1v–7 Missa Salve regina: Kyrie, Gloria - Anonymous
Appears on: 1v–7
Genres: Gloria (et in terra pax), Kyrie eleison, Mass Ordinary
7v–8 Alleluia Do[minus] Pregador
Appears on: 7v–8
Genres: Alleluia
Source Attribution: Do[minus] Pregador
8v–18 Missa Salve regina: Credo, Sanctus Agnus Dei - Anonymous
Appears on: 8v–18
Genres: Agnus Dei, Credo (patrem omnipotentem), Mass Ordinary
18v–19 Responses: Amen - Et cum spiritu tuo - etc - Anonymous
Appears on: 18v–19
Genres: Response
Concordances

Coimbra MM 44, ff. 139v-140

19v–22 Missa: Kyrie, Gloria - Anonymous
Appears on: 19v–22
Genres: Gloria (et in terra pax), Kyrie eleison, Mass Ordinary
23v–24 Alleluia V(as)co Pi(re)s
Appears on: 23v–24
Genres: Alleluia
Source Attribution: V(as)co Pi(re)s
24v–32 Missa nuestra Señora / Missa Rex Virginum: Credo -
Appears on: 24v–32
Genres: Credo (patrem omnipotentem), Mass Ordinary
24v–32 Missa: Sanctus, Agnus Dei - Anonymous
Appears on: 24v–32
Genres: Agnus Dei, Mass Ordinary, Sanctus [& Benedictus]
32v–33 Alleluia. Primus ad Sion dicet ecce -
Appears on: 32v–33
Genres: Alleluia, Proper
33v–34 Alleluia D. heliodoro
Appears on: 33v–34
Genres: Alleluia
Source Attribution: D. heliodoro
34v–35 Precor te Domine - 1a pars (of 2): Precor te Domine Jesu Christe propter illam -
Appears on: 34v–35
Genres: Motet
Concordances

the last 10 breves of this copy differ from those in other copies (HardieP, p. 134)

Concordances

the last 10 breves of this copy differ from those in other copies (HardieP, p. 134); see two versions in PenalosaO at pp. 159-169 & 171-179

Item Bibliography

Preciado, Dionisio (editor). 1986-2000. Francisco de Peñalosa. Opera Omnia. 4 vols. Madrid. Pages: 159-179. Notes: 2 versions: the one in Coimbra 12 differing from the others at the end of prima pars.

Hardie, Jane Morlet. 1983. The Motets of Francisco de Pehalosa and Their Manuscript Sources. University of Michigan, Unpublished Ph.D. dissertation. Pages: 134.

35v–37 Salve regina Dom Bento
Appears on: 35v–37
Genres: BVM, Marian antiphon, Salve Regina
Source Attribution: Dom Bento
37v–42 Missa El ojo: Kyrie, Gloria Penalosa
Appears on: 37v–42
Genres: Gloria (et in terra pax), Kyrie eleison, Mass Ordinary
Source Attribution: Penalosa
42v–43 Alleluia Sexta antigua - Anonymous
Appears on: 42v–43
Genres: Alleluia
43v–53 Missa El ojo: Credo, Sanctus, Agnus Dei Penalosa
Appears on: 43v–53
Genres: Agnus Dei, Credo (patrem omnipotentem), Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Penalosa
53v–59 Missa Sine nomine: Kyrie, Gloria Escovar
Appears on: 53v–59
Genres: Gloria (et in terra pax), Kyrie eleison
Source Attribution: Escovar
59v–60 Alleluia. Christus resurgens ex mortuis (Octava antigua) - Anonymous
Appears on: 59v–60
Genres: Alleluia, Proper
60v–69 Missa Sine nomine: Credo, Sanctus, Agnus Dei Escovar
Appears on: 60v–69
Genres: Agnus Dei, Credo (patrem omnipotentem), Sanctus [& Benedictus]
Source Attribution: Escovar
69v–70 Alleluia Buxel
Appears on: 69v–70
Genres: Alleluia
Source Attribution: Buxel
70v–71 Alleluia D. heliodoro
Appears on: 70v–71
Genres: Alleluia
Source Attribution: D. heliodoro
71v–72 Alleluia Moram
Appears on: 71v–72
Genres: Alleluia
Source Attribution: Moram
72v–73 O gloriosa Domina - Anonymous

O gloriosa Domina

Anonymous
Appears on: 72v–73
Genres: Hymn
73v–80 Missa: Kyrie, Gloria -
Appears on: 73v–80
Genres: Gloria (et in terra pax), Kyrie eleison, Mass Ordinary
80v–81 Et incarnatus est - Anonymous

Et incarnatus est

Anonymous
Appears on: 80v–81
Genres: Gloria (et in terra pax), Mass Ordinary
80v–81 Et incarnatus est - Anonymous

Et incarnatus est

Anonymous
Appears on: 80v–81
Genres: Gloria (et in terra pax), Mass Ordinary
81v–89 Missa Sine nomine (II): Credo, Sanctus, Agnus Dei -
Appears on: 81v–89
Genres: Agnus Dei, Credo (patrem omnipotentem), Mass Ordinary, Sanctus [& Benedictus]
89v–90 Ave maris stella - Anonymous

Ave maris stella

Anonymous
Appears on: 89v–90
Genres: Ave maris stella, BVM, Hymn
General Note

1st verse only

90v–91 Missa Sine nomine (II): Kyrie Ribeira
Appears on: 90v–91
Genres: Kyrie eleison, Mass Ordinary
Source Attribution: Ribeira
91v–93 Missa Sine nomine (I): Gloria Ribeira
Appears on: 91v–93
Genres: Gloria (et in terra pax), Mass Ordinary
Source Attribution: Ribeira
94v–100 Missa: Kyrie, Gloria - Anonymous
Appears on: 94v–100
Genres: Gloria (et in terra pax), Kyrie eleison, Mass Ordinary
100v–101 Benedicamus Domino - Anonymous

Benedicamus Domino

Anonymous
Appears on: 100v–101
Genres: Benedicamus Domino
General Note

also copied at 208v-209

101v–102 Ave maris stella - Anonymous

Ave maris stella

Anonymous
Appears on: 101v–102
Genres: Ave maris stella, BVM, Hymn
102v–105 Missa: Credo - Anonymous

Missa: Credo

Anonymous
Appears on: 102v–105
Genres: Credo (patrem omnipotentem), Mass Ordinary
General Note

incomplete

106v–107 Ave maris stella - Anonymous

Ave maris stella

Anonymous
Appears on: 106v–107
Genres: Ave maris stella, BVM, Vespers
107v–108 Hoc corpus quod pro vobis - Anonymous
Appears on: 107v–108
Genres: Motet
108v–109 Alleluia(?) - Anonymous

Alleluia(?)

Anonymous
Appears on: 108v–109
Genres: Alleluia
109v–110 Sicut erat - Anonymous

Sicut erat

Anonymous
Appears on: 109v–110
Genres: Doxology
111v–120 Missa - Anonymous

Missa

Anonymous
Appears on: 111v–120
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
121v–127 Magnificat tone 1: Anima mea [K.929] Luis Morangam
Appears on: 121v–127
Genres: BVM, Canticle, Magnificat
Source Attribution: Luis Morangam
127v–133 Magnificat tone 8: Et exultavit [K.934] Luis Morangam
Appears on: 127v–133
Genres: BVM, Canticle, Magnificat
Source Attribution: Luis Morangam
133v–134 Benedicamus Domino(?) [textless] - Anonymous
Appears on: 133v–134
Genres: Benedicamus Domino
133v–134 Benedicamus Domino(?) [textless] - Anonymous
Appears on: 133v–134
Genres: Benedicamus Domino
134v–140 Magnificat tone 4: Et exultavit [K.931] Luis Morangam
Appears on: 134v–140
Genres: BVM, Canticle, Magnificat
Source Attribution: Luis Morangam
140v–146 Magnificat quarti toni: Et exultavit [K.939] Joam Monton
Appears on: 140v–146
Genres: BVM, Canticle, Magnificat
Source Attribution: Joam Monton
146v–152 Magnificat tone 5: Anima mea [K.932] Luis Morangam
Appears on: 146v–152
Genres: BVM, Canticle, Magnificat
Source Attribution: Luis Morangam
General Note

'Deposuit potentes' is at ff. 209v-210

152v–158 Magnificat tone 6: Et exultavit [K.933] Luis Morangam
Appears on: 152v–158
Genres: BVM, Canticle, Magnificat
Source Attribution: Luis Morangam
158v–159 Pange lingua - Anonymous

Pange lingua

Anonymous
Appears on: 158v–159
Genres: Hymn
159v–161 Magnificat sexti toni: Et exultavit [K.344] - Anonymous
Appears on: 159v–161
Genres: BVM, Canticle, Magnificat
161v–166 Magnificat primi toni. Anima mea [K.960] penhalosa
Appears on: 161v–166
Genres: BVM, Canticle, Magnificat
Source Attribution: penhalosa
166v–172 [Magnificat 4 toni] Quia fecit - Esurientes - Sicut erat vasco pirez
Appears on: 166v–172
Genres: BVM, Canticle, Magnificat
Source Attribution: vasco pirez
General Note

beginning of the piece also repeated at 186v (incomplete)

171v fabordao? - Anonymous

fabordao?

Anonymous
Appears on: 171v
Genres: Fauxbourdon/faburden
General Note

obscured by later paste-down

172v–173 Veni creator spiritus - Anonymous
Appears on: 172v–173
Genres: Hymn
173v–179 Magnificat 6 toni: Et exultavit Joannes utrede
Appears on: 173v–179
Genres: Magnificat
Source Attribution: Joannes utrede
179v–180 Magnificat octavi toni [K.966]: (exc) Sicut erat penhalosa
Appears on: 179v–180
Genres: BVM, Canticle, Doxology, Magnificat
Source Attribution: penhalosa
180v–186 Magnificat octavi toni: Et exultavit [K.434] - Anonymous
Appears on: 180v–186
Genres: BVM, Canticle, Magnificat
General Note

'Esurientes' section

186v [Magnificat 4 toni] Quia fecit - Esurientes - Sicut erat -
Appears on: 186v
Genres: BVM, Canticle, Magnificat
General Note

beginning only (incomplete). The piece is also copied at ff. 166v-172

187 Et gloriamini omnes - Anonymous
Appears on: 187
Genres: Hymn
General Note

'Sicut erat' section

187v–188 Nunc dimittis - Anonymous

Nunc dimittis

Anonymous
Appears on: 187v–188
Genres: Canticle, Fauxbourdon/faburden, Nunc Dimittis
187v–188 Dixit Dominus - Anonymous

Dixit Dominus

Anonymous
Appears on: 187v–188
Genres: Fauxbourdon/faburden, Psalm
187v–188 Dixit Dominus - Anonymous

Dixit Dominus

Anonymous
Appears on: 187v–188
Genres: Fauxbourdon/faburden, Psalm
187v–188 In exitu Israel - Anonymous

In exitu Israel

Anonymous
Appears on: 187v–188
Genres: Fauxbourdon/faburden, Hymn
188v–189 Sicut erat - Anonymous

Sicut erat

Anonymous
Appears on: 188v–189
Genres: Doxology
189v–190 Resurgens Christus ex mortuis - Anonymous
Appears on: 189v–190
Genres: Motet
190v–191 O bone Jesu illumina oculos meos -
Appears on: 190v–191
Genres: Motet
Concordances

Coimbra MM 48, ff. 36-36v; MM 53, ff. 131v

191v–193 Domine Jesu Christe qui hora diei ultima -
Appears on: 191v–193
Genres: Motet
192v–193 Ave sanctissimum et gloriosum / Ave verum -
Appears on: 192v–193
Genres: Motet

Item Bibliography

Ros-Fábregas, Emilio. 1992. The Manuscript, Biblioteca Catalunya, m. 454: Study and Edition in the Context of the Iberian and Continental Manuscript Tradition. New York, 2 vols, Ph. D. diss. Pages: II, 176-178. Notes: (Coimbra 12 version, alongside the Barcelona M. 454 version (pp.172-175).

193v–194 Clamabat autem mulier Cananaea ad Dominum -
Appears on: 193v–194
Genres: Motet
194v–195 Fatigatus Jhesus -
Appears on: 194v–195
Genres: Motet
195v–196 O sacrum convivium in quo Christus sumitur -
Appears on: 195v–196
Genres: Motet
196v–198 O admirabile commercium creator generis [Illario]
Appears on: 196v–198
Genres: Motet
Source Attribution: [Illario]
Concordances

Coimbra MM 48, ff. 36v-37v; MM 53, ff. 44v-45

198v–200 Salve regina - Anonymous

Salve regina

Anonymous
Appears on: 198v–200
Genres: Antiphon, BVM, Salve Regina
200v–201 Gabriel angelus - Anonymous

Gabriel angelus

Anonymous
Appears on: 200v–201
Genres: Motet
201v–202 Memorare piissima - 1a pars (of 2): Memorare piissima opprobria et crudeles -
Appears on: 201v–202
Genres: Motet
202v–203 Memorare piissima - 2a pars (of 2): Et pedes confixi -
Appears on: 202v–203
Genres: Motet
203v–204 Super flumina babylonis - 1a pars (of 2): Super flumina babylonis - Anonymous
Appears on: 203v–204
Genres: Motet
204v–205 Super flumina babylonis - 2a pars (of 2): Quomodo cantabimus - Anonymous
Appears on: 204v–205
Genres: Motet
205v–207 Taedet animam meam - Anonymous

Taedet animam meam

Anonymous
Appears on: 205v–207
Genres: Motet
207v–208 Benedicamus Domino - Anonymous

Benedicamus Domino

Anonymous
Appears on: 207v–208
Genres: Benedicamus Domino
208v–209 Benedicamus Domino - Anonymous

Benedicamus Domino

Anonymous
Appears on: 208v–209
Genres: Benedicamus Domino
General Note

also copied at 100v-101

208n–209 Benedicamus Domino - Anonymous

Benedicamus Domino

Anonymous
Appears on: 208n–209
Genres: Benedicamus Domino
209v–210 Magnificat tone 5: Anima mea [K.932] -
Appears on: 209v–210
Genres: BVM, Canticle, Magnificat
General Note

'Deposuit potentes' only: remainder of the piece is at ff. 146v-152

Composer Compositions
Alba, Alonso Perez de (ca. 1480–ca. 1520)
Anchieta, Juan de (1462–1523)
Anonymous
Buxel
Compère, Loyset (ca. 1445–1518)
Diaz (Pedro Diaz de Aux?)
Escobar, Pedro de
Gomes de Herrero, Manuel de S Bento
Illarius, Johannes
Mondejar, Alonso de
Moran, Luis
Mouton, Jean (ca. 1459–1522)
Paiva, Heliodoro de
Penalosa, Francisco de
Pires, Vasco
Pregador
Ribera, Antonio de
Tordesillas, Pedro Hernandez de
Urrede (Wrede), Juan de (fl. 1451-c1482)
Composition Composers (? Uncertain) Folios / Pages
[Magnificat 4 toni] Quia fecit - Esurientes - Sicut erat 166v–172
[Magnificat 4 toni] Quia fecit - Esurientes - Sicut erat 186v
Alleluia 7v–8
Alleluia 23v–24
Alleluia 33v–34
Alleluia 69v–70
Alleluia 70v–71
Alleluia 71v–72
Alleluia Sexta antigua Anonymous 42v–43
Alleluia(?) Anonymous 108v–109
Alleluia. Christus resurgens ex mortuis (Octava antigua) Anonymous 59v–60
Alleluia. Primus ad Sion dicet ecce 32v–33
Ave maris stella Anonymous 89v–90
Ave maris stella Anonymous 101v–102
Ave maris stella Anonymous 106v–107
Ave sanctissimum et gloriosum / Ave verum 192v–193
Benedicamus Domino Anonymous 100v–101
Benedicamus Domino Anonymous 207v–208
Benedicamus Domino Anonymous 208v–209
Benedicamus Domino Anonymous 208n–209
Benedicamus Domino(?) [textless] Anonymous 133v–134
Benedicamus Domino(?) [textless] Anonymous 133v–134
Clamabat autem mulier Cananaea ad Dominum 193v–194
Dixit Dominus Anonymous 187v–188
Dixit Dominus Anonymous 187v–188
Domine Jesu Christe qui hora diei ultima 191v–193
Et gloriamini omnes Anonymous 187
Et incarnatus est Anonymous 80v–81
Et incarnatus est Anonymous 80v–81
fabordao? Anonymous 171v
Fatigatus Jhesus 194v–195
Gabriel angelus Anonymous 200v–201
Hoc corpus quod pro vobis Anonymous 107v–108
In exitu Israel Anonymous 187v–188
Magnificat 6 toni: Et exultavit 173v–179
Magnificat octavi toni [K.966]: (exc) Sicut erat 179v–180
Magnificat octavi toni: Et exultavit [K.434] Anonymous 180v–186
Magnificat primi toni. Anima mea [K.960] 161v–166
Magnificat quarti toni: Et exultavit [K.939] 140v–146
Magnificat sexti toni: Et exultavit [K.344] Anonymous 159v–161
Magnificat tone 1: Anima mea [K.929] 121v–127
Magnificat tone 4: Et exultavit [K.931] 134v–140
Magnificat tone 5: Anima mea [K.932] 146v–152
Magnificat tone 5: Anima mea [K.932] 209v–210
Magnificat tone 6: Et exultavit [K.933] 152v–158
Magnificat tone 8: Et exultavit [K.934] 127v–133
Memorare piissima - 1a pars (of 2): Memorare piissima opprobria et crudeles 201v–202
Memorare piissima - 2a pars (of 2): Et pedes confixi 202v–203
Missa Anonymous 111v–120
Missa El ojo: Credo, Sanctus, Agnus Dei 43v–53
Missa El ojo: Kyrie, Gloria 37v–42
Missa nuestra Señora / Missa Rex Virginum: Credo 24v–32
Missa Salve regina: Credo, Sanctus Agnus Dei Anonymous 8v–18
Missa Salve regina: Kyrie, Gloria Anonymous 1v–7
Missa Sine nomine (I): Gloria 91v–93
Missa Sine nomine (II): Credo, Sanctus, Agnus Dei 81v–89
Missa Sine nomine (II): Kyrie 90v–91
Missa Sine nomine: Credo, Sanctus, Agnus Dei 60v–69
Missa Sine nomine: Kyrie, Gloria 53v–59
Missa: Credo Anonymous 102v–105
Missa: Kyrie, Gloria Anonymous 19v–22
Missa: Kyrie, Gloria 73v–80
Missa: Kyrie, Gloria Anonymous 94v–100
Missa: Sanctus, Agnus Dei Anonymous 24v–32
Nunc dimittis Anonymous 187v–188
O admirabile commercium creator generis 196v–198
O bone Jesu illumina oculos meos 190v–191
O gloriosa Domina Anonymous 72v–73
O sacrum convivium in quo Christus sumitur 195v–196
Pange lingua Anonymous 158v–159
Precor te Domine - 1a pars (of 2): Precor te Domine Jesu Christe propter illam 34v–35
Responses: Amen - Et cum spiritu tuo - etc Anonymous 18v–19
Resurgens Christus ex mortuis Anonymous 189v–190
Salve regina 35v–37
Salve regina Anonymous 198v–200
Sicut erat Anonymous 109v–110
Sicut erat Anonymous 188v–189
Super flumina babylonis - 1a pars (of 2): Super flumina babylonis Anonymous 203v–204
Super flumina babylonis - 2a pars (of 2): Quomodo cantabimus Anonymous 204v–205
Taedet animam meam Anonymous 205v–207
Veni creator spiritus Anonymous 172v–173

denotes primary source study

Rees, Owen. 1995. Polyphony in Portugal c. 1530 – c. 1620. Sources from the Monastery of Santa Cruz, Coimbra.  New York & London: Garland. Notes: physical description; inventory; concordances.

Hardie, Jane Morlet. 1983. The Motets of Francisco de Pehalosa and Their Manuscript Sources. University of Michigan, Unpublished Ph.D. dissertation. Pages: 102-8,134-49,283-5,300-4. Notes: physical description; contents list (partial); concordances (partial); incipits (partial); transcription (partial); texts (partial); mention of MS; discussion.

Baker, Norma Klein. 1978. An Unnumbered Manuscript of Polyphony in the Archives of the Cathedral of Segovia: Its Provenance and History. University of Maryland, Unpublished Ph.D. dissertation. Pages: 49-51,342,461. Notes: contents list (partial); concordances (partial); incipits (partial); mention of MS; discussion.

Bragard, Murray C. 1978. The Falsobordone: A Study in Renaissance and Baroque Music. Musicological Studies and Documents.  American Institute of Musicology. Pages: 19,22ff,159-60. Notes: physical description (partial); contents list (partial); transcriptions (partial); mention of MS; discussion.

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts.  Tutzing. Pages: 131. Notes: contents list (partial); concordances (partial); incipits (partial).

Finscher, Ludwig. 1964. Loyset Compere: Life and Works. Musicological Studies and Documents.  American Institute of Musicology. Pages: 34. Notes: mention of MS.

Kastner, Macario Santiago (editor). 1959-. Portugaliae Musica.  Lisbon. Pages: XXXVII,xxx-xxxi,18-9. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Finscher, Ludwig (editor). 1958-. Loyset Compere: Opera Omnia. Corpus mensurabilis musicae.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: IV, ix, 27-8. Notes: transcription (partial); facsimile (partial).

Gerber, Rudolf. 1953. Spanische Hymnensätze um 1500. Archiv für Musikwissenschaft, 165-84. Pages: 167. Notes: contents list (partial).

Luper, Albert T. 1950. Portuguese Polyphony in the Sixteenth and Early Seventeenth Centuries. Journal of the American Musicological Society, 93-112. Pages: 104. Notes: mention of MS.

Anglès, Higinio (editor). 1941-1971. Monumentos de la Mùsica Espanola.  Madrid (later Barcelona, later Rome). Pages: I, 119-22. Notes: physical description; contents list; concordances (partial).

Sampayo Ribeiro, Mário de. 1941. Os Manuscritos Musicais n.os 6 e 12 da Biblioteca Geral da Universidade de Coimbra.  Coimbra. Pages: 33-99. Notes: physical description; mention of MS; discussion; contents list; facsimile (partial).

Kastner, Macario Santiago. 1937. Inventário dos inéditos e impressos musicais.  Coimbra. Pages: 18-9. Notes: physical description; contents list; incipitsst of contents (partial).

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DIAMM, 2016

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. General Description; Physical Description Note; Binding Note; Watermark Note; Notation Note; Date Note; Foliation Note; Contents Note; Surface Note

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

Monday, 23 January, 2017

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