F-CH MS 564 (Chantilly Codex)

Musée Condé, Chantilly, France

manuscript of polyphony: Late 14th century

Archive	Musée Condé, Chantilly, France (F-CH)
Shelfmark	MS 564 (Chantilly Codex)
Image Availability	The images on this record are linked using IIIF.
Surface	Parchment
Numbering System	Foliation
Measurements	387 x 286 mm
Other Identifiers	RISM: F-CH 564 RISM: Ch CCM: ChantMC 564 Other catalogues/source: Ch olim (Former shelfmark): MS 1047
Notations	Ars Nova black full mensural red mensural unusual note-forms
Relationships	Franciescho d'alto biancho degli alberti (owner) Spinelli, Thomasso (owner) Fébus, Gaston (1331–1391) (commissioned/made for) John I (1350–1395) (commissioned/made for) Duke of Aumale (owner)
External Links	images 14th-century French music notation tutorials IIIF Manifest images (alternative link) transcribed texts
Provenance	France
Contents	Contains 116 compositions, 86 from 35 composers, 30 are anonymous.

General Description

The two Cordier pieces are probably holographs; the rest of the manuscript was probably copied by an Italian scribe working from a French original (ReaneyC). Repertory from southwestern France; probably copied in Florence from a French original from c. 1390 (ReaneyC, but cf. WrightTC, who suggests that ChantMC 564 may have originated at the papal court at Avignon). The manuscript was in Italy from 1461 (inscription on f. 9: 'A di xviii di luglio 1461 Franciescho d'alto biancho degli alberti dono questo libro alle mie fanciulle e a Rechollo Lançalao suo figliolo. Amen Thomasso Spinelly. Propria manu') until 1861, when it was purchased for the Duke of Aumale by the sculptor Bigazzi in Florence.

DIAMM, 2017

Physical Description

the first gathering of 12 folios was lost, and four new folios were placed at the beginning in the early 15th century (ReaneyC, but cf. WrightTC, who argues that the folios at the beginning are not later additions)

DIAMM, 2017

Binding

Purple velvet binding added in 1861

DIAMM, 2017

Notation

Complex late Ars Nova type, red notes are as frequent as black and sometimes predominate, with varied mensuration signs and unusual note-forms

DIAMM, 2017

Date

DIAMM, 2017

Ruling

typical Italian six-line stave, except for the two additions of Cordier which are on five-line staves

DIAMM, 2017

Foliation

19th-century pencil foliation, 9-12, for the four newer folios; original foliation, 13-72, for the older, main portion

DIAMM, 2017

Foliation

2-72v

DIAMM, 2017

Decoration

originally 72 folios

DIAMM, 2017

Index

Index on ff. 9'-10, dating from the early 15th century

DIAMM, 2017

Surface

Parchment

DIAMM, 2017

RISM Description

RISM B/IV 2: A late 14th century parchment manuscript meas. 387 x 286 mm. and containing a corpus of 64 folios. Originally the ms comprised 6 fascicles of senios, but the first fascicle was lost shortly after the ms was written, so that the present original corpus consists of 5 fascicles foliated at t.r.r. from 13-72. The Roman numerals date from the 15th century, like the added folios 9-12, which however were only foliated in the 19th century. These contain an index of the pieces on f. 13-72v (f. 9v-10) and two Rondeaux by Baude Cordier in an ingenious notation (f. 11v-12). Recent research suggests that the repertory of the codex originated in South-Westem France, insofar as this is not part of the general French repertory of the time. The theory that the ms is an Italian copy of a French original is partly due to the fact that it was in Italy in 1461 at the latest, remaining there till 1861. A note on f. 9 reads: A di xviii di luglio 1461 Franciescho d'alto biancho degli alberti dono questo libro alls mie fanciutle e a Rechollo Langalao suo figliolo. Amen Thomasso Spinetty. Propria manu. Strangely enough, the codex employs the typical Italian six-line stave, except for the two additions of Cordier which are on five-line staves. However, it is clear that both music and texts were intended mainly for the Francophile courts of the Aragon princes, in particular Gaston Phebus, count of Foix and Beam (1343-1391), and John I, king of Aragon (1350-1395). The notation is of the most complex late Ars Nova type, in which red notes are as frequent as black and sometimes predominate, while varied mensuration signs and unusual note-forms complete the picture. There are usually ten red six-line staves per page. Texts are neatly copied in a semi-Gothic hand, though there are many mistakes in them. When the codex was bought by the duke of Aumale in 1861 from Bigazzi in Florence, the sumptuous purple velvet binding was added and an essay on the codex replaced the missing leaves at the beginning. The 112 polyphonic compositions comprise 99 songs and 13 motets, among which the 70 ballades predominate, though there are also 17 Rondeaux and 12 Virelais. A remarkable feature of the present codex is that it is perhaps the earliest manuscript catalogued here to contain the names of a large number of composers. However, this is partly due to the fact that secular music before Guillaume de Machaut was mainly monodic, since the names of many Troubadours and Trouveres are preserved in much earlier sources than CH 564. The presence of 74 unica is however important.

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Répertoire International des Sources Musicales

Census Catalogue of Music Description

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

2 French secular pieces

(The main body of the manuscript contains 13 motets and 97 French secular pieces from the 14th century).

Cordier-2

64 parchment folios, 387 x 286. The manuscript originally had 72 folios; the first gathering of 12 folios was lost, and four new folios were placed at the beginning in the early 15th century (ReaneyC, but cf. WrightTC, who argues that the folios at the beginning are not later additions), 19th-century pencil foliation, 9-12, for the four newer folios; original foliation, 13-72, for the older, main portion. Purple velvet binding added in 1861. Index on ff. 9'-10, dating from the early 15th century. Black mensural notation with red coloration. The two Cordier pieces are probably holographs; the rest of the manuscript was probably copied by an Italian scribe working from a French original (ReaneyC).

Early 15th century (ReaneyC); completed ca. 1395, not later than 1398 (WrightTC, based upon the identification of Baude Cordier with Baude Fresnel, who was at Avignon in 1395 and died in 1397 or 1398). Repertory from southwestern France; probably copied in Florence from a French original from ca. 1390 (ReaneyC, but cf. WrightTC, who suggests that ChantMC 564 may have originated at the papal court at Avignon). The manuscript was in Italy from 1461 (inscription on f. 9: "A di xviii di luglio 1461 Franciescho d'alto biancho degli alberti dono questo libro alle mie fanciulle e a Rechollo Lançalao suo figliolo. Amen Thomasso Spinelly. Propria manu") until 1861, when it was purchased for the Duke of Aumale by the sculptor Bigazzi in Florence.

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)
11v	Belle bonne, sage, plaisant	M. Baude Cordier	Cesaris, Johannes (fl. 1406-17) (?) Cordier, Baude (fl. early 15 century) (?)
Belle bonne, sage, plaisant Cesaris, Johannes (fl. 1406-17) (?) Cordier, Baude (fl. early 15 century) (?) Appears on: 11v Genres: Motet Source Attribution: M. Baude Cordier Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: belle bonne, sage, plaisant Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Mensuration: c-dot Clef: c4 General Note in heart shape Layout parts
12	Tout par compas suy composes	M. Baude Cordier	Cordier, Baude (fl. early 15 century)
Tout par compas suy composes Cordier, Baude (fl. early 15 century) Appears on: 12 Genres: Canon Source Attribution: M. Baude Cordier Number of voices: 2 Voice: [no designation] Languages: French Mensuration: o-dot-3 Clef: c1 Voice Text: Tout par compas suy composes Voice: Tenor Languages: none Mensuration: cut-o Clef: c3 General Note in circle shape; two-part canon and T Layout parts
13	Toute clarté m’est obscure … Je n’ai d’esbatement cure	-	Anonymous
Toute clarté m’est obscure … Je n’ai d’esbatement cure Anonymous Appears on: 13 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Toute clarté m’est obscure. . . Je n’ay d’esbatement cure Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c6 Layout parts
13v	Un ocrible plein d’eaue de vrai / Adieu vos comant, baudour, jolieté	-	Anonymous
Un ocrible plein d’eaue de vrai / Adieu vos comant, baudour, jolieté Anonymous Appears on: 13v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Un ocrible plein d’eaue de vray Voice: [no designation] Languages: French Clef: f3 Voice Text: Adieu vos comant, baudour, jolieté Voice: Contratenor Languages: none Clef: f3c5 Layout parts
14	Tres douce playsant figure, beauté	-	Anonymous
Tres douce playsant figure, beauté Anonymous Appears on: 14 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Tres douce playsant figure, biauté Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Mensuration: o Clef: c5 Layout parts
14v	Ma dame m’a congié douné Quant son coeur a abandonné	-	Anonymous
Ma dame m’a congié douné Quant son coeur a abandonné Anonymous Appears on: 14v Genres: Ballade Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Ma dame m’a congié douné Quant son cuer a abandouné Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: c5 Layout parts
15	A mon pouir garde	-	Anonymous
A mon pouir garde Anonymous Appears on: 15 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: A mon pouir garde Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c4 Layout parts
15v	Se doit il plus en biau semblant fier	Jo de h[…]rie	Haucourt, Johannes de (ca. 1390–ca. 1420)
Se doit il plus en biau semblant fier Haucourt, Johannes de (ca. 1390–ca. 1420) Appears on: 15v Genres: Motet Source Attribution: Jo de h[…]rie Number of voices: 3 Voice: [no designation] Languages: French Mensuration: c-dot Clef: c3 Voice Text: Se doit il plus en biau semblant fier Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: f3 Layout parts
16	Je chante un chant en merencoliant	M de S(an)c(t)e Jo	Sancto Johanne, Matheus de (–ca. 1391)
Je chante un chant en merencoliant Sancto Johanne, Matheus de (–ca. 1391) Appears on: 16 Genres: Motet Source Attribution: M de S(an)c(t)e Jo Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Je chante ung chant en merencoliant Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c4 Layout parts
16v	Laus detur multipharia deo regi / Petrus Fabir	Petrus fabri	Fabri, Petrus (fl. c1400)
Laus detur multipharia deo regi / Petrus Fabir Fabri, Petrus (fl. c1400) Appears on: 16v Genres: Motet Source Attribution: Petrus fabri Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Laus detur multipharia deo regi Voice: Triplum Languages: Latin Clef: c4 Voice Text: Petrus Fabir Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f4 Layout parts
17	Fuions de ci, fuions, povre companigns En Aragon, en France ou en Bretaingne	Senleches iacob	Senleches, Jacob
Fuions de ci, fuions, povre companigns En Aragon, en France ou en Bretaingne Senleches, Jacob Appears on: 17 Genres: Ballade Source Attribution: Senleches iacob Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Fuions de ci, fuions, povre companigns En Aragon, en France ou en Bretaingne Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f3 Layout parts
17v	Tres douces amis, tout ce que promis / Madame, ce que vous / Cent mille fois, me douce dame	Ja Vaillant	Vaillant, Jacob (fl. 1360–90)
Tres douces amis, tout ce que promis / Madame, ce que vous / Cent mille fois, me douce dame Vaillant, Jacob (fl. 1360–90) Appears on: 17v Genres: Motet Source Attribution: Ja Vaillant Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Tres doulx amis, tout ce que proumis Voice: [no designation] Languages: French Clef: c2 Voice Text: Madame, ce que vous Voice: [no designation] Languages: French Clef: c5 Voice Text: Cent mille fois, me douce dame Layout parts
18	Tres gentil coeur amoureux	-	Solage (fl. late 14th century)
Tres gentil coeur amoureux Solage (fl. late 14th century) Appears on: 18 Genres: Virelai Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Tres gentil cuer amoureux Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
18v	De petit peu, de nient volenté	G de machaut	Machaut, Guillaume de (ca. 1300–1377)
De petit peu, de nient volenté Machaut, Guillaume de (ca. 1300–1377) Appears on: 18v Genres: Ballade Source Attribution: G de machaut Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: De petit peu, de nient voulenté Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c4 Layout parts
19	Se Zephirus, Phebus et leur lange et s’eusse Fortune pour amie / Se Jupiter qui donna seigurie Semis qui fu sa deese	Grimace	Grimace (fl. mid-to late 14th century)
Se Zephirus, Phebus et leur lange et s’eusse Fortune pour amie / Se Jupiter qui donna seigurie Semis qui fu sa deese Grimace (fl. mid-to late 14th century) Appears on: 19 Genres: Motet Source Attribution: Grimace Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Se Zephirus, Phebus et leur lange et s’eusse Fortune pour amie Voice: [no designation] Languages: French Clef: c4 Voice Text: Se Jupiter qui donna seigurie Semis qui fu sa deese Voice: Tenor Languages: none Clef: f4 Layout parts
19v	De Narcisus, home tres orguilleux / Si que depuis au mirour perilleus	Mag(iste)r franciscus	Magister Franciscus (ca. 1320–ca. 1415)
De Narcisus, home tres orguilleux / Si que depuis au mirour perilleus Magister Franciscus (ca. 1320–ca. 1415) Appears on: 19v Genres: Ballade Source Attribution: Mag(iste)r franciscus Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: De Narcissus, home tres ourguilleus Si que depuis mirour perilleus Voice: Tenor Languages: none Mensuration: o Clef: c5 Voice: Contratenor Languages: none Mensuration: o Clef: c5 Layout parts
20	En l’amoureux vergier vis una flor Froite eslevée de vermeille colour	[sol] Age	Solage (fl. late 14th century)
En l’amoureux vergier vis una flor Froite eslevée de vermeille colour Solage (fl. late 14th century) Appears on: 20 Genres: Motet Source Attribution: [sol] Age Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: En l’amoureux vergier vis una flor Froite eslevée de vermeille colour Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c3 Layout parts
20v	Phiton, Phiton, beste tres venimeuse nés et creés de gent tres aïneuse	Mag(iste)r franciscus	Magister Franciscus (ca. 1320–ca. 1415)
Phiton, Phiton, beste tres venimeuse nés et creés de gent tres aïneuse Magister Franciscus (ca. 1320–ca. 1415) Appears on: 20v Genres: Motet Source Attribution: Mag(iste)r franciscus Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Phiton, Phiton, beste tres venimeuse nés et creés de gent tres aïneuse Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
21	Passerose de beauté la noble flour Donc Jupiter l’espousa par sa valour	Trebor	Trebor (fl. c1380–c1400)
Passerose de beauté la noble flour Donc Jupiter l’espousa par sa valour Trebor (fl. c1380–c1400) Appears on: 21 Genres: Motet Source Attribution: Trebor Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Passerose de beauté la noble flour Donc Jupiter l’espousa par sa valour Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f3 Layout parts
21v	En seumeillant m’avint une vesion Avis m’estoit q’un fort vespertilion	Trebor	Francia, Egidius de
En seumeillant m’avint une vesion Avis m’estoit q’un fort vespertilion Francia, Egidius de Appears on: 21v Genres: Motet Source Attribution: Trebor Number of voices: 3 Voice: [no designation] Languages: French Clef: c5 Voice Text: En seumeillant m’avint une vesion Avis m’estoit q’un fort vespertilion Voice: Tenor Languages: none Clef: f5 Voice: Contratenor Languages: none Clef: f5 Layout parts
22	Roses et lis ay veu en une flour / fruis composés de flourie valour	Mag(iste)r egidius Ang[elus?]	Francia, Egidius de
Roses et lis ay veu en une flour / fruis composés de flourie valour Francia, Egidius de Appears on: 22 Genres: Motet Source Attribution: Mag(iste)r egidius Ang[elus?] Number of voices: 3 Voice: [no designation] Languages: French Clef: c5 Voice Text: Roses et lis ay veu en une flour \| fruis composés de flourie valour Voice: Tenor Languages: none Clef: f5 Voice: Contratenor Languages: none Clef: f4 Layout parts
22v	Le mont Aon de Trace a en sa court ix dames	-	Solage (fl. late 14th century) (?)
Le mont Aon de Trace a en sa court ix dames Solage (fl. late 14th century) (?) Appears on: 22v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Le mont Aon de Trace a en sa court ix dames Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: f4 Layout parts
23	Sans joye avoir ne puet Car qui a le coeur triste	-	Anonymous
Sans joye avoir ne puet Car qui a le coeur triste Anonymous Appears on: 23 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Sans joye avoir ne puet Car qui a le cuer triste Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
23v	Corps femenin par vertu de nature tant noblement, certes, que vo figure	Solage	Solage (fl. late 14th century)
Corps femenin par vertu de nature tant noblement, certes, que vo figure Solage (fl. late 14th century) Appears on: 23v Genres: Motet Source Attribution: Solage Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Corps femenin par vertu de nature tant noblement, certes, que vo figure Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: f3 Layout parts
24	Je ne puis avoir plaisir	-	Anonymous
Je ne puis avoir plaisir Anonymous Appears on: 24 Genres: Virelai Number of voices: 3 Voice: [no designation] Languages: French Mensuration: rev-c Clef: c3 Voice Text: Je ne puis avoir plaisir Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Mensuration: o Clef: f4 Layout parts
24v	Medée fu en amer veritable de en coeur vrai si ferme et si stable	-	Anonymous
Medée fu en amer veritable de en coeur vrai si ferme et si stable Anonymous Appears on: 24v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Medée fu en amer veritable de en cuer vray si ferme et si stable Voice: Tenor Languages: none Mensuration: c-dot Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
25	Dieu gart qui bien le chantera	Guido	Guido (ca. 1385–ca. 1395)
Dieu gart qui bien le chantera Guido (ca. 1385–ca. 1395) Appears on: 25 Genres: Motet Source Attribution: Guido Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Dieux gart qui bien le chantera Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: c4 Layout parts
25v	Or voit tout en aventure a la novelle figure	Guido	Guido (ca. 1385–ca. 1395)
Or voit tout en aventure a la novelle figure Guido (ca. 1385–ca. 1395) Appears on: 25v Genres: Motet Source Attribution: Guido Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Or voit tout en aventure a la novelle figure Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: f3c5 Layout parts
25v	Robin, muse, muse, muse / Je ne sais faire fuszée / Guido	Tenor Guido	Anonymous
Robin, muse, muse, muse / Je ne sais faire fuszée / Guido Anonymous Appears on: 25v Genres: Motet Source Attribution: Tenor Guido Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Robin, muse, muse, muse Voice: [no designation] Languages: French Clef: c3 Voice Text: Je ne say fere fuszée Voice: [no designation] Languages: French Clef: f3 Voice Text: Guido Layout parts
26	Pour ce que je ne sais gairez	Jo Vaillant	Vaillant, Jacob (fl. 1360–90)
Pour ce que je ne sais gairez Vaillant, Jacob (fl. 1360–90) Appears on: 26 Genres: Motet Source Attribution: Jo Vaillant Number of voices: 2 Voice: [no designation] Languages: French Clef: c3 Voice Text: Pour ce que je ne say gairez Voice: [no designation] Languages: none Clef: f3 Layout parts
26v	Dame, doucement trait / Douces amis de coeur parfait	Jo Vaillant	Vaillant, Jacob (fl. 1360–90)
Dame, doucement trait / Douces amis de coeur parfait Vaillant, Jacob (fl. 1360–90) Appears on: 26v Genres: Motet Source Attribution: Jo Vaillant Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Dame, doucement trait Voice: [no designation] Languages: French Clef: c2 Voice Text: Doulz amis de cuer parfait Voice: Tenor Languages: none Clef: c3 Layout parts
27	Onquies Jacob por la belle Rachel ne David por Absalon le tres bel	Jo Vaillant	Vaillant, Jacob (fl. 1360–90)
Onquies Jacob por la belle Rachel ne David por Absalon le tres bel Vaillant, Jacob (fl. 1360–90) Appears on: 27 Genres: Motet Source Attribution: Jo Vaillant Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Onquies Jacob por la belle Rachel ne David por Absalon le tres bel Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
27v	Se je cudoie tous jours vivre car teu dolour au coeur me mort	-	Anonymous
Se je cudoie tous jours vivre car teu dolour au coeur me mort Anonymous Appears on: 27v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Se je cudoie tous jours vivre car teu dolour au cuer me mort Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: f3 Layout parts
28	De quand qu’on peut belle belle aujourd’hui	-	Anonymous
De quand qu’on peut belle belle aujourd’hui Anonymous Appears on: 28 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: De quan qu’on peut belle belle aut jour d’uy Voice: Contratenor Languages: none Clef: c5 Voice: Tenor Languages: none Clef: c5 Layout parts
28v	Ung lion say tots belle encore est il si douce	-	Anonymous
Ung lion say tots belle encore est il si douce Anonymous Appears on: 28v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Ung lion say tots belle encore est il si douce Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
29	O bonne douce Franse, flour	-	Anonymous
O bonne douce Franse, flour Anonymous Appears on: 29 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: O bonne douce Franse, flour Voice: Tenor Languages: none Clef: f3c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
29v	Va, Fortune, trop as vers voy car il n’est nul qui creüst	-	Anonymous
Va, Fortune, trop as vers voy car il n’est nul qui creüst Anonymous Appears on: 29v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Va, Fortune, trop as vers voy car il n’est nul qui creüst Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c4 Layout parts
30	Se Alixandre et Hector fussent en vie et tenissent Acilles sans envie	Trebor	Trebor (fl. c1380–c1400)
Se Alixandre et Hector fussent en vie et tenissent Acilles sans envie Trebor (fl. c1380–c1400) Appears on: 30 Genres: Motet Source Attribution: Trebor Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Se Alixandre et Hector fussent en vie et tenissent Acilles sans envie Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f4 Layout parts
30v	Pytagoras, Jabel et Orpheus selonc le scripture molt pourveus	SUzoy	Suzoy, Johannes (fl. c1380)
Pytagoras, Jabel et Orpheus selonc le scripture molt pourveus Suzoy, Johannes (fl. c1380) Appears on: 30v Genres: Motet Source Attribution: SUzoy Number of voices: 3 Voice: [no designation] Languages: French Mensuration: c-dot Clef: c3 Voice Text: Pictagoras, Jabel et Orpheus selonc le scripture molt pourveus Voice: Tenor Languages: none Mensuration: o Clef: f3c5 Voice: Contratenor Languages: none Mensuration: c Clef: f3c5 Layout parts
31	Quant joyne coeur en may est amoureux fet son sejour gay, playsant, deliteux	Trebor	Trebor (fl. c1380–c1400)
Quant joyne coeur en may est amoureux fet son sejour gay, playsant, deliteux Trebor (fl. c1380–c1400) Appears on: 31 Genres: Motet Source Attribution: Trebor Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Quant joyne cuer en may est amoureux fet son sejour gay, playsant, deliteux Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f4 Layout parts
31v	Si con ci gist mon coeur des trois parfais dex lais	Jo Olivier	Olivier, Johannes (fl. late 14th century)
Si con ci gist mon coeur des trois parfais dex lais Olivier, Johannes (fl. late 14th century) Appears on: 31v Genres: Motet Source Attribution: Jo Olivier Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Si con ci gist mon cuer des trois parfais dex lais Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Layout parts
32	De ma dolour ne puis trouver confort languir m’estuet, car mis sui a tel port	Ph[ilipp]ot de cas(er)te	Caserta, Philippot de (fl. c1370)
De ma dolour ne puis trouver confort languir m’estuet, car mis sui a tel port Caserta, Philippot de (fl. c1370) Appears on: 32 Genres: Ballade Source Attribution: Ph[ilipp]ot de cas(er)te Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: De ma dolour ne puis trouver confort languir m’estuet, car mis sui a tel port Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f3c5 Layout parts
32v	En un peril dou tous bien delitable peril joyeux, deduit deshonrable	-	Anonymous
En un peril dou tous bien delitable peril joyeux, deduit deshonrable Anonymous Appears on: 32v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: En un peril dou tous bien delitable peril joieus, deduit deshonrable Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Mensuration: o Clef: c4 Layout parts
33	Plus ne put musique son secret taire que d’Orpheus a fait son secretaire	-	Anonymous
Plus ne put musique son secret taire que d’Orpheus a fait son secretaire Anonymous Appears on: 33 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Mensuration: c Clef: c2 Voice Text: Plus ne put musique son secret taire que d’Orpheus a fait son secretaire Voice: Tenor Languages: none Mensuration: c Clef: c4 Voice: Contratenor Languages: none Mensuration: c Clef: c3 Layout parts
33v	En atendant souffrir m’estuet grief payne Puis qu’avenir ne puis a la fonytayne	Jo Galiot	Galiot, Johannes (fl. 1380-1395) (?) Caserta, Philippot de (fl. c1370)
En atendant souffrir m’estuet grief payne Puis qu’avenir ne puis a la fonytayne Galiot, Johannes (fl. 1380-1395) (?) Caserta, Philippot de (fl. c1370) Appears on: 33v Genres: Ballade Source Attribution: Jo Galiot Number of voices: 3 Voice: [no designation] Languages: French Mensuration: o-dot Clef: c3 Voice Text: En atendant souffrir m’estuet grief payne Puis qu’avenir ne puis a la fonytayne Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
34	Ma douce amour, je me dois	Jo simo(n)is de haspre	Hasprois, Johannes Symonis (fl. 1378-1428)
Ma douce amour, je me dois Hasprois, Johannes Symonis (fl. 1378-1428) Appears on: 34 Genres: Motet Source Attribution: Jo simo(n)is de haspre Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Ma douce amour, je me doy de vous que j’ais amé tous dis Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Layout parts
34v	Puisque je suis fumeux, plains de fumée, ceule qui dient que j’ay ceste fumée	Hasprois	Hasprois, Johannes Symonis (fl. 1378-1428)
Puisque je suis fumeux, plains de fumée, ceule qui dient que j’ay ceste fumée Hasprois, Johannes Symonis (fl. 1378-1428) Appears on: 34v Genres: Motet Source Attribution: Hasprois Number of voices: 2 Voice: [no designation] Languages: French Mensuration: o-dot Clef: c2 Voice Text: Puis que je sui fumeux, plains de fumée, ceule qui dient que j’ay ceste fumée Voice: Tenor Languages: none Mensuration: o-dot Clef: f3 Layout parts
35	Sans vous ne puis, tres douce car quand ne suis pres de vostre	Matheus de s(an)c(t)o Johanne	Sancto Johanne, Matheus de (–ca. 1391)
Sans vous ne puis, tres douce car quand ne suis pres de vostre Sancto Johanne, Matheus de (–ca. 1391) Appears on: 35 Genres: Motet Source Attribution: Matheus de s(an)c(t)o Johanne Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Sans vous ne puis, tres douce car quant ne suis pres de vostre Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Mensuration: c Clef: c5 Layout parts
35v	Prophilias, un des nobles de Roume / car Dionas d’Athenes le nous noume	Js Susay	Suzoy, Johannes (fl. c1380) (?)
Prophilias, un des nobles de Roume / car Dionas d’Athenes le nous noume Suzoy, Johannes (fl. c1380) (?) Appears on: 35v Genres: Motet Source Attribution: Js Susay Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Prophilias, un des nobles de Roume \| car Dionas d’Athenes le nous noume Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Layout parts
36	S’aincy estoit que ne feust la noublesce France perdroit son pris et la prouesce	Solage	Solage (fl. late 14th century)
S’aincy estoit que ne feust la noublesce France perdroit son pris et la prouesce Solage (fl. late 14th century) Appears on: 36 Genres: Motet Source Attribution: Solage Number of voices: 3 Voice: [no designation] Languages: French Mensuration: 2 Clef: c3 Voice Text: S’aincy estoit que ne feust la noublesce France perdroit son pris et la prouesce Voice: Tenor Languages: none Mensuration: 2 Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
36v	Loyauté me tient en espoir	Garinus	Garinus (fl. late 14th century)
Loyauté me tient en espoir Garinus (fl. late 14th century) Appears on: 36v Genres: Motet Source Attribution: Garinus Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Loyauté me tient en espoir Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: f3 Layout parts
36v	Espoir dont tu m’as fait	ph[ilipp]ot	Caserta, Philippot de (fl. c1370)
Espoir dont tu m’as fait Caserta, Philippot de (fl. c1370) Appears on: 36v Genres: Motet Source Attribution: ph[ilipp]ot Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Espoir dont tu m’as fayt Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f4 Layout parts
37	Le sault perilleux a l’aventure prins ou maint amoureux a estre entre-prins	J Galiot	Galiot, Johannes (fl. 1380-1395)
Le sault perilleux a l’aventure prins ou maint amoureux a estre entre-prins Galiot, Johannes (fl. 1380-1395) Appears on: 37 Genres: Motet Source Attribution: J Galiot Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Le sault perilleux a l’aventure prins ou maint amoureux a estre entre-prins Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 General Note (the text of this song is related to that of Philippot's "En atendant"; in CH 564, it is probably significant that all 3 'En atendant' songs and this one are attributed to Galiot, as if forming a kind of 'set'.) Layout parts
37v	Par le grant senz d’Adriane qant a son tour li convient	Ph[ilipp]ot	Caserta, Philippot de (fl. c1370)
Par le grant senz d’Adriane qant a son tour li convient Caserta, Philippot de (fl. c1370) Appears on: 37v Genres: Motet Source Attribution: Ph[ilipp]ot Number of voices: 3 Voice: [no designation] Languages: French Mensuration: c Clef: c2 Voice Text: Par le grant senz d’Adriane qant a son tour li convient Voice: Tenor Languages: none Mensuration: c Clef: c4 Voice: Contratenor Languages: none Mensuration: rev-c Clef: c4 Layout parts
38	Se Galaas et le puissant Artus de hardement et prouesse cremus	Jo Cuvelier	Cuvelier, Johannes (fl. 1372-1387)
Se Galaas et le puissant Artus de hardement et prouesse cremus Cuvelier, Johannes (fl. 1372-1387) Appears on: 38 Genres: Motet Source Attribution: Jo Cuvelier Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Se Galaas et le puissant Artus de hardement et prouesse cremus Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Layout parts
38v	Il n’est nul hommes en ce monde vivant tant soit subtilz ne pris apercevant	Ph[ilipp]ot	Caserta, Philippot de (fl. c1370)
Il n’est nul hommes en ce monde vivant tant soit subtilz ne pris apercevant Caserta, Philippot de (fl. c1370) Appears on: 38v Genres: Motet Source Attribution: Ph[ilipp]ot Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Il n’est nulz homs en ce monde vivant tant soit subtilz ne pris apercevant Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Mensuration: c Clef: c4 Layout parts
39	En remirant vo douce pourtraiture m’a point au coeur d’une tele pointure	Ph[ilipp]ot	Caserta, Philippot de (fl. c1370)
En remirant vo douce pourtraiture m’a point au coeur d’une tele pointure Caserta, Philippot de (fl. c1370) Appears on: 39 Genres: Ballade Source Attribution: Ph[ilipp]ot Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: En remirant vo douce pourtraiture m’a point au cuer d’une tele pointure Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Layout parts
39v	En nul estat n’a si grant car soyt que jonesse, force	Goscalch	Goscalch (fl. ?1385-95)
En nul estat n’a si grant car soyt que jonesse, force Goscalch (fl. ?1385-95) Appears on: 39v Genres: Motet Source Attribution: Goscalch Number of voices: 3 Voice: [no designation] Languages: French Mensuration: 2 / 3 Clef: c3 Voice Text: En nul estat n’a si grant car soyt que jonesse, force Voice: Tenor Languages: none Mensuration: 3 / 2 Clef: c5 Voice: Contratenor Languages: none Mensuration: 2 / 3 Clef: c5 Layout parts
40	En atendant d'avoir (d'aimer) la douce vie	Galiot	Galiot, Johannes (fl. 1380-1395)
En atendant d'avoir (d'aimer) la douce vie Galiot, Johannes (fl. 1380-1395) Appears on: 40 Genres: Rondeau Source Attribution: Galiot Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: En attendant d’amer la douce vie Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c3 Layout parts
40v	Se vos me volés fayre outrage	-	Anonymous
Se vos me volés fayre outrage Anonymous Appears on: 40v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Se vos me volés fayre outrage Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: f3c5 Layout parts
40v	Lor ques Arthus, Alixandre et Paris et Julies Cesar qui tant de pris	J (Con)	Cuvelier, Johannes (fl. 1372-1387)
Lor ques Arthus, Alixandre et Paris et Julies Cesar qui tant de pris Cuvelier, Johannes (fl. 1372-1387) Appears on: 40v Genres: Motet Source Attribution: J (Con) Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Lor ques Arthus, Alixandre et Paris et Julies Cesar qui tant de pris Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Layout parts
41	Inclite flos orti Gebennensis prestantibus roribus immensis / Papa Clemente	Mayhuet de joan	Sancto Johanne, Matheus de (–ca. 1391)
Inclite flos orti Gebennensis prestantibus roribus immensis / Papa Clemente Sancto Johanne, Matheus de (–ca. 1391) Appears on: 41 Genres: Ballade Source Attribution: Mayhuet de joan Number of voices: 3 Voice: [no designation] Languages: Latin Mensuration: o Clef: c3 Voice Text: Incclite flos orti Gebennensis prestantibus roribus immensis Voice: Tenor Languages: Latin Mensuration: c Clef: f3c5 Voice Text: Papa Clemente Voice: Contratenor Languages: none Mensuration: o Clef: c5 Layout parts
41v	Ne Geneive, Tristan, Yssout soufruirent onc pour bien amer	J (Con)	Cuvelier, Johannes (fl. 1372-1387)
Ne Geneive, Tristan, Yssout soufruirent onc pour bien amer Cuvelier, Johannes (fl. 1372-1387) Appears on: 41v Genres: Motet Source Attribution: J (Con) Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Ne Geneine, Tristan, Yssout soufruirent onc pour bien amer Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
42	Hélas, Pitié envers moi Dangier, Refus, Desdaing sout	Trebor	Trebor (fl. c1380–c1400)
Hélas, Pitié envers moi Dangier, Refus, Desdaing sout Trebor (fl. c1380–c1400) Appears on: 42 Genres: Motet Source Attribution: Trebor Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Hélas, Pitié envers moy Dangier, Refus, Desdaing sout Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Layout parts
42v	Se Dedalus an sa gaye mestrie et Zephirus an sa doucor flourie	Taillandier	Tailhandier, Pierre (fl. c1390)
Se Dedalus an sa gaye mestrie et Zephirus an sa doucor flourie Tailhandier, Pierre (fl. c1390) Appears on: 42v Genres: Motet Source Attribution: Taillandier Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Se Dedalus an sa gaye mestrie et Zephirus an sa doucor flourie Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f4 Layout parts
43	Se July Cesar, Rolant et roy Artus et Yvain, Lancelot, Tristain ne Porus	Trebor	Trebor (fl. c1380–c1400)
Se July Cesar, Rolant et roy Artus et Yvain, Lancelot, Tristain ne Porus Trebor (fl. c1380–c1400) Appears on: 43 Genres: Motet Source Attribution: Trebor Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Se July Cesar, Rolant et roy Artus et Yvain, Lancelot, Tristain ne Porus Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f3 Layout parts
43v	La harpe de mellodie Pour plaire une companie	Senleches	Senleches, Jacob
La harpe de mellodie Pour plaire une companie Senleches, Jacob Appears on: 43v Genres: Motet Source Attribution: Senleches Number of voices: 2 Voice: [no designation] Languages: French Clef: c4 Voice Text: La harpe de mellodie Pour plaire une companie Voice: Tenor Languages: none Clef: f3 Layout parts
44	En attendant esperance, conforte en attendant se deduc et deporte	Galiot	Galiot, Johannes (fl. 1380-1395) (?) Senleches, Jacob
En attendant esperance, conforte en attendant se deduc et deporte Galiot, Johannes (fl. 1380-1395) (?) Senleches, Jacob Appears on: 44 Genres: Ballade Source Attribution: Galiot Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: En attendant esperance, conforte en attendant se deduc et deporte Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c3 Layout parts
44v	Je m’emerveil aucune fois comment et donc n’escrit fin ne comencement / J’ai plusieurs fois pour mon esbatement un virelai de petit sentiment	Jaconn	Senleches, Jacob
Je m’emerveil aucune fois comment et donc n’escrit fin ne comencement / J’ai plusieurs fois pour mon esbatement un virelai de petit sentiment Senleches, Jacob Appears on: 44v Genres: Virelai Source Attribution: Jaconn Number of voices: 3 Voice: [no designation] Languages: French Mensuration: c-dot Clef: c4 Voice Text: Je m’emerveil aucune fois comment et donc n’escrit fin ne comencement Voice: [no designation] Languages: French Mensuration: o-dot Clef: c4 Voice Text: J’ay pluseurs fois pour mon esbatement un virelay de petit sentiment Voice: Tenor Languages: none Mensuration: c-dot Clef: f4 General Note the song's refrain uses different notations in the 2 Cantus parts to produce exactly the same music - in effect, a canon in disguise - presumably an ironic reflection of the text's complaint that too many inexpert musicians are becoming composers, and producing bad imitations of real composers' work. (StoneSF) Layout parts
45	Lameth, Judith et Rachel leur tres bau roy qui tant fist	-	Anonymous
Lameth, Judith et Rachel leur tres bau roy qui tant fist Anonymous Appears on: 45 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Lameth, Judith et Rachel leur tres bau roy qui tant fist Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c5 Layout parts
45v	Par les bons Gedeons et Sanson du mortes servitu anquel estoit	-	Caserta, Philippot de (fl. c1370)
Par les bons Gedeons et Sanson du mortes servitu anquel estoit Caserta, Philippot de (fl. c1370) Appears on: 45v Genres: Ballade Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Par les bons Gedeons et Sanson du mortes servitu anquel estoit Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c4 Layout parts
46	En la saison que toutes ries en un jardin aloye a le serine	Hy(m)be(r)t de salin(ni)s / Tenor Jo Cunelier	Cuvelier, Johannes (fl. 1372-1387)
En la saison que toutes ries en un jardin aloye a le serine Cuvelier, Johannes (fl. 1372-1387) Appears on: 46 Genres: Motet Source Attribution: Hy(m)be(r)t de salin(ni)s / Tenor Jo Cunelier Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: en la saison que toutes ries en un jardin aloye a le serine Voice: Tenor Languages: French Clef: c4 Voice Text: Jo. Cunelier Voice: Contratenor Languages: none Clef: c4 Layout parts
46v	La dieus d’amours, sires de vrais tout qu'il qui li vuellent estre	Tenor Joh(ann)is Cesaris	Cesaris, Johannes (fl. 1406-17)
La dieus d’amours, sires de vrais tout qu'il qui li vuellent estre Cesaris, Johannes (fl. 1406-17) Appears on: 46v Genres: Motet Source Attribution: Tenor Joh(ann)is Cesaris Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: La dieus d’amours, sires de vrais tout chil qui li vuellent estre Voice: Tenor Languages: French Clef: c4 Voice Text: Johannis Cesaris Voice: Contratenor Languages: none Clef: c4 Layout parts
47	Adieu vous di, tres douce compaygnie / per Fortune qui per grant aranie	-	Solage (fl. late 14th century) (?)
Adieu vous di, tres douce compaygnie / per Fortune qui per grant aranie Solage (fl. late 14th century) (?) Appears on: 47 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Adieu vous di, tres doulce compaygnie \| per Fortune qui per grant aranie Voice: Tenor Languages: none Clef: f5 Voice: Contratenor Languages: none Clef: f4 Layout parts
47v	En Albion de fluns environné mes roy Minos a sa cort condampnée	-	Anonymous
En Albion de fluns environné mes roy Minos a sa cort condampnée Anonymous Appears on: 47v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Ent Albion de fluns environené mes roy Minos a sa cort condampnée Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
48	De tous les mois que sunt et se suy prest de prover	-	Anonymous
De tous les mois que sunt et se suy prest de prover Anonymous Appears on: 48 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: De topus les moys que sunt et se suy prest de prover Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
48v	Angelorum psalat tripudium qui operum fuit initium / restro mordens Ut Fera Pessima	SUciredor	Rodericus (fl. late 14th c.)
Angelorum psalat tripudium qui operum fuit initium / restro mordens Ut Fera Pessima Rodericus (fl. late 14th c.) Appears on: 48v Genres: Motet Source Attribution: SUciredor Number of voices: 2 Voice: [no designation] Languages: French Clef: c2 Voice Text: angelorum psalat tripudium qui operum fuit initium Voice: Tenor Languages: French Mensuration: o-dot Clef: c3 Voice Text: restro mordens Ut Fera Pessima Layout parts
49	De Fortune me doy pleindre et loer car quand premiers en commensay l’amer	-	Machaut, Guillaume de (ca. 1300–1377)
De Fortune me doy pleindre et loer car quand premiers en commensay l’amer Machaut, Guillaume de (ca. 1300–1377) Appears on: 49 Genres: Ballade Number of voices: 4 Voice: Triplum Languages: none Clef: c2 Voice: [no designation] Languages: French Clef: c3 Voice Text: De Fortune me doy pleindre et loer car quant premiers en commensay l’amer Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: f3c5 Layout parts
49v	Le basile de sa propre nature car son venin est mortel sanz mesure	Solage	Solage (fl. late 14th century)
Le basile de sa propre nature car son venin est mortel sanz mesure Solage (fl. late 14th century) Appears on: 49v Genres: Motet Source Attribution: Solage Number of voices: 4 Voice: [no designation] Languages: French Clef: c4 Voice Text: Le basile de sa propre nature car son venin est mortel sanz mesure Voice: Triplum Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
50	Calextone, qui fut dame d’Arouse	Solage	Solage (fl. late 14th century)
Calextone, qui fut dame d’Arouse Solage (fl. late 14th century) Appears on: 50 Genres: Ballade Source Attribution: Solage Number of voices: 3 Voice: [no designation] Languages: French Clef: c4 Voice Text: Calextone qui fut dame \| tant qu’il la mist comme sa vraye Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f4 Layout parts
50v	Tres gentil coeur amoureux	Solage	Solage (fl. late 14th century)
Tres gentil coeur amoureux Solage (fl. late 14th century) Appears on: 50v Genres: Virelai Source Attribution: Solage Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Tres gentil cuer amoureux Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
51	Bien dire et sagement parler et sur soymeismes regarder	-	Anonymous
Bien dire et sagement parler et sur soymeismes regarder Anonymous Appears on: 51 Genres: Ballade Number of voices: 4 Voice: [no designation] Languages: French Clef: c2 Voice Text: Bien dire et sagement parler et sur soymeismes regarder Voice: Triplum Languages: none Clef: c2 Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c3 Layout parts
51v	De home vrai a mon jugement car cremir wet certainement	Jo demeruco	Meruco, Johannes de
De home vrai a mon jugement car cremir wet certainement Meruco, Johannes de Appears on: 51v Genres: Motet Source Attribution: Jo demeruco Number of voices: 4 Voice: [no designation] Languages: French Clef: c2 Voice Text: De home vray a mon jugement car cremir wet certainement Voice: Triplum Languages: none Clef: c2 Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c4 Layout parts
52	Armes, amours, dames, chevalerie tous soffistes, toute poëtrie / O flour des flours de toute melodie Guillaume, mondains diex d’armounie	F Andrieu	Andrieu, Franciscus (fl. late 14th century)
Armes, amours, dames, chevalerie tous soffistes, toute poëtrie / O flour des flours de toute melodie Guillaume, mondains diex d’armounie Andrieu, Franciscus (fl. late 14th century) Appears on: 52 Genres: Motet Source Attribution: F Andrieu Number of voices: 4 Voice: [no designation] Languages: French Clef: c3 Voice Text: Armes, amours, dames, chevalerie tous soffistes, toute poëtrie Voice: [no designation] Languages: French Clef: c3 Voice Text: O flour des flours de toute melodie Guillaume, mondains diex d’armounie Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: c5 Layout parts
52v	A l’arbre sec puis estre aynsy me voyt de tel mal	Suzoy	Suzoy, Johannes (fl. c1380) (?)
A l’arbre sec puis estre aynsy me voyt de tel mal Suzoy, Johannes (fl. c1380) (?) Appears on: 52v Genres: Motet Source Attribution: Suzoy Number of voices: 4 Voice: [no designation] Languages: French Clef: c3 Voice Text: A l’arbre sec puis estre aynsy me voyt de tel mal Voice: Triplum Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
53	Des qu’buisson me fu boutez et de sa donc y mis je tel	grymaçe	Grimace (fl. mid-to late 14th century)
Des qu’buisson me fu boutez et de sa donc y mis je tel Grimace (fl. mid-to late 14th century) Appears on: 53 Genres: Motet Source Attribution: grymaçe Number of voices: 4 Voice: [no designation] Languages: French Clef: c2 Voice Text: Des qu’buisson me fu boutez et de sa donc y mis je tel Voice: Triplum Languages: none Clef: c1 Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c5 Layout parts
53v	De ce que fol pense	P[ier]es molins	Molins, Pierre des (fl. mid-14th century)
De ce que fol pense Molins, Pierre des (fl. mid-14th century) Appears on: 53v Genres: Ballade Source Attribution: P[ier]es molins Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: De ce que foul pensé souvent \| car par penser et cuidier Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c3 Layout parts
54	Quant Theseus, Hercules et Jason Ne quier veoir la beauté d’Absalon	Machaut	Machaut, Guillaume de (ca. 1300–1377)
Quant Theseus, Hercules et Jason Ne quier veoir la beauté d’Absalon Machaut, Guillaume de (ca. 1300–1377) Appears on: 54 Genres: Ballade Source Attribution: Machaut Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Quant Theseus, Hercules et Jason Ne quier veoir la biauté d’Absalon Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
54v	Hé, tres doulz roussignol joly / Roussignoulet du bois, dounés	Borlet	Borlet
Hé, tres doulz roussignol joly / Roussignoulet du bois, dounés Borlet Appears on: 54v Genres: Motet Source Attribution: Borlet Number of voices: 4 Voice: [no designation] Languages: French Clef: c2 Voice Text: Hé, tres doulz roussignol joly Voice: Triplum Languages: none Clef: c2 Voice: Tenor Languages: French Clef: c4 Voice Text: Roussignoulet du bois, dounés Voice: Contratenor Languages: none Clef: c4 Layout parts
55	Playsance: Or tost avez vous assemblés / Or tost aeuls avez vous assemblés	Pykyni	Pykini, Nicholas (fl. c1364-1389)
Playsance: Or tost avez vous assemblés / Or tost aeuls avez vous assemblés Pykini, Nicholas (fl. c1364-1389) Appears on: 55 Genres: Virelai Source Attribution: Pykyni Number of voices: 4 Voice: [no designation] Languages: French Clef: c3 Voice Text: Playsance, or tost aeuz avez vous assemblés Voice: [no designation] Languages: French Clef: c3 Voice Text: Or tost aeuls avez vous assemblés Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: none Clef: f3 Layout parts
55v	Alarme, alarme sans sejour et sans demor / Tru, tru, tru	Grimace	Grimace (fl. mid-to late 14th century)
Alarme, alarme sans sejour et sans demor / Tru, tru, tru Grimace (fl. mid-to late 14th century) Appears on: 55v Genres: Virelai Source Attribution: Grimace Number of voices: 4 Voice: [no designation] Languages: French Clef: c2 Voice Text: Alarme, alarme sans sejour et sans demor Voice: [no designation] Languages: French Clef: c2 Voice Text: Alarme, alarme sans demor Voice: Tenor Languages: French Clef: c5 Voice Text: Tru, tru, tru Voice: Contratenor Languages: none Clef: c5 Layout parts
56	Cine vermeil, cine de tres haut pris / de ta beauté que tant ay los et pris	-	Anonymous
Cine vermeil, cine de tres haut pris / de ta beauté que tant ay los et pris Anonymous Appears on: 56 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Cine vermeil, cine de tres haut pris \| de ta beauté que tant ay los et pris Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
56v	Va t'en, mon coeur, aveuc mes yeux / Va t'en., mon coeur, aveuc mes yeux / Va t'en., mon coeur, aveuc mes yeux	Gacian Reyneau	Reyneau, Gacian (ca. 1370–ca. 1429)
Va t'en, mon coeur, aveuc mes yeux / Va t'en., mon coeur, aveuc mes yeux / Va t'en., mon coeur, aveuc mes yeux Reyneau, Gacian (ca. 1370–ca. 1429) Appears on: 56v Genres: Motet Source Attribution: Gacian Reyneau Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Va t'en., mon cuer, aveuc mes yeux Voice: [no designation] Languages: French Clef: c4 Voice Text: Va t'en., mon cuer, aveuc mes yeux Voice: [no designation] Languages: French Clef: c3 Voice Text: Va t'en., mon cuer, aveuc mes yeux Layout parts
57	Sience n'a nul annemi / envieuz sont, je le vous di	M de S iohan	Sancto Johanne, Matheus de (–ca. 1391)
Sience n'a nul annemi / envieuz sont, je le vous di Sancto Johanne, Matheus de (–ca. 1391) Appears on: 57 Genres: Motet Source Attribution: M de S iohan Number of voices: 4 Voice: Triplum Languages: none Clef: c2 Voice: Motetus Languages: French Clef: c3 Voice Text: Sience n'a nul annemi \| envieuz sont, je le vous di Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
57v	Helas, je vois mon coeur qui tant m'a fait de bien	Solage	Solage (fl. late 14th century)
Helas, je vois mon coeur qui tant m'a fait de bien Solage (fl. late 14th century) Appears on: 57v Genres: Motet Source Attribution: Solage Number of voices: 4 Voice: Motetus Languages: French Clef: c1 Voice Text: Helas, je voy mon cuer qui tant m'a fait de bien Voice: Triplum Languages: none Clef: c2 Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Layout parts
58	Pluseurs gens voy qui leur pensée l'un vest une cote brodée	Solage	Solage (fl. late 14th century)
Pluseurs gens voy qui leur pensée l'un vest une cote brodée Solage (fl. late 14th century) Appears on: 58 Genres: Motet Source Attribution: Solage Number of voices: 4 Voice: [no designation] Languages: French Clef: c3 Voice Text: Pluseurs gens voy qui leur pensée l'un vest une cote brodée Voice: Triplum Languages: none Clef: c2 Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
58v	Joyeux de coeur en seumellant	Solage	Solage (fl. late 14th century)
Joyeux de coeur en seumellant Solage (fl. late 14th century) Appears on: 58v Genres: Motet Source Attribution: Solage Number of voices: 4 Voice: [no designation] Languages: French Clef: c4 Voice Text: Joieux de cuer en seumellant Voice: Triplum Languages: none Clef: c2 Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts
59	Fumeux fume par fumée	Solage	Solage (fl. late 14th century)
Fumeux fume par fumée Solage (fl. late 14th century) Appears on: 59 Genres: Motet Source Attribution: Solage Number of voices: 3 Voice: [no designation] Languages: French Clef: f4 Voice Text: Fumeux fume par fumée Voice: Tenor Languages: none Clef: f5 Voice: Contratenor Languages: none Clef: f5 Layout parts Item Bibliography Lefferts, Peter M. 1988. 'Subtilitas' in the Tonal Language of 'Fumeux fume'. Early Music, 16/2: 176-183.
59v	Fortune faulce, perverse, veré m'a	M De S(an)c(t)o Joh[anne]	Sancto Johanne, Matheus de (–ca. 1391)
Fortune faulce, perverse, veré m'a Sancto Johanne, Matheus de (–ca. 1391) Appears on: 59v Genres: Motet Source Attribution: M De S(an)c(t)o Joh[anne] Number of voices: 4 Voice: Triplum Languages: none Clef: c1 Voice: Motetus Languages: French Clef: c3 Voice Text: Fortune faulce, perverse, veré m'a Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Layout parts
60	Par maintes fois ay oy recorder	Jo. Vaillant	Vaillant, Jacob (fl. 1360–90)
Par maintes fois ay oy recorder Vaillant, Jacob (fl. 1360–90) Appears on: 60 Genres: Motet Source Attribution: Jo. Vaillant Number of voices: 3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Par maintes foys ay oÿ recorder Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c3 Layout parts
60v–61	Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater	-	Vitry, Philippe de (1291–1361) (?)
Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater Vitry, Philippe de (1291–1361) (?) Appears on: 60v–61 Genres: Alma redemptoris mater, BVM, Motet Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Apta caro plumis ingeni[i] Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Flos virginum, decus et species Voice: Tenor Languages: Latin Clef: c3 Voice Text: Alma redemptoris Voice: Contratenor Languages: none Clef: c3 Layout parts
61v–62	Yda capillorum matris / Portio nature, precellentis / Ante thorum thronum trinitatis	-	Pusiex, Egidius de (–1348)
Yda capillorum matris / Portio nature, precellentis / Ante thorum thronum trinitatis Pusiex, Egidius de (–1348) Appears on: 61v–62 Genres: Motet Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Yda capillorum matris Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Portio nature, precellentis Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: Latin Clef: c3 Voice Text: Ante (thorum) [thronum] trinitatis Layout parts
62v–63	Degentis vita quid prodest arte / Cum vix artidici promoti sint / Vera pudicitia	-	Anonymous
Degentis vita quid prodest arte / Cum vix artidici promoti sint / Vera pudicitia Anonymous Appears on: 62v–63 Genres: Motet Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Degentis vita quid prodest arto Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Cum vix artidici promoti sint Voice: [no designation] Languages: Latin Clef: f3 Voice Text: Vera pudicitia Voice: Contratenor Languages: none Clef: c4 Layout parts
63v–64	Pictagore per dogmata / O terra sancta, suplica / Rosa vernans caritatis	-	Pusiex, Egidius de (–1348)
Pictagore per dogmata / O terra sancta, suplica / Rosa vernans caritatis Pusiex, Egidius de (–1348) Appears on: 63v–64 Genres: Motet Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Pictagore per dogmata Voice: [no designation] Languages: Latin Clef: c2 Voice Text: O terra sancta, suplica Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Rosa vernans caritatis Voice: Contratenor Languages: none Clef: c4 Layout parts
64v–65	Alpha vibrans monumentum / Cetus venit heroycus nati / Amicum querit	-	Anonymous
Alpha vibrans monumentum / Cetus venit heroycus nati / Amicum querit Anonymous Appears on: 64v–65 Genres: Motet Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Alpha vibrans monumentum Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Cetus venit heroycus nati Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Amicum querit Voice: Contratenor Languages: none Clef: c4 Layout parts Item Bibliography Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: (26), [facs.] plates 162-163.
65v–66	Rex Karole Johannis genite / Laetitie pacis, concordie	-	Royllart, Philippe (fl. late 14th c.)
Rex Karole Johannis genite / Laetitie pacis, concordie Royllart, Philippe (fl. late 14th c.) Appears on: 65v–66 Genres: Motet Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Rex Karole Iohannis genite Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Letitie pacis, concordie Voice: Solus Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Layout parts
66v–67	L'ardure qu'endure d'ardant desir / Tres dous espoir, espoir que sanz despoir / Ego rogavi Deum ut ignis iste	-	Anonymous
L'ardure qu'endure d'ardant desir / Tres dous espoir, espoir que sanz despoir / Ego rogavi Deum ut ignis iste Anonymous Appears on: 66v–67 Genres: Motet Number of voices: 4 Voice: [no designation] Languages: French Clef: c2 Voice Text: L'ardure qu'endure d'ardant desir Voice: [no designation] Languages: French Clef: c3 Voice Text: Tres dous espoir, espoir que sanz despoir Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Ego rogavi deum ut ignis iste Voice: Contratenor Languages: none Clef: c4 Layout parts
67v–68	Allma polis religio doctrine / Axe poli cum artica	Egidius de aurolia; J. de porta	Aurelia, Egidius de (fl. 14th century)
Allma polis religio doctrine / Axe poli cum artica Aurelia, Egidius de (fl. 14th century) Appears on: 67v–68 Genres: Motet Source Attribution: Egidius de aurolia; J. de porta Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Allma polis religio doctrine Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Axe poli cum artica Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: f4 Layout parts
68v–69	Inter densas deserti meditans / Imbribus irriguis et vivo / Admirabile est nomen tuum	-	Anonymous
Inter densas deserti meditans / Imbribus irriguis et vivo / Admirabile est nomen tuum Anonymous Appears on: 68v–69 Genres: Motet Number of voices: 5 Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Inter densas deserti meditans Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Imbribus irriguis et vivo Voice: Tenor Languages: Latin Clef: f4 Voice Text: Admirabile est nomen tuum Voice: Contratenor Languages: none Clef: f4 Voice: Solus Tenor Languages: none Clef: f4 Layout parts
69v–70	Multipliciter amando et letando / Favore habundare huius / Letificat juventutem meam	-	Anonymous
Multipliciter amando et letando / Favore habundare huius / Letificat juventutem meam Anonymous Appears on: 69v–70 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Multipiciter amando et letando Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Favore habundare huius Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Letificat iuventutem meam Layout parts
70v–71	Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram	-	Alanus, Johannes (fl. late 14th or early 15th century)
Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram Alanus, Johannes (fl. late 14th or early 15th century) Appears on: 70v–71 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Sub Arturo plebs valata Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Fons citharizantium ac organizantium Voice: Tenor Languages: Latin Clef: c4 Voice Text: In omnem terram Layout parts Item Bibliography Gennrich, Friedrich. 1965. Abriss der Mensuralnotation des XIV. und der ersten Hälfie des XV. Jahrhunderts. Musikwissenschaftliche Studien-Bibliothek, vol. 3-4. Langen bei Frankfurt. Pages: (1948) plates XVIIIa-b. Wolf, Johannes. 1923), second, un-revised edition (Bückeburg und Leipzig: Kistner and Siegel 1927. Musikalische Schrifttafeln für den Unterricht in der Notationskunde. Leipzig. Pages: plates 30-31.
71v–72	Tant a souttille pointure la tres gentille / Bien pert qu'en moi n’a dart point, mal / Cuius pulcritudinem sol et luna mirantur	-	Anonymous
Tant a souttille pointure la tres gentille / Bien pert qu'en moi n’a dart point, mal / Cuius pulcritudinem sol et luna mirantur Anonymous Appears on: 71v–72 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c1 Voice Text: Tant a suptile pointure la tres gentile Voice: [no designation] Languages: Latin, French Clef: c2 Voice Text: Bien pert qu'en moy n'a dart point, mal Voice: Tenor Languages: Latin Clef: c4 Voice Text: Cuius pulcritudinem sol et luna mirantur Layout parts
72v	D'ardant desir plains, povres / Se fus d'amer par bien amer / Nigra sum sed formosa	-	Anonymous
D'ardant desir plains, povres / Se fus d'amer par bien amer / Nigra sum sed formosa Anonymous Appears on: 72v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: French Clef: c5 Voice Text: D'ardant desir plains, povres Voice: [no designation] Languages: French Clef: f5 Voice Text: Se fus d'amer par bien amer Voice: [no designation] Languages: Latin Clef: f4 Voice Text: Nigra sum sed formosa Layout parts

Composer	Compositions
Alanus, Johannes (late 14th or early 15th century)	Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram – 70v–71
Andrieu, Franciscus (late 14th century)	Armes, amours, dames, chevalerie tous soffistes, toute poëtrie / O flour des flours de toute melodie Guillaume, mondains diex d’armounie – 52
Anonymous	A mon pouir garde – 15 Alpha vibrans monumentum / Cetus venit heroycus nati / Amicum querit – 64v–65 Bien dire et sagement parler et sur soymeismes regarder – 51 Cine vermeil, cine de tres haut pris / de ta beauté que tant ay los et pris – 56 D'ardant desir plains, povres / Se fus d'amer par bien amer / Nigra sum sed formosa – 72v De quand qu’on peut belle belle aujourd’hui – 28 De tous les mois que sunt et se suy prest de prover – 48 Degentis vita quid prodest arte / Cum vix artidici promoti sint / Vera pudicitia – 62v–63 En Albion de fluns environné mes roy Minos a sa cort condampnée – 47v En un peril dou tous bien delitable peril joyeux, deduit deshonrable – 32v Inter densas deserti meditans / Imbribus irriguis et vivo / Admirabile est nomen tuum – 68v–69 Je ne puis avoir plaisir – 24 L'ardure qu'endure d'ardant desir / Tres dous espoir, espoir que sanz despoir / Ego rogavi Deum ut ignis iste – 66v–67 Lameth, Judith et Rachel leur tres bau roy qui tant fist – 45 Ma dame m’a congié douné Quant son coeur a abandonné – 14v Medée fu en amer veritable de en coeur vrai si ferme et si stable – 24v Multipliciter amando et letando / Favore habundare huius / Letificat juventutem meam – 69v–70 O bonne douce Franse, flour – 29 Plus ne put musique son secret taire que d’Orpheus a fait son secretaire – 33 Robin, muse, muse, muse / Je ne sais faire fuszée / Guido – 25v Sans joye avoir ne puet Car qui a le coeur triste – 23 Se je cudoie tous jours vivre car teu dolour au coeur me mort – 27v Se vos me volés fayre outrage – 40v Tant a souttille pointure la tres gentille / Bien pert qu'en moi n’a dart point, mal / Cuius pulcritudinem sol et luna mirantur – 71v–72 Toute clarté m’est obscure … Je n’ai d’esbatement cure – 13 Tres douce playsant figure, beauté – 14 Un ocrible plein d’eaue de vrai / Adieu vos comant, baudour, jolieté – 13v Ung lion say tots belle encore est il si douce – 28v Va, Fortune, trop as vers voy car il n’est nul qui creüst – 29v
Aurelia, Egidius de (14th century)	Allma polis religio doctrine / Axe poli cum artica – 67v–68
Borlet	Hé, tres doulz roussignol joly / Roussignoulet du bois, dounés – 54v
Caserta, Philippot de (c1370)	De ma dolour ne puis trouver confort languir m’estuet, car mis sui a tel port – 32 En atendant souffrir m’estuet grief payne Puis qu’avenir ne puis a la fonytayne – 33v En remirant vo douce pourtraiture m’a point au coeur d’une tele pointure – 39 Espoir dont tu m’as fait – 36v Il n’est nul hommes en ce monde vivant tant soit subtilz ne pris apercevant – 38v Par le grant senz d’Adriane qant a son tour li convient – 37v Par les bons Gedeons et Sanson du mortes servitu anquel estoit – 45v
Cesaris, Johannes (1406-17)	(?) Belle bonne, sage, plaisant – 11v La dieus d’amours, sires de vrais tout qu'il qui li vuellent estre – 46v
Cordier, Baude (early 15 century)	(?) Belle bonne, sage, plaisant – 11v Tout par compas suy composes – 12
Cuvelier, Johannes (1372-1387)	En la saison que toutes ries en un jardin aloye a le serine – 46 Lor ques Arthus, Alixandre et Paris et Julies Cesar qui tant de pris – 40v Ne Geneive, Tristan, Yssout soufruirent onc pour bien amer – 41v Se Galaas et le puissant Artus de hardement et prouesse cremus – 38
Fabri, Petrus (c1400)	Laus detur multipharia deo regi / Petrus Fabir – 16v
Francia, Egidius de	En seumeillant m’avint une vesion Avis m’estoit q’un fort vespertilion – 21v Roses et lis ay veu en une flour / fruis composés de flourie valour – 22
Galiot, Johannes (1380-1395)	En atendant d'avoir (d'aimer) la douce vie – 40 (?) En atendant souffrir m’estuet grief payne Puis qu’avenir ne puis a la fonytayne – 33v (?) En attendant esperance, conforte en attendant se deduc et deporte – 44 Le sault perilleux a l’aventure prins ou maint amoureux a estre entre-prins – 37
Garinus (late 14th century)	Loyauté me tient en espoir – 36v
Goscalch (?1385-95)	En nul estat n’a si grant car soyt que jonesse, force – 39v
Grimace (mid-to late 14th century)	Alarme, alarme sans sejour et sans demor / Tru, tru, tru – 55v Des qu’buisson me fu boutez et de sa donc y mis je tel – 53 Se Zephirus, Phebus et leur lange et s’eusse Fortune pour amie / Se Jupiter qui donna seigurie Semis qui fu sa deese – 19
Guido (ca. 1385-ca. 1395)	Dieu gart qui bien le chantera – 25 Or voit tout en aventure a la novelle figure – 25v
Hasprois, Johannes Symonis (1378-1428)	Ma douce amour, je me dois – 34 Puisque je suis fumeux, plains de fumée, ceule qui dient que j’ay ceste fumée – 34v
Haucourt, Johannes de (ca. 1390-ca. 1420)	Se doit il plus en biau semblant fier – 15v
Machaut, Guillaume de (ca. 1300-1377)	De Fortune me doy pleindre et loer car quand premiers en commensay l’amer – 49 De petit peu, de nient volenté – 18v Quant Theseus, Hercules et Jason Ne quier veoir la beauté d’Absalon – 54
Magister Franciscus (ca. 1320-ca. 1415)	De Narcisus, home tres orguilleux / Si que depuis au mirour perilleus – 19v Phiton, Phiton, beste tres venimeuse nés et creés de gent tres aïneuse – 20v
Meruco, Johannes de	De home vrai a mon jugement car cremir wet certainement – 51v
Molins, Pierre des (mid-14th century)	De ce que fol pense – 53v
Olivier, Johannes (late 14th century)	Si con ci gist mon coeur des trois parfais dex lais – 31v
Pusiex, Egidius de (-1348)	Pictagore per dogmata / O terra sancta, suplica / Rosa vernans caritatis – 63v–64 Yda capillorum matris / Portio nature, precellentis / Ante thorum thronum trinitatis – 61v–62
Pykini, Nicholas (c1364-1389)	Playsance: Or tost avez vous assemblés / Or tost aeuls avez vous assemblés – 55
Reyneau, Gacian (ca. 1370-ca. 1429)	Va t'en, mon coeur, aveuc mes yeux / Va t'en., mon coeur, aveuc mes yeux / Va t'en., mon coeur, aveuc mes yeux – 56v
Rodericus (late 14th c.)	Angelorum psalat tripudium qui operum fuit initium / restro mordens Ut Fera Pessima – 48v
Royllart, Philippe (late 14th c.)	Rex Karole Johannis genite / Laetitie pacis, concordie – 65v–66
Sancto Johanne, Matheus de (-ca. 1391)	Fortune faulce, perverse, veré m'a – 59v Inclite flos orti Gebennensis prestantibus roribus immensis / Papa Clemente – 41 Je chante un chant en merencoliant – 16 Sans vous ne puis, tres douce car quand ne suis pres de vostre – 35 Sience n'a nul annemi / envieuz sont, je le vous di – 57
Senleches, Jacob	En attendant esperance, conforte en attendant se deduc et deporte – 44 Fuions de ci, fuions, povre companigns En Aragon, en France ou en Bretaingne – 17 Je m’emerveil aucune fois comment et donc n’escrit fin ne comencement / J’ai plusieurs fois pour mon esbatement un virelai de petit sentiment – 44v La harpe de mellodie Pour plaire une companie – 43v
Solage (late 14th century)	(?) Adieu vous di, tres douce compaygnie / per Fortune qui per grant aranie – 47 Calextone, qui fut dame d’Arouse – 50 Corps femenin par vertu de nature tant noblement, certes, que vo figure – 23v En l’amoureux vergier vis una flor Froite eslevée de vermeille colour – 20 Fumeux fume par fumée – 59 Helas, je vois mon coeur qui tant m'a fait de bien – 57v Joyeux de coeur en seumellant – 58v Le basile de sa propre nature car son venin est mortel sanz mesure – 49v (?) Le mont Aon de Trace a en sa court ix dames – 22v Pluseurs gens voy qui leur pensée l'un vest une cote brodée – 58 S’aincy estoit que ne feust la noublesce France perdroit son pris et la prouesce – 36 Tres gentil coeur amoureux – 18 Tres gentil coeur amoureux – 50v
Suzoy, Johannes (c1380)	(?) A l’arbre sec puis estre aynsy me voyt de tel mal – 52v (?) Prophilias, un des nobles de Roume / car Dionas d’Athenes le nous noume – 35v Pytagoras, Jabel et Orpheus selonc le scripture molt pourveus – 30v
Tailhandier, Pierre (c1390)	Se Dedalus an sa gaye mestrie et Zephirus an sa doucor flourie – 42v
Trebor (c1380–c1400)	Hélas, Pitié envers moi Dangier, Refus, Desdaing sout – 42 Passerose de beauté la noble flour Donc Jupiter l’espousa par sa valour – 21 Quant joyne coeur en may est amoureux fet son sejour gay, playsant, deliteux – 31 Se Alixandre et Hector fussent en vie et tenissent Acilles sans envie – 30 Se July Cesar, Rolant et roy Artus et Yvain, Lancelot, Tristain ne Porus – 43
Vaillant, Jacob (1360–90)	Dame, doucement trait / Douces amis de coeur parfait – 26v Onquies Jacob por la belle Rachel ne David por Absalon le tres bel – 27 Par maintes fois ay oy recorder – 60 Pour ce que je ne sais gairez – 26 Tres douces amis, tout ce que promis / Madame, ce que vous / Cent mille fois, me douce dame – 17v
Vitry, Philippe de (1291-1361)	(?) Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater – 60v–61

Composition	Composers (? Uncertain)	Folios / Pages
A l’arbre sec puis estre aynsy me voyt de tel mal	Suzoy, Johannes (fl. c1380) (?)	52v
A mon pouir garde	Anonymous	15
Adieu vous di, tres douce compaygnie / per Fortune qui per grant aranie	Solage (fl. late 14th century) (?)	47
Alarme, alarme sans sejour et sans demor / Tru, tru, tru	Grimace (fl. mid-to late 14th century)	55v
Allma polis religio doctrine / Axe poli cum artica	Aurelia, Egidius de (fl. 14th century)	67v–68
Alpha vibrans monumentum / Cetus venit heroycus nati / Amicum querit	Anonymous	64v–65
Angelorum psalat tripudium qui operum fuit initium / restro mordens Ut Fera Pessima	Rodericus (fl. late 14th c.)	48v
Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater	Vitry, Philippe de (1291–1361) (?)	60v–61
Armes, amours, dames, chevalerie tous soffistes, toute poëtrie / O flour des flours de toute melodie Guillaume, mondains diex d’armounie	Andrieu, Franciscus (fl. late 14th century)	52
Belle bonne, sage, plaisant	Cesaris, Johannes (fl. 1406-17) (?) Cordier, Baude (fl. early 15 century) (?)	11v
Bien dire et sagement parler et sur soymeismes regarder	Anonymous	51
Calextone, qui fut dame d’Arouse	Solage (fl. late 14th century)	50
Cine vermeil, cine de tres haut pris / de ta beauté que tant ay los et pris	Anonymous	56
Corps femenin par vertu de nature tant noblement, certes, que vo figure	Solage (fl. late 14th century)	23v
D'ardant desir plains, povres / Se fus d'amer par bien amer / Nigra sum sed formosa	Anonymous	72v
Dame, doucement trait / Douces amis de coeur parfait	Vaillant, Jacob (fl. 1360–90)	26v
De ce que fol pense	Molins, Pierre des (fl. mid-14th century)	53v
De Fortune me doy pleindre et loer car quand premiers en commensay l’amer	Machaut, Guillaume de (ca. 1300–1377)	49
De home vrai a mon jugement car cremir wet certainement	Meruco, Johannes de	51v
De ma dolour ne puis trouver confort languir m’estuet, car mis sui a tel port	Caserta, Philippot de (fl. c1370)	32
De Narcisus, home tres orguilleux / Si que depuis au mirour perilleus	Magister Franciscus (ca. 1320–ca. 1415)	19v
De petit peu, de nient volenté	Machaut, Guillaume de (ca. 1300–1377)	18v
De quand qu’on peut belle belle aujourd’hui	Anonymous	28
De tous les mois que sunt et se suy prest de prover	Anonymous	48
Degentis vita quid prodest arte / Cum vix artidici promoti sint / Vera pudicitia	Anonymous	62v–63
Des qu’buisson me fu boutez et de sa donc y mis je tel	Grimace (fl. mid-to late 14th century)	53
Dieu gart qui bien le chantera	Guido (ca. 1385–ca. 1395)	25
En Albion de fluns environné mes roy Minos a sa cort condampnée	Anonymous	47v
En atendant d'avoir (d'aimer) la douce vie	Galiot, Johannes (fl. 1380-1395)	40
En atendant souffrir m’estuet grief payne Puis qu’avenir ne puis a la fonytayne	Galiot, Johannes (fl. 1380-1395) (?) Caserta, Philippot de (fl. c1370)	33v
En attendant esperance, conforte en attendant se deduc et deporte	Galiot, Johannes (fl. 1380-1395) (?) Senleches, Jacob	44
En la saison que toutes ries en un jardin aloye a le serine	Cuvelier, Johannes (fl. 1372-1387)	46
En l’amoureux vergier vis una flor Froite eslevée de vermeille colour	Solage (fl. late 14th century)	20
En nul estat n’a si grant car soyt que jonesse, force	Goscalch (fl. ?1385-95)	39v
En remirant vo douce pourtraiture m’a point au coeur d’une tele pointure	Caserta, Philippot de (fl. c1370)	39
En seumeillant m’avint une vesion Avis m’estoit q’un fort vespertilion	Francia, Egidius de	21v
En un peril dou tous bien delitable peril joyeux, deduit deshonrable	Anonymous	32v
Espoir dont tu m’as fait	Caserta, Philippot de (fl. c1370)	36v
Fortune faulce, perverse, veré m'a	Sancto Johanne, Matheus de (–ca. 1391)	59v
Fuions de ci, fuions, povre companigns En Aragon, en France ou en Bretaingne	Senleches, Jacob	17
Fumeux fume par fumée	Solage (fl. late 14th century)	59
Helas, je vois mon coeur qui tant m'a fait de bien	Solage (fl. late 14th century)	57v
Hé, tres doulz roussignol joly / Roussignoulet du bois, dounés	Borlet	54v
Hélas, Pitié envers moi Dangier, Refus, Desdaing sout	Trebor (fl. c1380–c1400)	42
Il n’est nul hommes en ce monde vivant tant soit subtilz ne pris apercevant	Caserta, Philippot de (fl. c1370)	38v
Inclite flos orti Gebennensis prestantibus roribus immensis / Papa Clemente	Sancto Johanne, Matheus de (–ca. 1391)	41
Inter densas deserti meditans / Imbribus irriguis et vivo / Admirabile est nomen tuum	Anonymous	68v–69
Je chante un chant en merencoliant	Sancto Johanne, Matheus de (–ca. 1391)	16
Je m’emerveil aucune fois comment et donc n’escrit fin ne comencement / J’ai plusieurs fois pour mon esbatement un virelai de petit sentiment	Senleches, Jacob	44v
Je ne puis avoir plaisir	Anonymous	24
Joyeux de coeur en seumellant	Solage (fl. late 14th century)	58v
L'ardure qu'endure d'ardant desir / Tres dous espoir, espoir que sanz despoir / Ego rogavi Deum ut ignis iste	Anonymous	66v–67
La dieus d’amours, sires de vrais tout qu'il qui li vuellent estre	Cesaris, Johannes (fl. 1406-17)	46v
La harpe de mellodie Pour plaire une companie	Senleches, Jacob	43v
Lameth, Judith et Rachel leur tres bau roy qui tant fist	Anonymous	45
Laus detur multipharia deo regi / Petrus Fabir	Fabri, Petrus (fl. c1400)	16v
Le basile de sa propre nature car son venin est mortel sanz mesure	Solage (fl. late 14th century)	49v
Le mont Aon de Trace a en sa court ix dames	Solage (fl. late 14th century) (?)	22v
Le sault perilleux a l’aventure prins ou maint amoureux a estre entre-prins	Galiot, Johannes (fl. 1380-1395)	37
Lor ques Arthus, Alixandre et Paris et Julies Cesar qui tant de pris	Cuvelier, Johannes (fl. 1372-1387)	40v
Loyauté me tient en espoir	Garinus (fl. late 14th century)	36v
Ma dame m’a congié douné Quant son coeur a abandonné	Anonymous	14v
Ma douce amour, je me dois	Hasprois, Johannes Symonis (fl. 1378-1428)	34
Medée fu en amer veritable de en coeur vrai si ferme et si stable	Anonymous	24v
Multipliciter amando et letando / Favore habundare huius / Letificat juventutem meam	Anonymous	69v–70
Ne Geneive, Tristan, Yssout soufruirent onc pour bien amer	Cuvelier, Johannes (fl. 1372-1387)	41v
O bonne douce Franse, flour	Anonymous	29
Onquies Jacob por la belle Rachel ne David por Absalon le tres bel	Vaillant, Jacob (fl. 1360–90)	27
Or voit tout en aventure a la novelle figure	Guido (ca. 1385–ca. 1395)	25v
Par le grant senz d’Adriane qant a son tour li convient	Caserta, Philippot de (fl. c1370)	37v
Par les bons Gedeons et Sanson du mortes servitu anquel estoit	Caserta, Philippot de (fl. c1370)	45v
Par maintes fois ay oy recorder	Vaillant, Jacob (fl. 1360–90)	60
Passerose de beauté la noble flour Donc Jupiter l’espousa par sa valour	Trebor (fl. c1380–c1400)	21
Phiton, Phiton, beste tres venimeuse nés et creés de gent tres aïneuse	Magister Franciscus (ca. 1320–ca. 1415)	20v
Pictagore per dogmata / O terra sancta, suplica / Rosa vernans caritatis	Pusiex, Egidius de (–1348)	63v–64
Playsance: Or tost avez vous assemblés / Or tost aeuls avez vous assemblés	Pykini, Nicholas (fl. c1364-1389)	55
Plus ne put musique son secret taire que d’Orpheus a fait son secretaire	Anonymous	33
Pluseurs gens voy qui leur pensée l'un vest une cote brodée	Solage (fl. late 14th century)	58
Pour ce que je ne sais gairez	Vaillant, Jacob (fl. 1360–90)	26
Prophilias, un des nobles de Roume / car Dionas d’Athenes le nous noume	Suzoy, Johannes (fl. c1380) (?)	35v
Puisque je suis fumeux, plains de fumée, ceule qui dient que j’ay ceste fumée	Hasprois, Johannes Symonis (fl. 1378-1428)	34v
Pytagoras, Jabel et Orpheus selonc le scripture molt pourveus	Suzoy, Johannes (fl. c1380)	30v
Quant joyne coeur en may est amoureux fet son sejour gay, playsant, deliteux	Trebor (fl. c1380–c1400)	31
Quant Theseus, Hercules et Jason Ne quier veoir la beauté d’Absalon	Machaut, Guillaume de (ca. 1300–1377)	54
Rex Karole Johannis genite / Laetitie pacis, concordie	Royllart, Philippe (fl. late 14th c.)	65v–66
Robin, muse, muse, muse / Je ne sais faire fuszée / Guido	Anonymous	25v
Roses et lis ay veu en une flour / fruis composés de flourie valour	Francia, Egidius de	22
Sans joye avoir ne puet Car qui a le coeur triste	Anonymous	23
Sans vous ne puis, tres douce car quand ne suis pres de vostre	Sancto Johanne, Matheus de (–ca. 1391)	35
Se Alixandre et Hector fussent en vie et tenissent Acilles sans envie	Trebor (fl. c1380–c1400)	30
Se Dedalus an sa gaye mestrie et Zephirus an sa doucor flourie	Tailhandier, Pierre (fl. c1390)	42v
Se doit il plus en biau semblant fier	Haucourt, Johannes de (ca. 1390–ca. 1420)	15v
Se Galaas et le puissant Artus de hardement et prouesse cremus	Cuvelier, Johannes (fl. 1372-1387)	38
Se je cudoie tous jours vivre car teu dolour au coeur me mort	Anonymous	27v
Se July Cesar, Rolant et roy Artus et Yvain, Lancelot, Tristain ne Porus	Trebor (fl. c1380–c1400)	43
Se vos me volés fayre outrage	Anonymous	40v
Se Zephirus, Phebus et leur lange et s’eusse Fortune pour amie / Se Jupiter qui donna seigurie Semis qui fu sa deese	Grimace (fl. mid-to late 14th century)	19
Si con ci gist mon coeur des trois parfais dex lais	Olivier, Johannes (fl. late 14th century)	31v
Sience n'a nul annemi / envieuz sont, je le vous di	Sancto Johanne, Matheus de (–ca. 1391)	57
Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram	Alanus, Johannes (fl. late 14th or early 15th century)	70v–71
S’aincy estoit que ne feust la noublesce France perdroit son pris et la prouesce	Solage (fl. late 14th century)	36
Tant a souttille pointure la tres gentille / Bien pert qu'en moi n’a dart point, mal / Cuius pulcritudinem sol et luna mirantur	Anonymous	71v–72
Tout par compas suy composes	Cordier, Baude (fl. early 15 century)	12
Toute clarté m’est obscure … Je n’ai d’esbatement cure	Anonymous	13
Tres douce playsant figure, beauté	Anonymous	14
Tres douces amis, tout ce que promis / Madame, ce que vous / Cent mille fois, me douce dame	Vaillant, Jacob (fl. 1360–90)	17v
Tres gentil coeur amoureux	Solage (fl. late 14th century)	18
Tres gentil coeur amoureux	Solage (fl. late 14th century)	50v
Un ocrible plein d’eaue de vrai / Adieu vos comant, baudour, jolieté	Anonymous	13v
Ung lion say tots belle encore est il si douce	Anonymous	28v
Va t'en, mon coeur, aveuc mes yeux / Va t'en., mon coeur, aveuc mes yeux / Va t'en., mon coeur, aveuc mes yeux	Reyneau, Gacian (ca. 1370–ca. 1429)	56v
Va, Fortune, trop as vers voy car il n’est nul qui creüst	Anonymous	29v
Yda capillorum matris / Portio nature, precellentis / Ante thorum thronum trinitatis	Pusiex, Egidius de (–1348)	61v–62

These images are from an external IIIF service and are not hosted by DIAMM.

Images © Musée Condé, Chantilly

‡ denotes primary source study

Bent, Margaret. 2017. The absent first gathering of the Chantilly manuscript. Plainsong and Medieval Music, 26: 19-36.

Upton, Elizabeth Randell. 2013. Music and Performance in the Later Middle Ages. The New Middle Ages. New York: Palgrave Macmillan.

Upton, Elizabeth Randell. 2012. Creation of the Chantilly Codex (Ms. 564). Studi musicali, new series, Vol. III, No. 2: 287-352.

Plumley, Yolanda, and Anne Stone (editors). 2009. A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564). Turnhout: Brepols.

‡ Stone, Anne, and Yolanda Plumley (editors). 2008. Chantilly Codex, Bibliothèque du Chateau de Chantilly, Ms. 564: Facsimile & Introduction. 2 vols. Turnhout: Brepols.

Upton, Elizabeth Randell. 2003. Inventing the Chantilly Codex. Studi Musicali, 31, no. 2 : 181-231.

‡ Upton, Elizabeth Randell. 2001. The Chantilly Codex (F-CH 564): The Manuscript, Its Music, Its Scholarly Reputation. University of North Carolina at Chapel Hill, Ph.D. dissertation.

Plumley, Yolanda. 1999. Citation and Allusion in the Late Ars Nova: the Case of 'Esperance' and the 'En attendant' songs. Early Music History, 18: 287-363. Pages: 293-295. Notes: discussion of the 4 'Galiot' attributions.

Bent, Margaret. 1998. Early Papal Motets. Papal Music and Musicians in Late Medieval and Renaissance Rome, edited by Margaret Bent, 5-43. Oxford University Press.

Earp, Lawrence M. 1995. Guillaume de Machaut: A Guide to Research. New York and London: Garland.

Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians. London. Pages: VI, 339; XVI, 169. Notes: facsimile (partial).

Williams, Carol J. 1980. Two Examples of Mannerist Notation in the Late Fourteenth Century. Miscellanea Musicologica [Adelaide], 11: 111-28. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.

Wright, Craig M. 1973. Tapissier and Cordier: New Documents and Conjectures. The Musical Quarterly, 59: 177-89. Pages: 187. Notes: physical description; mention of MS; discussion.

Schlager, Karlheinz (editor). 1971-. Répertoire International des Sources Musicales. Series A/I, vol. Einzeldrucke vor 1800. Kassel. Pages: B IV/2,128-60. Notes: physical description; contents list; concordances (partial); inventory; B.

‡ Greene, Gordon Kay. 1971. The Secular Music of Chantilly Manuscript Musée Condé 564 (olim 1047). . Pages: DLpCpFpTpDis.

Van, Guillaume de. 1968. La pedagogie musicale a la fin du moyen âge. Musica Disciplina, 23: 71-97. Pages: 83ff.

Wangermée, Robert. 1968. Flemish Music and Society in the Fifteenth and Sixteenth Centuries. New York. Pages: Plate 21. Notes: facsimile (partial).

Davison, Archibald Thompson, and Willi Apel (editors). 1966. Historical Anthology of Music. Vol. I. Oriental, Medieval and Renaissance Music. Cambridge, Massachusetts. Pages: nos.47and48b (transcriptionof CH564 68 and l).

Günther, Ursula. 1965. Eine Ballade auf Mathieu de Foix. Musica Disciplina, 19: 69-81.

Günther, Ursula (editor). 1965. The Motets of the Manuscripts Chantilly, musée condé, 564 (olim 1047) and Modena, Biblioteca estense, a. M. 5, 24 (olim lat. 568). Corpus mensurabilis musicae, vol. 39. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: nos. 1-10, 12, 14, 15 (transcription of CH 564 101-113).

Günther, Ursula. 1961. Datierbare Balladen des späten 14. Jahrhunderts. Musica Disciplina, 15: 39–61, continued in vol. 16 (1962). pp. 151–74.

Günther, Ursula. 1960. Der Gebrauch des tempus perfectum diminutum in der Handschrift Chantilly 1047. Archiv für Musikwissenschaft, 17: 277-297. Pages: 277ff.

Günther, Ursula. 1960. Die Anwendung der Diminution in der Handschrift Chantilly. Archiv für Musikwissenschaft, 17: 1-21. Pages: Iff.

Hoppin, Richard H, Suzanne Clercx-Lejeune, and Suzanne Clercx. 1959. Notes biographiques sur quelques musiciens du XIVe siècle. Les Colloques de Wegimont II-1955, L'Ars nova: Recueil d'études sur la musiquedu XIVe siècle, 63-92. Paris: Les Belles Lettres.

Günther, Ursula (editor). 1959. Zehn Datierbare Kompositionen der Ars Nova. Hamburg: Selbstverlag des musikwissenschaftlichen Instituts der Universität Hamburg. Pages: nos. 4 and 7-10 (transcription of CH564 6, 31, 21, 62 and71).

Günther, Ursula. 1958. The fourteenth-century motet and its development. Musica Disciplina, 12: 27-58. Pages: 48ff, 51ff (transcription of CH 564 110 and 105).

Günther, Ursula. 1957. Der musikalische Stilwandel der französischen Liedkunst in der zweiten Hälfte des 14. Jahrhunderts, dargestellt an Virelais, Balladen und Rondeaux von Guillaume de Machaut sowie datierbaren Kantilenensätzen seiner Zeitgenossen und dierekten Nachfolger. University of Hamburg, Ph.D. dissertation. Pages: 164ff.

Reaney, Gilbert. 1956. A Postscript to'The Manuscript Chantilly, Musee Conde 1047. Musica Disciplina, 10: . Pages: 55 ff.

Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae, vol. 11, 1-6. Rome: American Institute of Musicology. Pages: I,9-12. Notes: transcriptions.

Machabey, Armand. 1955. Gendse de la tonalite musicale classique.

Reaney, Gilbert. 1955. Early Fifteenth-Century Music. CMM, vol. 11/I. Pages: I (1955), 9f, llf, 27ff; II (1959), 34ff, 28ff, 26ff (transcription of CH 564 1, 2, 73, 8, 46 and 47).

Schrade, Leo (editor). 1954 -1956. The Polyphonic Music of the Fourteenth Century. 3 vols. Pages: III, 90f, lOlff, 24ff (transcription of CH 564 14, 78 and 88); WolfG II-III, nos. 64-65 (diplomatic facsimile and transcription of CH 564 27 and 55).

‡ Reaney, Gilbert. 1954. The Manuscript Chantilly, Musée Condé 1047. Musica Disciplina, 8: 59-113. Pages: 98ff (transcription of CH 564 18, 22, 75 and 107).

Reaney, Gilbert. 1952. A Chronology of the Ballades, Rondeaux and Virelais Set to Music by Guillaume de Machaut. Musica Disciplina, 6: 33ff. Notes: physical description; contents list; concordances; transcription (partial); additional bibliography.

Apel, Willi (editor). 1950. French Secular Music of the Late Fourteenth Century. Cambridge, Massachusetts: The Medieval Academy of America. Pages: pl. 4-6 (facsimile of CH 564 f. 36, 59, 44v), nos. 31-49, 55-56, 59-61, 67, 69, 72, 76, 78 (transcription of CH 564 17, 24, 80, 50, 79, 95, 96, 13 (= 81), 97, 98, 19, 64, 40, 20, 38, 66, 11, 69, 68, 16, 45, 57, 42, 35, 89, 100, 91, 12, 51).

Besseler, Heinrich. 1949-79. Ars Nova, Ballade II, Cesaris, Chantilly Ms. 1047, Cordier [4 articles]. Die Musik in Geschichte und Gegenwart, 1st Edition, 1: . Pages: 702ff, 1120ff; II, 893ff, 1085ff, 1665ff.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: I, pl. 28 (facsimile of CH 564 f. 44); II, pl. 34 (facsimile of f. 37), pl. 55 (facsimile of f. llv-12), col. 1049-50 (facsimile of f. 13v); III, col. 1169-70 (facsimile of Cantus part of CH 564 21); IV, pl. 28 (facsimile of f. 20v); VI, pl. 72 (facsimile of f. 34v), col. 1817 (facsimile of f. 15v); X,pl. 75 (facsimile of f. 38v).

Reaney, Gilbert. 1949-79. Color, Egidius de Murino, Franciscus, Galiot, Gaston Phebus, Grimace, Guido, Hasprois, Haucourt, Jacomi, Matheus de Sancto Johanne, Philippus de Caserta[12 articles]. Die Musik in Geschichte und Gegenwart, 2: . Pages: II, 1566ff; III, 1169ff; IV, 634ff, 1270ff, 1441ff; V, 920ff, 1078f; VI, 1770 f, 1818f; VII, 1634ff; VIII, 1785f; X, 1202f.

Gennrich, Friedrich. 1948. Abriss der Mensuralnotation des 14. Jahrhunderts und der ersten Hälfte des 15. Jahrhunderts. Pages: pl. 5-20 (facsimile of CH 564 f. 13, 13v, 15v, 16, 17, 20v, 21, 21v, 22, 34v, 37, 52, 67v, 70v-71, llv, 12).

Pirrotta, Nino. 1944-45. Il codice Estense 568 e la musica francese al principio del '400. Atti della Reale Accademia di Scienze, Lettere e Arti di Palermo, Ser. 4, vol. 5, 2.: . Pages: 10lff.

Apel, Willi. 1942. (4th ed., 1949). The Notation of Polyphonic Music 900-1600. Cambridge, Massachusetts. Pages: 427, 413 (facsimile of CH 564 1 and 25), appendix, no. 62 (transcription of CH 564 1).

Anglès, Higinio. 1936. El music Jacomi al servei de Joan I. i Marti I. durant el anys 1372-1404. Homenatge a A. Rubio i Lluch, Barcelona. Pages: 613ff.

Dannemann, E. 1936. Die spatgotische Musiktradition in Frankreich und Burgund vor dem Auftreten Dufays. Collection d'études musicologiques, vol. 22. Leipzig/Strasbourg.

Wolf, Johannes (editor). 1931. Sing- und Spielmusik aus älterer Zeit. Beispielband zur allgemeinen Musikgeschichte. 2nd edition Leipzig. Pages: pl. 30-31 and 100 (facsimile of CH 564 f. 70v-71 and llv).

Anglès, Higinio. 1930. Gacian Reyneau am Konigshof zu Barcelona in der Zeit von 139. bis 1429. . Pages: 64ff.

Ludwig, Friedrich (editor). 1926-9. Guillaume de Machaut: Musikalische Werke, 1-3. Leipzig: Publikationen älterer Musik. Pages: I,18f,25ff,40ff,49ff(transcription of CH 564 14, 78, 88 and 84); II, 22ff and passim.

Besseler, Heinrich. 1926. Studien zur Musik des Mittelalters: II. Die Motette von Franko von Köln bis Philipp van Vitry. Archiv für Musikwissenschaft, 8: 137-258. Pages: II, 254ff (transcription of CH 564 101).

Borren, Charles van den. 1924. Le Manuscrit Musical M. 222 C. 22 de la Bibliothèque de Strasbourg (XV Siècle) Brûlé en 1870, et Reconstitué d'après une Copie Partielle d'Edmond de Coussemaker. Antwerp: E. Secelle. Pages: 54ff, 83ff, 113fF, 129ff, 143ff.

Wolf, Johannes. 1913-9; Reprinted: Hildesheim, 1963. Handbuch der Notationskunde. Leipzig. Pages: I, opp. 364 (facsimile of CH 564 4), 365ff (transcription of no. 4), 354f (transcription of CH 564 87); WolfS, pl. 30-31 and 100 (facsimile of CH 564 f. 70v-71 and llv).

Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: II-III, nos. 64-65 (diplomatic facsimile and transcription of CH 564 27 and 55).

Delisle, Leopold. 1900. Institut de France, Le Musee Conde, Chantilly, Le Cabinet des livres, Manuscrits II. Pages: 277 ff. Notes: physical description; contents list; texts.

Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: 76, 9 (transcription of CH 564 111).

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Richard Dudas

Sunday, 26 July, 2020

alternative BVMM image link added

Karen Cook

Thursday, 15 March, 2018

14th century Guido added as composer

Elizabeth Upton

Monday, 23 October, 2017

Bibliography items added to bibliography database and linked to MS description

Elisabeth Hufnagel

Tuesday, 1 August, 2017

Incorrect attribution fixed.

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; Notation Note; Date Note; Ruling Note; Foliation Note; Foliation Note; Decoration 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

Répertoire Internationale des Sources Musicales

Monday, 23 January, 2017

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