3 fragmentary parchment bifolios which were used as a binding for a 15th century collection of sermons, probably by Johannes de Meldingen. The music is 14th century and consists of 13th and 14th century motets; only no. 8 is complete. Folios I-Iv consist mainly of an anonymous musical treatise written in two columns, though only a fragment of the whole work is preserved. The motet writing is for two voices only, while the T have no text incipits. The peripheral nature of the MS is apparent from the notation and the concordances with such German sources as MüC, LoD and Ba.

most pages are relatively complete, though they have been cut down slightly at the margins. The second bifolio however is cut away diagonally at the bottom right-hand corner of each recto, while its second folio is also cut away vertically at the right so that some of the music is missing there too.

motets are written in a square mensural which does not necessarily distinguish between longs and breves, though longs, breves and independent semibreves are employed. Similarly, ligatures are not Franconian though c.o.p. ligatures are used

7 ostensibly five-line staves per page (lines tend to be drawn continuously one after the other for both text and music)

I-VI verso

Initials are in red

parchment

RISM B/IV 1: 3 fragmentary parchment bifolios meas. 300 x 210 mm. which were used as a binding for a 15th century collection of sermons, probably by Johannes de Meldingen. The music is 14th century and consists of 13th and 14th century motets, only one of which is virtually complete, namely no. 8. Most pages are relatively complete, though they have been cut down slightly at the margins. The second bifolio however is cut away diagonally at the bottom right-hand corner of each recto, while its second folio is also cut away vertically at the right so that some of the music is missing there too. Folios I-Iv consist mainly of an anonymous musical treatise written in two columns, though only a fragment of the whole work is preserved here. It dates from the time of Franco of Cologne, i.e. c. 1260. The motets are written in a square mensural notation which does not necessarily distinguish between longs and breves, though longs, breves and independent semibreves are employed. Similarly, ligatures are not Franconian though c.o.p. ligatures are used. There are 7 ostensibly five-line staves per page, though the lines tend to be drawn continuously one after the other for both text and music. Initials are in red. In typical German fashion, the motet writing is for two voices only, while the T have no text incipits. The peripheral nature of the ms is made clear, not only from the notation, but also from the concordances with such German sources as MüC,LoD and Ba.

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