Bought by the British Museum in 1876 from Monsieur J. P. Berjeau, according to a note on the front flyleaf.
GB-Lbl Add. MS 30091
British Library, London, England
manuscript of polyphony: second half of 13th century
| Archive | British Library, London, England (GB-Lbl) |
|---|---|
| Shelfmark | Add. MS 30091 |
| Surface | Mixed Paper and Parchment |
| Format | portrait |
| Measurements | 155 x 107 mm |
| Other Identifiers |
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| Notations |
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| External Links | |
| Provenance |
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| Contents | Contains 14 compositions, 14 are anonymous. |
General Description
Binding
19th century binding of black or very dark blue leather over pulp boards with a gilt title on the spine: Additional 30091 || Brit. Mus. || Hymns and Songs. Lat. and Fr. The unnumbered flyleaves belong to this binding.
Notation
reminiscent of Mo: longs and breves are differentiated, but ligatures are not clarified as much as in that source. There are no c.o.p. ligatures and the last notes of each piece often have the shape of an oblong with strokes protruding above and below the oblong at both end of the note. Both ascending and descending plica notes are frequent, but there are no accidentals except for a flat or two.
Ruling
7 red five-line staves per page.
Foliation
1-7v
Foliation
Modern pencil foliation at t.r.r.; excludes flyleaves
Decoration
typical chansonnier minuscule script with initials in blue or red with contrasting ornament; the first 3 and the last 2 T have black initials.
Surface
i paper + 7 parchment + xxxiii paper
RISM Description
RISM B/IV 1: A 13th century parchment manuscript meas. 155 x 107 mm. and consisting of 7 folios containing 14 motets of the second half of the century. The typical chansonnier minuscule script employs initials in blue or red with contrasting ornament, though the first 3 and the last 2 T have black initials. The codex was bought by the British Museum in 1876 from Monsieur J. P. Berjeau, according to a note on the front flyleaf. There are in fact 1 paper flyleaf at the front and no less than 33 at the back, all of them unnumbered and belonging to the modern binding. The pencil foliation is a modern one at t.r.r. The notation is reminiscent of Mo in that longs and breves are differentiated, but ligatures are not clarified as much as in that source. There are no c.o.p. ligatures and the last notes of each piece often have the shape of an oblong with strokes protruding above and below the oblong at both end of the note. Both ascending and descending plica notes are frequent, but there are no accidentals except for a flat or two. There are 7 red five-line staves per page. The 19th century binding is of black or very dark blue leather over pulp boards with a gilt title on the spine: Additional 30091 || Brit. Mus. || Hymns and Songs. Lat. and Fr.
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‡ denotes primary source study
Dittmer, Luther A. 1960. Publications of Mediaeval Musical Manuscripts Il: Wolfenbüttel 1099. Publications of Mediaeval Music Manuscripts, vol. 2. Brooklyn: Institute of Mediaeval Music. Pages: f. 186-186v + 205-205v, 145v-146 + 206v-207, 161-161v + 226-226v, 219av + 191v-192, 187v-188 + 188v-189 + 196v-197, 219v-219a, 198-198v (facsimiles of LoC 1-3, 5, 7, 11 and 12 after W2).
Gennrich, Friedrich. 1958. Ein altfranzösischer Motetten-Kodex. Faksimile-Ausgabe der Handschrift La Clayette, Paris, Bibliothèque Nationale, nouvelle acquisition francaise 13521. Pages: f 378v, 378, 387v, 381v, 376v-377, 383v-384, 375-375v (facsimiles of LoC 1-3, 7, 8, 11 and 13 after Cl).
Gennrich, Friedrich. 1958. Bibliographie der ältesten französischen und lateinischen Motetten. Pages: XLI etc.
Gennrich, Friedrich. 1956. Abriß der frankonischen Mensuralnotation. 2nd ed. Pages: pl. Xlla-XIIb (facsimile of LoC f. 5v-6).
Auda, Antoine. 1953. Les "Motets Wallons" du manuscrit de Turin: Vari 42. 2 vols. Pages: I-II, motets 19 and 31 (facsimile and transcription of LoC 1 and 11 after Tu); I, 85f, 90.
Handschin, Jacques. 1949. The Summer Canon and its Background. Musica Disciplina, 3: 55-94, volume 5 (1951), 65-113. Pages: II, 81.
Apel, Willi. 1942. (4th ed., 1949). The Notation of Polyphonic Music 900-1600. Cambridge, Massachusetts. Pages: 85 (facsimile of LoC f. 1-lv); 201, 284.
Kujlmann, G. 1938. Die zweistimmigen französischen Motetten des Kodex Montpellier, Faculté de Médecine H196. 2 vols. Pages: II, 178.
Rokseth, Y. 1935+1939. Les Polyphonies du XIVe siecle. 4 vols. Pages: I-III, nos. 19, 21, 111, 185 + 274, 36, 37, 58, 92, 41 (facsimile and transcription of LoC 1-3, 5, 7-9, 11 and 13 after Mo); IV, 75, 185, 255f, 258f, 262, 267, 270, 291.
Handschin, Jacques. 1934. Erfordensia. Acta Musicologica, 6: 97ff. Pages: 103.
Anglès, Higinio. 1931. El Còdex musical de las Huelgas. 3 vols. Pages: II-III, nos. 126, 93, 96, 107 (facsimile and transcription of LoC 2, 7-9 after Hu); I, 251, 255, 268, 285.
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, 163, 170.
Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 5: 185-222, Vol. 5 (1924) 273-315. Pages: 199f, 203, 205, 209-212, 220, 278, 290-293.
Ludwig, Friedrich. 1910. Repertorium organorum recentioris et motetorum vetustissimi stili. I. Catalogue raisonné. 1. Handschriften in Quadratnotation. Halle: Niemayer. Pages: 61, 81ff, 115f, 149,182,186,191,194, 197,199f, 208, 211, 262, 288, 291,309,315,356,367,370,383,394,399,401,413-417,438.
Ludwig, Friedrich. 1909. Die liturgischen Organa Léonins und Perotins. Riemann-Festschrift: Gesammelte Studien--Hugo Riemann zum sechzigsten Geburtstage überreicht von Freunden und Schülern, 200ff. Leipzig. Pages: 210ff.
Aubry, Pierre. 1908. Cent Motets du XIIIe siècle. 3 vols. Pages: I-II, nos. 76, 97, 100, 69, 74, 47, 95, 63, 19 (facsimile and transcription of LoC 1, 2,4, 5, 7-9,11 and 13 after Ba); III, 70, 85, 93, 95, 97, 99, 107f, 110.
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Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description