I-Bc Q.21 [Altus]

Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy

partbook: 1523-7 (Rifkin).

Archive Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy (I-Bc)
Shelfmark Q.21 [Altus]
Image Availability DIAMM does not have images of this source. Please refer to the external links for image availability.
Surface Paper
Numbering System Foliation
Measurements 130 x 190 mm
Notations
  • black void mensural
Copyists
Relationships
External Links
Provenance
  • Italy
Contents 75 pieces from 13 composers
General Description

An Altus partbook from a set of four volumes. Copied by the same scribe as ChiN M91 (Mitchell Brauner); this copyist was probably Gianpiero Masacone, who wrote FlorD 4, 11, 27, and 28 (Rifkin). A later hand has added a textless piece at the end of each book. Copied in Florence. Later in possession of D. Joseph Rasimus (Rasino) in Ravenna and/or Monte Cassino (inscription on f. 1' of discantus: 'Est S. Vitalis de Rav[enn]a ad usum Rev. mi P[atris] D. Josephi de Rav[enn]a / Abbatis Cassin[ensis]').

DIAMM, 2017
Extent

112 leaves

DIAMM, 2017
Physical Description

Losses of capitals, text and music through ink corrosion. Pages 6 & 7 appear to have been bound in reverse order.

DIAMM, 2023
Binding

Original covers of black-brown leather stamped with a gold lozenge design also found on the covers of ChiN M91

DIAMM, 2017
Watermark

resembles Briquet #5963; the same mark or a similar one is also found in FlorBN Magl. 111, 112, 122-5, and 164-7. Another watermark resembles Briquet #760; a similar mark is also found in FlorBN Magl. 125bis (Rifkin)

DIAMM, 2017
Foliation

Modern pencil foliation.

DIAMM, 2017
Decoration

Black inked calligraphic initials. F. 2' of each book has a penned coat of arms (a feather on a shield) surrounded by a circular 5-line staff with a puzzle canon with French text (a different one in each book).

DIAMM, 2017
Index

Original index on ff. 113-114' of the D book.

Original numbering of pieces, I-LXX

DIAMM, 2017
RISM Description

RISM

XVIe s. 4 livres de 117 ff. (C), 112 ff. (A), 126 ff. (T), 115 ff. (B). Papier, 131 x 188 mm.

Foliotation moderne et numérotation ancienne des pièces en ch. romains. Les ff. 94 à 112 et 115 à 117v (C), 95 à 112v (A), 104 et 106 à 126v (T), 95 à 115v (B) sont blancs. Notation mesurée blanche. 4 portées par p. Initiales ornées à la plume avec quelques figures. Aux ff. 113 à 114v du C, table incomplète du ms. Reliures anciennes (dos refaits) en cuir estampé, fers dorés. Livres du Cantus, Altus, Tenor, Bassus.

Au f. lv des 4 livres, une collette de parchemin porte: «Est S. Vitalis de Rav.[enn]a ad usum Rev.[erendissi]mi P.[atris] D. Josephi de Rav.[enn]a / Abbatis Cassinfensis.] 2741.» On apprend ainsi que l'un des utilisateurs du ms. fut D. Joseph de Ravenna (Giuseppe Rasino) dont on trouve la trace au monastère de Montecassino où il est profès (professo) à partir du 17 septembre 1634 et que l'on retrouve dans la liste des abbés de S. Vitale de 1669 à 1674. Le n° 2741 semble indiquer une cote de bibliothèque, probablement celle de l'Ordre de la Congregazione Cassinense à laquelle appartenait D. Joseph de Ravenna.

Au f. 2v des 4 livres, écusson portant une aile d'oiseau en son centre et entouré d'une portée circulaire avec les paroles: «En venant de Lyon et bon bon bon …» (C), «Se je n'ai mon amie …» avec la formule du canon: «Trois testes en ung chapperon» (A), «Mon petit cor n'est pas a may …» (T), «Baysés moy ma douce amie …» (B).

Le ms. copié en Italie (Florence?) par un seul scribe peut se dater vers 1526-1530, époque des débuts du madrigal qui y est représenté par deux des pionniers de ce genre nouveau, Ph. Verdelot avec 8 madrigaux et S. Festa avec 7, en même temps qu'on y trouve encore des frottolistes comme M. Cara et des incatenature (nos 46, 47 et 48) très en vogue au XVe s.

71 chansons italiennes occupent le corps du ms., f. 3 à 91v. Aux p. restées libres à la fin des livres, on a copié postérieurement au f. 92r-v du B: Vergine lieta et bella …, lauda dont on retrouve les paroles dans des recueils du XVIIe s. Du XVIIe s. aussi date probablement le Salve sancte pater patris … à 3vx. et Basso per l'organo, copié dans les 4 livres aux ff. 92v-93 (C), 93v-94 (A), 101v-102 (T), 93-94 (B). En outre, des tableaux de solmisation occupent les ff. 102v-103 du T.

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

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.

71 Italian secular pieces, 1 textless piece, 4 puzzle canons = 76

(Cara/Tromboncino)-1, (Eustachius de Monte Regali)-1, (S. Festa)-7, (G. Fogliano)-1, (Ostia)-1, (Pisano)-2 + 1?, (Tiburtino)-1, (Verdelot)-7, anon-54

4 paper partbooks (D-117 folios, A-112, T-126, B-115), 130 x 190. Original numbering of pieces, I-LXX; modern pencil foliation. Original covers of black-brown leather stamped with a gold lozenge design also found on the covers of ChiN M91. Original index on ff. 113-114' of the discantus book. Copied by the same scribe as ChiN M91 (Mitchell Brauner); this copyist was probably Gianpiero Masacone, who wrote FlorD 4, 11, 27, and 28 (Rifkin). A later hand has added a textless piece at the end of each book. Black inked calligraphic initials. F. 2' of each book has a penned coat of arms (a feather on a shield) surrounded by a circular 5-line staff with a puzzle canon with French text (a different one in each book). One watermark resembles Briquet #5963; the same mark or a similar one is also found in FlorBN Magl. 111, 112, 122-5, and 164-7. Another watermark resembles Briquet #760; a similar mark is also found in FlorBN Magl. 125bis (Rifkin).

1523-7 (Rifkin). Copied in Florence. Later in possession of D. Joseph Rasimus (Rasino) in Ravenna and/or Monte Cassino (inscription on f. 1' of discantus: "Est S. Vitalis de Rav.[enn]a ad usum Rev. mi P.[atris] D. Josephi de Rav.[enn]a / Abbatis Cassin.[ensis]").

Vol 4

Composers: Change "(S. Festa)-7" to "(C. Festa/S. Festa)-1, (S. Festa)-6"; change "(Ostia)-1" to "(Santacroce)-1."

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)
2v Se je n'ai mon amie (puzzle canon) - Anonymous
Appears on: 2v
Genres: Canon, Chanson
General Note

With canon: "Trois testes en ung chapperon"

3–4 Cantiano horsù cantiano -
Appears on: 3–4
Genres: Italian secular
4–5v Cantar vorrei d'amore - Anonymous
Appears on: 4–5v
Genres: Italian secular
5v–6 Son io donna qual mostri (II) -
Appears on: 5v–6
Genres: Italian secular
6v–7 Madonna egli e ben ver ch'alcuna volta - Anonymous
Appears on: 6v–7
Genres: Italian secular
7–8 Cosi vincete in terra - Anonymous
Appears on: 7–8
Genres: Italian secular
8v–9v Donna benche di rado et con riguardo -
Appears on: 8v–9v
Genres: Madrigal (Italian)
9v–10v Se' l pensier che mi strugge -
Appears on: 9v–10v
Genres: Madrigal (Italian)
10v–11v Deh non haranno mai triegua ne pace - Anonymous
Appears on: 10v–11v
Genres: Italian secular
11v–12v Se cosi bella sete - Anonymous

Se cosi bella sete

Anonymous
Appears on: 11v–12v
Genres: Italian secular
12v–13v Perch'ai viso d'amor portava insegna -
Appears on: 12v–13v
Genres: Madrigal (Italian)
13v–14v Quando el suave mio fido conforto - Anonymous
Appears on: 13v–14v
Genres: Madrigal (Italian)
14v–15v La vaga pastorella el cor mi tolse - Anonymous
Appears on: 14v–15v
Genres: Madrigal (Italian)
15v–16v Se a vostra voglia del mio male ingorda - Anonymous
Appears on: 15v–16v
Genres: Italian secular
17–18 Di pianto in pianto ognhor di pena in pena - Anonymous
Appears on: 17–18
Genres: Italian secular
18–18v Si rubella d'amor ne si fugace - Anonymous
Appears on: 18–18v
Genres: Italian secular
19–20 Non volgete e begli occhi quand'io passo - Anonymous
Appears on: 19–20
Genres: Italian secular
20–20v Amor se d'hor in hor la doglia cresce -
Appears on: 20–20v
Genres: Madrigal (Italian)
20v–22 Io mi lamento iustamente et doglio - Anonymous
Appears on: 20v–22
Genres: Italian secular
22–23v Una donna più bella assai che'l sole - Anonymous
Appears on: 22–23v
Genres: Italian secular
23v–24 Non ha tanti animal el mar fra l'onde - Anonymous
Appears on: 23v–24
Genres: Italian secular
24v–25 Preso al primo apparir del vostro raggio el cor - Anonymous
Appears on: 24v–25
Genres: Italian secular
25v–26 Se mai provasti donna qual sia amore -
Appears on: 25v–26
Genres: Madrigal (Italian)
26v–27v Poi che giunto il tempo et l'hora - Anonymous
Appears on: 26v–27v
Genres: Madrigal (Italian)
27v–28v O passi sparsi o pensier vaghi et prompti -
Appears on: 27v–28v
Genres: Madrigal (Italian)
29–30 Et se per gelosia - Anonymous

Et se per gelosia

Anonymous
Appears on: 29–30
Genres: Italian secular
30–31v Ne bei vostri occhi donna - Anonymous
Appears on: 30–31v
Genres: Italian secular
31v–33 Muovesi el vechierel canuto et bianco - Anonymous
Appears on: 31v–33
Genres: Italian secular
33v–34v Occhi infelici ch'admirar si prompti -
Appears on: 33v–34v
Genres: Italian secular
34v–35 Solingo et vago augello - 1a pars (of 2): Solingo et vago augello - Anonymous
Appears on: 34v–35
Genres: Italian secular
35–36v Solingo et vago augello - 2a pars (of 2): Io vissi in gioia - Anonymous
Appears on: 35–36v
Genres: Italian secular
36v–38 Dolc'ire et dolci sdegni et dolce paci - Anonymous
Appears on: 36v–38
Genres: Italian secular
38–39 Si osassi di dir quel che piangendo -
Appears on: 38–39
Genres: Frottola
39v–41 Si bella et si gentile - Anonymous
Appears on: 39v–41
Genres: Italian secular
41–43 Vergine bella che di sol vestita - Anonymous
Appears on: 41–43
Genres: Madrigal (Italian)
43–44v Ben mi credea passar mio temp'omai -
Appears on: 43–44v
Genres: Madrigal (Italian)
45–46 Amor che mi tormenti -
Appears on: 45–46
Genres: Madrigal (Italian)
46v–48 Qual pena ahi lasso è si spieiata et cruda - Anonymous
Appears on: 46v–48
Genres: Italian secular
48v–49 Non al suo amante più Diana piacque -
Appears on: 48v–49
Genres: Italian secular
49v–50v Amor se vuoi ch'io torni al giogo antico -
Appears on: 49v–50v
Genres: Madrigal (Italian)
51–52v Amor che vedi ogni pensier'aperto - Anonymous
Appears on: 51–52v
Genres: Italian secular
52v–53v Come senza costei viver potro -
Appears on: 52v–53v
Genres: Italian secular
53v–54 Da colei ch'è sol mio bene - Anonymous
Appears on: 53v–54
Genres: Italian secular
54v–56 Deh dimmi amor s'io ti fé mai oltraggio - Anonymous
Appears on: 54v–56
Genres: Italian secular
56–57 Se'l dolze foco il cor ardendo pasce - Anonymous
Appears on: 56–57
Genres: Italian secular
57v–58 La dolce vista e'l bel guardo soave - Anonymous
Appears on: 57v–58
Genres: Italian secular
58v–59 Madonna si potessi in qualche modo -
Appears on: 58v–59
Genres: Italian secular
59v–60v Vrai dieu d'amor qui me confortera -
Appears on: 59v–60v
Genres: Italian secular
60v–61bis Non dormite o cacciatori / Je sum suis mates vellet / Fila lucia perché non fili tu / O gatto salvatico - Anonymous
Appears on: 60v–61bis
Genres: Italian secular
61bis v–62v L'ultimo di maggio - 1a pars (of 2): L'ultimo di maggio / Senti cantar la bella/ Un chavalier di Spagna - Anonymous
Appears on: 61bis v–62v
Genres: Madrigal (Italian)
62v–65 L'ultimo di maggio - 2a pars (of 2): Che mangera la sposa la prima - Anonymous
Appears on: 62v–65
Genres: Madrigal (Italian)
65–66 Madonna bella sete - Anonymous

Madonna bella sete

Anonymous
Appears on: 65–66
Genres: Italian secular
66v–68 O chameretta che già fusti un porto - Anonymous
Appears on: 66v–68
Genres: Italian secular
68–69 Donna da li occhi vostri - Anonymous
Appears on: 68–69
Genres: Italian secular
69v–70v Fedele et bel cagnuolo che tanto spesso -
Appears on: 69v–70v
Genres: Italian secular
70v–72 Con suave parlar con dolze accento -
Appears on: 70v–72
Genres: Madrigal (Italian)
72–73 Vita della mia vita quando gran tort -
Appears on: 72–73
Genres: Madrigal (Italian)
73–74 Madonna quando io v'odo -
Appears on: 73–74
Genres: Italian secular
74–75 Da che tu prendi ingrata - Anonymous
Appears on: 74–75
Genres: Italian secular
75v–76v Donna se la belta delli vostri occhi - Anonymous
Appears on: 75v–76v
Genres: Madrigal (Italian)
76v–77v Deh quando è dolce amor che a tanti è annoia - Anonymous
Appears on: 76v–77v
Genres: Italian secular
78–78v Amor io so che sai - Anonymous

Amor io so che sai

Anonymous
Appears on: 78–78v
Genres: Italian secular
78v–79v Lasso ch'io bramo cercho spero et aspecto - Anonymous
Appears on: 78v–79v
Genres: Italian secular
79v–81 La mi fa fa la re, la riva del guarnel - Anonymous
Appears on: 79v–81
Genres: Madrigal (Italian)
81–82v Et se per gelosia - Anonymous

Et se per gelosia

Anonymous
Appears on: 81–82v
Genres: Italian secular
82v–83v Quanto hai lasso el morire -
Appears on: 82v–83v
Genres: Madrigal (Italian)
84–85 Deh quando è dolce amore - Anonymous
Appears on: 84–85
Genres: Italian secular
85v–86v Molti più che non sai / Quanti son donna mia li amanti tuoi - Anonymous
Appears on: 85v–86v
Genres: Italian secular
86v–87 Occhi suavi et chiari -
Appears on: 86v–87
Genres: Italian secular
87v Che deggio far che mi consigli amore - Anonymous
Appears on: 87v
Genres: Madrigal (Italian)
88–88v Perché piangi alma se dal pianto mai - Anonymous
Appears on: 88–88v
Genres: Italian secular
88v–90 Quel foco ch'io pensai che fussi spento - Anonymous
Appears on: 88v–90
Genres: Italian secular
90–91v Amor fortuna et la mia mente schiva - Anonymous
Appears on: 90–91v
Genres: Italian secular
91v–93 Leggiadre rime et voi parole accorte - Anonymous
Appears on: 91v–93
Genres: Italian secular
93v–94 Salve sancte pater patris - Anonymous
Appears on: 93v–94
Genres: Motet
Composer Compositions
Anonymous
Azzaiolo, Filippo (fl. 1557-69)
Cara, Marchetto
Festa, Costanzo (ca. 1485–1545)
Festa, Sebastiano (ca. 1490–1524)
Fogliano, Giacomo (1468–1548)
Hostia, Pietro da
Patavino, Francesco (ca. 1487–ca. 1556)
Pisano, Bernardo
Romano, Eustachio
Tibertinus, J.
Tromboncino, Bartolomeo (1470–ca. 1534)
Verdelot, Philippe (ca. 1480–ca. 1532)
Composition Composers (? Uncertain) Folios / Pages
Amor che mi tormenti 45–46
Amor che vedi ogni pensier'aperto Anonymous 51–52v
Amor fortuna et la mia mente schiva Anonymous 90–91v
Amor io so che sai Anonymous 78–78v
Amor se d'hor in hor la doglia cresce 20–20v
Amor se vuoi ch'io torni al giogo antico 49v–50v
Ben mi credea passar mio temp'omai 43–44v
Cantar vorrei d'amore Anonymous 4–5v
Cantiano horsù cantiano 3–4
Che deggio far che mi consigli amore Anonymous 87v
Come senza costei viver potro 52v–53v
Con suave parlar con dolze accento 70v–72
Cosi vincete in terra Anonymous 7–8
Da che tu prendi ingrata Anonymous 74–75
Da colei ch'è sol mio bene Anonymous 53v–54
Deh dimmi amor s'io ti fé mai oltraggio Anonymous 54v–56
Deh non haranno mai triegua ne pace Anonymous 10v–11v
Deh quando è dolce amor che a tanti è annoia Anonymous 76v–77v
Deh quando è dolce amore Anonymous 84–85
Di pianto in pianto ognhor di pena in pena Anonymous 17–18
Dolc'ire et dolci sdegni et dolce paci Anonymous 36v–38
Donna benche di rado et con riguardo 8v–9v
Donna da li occhi vostri Anonymous 68–69
Donna se la belta delli vostri occhi Anonymous 75v–76v
Et se per gelosia Anonymous 29–30
Et se per gelosia Anonymous 81–82v
Fedele et bel cagnuolo che tanto spesso 69v–70v
Io mi lamento iustamente et doglio Anonymous 20v–22
L'ultimo di maggio - 1a pars (of 2): L'ultimo di maggio / Senti cantar la bella/ Un chavalier di Spagna Anonymous 61bis v–62v
L'ultimo di maggio - 2a pars (of 2): Che mangera la sposa la prima Anonymous 62v–65
La dolce vista e'l bel guardo soave Anonymous 57v–58
La mi fa fa la re, la riva del guarnel Anonymous 79v–81
La vaga pastorella el cor mi tolse Anonymous 14v–15v
Lasso ch'io bramo cercho spero et aspecto Anonymous 78v–79v
Leggiadre rime et voi parole accorte Anonymous 91v–93
Madonna bella sete Anonymous 65–66
Madonna egli e ben ver ch'alcuna volta Anonymous 6v–7
Madonna quando io v'odo 73–74
Madonna si potessi in qualche modo 58v–59
Molti più che non sai / Quanti son donna mia li amanti tuoi Anonymous 85v–86v
Muovesi el vechierel canuto et bianco Anonymous 31v–33
Ne bei vostri occhi donna Anonymous 30–31v
Non al suo amante più Diana piacque 48v–49
Non dormite o cacciatori / Je sum suis mates vellet / Fila lucia perché non fili tu / O gatto salvatico Anonymous 60v–61bis
Non ha tanti animal el mar fra l'onde Anonymous 23v–24
Non volgete e begli occhi quand'io passo Anonymous 19–20
O chameretta che già fusti un porto Anonymous 66v–68
O passi sparsi o pensier vaghi et prompti 27v–28v
Occhi infelici ch'admirar si prompti 33v–34v
Occhi suavi et chiari 86v–87
Perch'ai viso d'amor portava insegna 12v–13v
Perché piangi alma se dal pianto mai Anonymous 88–88v
Poi che giunto il tempo et l'hora Anonymous 26v–27v
Preso al primo apparir del vostro raggio el cor Anonymous 24v–25
Qual pena ahi lasso è si spieiata et cruda Anonymous 46v–48
Quando el suave mio fido conforto Anonymous 13v–14v
Quanto hai lasso el morire 82v–83v
Quel foco ch'io pensai che fussi spento Anonymous 88v–90
Salve sancte pater patris Anonymous 93v–94
Se a vostra voglia del mio male ingorda Anonymous 15v–16v
Se cosi bella sete Anonymous 11v–12v
Se je n'ai mon amie (puzzle canon) Anonymous 2v
Se mai provasti donna qual sia amore 25v–26
Se' l pensier che mi strugge 9v–10v
Se'l dolze foco il cor ardendo pasce Anonymous 56–57
Si bella et si gentile Anonymous 39v–41
Si osassi di dir quel che piangendo 38–39
Si rubella d'amor ne si fugace Anonymous 18–18v
Solingo et vago augello - 1a pars (of 2): Solingo et vago augello Anonymous 34v–35
Solingo et vago augello - 2a pars (of 2): Io vissi in gioia Anonymous 35–36v
Son io donna qual mostri (II) 5v–6
Una donna più bella assai che'l sole Anonymous 22–23v
Vergine bella che di sol vestita Anonymous 41–43
Vita della mia vita quando gran tort 72–73
Vrai dieu d'amor qui me confortera 59v–60v

Set: Q.21

Type: Partbooks

No images available

I-Bc Q.21 [Altus]

No images available

I-Bc Q.21 [Bassus]

No images available

I-Bc Q.21 [Discantus]

No images available

I-Bc Q.21 [Tenor]

denotes primary source study

Fenlon, Iain, and James Haar. 1980. A New Source for the Early Madrigal. Journal of the American Musicological Society, 164-80. Pages: 172-8. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians.  London. Pages: XVII,673. Notes: facsimile (partial).

Hamm, Charles E, and Herbert Kellman (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Renaissance Manuscript Studies. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag. Pages: I, 74.

Gallico, Claudio. 1976. Josquin's Compositions on Italian Texts and the Frottola. Josquin des Prez: Proceedings of the International Josquin Festival-Conference ... 21-25 June 1971, 446-54. London, New York, and Toronto. Pages: 453. Notes: mention of MS.

Haar, James. 1976. Some Remarks on the 'Missa La sol fa re mi'. Josquin des Prez: Proceedings of the International Josquin Festival-Conference ... 21-25 June 1971, 564-88. London, New York, and Toronto. Pages: 572-3,584. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Prizer, William Flaville. 1974. Marchetta Cara and the North Italian Frottola. University of North Carolina, Unpublished Ph.D. dissertation. Pages: I,249; II,277,289-95. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).

Rifkin, Joshua. 1973. Scribal Concordances for Some Renaissance Manuscripts in Florentine Libraries. Journal of the American Musicological Society, 305-26. Pages: 312. Notes: mention of MS.

D'Accone, Frank A. 1972. Transitional Text Forms and Settings in an Early 10th-Century Florentine Manuscript. Words and Music: The Scholar's View ... Compiled in Honor of A. Tillman Meniti,  Cambridge, Massachusetts. Pages: 30,36,57-8. Notes: concordances (partial); mention of MS.

Osthoff, Wolfgang. 1969. Theatergesang und Darstellende Musik in der Italienischen Renaissance. Münchner Veröffentlichungen zur Musikgeschichte.  Tutzing. Pages: I,186ff,256. Notes: mention of MS.

Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica. 3 vols. Copenhagen. Pages: II, 10,104-7. Notes: physical description; contents list; concordances.

Pannella, Liliana. 1968. Le composizioni profane di una raccolta fiorentina del cinquecento. Revista Italiana di Musicologia, 3-47. Pages: 41-7. Notes: concordances (partial).

D'Accone, Frank A (editor). 1966. Bernardo Pisano: Collected Works. Vol. I of Music of the Florentine Renaissance. Corpus mensurabilis musicae.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: vi-xxvi. Notes: concordances (partial).

D'Accone, Frank A. 1963. Bernardo Pisano: An Introduction to His Life and Works. Musica Disciplina, 115-35. Pages: 115, 129. Notes: contents list (partial); concordances (partial).

Main, Alexander, and Albert Seay (editors). 1962-. Costanza Festa: Opera Omnia. Corpus mensurabilis musicae.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: VIII.xiv. Notes: contents list (partial); concordances (partial).

Isaac, Cecil. 1962. Review of Gallico, Claudio: <em>Un Canzionere Musicale Italiano del Cinquecento (Bologna, Conservatorio di Musica "G. B. Martini" Ms. Q 21)</em> (Florence, 1961). The Musical Quarterly, 534-7. Notes: mention of MS.

Gallico, Claudio. 1961. Un Canzionere Musicale Italiano del Cinquecento (Bologna, Conservatorio di Musica "G. B. Martini" Ms. Q 21).  Florence. Pages: (avec facs. du f. 2 des 4 livres).

Jeppesen, Knud. 1944. Venetian folksongs of the Renaissance. Papers read at the international congress of musicology held at New York September 11th to 16th, 1939, 44ff. New York. Pages: 72f.

Torrefranca, Fausto. 1939-42; Reprint: Bologna 1972. II segreto del Quattrocento.  Milano. Pages: 96,123,402. Notes: physical description.

Torchi, Luigi. 1906. I Monumenti dell'antica musica francese a Bologna. Rivista Musicale Italiana, 451-505,575-615. Pages: 503ff.

Gaspari, Gaetano (compiler). 1905. Catalogo della biblioteca del Liceo musicale di Bologna compilato da Gaetano Gaspari: compiuto e pubblicato da Dr Raffaele Cadolini, aggiunto al bibliotecario. 4 vols. Bologna. Pages: III,24. Notes: physical description.

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