I-Bc Q.21 [Tenor]

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 [Tenor]
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 76 pieces from 13 composers
General Description

A Tenor 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

126 leaves

DIAMM, 2017
Physical Description

Many pages damaged by ink corrosion with loss of capitals, text and music

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 Mon petit cor n'est pas a moy (puzzle canon) - Anonymous
Appears on: 2v
Genres: Canon, Chanson
3–3v Cantiano horsù cantiano -
Appears on: 3–3v
Genres: Italian secular
4–5 Cantar vorrei d'amore - Anonymous
Appears on: 4–5
Genres: Italian secular
5–6 Son io donna qual mostri (II) -
Appears on: 5–6
Genres: Italian secular
6–7 Madonna egli e ben ver ch'alcuna volta - Anonymous
Appears on: 6–7
Genres: Italian secular
7–8 Cosi vincete in terra - Anonymous
Appears on: 7–8
Genres: Italian secular
8–9v Donna benche di rado et con riguardo -
Appears on: 8–9v
Genres: Madrigal (Italian)
9v–10 Se' l pensier che mi strugge -
Appears on: 9v–10
Genres: Madrigal (Italian)
10v–11 Deh non haranno mai triegua ne pace - Anonymous
Appears on: 10v–11
Genres: Italian secular
11–12 Se cosi bella sete - Anonymous

Se cosi bella sete

Anonymous
Appears on: 11–12
Genres: Italian secular
12–13 Perch'ai viso d'amor portava insegna -
Appears on: 12–13
Genres: Madrigal (Italian)
13v–14v Quando el suave mio fido conforto - Anonymous
Appears on: 13v–14v
Genres: Madrigal (Italian)
14v–15 La vaga pastorella el cor mi tolse - Anonymous
Appears on: 14v–15
Genres: Madrigal (Italian)
15v–17 Se a vostra voglia del mio male ingorda - Anonymous
Appears on: 15v–17
Genres: Italian secular
17–18v Di pianto in pianto ognhor di pena in pena - Anonymous
Appears on: 17–18v
Genres: Italian secular
18v–19 Si rubella d'amor ne si fugace - Anonymous
Appears on: 18v–19
Genres: Italian secular
19–20v Non volgete e begli occhi quand'io passo - Anonymous
Appears on: 19–20v
Genres: Italian secular
20v–21 Amor se d'hor in hor la doglia cresce -
Appears on: 20v–21
Genres: Madrigal (Italian)
21–22v Io mi lamento iustamente et doglio - Anonymous
Appears on: 21–22v
Genres: Italian secular
22v–24 Una donna più bella assai che'l sole - Anonymous
Appears on: 22v–24
Genres: Italian secular
24–24v Non ha tanti animal el mar fra l'onde - Anonymous
Appears on: 24–24v
Genres: Italian secular
24v–25v Preso al primo apparir del vostro raggio el cor - Anonymous
Appears on: 24v–25v
Genres: Italian secular
25v–26v Se mai provasti donna qual sia amore -
Appears on: 25v–26v
Genres: Madrigal (Italian)
26v–27v Poi che giunto il tempo et l'hora - Anonymous
Appears on: 26v–27v
Genres: Madrigal (Italian)
28–29 O passi sparsi o pensier vaghi et prompti -
Appears on: 28–29
Genres: Madrigal (Italian)
29v–30 Et se per gelosia - Anonymous

Et se per gelosia

Anonymous
Appears on: 29v–30
Genres: Italian secular
30v–31v Ne bei vostri occhi donna - Anonymous
Appears on: 30v–31v
Genres: Italian secular
31v–33v Muovesi el vechierel canuto et bianco - Anonymous
Appears on: 31v–33v
Genres: Italian secular
33v–34v Occhi infelici ch'admirar si prompti -
Appears on: 33v–34v
Genres: Italian secular
35 Solingo et vago augello - 1a pars (of 2): Solingo et vago augello - Anonymous
Appears on: 35
Genres: Italian secular
35v–36v Solingo et vago augello - 2a pars (of 2): Io vissi in gioia - Anonymous
Appears on: 35v–36v
Genres: Italian secular
37–38v Dolc'ire et dolci sdegni et dolce paci - Anonymous
Appears on: 37–38v
Genres: Italian secular
38v–40 Si osassi di dir quel che piangendo -
Appears on: 38v–40
Genres: Frottola
40–41v Si bella et si gentile - Anonymous
Appears on: 40–41v
Genres: Italian secular
41v–43v Vergine bella che di sol vestita - Anonymous
Appears on: 41v–43v
Genres: Madrigal (Italian)
43v–45 Ben mi credea passar mio temp'omai -
Appears on: 43v–45
Genres: Madrigal (Italian)
45v–47 Amor che mi tormenti -
Appears on: 45v–47
Genres: Madrigal (Italian)
47–49 Qual pena ahi lasso è si spieiata et cruda - Anonymous
Appears on: 47–49
Genres: Italian secular
49–50 Non al suo amante più Diana piacque -
Appears on: 49–50
Genres: Italian secular
50–52 Amor se vuoi ch'io torni al giogo antico -
Appears on: 50–52
Genres: Madrigal (Italian)
52–53v Amor che vedi ogni pensier'aperto - Anonymous
Appears on: 52–53v
Genres: Italian secular
53v–54v Come senza costei viver potro -
Appears on: 53v–54v
Genres: Italian secular
54v–55v Da colei ch'è sol mio bene - Anonymous
Appears on: 54v–55v
Genres: Italian secular
55v–57v Deh dimmi amor s'io ti fé mai oltraggio - Anonymous
Appears on: 55v–57v
Genres: Italian secular
57v–58v Se'l dolze foco il cor ardendo pasce - Anonymous
Appears on: 57v–58v
Genres: Italian secular
59–60 La dolce vista e'l bel guardo soave - Anonymous
Appears on: 59–60
Genres: Italian secular
60–61 Madonna si potessi in qualche modo -
Appears on: 60–61
Genres: Italian secular
61–62 Vrai dieu d'amor qui me confortera -
Appears on: 61–62
Genres: Italian secular
62v–64 Non dormite o cacciatori / Je sum suis mates vellet / Fila lucia perché non fili tu / O gatto salvatico - Anonymous
Appears on: 62v–64
Genres: Italian secular
64–65 L'ultimo di maggio - 1a pars (of 2): L'ultimo di maggio / Senti cantar la bella/ Un chavalier di Spagna - Anonymous
Appears on: 64–65
Genres: Madrigal (Italian)
65v–68 L'ultimo di maggio - 2a pars (of 2): Che mangera la sposa la prima - Anonymous
Appears on: 65v–68
Genres: Madrigal (Italian)
68–69 Madonna bella sete - Anonymous

Madonna bella sete

Anonymous
Appears on: 68–69
Genres: Italian secular
69–71 O chameretta che già fusti un porto - Anonymous
Appears on: 69–71
Genres: Italian secular
71–72 Donna da li occhi vostri - Anonymous
Appears on: 71–72
Genres: Italian secular
72v–73v Fedele et bel cagnuolo che tanto spesso -
Appears on: 72v–73v
Genres: Italian secular
73v–75 Con suave parlar con dolze accento -
Appears on: 73v–75
Genres: Madrigal (Italian)
75–76 Vita della mia vita quando gran tort -
Appears on: 75–76
Genres: Madrigal (Italian)
76–77 Madonna quando io v'odo -
Appears on: 76–77
Genres: Italian secular
77–78 Da che tu prendi ingrata - Anonymous
Appears on: 77–78
Genres: Italian secular
78v–80 Donna se la belta delli vostri occhi - Anonymous
Appears on: 78v–80
Genres: Madrigal (Italian)
80–81 Deh quando è dolce amor che a tanti è annoia - Anonymous
Appears on: 80–81
Genres: Italian secular
81–81v Amor io so che sai - Anonymous

Amor io so che sai

Anonymous
Appears on: 81–81v
Genres: Italian secular
81v–83 Lasso ch'io bramo cercho spero et aspecto - Anonymous
Appears on: 81v–83
Genres: Italian secular
83–84 La mi fa fa la re, la riva del guarnel - Anonymous
Appears on: 83–84
Genres: Madrigal (Italian)
84v–85 Et se per gelosia - Anonymous

Et se per gelosia

Anonymous
Appears on: 84v–85
Genres: Italian secular
85v–88 Quanto hai lasso el morire -
Appears on: 85v–88
Genres: Madrigal (Italian)
General Note

2 voice parts copied on each opening

88v–91 Deh quando è dolce amore - Anonymous
Appears on: 88v–91
Genres: Italian secular
General Note

2 voice parts copied on each opening

91v–94 Molti più che non sai / Quanti son donna mia li amanti tuoi - Anonymous
Appears on: 91v–94
Genres: Italian secular
General Note

2 voice parts copied on each opening

94v Occhi suavi et chiari -
Appears on: 94v
Genres: Italian secular
95 Che deggio far che mi consigli amore - Anonymous
Appears on: 95
Genres: Madrigal (Italian)
95v–96 Perché piangi alma se dal pianto mai - Anonymous
Appears on: 95v–96
Genres: Italian secular
96v–97v Quel foco ch'io pensai che fussi spento - Anonymous
Appears on: 96v–97v
Genres: Italian secular
97v–99 Amor fortuna et la mia mente schiva - Anonymous
Appears on: 97v–99
Genres: Italian secular
99v–101 Leggiadre rime et voi parole accorte - Anonymous
Appears on: 99v–101
Genres: Italian secular
101v–102 Salve sancte pater patris - Anonymous
Appears on: 101v–102
Genres: Motet
General Note

The continuo part, titled "Basso per l'organo a 3"

102v–103 solmisation exercises - Anonymous
Appears on: 102v–103
Genres: none
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 45v–47
Amor che vedi ogni pensier'aperto Anonymous 52–53v
Amor fortuna et la mia mente schiva Anonymous 97v–99
Amor io so che sai Anonymous 81–81v
Amor se d'hor in hor la doglia cresce 20v–21
Amor se vuoi ch'io torni al giogo antico 50–52
Ben mi credea passar mio temp'omai 43v–45
Cantar vorrei d'amore Anonymous 4–5
Cantiano horsù cantiano 3–3v
Che deggio far che mi consigli amore Anonymous 95
Come senza costei viver potro 53v–54v
Con suave parlar con dolze accento 73v–75
Cosi vincete in terra Anonymous 7–8
Da che tu prendi ingrata Anonymous 77–78
Da colei ch'è sol mio bene Anonymous 54v–55v
Deh dimmi amor s'io ti fé mai oltraggio Anonymous 55v–57v
Deh non haranno mai triegua ne pace Anonymous 10v–11
Deh quando è dolce amor che a tanti è annoia Anonymous 80–81
Deh quando è dolce amore Anonymous 88v–91
Di pianto in pianto ognhor di pena in pena Anonymous 17–18v
Dolc'ire et dolci sdegni et dolce paci Anonymous 37–38v
Donna benche di rado et con riguardo 8–9v
Donna da li occhi vostri Anonymous 71–72
Donna se la belta delli vostri occhi Anonymous 78v–80
Et se per gelosia Anonymous 29v–30
Et se per gelosia Anonymous 84v–85
Fedele et bel cagnuolo che tanto spesso 72v–73v
Io mi lamento iustamente et doglio Anonymous 21–22v
L'ultimo di maggio - 1a pars (of 2): L'ultimo di maggio / Senti cantar la bella/ Un chavalier di Spagna Anonymous 64–65
L'ultimo di maggio - 2a pars (of 2): Che mangera la sposa la prima Anonymous 65v–68
La dolce vista e'l bel guardo soave Anonymous 59–60
La mi fa fa la re, la riva del guarnel Anonymous 83–84
La vaga pastorella el cor mi tolse Anonymous 14v–15
Lasso ch'io bramo cercho spero et aspecto Anonymous 81v–83
Leggiadre rime et voi parole accorte Anonymous 99v–101
Madonna bella sete Anonymous 68–69
Madonna egli e ben ver ch'alcuna volta Anonymous 6–7
Madonna quando io v'odo 76–77
Madonna si potessi in qualche modo 60–61
Molti più che non sai / Quanti son donna mia li amanti tuoi Anonymous 91v–94
Mon petit cor n'est pas a moy (puzzle canon) Anonymous 2v
Muovesi el vechierel canuto et bianco Anonymous 31v–33v
Ne bei vostri occhi donna Anonymous 30v–31v
Non al suo amante più Diana piacque 49–50
Non dormite o cacciatori / Je sum suis mates vellet / Fila lucia perché non fili tu / O gatto salvatico Anonymous 62v–64
Non ha tanti animal el mar fra l'onde Anonymous 24–24v
Non volgete e begli occhi quand'io passo Anonymous 19–20v
O chameretta che già fusti un porto Anonymous 69–71
O passi sparsi o pensier vaghi et prompti 28–29
Occhi infelici ch'admirar si prompti 33v–34v
Occhi suavi et chiari 94v
Perch'ai viso d'amor portava insegna 12–13
Perché piangi alma se dal pianto mai Anonymous 95v–96
Poi che giunto il tempo et l'hora Anonymous 26v–27v
Preso al primo apparir del vostro raggio el cor Anonymous 24v–25v
Qual pena ahi lasso è si spieiata et cruda Anonymous 47–49
Quando el suave mio fido conforto Anonymous 13v–14v
Quanto hai lasso el morire 85v–88
Quel foco ch'io pensai che fussi spento Anonymous 96v–97v
Salve sancte pater patris Anonymous 101v–102
Se a vostra voglia del mio male ingorda Anonymous 15v–17
Se cosi bella sete Anonymous 11–12
Se mai provasti donna qual sia amore 25v–26v
Se' l pensier che mi strugge 9v–10
Se'l dolze foco il cor ardendo pasce Anonymous 57v–58v
Si bella et si gentile Anonymous 40–41v
Si osassi di dir quel che piangendo 38v–40
Si rubella d'amor ne si fugace Anonymous 18v–19
Solingo et vago augello - 1a pars (of 2): Solingo et vago augello Anonymous 35
Solingo et vago augello - 2a pars (of 2): Io vissi in gioia Anonymous 35v–36v
solmisation exercises Anonymous 102v–103
Son io donna qual mostri (II) 5–6
Una donna più bella assai che'l sole Anonymous 22v–24
Vergine bella che di sol vestita Anonymous 41v–43v
Vita della mia vita quando gran tort 75–76
Vrai dieu d'amor qui me confortera 61–62

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.

This form is used to make comments on a source. If you wish to notify us of a correction to the record, you should use the "Contribute a change" form instead.

No comments have been made.

Contributions to this record are recorded here. If you wish to contribute information or a correction to this record, use the "Contribute a Change" link. This will then be reviewed by DIAMM staff and, if accepted, your contribution will be acknowledged here.

DIAMM, 2016

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Watermark Note; Notation Note; Surface Note