I-Bc Q.21 [Bassus]

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 [Bassus]
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 Bassus 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

115 leaves

DIAMM, 2017
Physical Description

Ink in some capitals has corroded through the paper.

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.

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

Se cosi bella sete

Anonymous
Appears on: 10v–11v
Genres: Italian secular
11v–12v Perch'ai viso d'amor portava insegna -
Appears on: 11v–12v
Genres: Madrigal (Italian)
12v–13v Quando el suave mio fido conforto - Anonymous
Appears on: 12v–13v
Genres: Madrigal (Italian)
13v–14v La vaga pastorella el cor mi tolse - Anonymous
Appears on: 13v–14v
Genres: Madrigal (Italian)
14v–16 Se a vostra voglia del mio male ingorda - Anonymous
Appears on: 14v–16
Genres: Italian secular
16–17 Di pianto in pianto ognhor di pena in pena - Anonymous
Appears on: 16–17
Genres: Italian secular
17v–18 Si rubella d'amor ne si fugace - Anonymous
Appears on: 17v–18
Genres: Italian secular
18–19 Non volgete e begli occhi quand'io passo - Anonymous
Appears on: 18–19
Genres: Italian secular
19–19v Amor se d'hor in hor la doglia cresce -
Appears on: 19–19v
Genres: Madrigal (Italian)
20–21 Io mi lamento iustamente et doglio - Anonymous
Appears on: 20–21
Genres: Italian secular
21–22v Una donna più bella assai che'l sole - Anonymous
Appears on: 21–22v
Genres: Italian secular
22v–23v Non ha tanti animal el mar fra l'onde - Anonymous
Appears on: 22v–23v
Genres: Italian secular
23v–24v Preso al primo apparir del vostro raggio el cor - Anonymous
Appears on: 23v–24v
Genres: Italian secular
24v–25v Se mai provasti donna qual sia amore -
Appears on: 24v–25v
Genres: Madrigal (Italian)
25v–26v Poi che giunto il tempo et l'hora - Anonymous
Appears on: 25v–26v
Genres: Madrigal (Italian)
26v–28 O passi sparsi o pensier vaghi et prompti -
Appears on: 26v–28
Genres: Madrigal (Italian)
28–29 Et se per gelosia - Anonymous

Et se per gelosia

Anonymous
Appears on: 28–29
Genres: Italian secular
29–30v Ne bei vostri occhi donna - Anonymous
Appears on: 29–30v
Genres: Italian secular
30v–32 Muovesi el vechierel canuto et bianco - Anonymous
Appears on: 30v–32
Genres: Italian secular
32v–33v Occhi infelici ch'admirar si prompti -
Appears on: 32v–33v
Genres: Italian secular
33v–34v Solingo et vago augello - 1a pars (of 2): Solingo et vago augello - Anonymous
Appears on: 33v–34v
Genres: Italian secular
34v–35v Solingo et vago augello - 2a pars (of 2): Io vissi in gioia - Anonymous
Appears on: 34v–35v
Genres: Italian secular
35v–36v Dolc'ire et dolci sdegni et dolce paci - Anonymous
Appears on: 35v–36v
Genres: Italian secular
37–38 Si osassi di dir quel che piangendo -
Appears on: 37–38
Genres: Frottola
38–39v Si bella et si gentile - Anonymous
Appears on: 38–39v
Genres: Italian secular
39v–41v Vergine bella che di sol vestita - Anonymous
Appears on: 39v–41v
Genres: Madrigal (Italian)
41v–43 Ben mi credea passar mio temp'omai -
Appears on: 41v–43
Genres: Madrigal (Italian)
43–44v Amor che mi tormenti -
Appears on: 43–44v
Genres: Madrigal (Italian)
44v–46v Qual pena ahi lasso è si spieiata et cruda - Anonymous
Appears on: 44v–46v
Genres: Italian secular
46v–47v Non al suo amante più Diana piacque -
Appears on: 46v–47v
Genres: Italian secular
47v–49 Amor se vuoi ch'io torni al giogo antico -
Appears on: 47v–49
Genres: Madrigal (Italian)
49–50v Amor che vedi ogni pensier'aperto - Anonymous
Appears on: 49–50v
Genres: Italian secular
50v–51v Come senza costei viver potro -
Appears on: 50v–51v
Genres: Italian secular
52–52v Da colei ch'è sol mio bene - Anonymous
Appears on: 52–52v
Genres: Italian secular
53–54v Deh dimmi amor s'io ti fé mai oltraggio - Anonymous
Appears on: 53–54v
Genres: Italian secular
54v–55v Se'l dolze foco il cor ardendo pasce - Anonymous
Appears on: 54v–55v
Genres: Italian secular
56–56v La dolce vista e'l bel guardo soave - Anonymous
Appears on: 56–56v
Genres: Italian secular
57–57v Madonna si potessi in qualche modo -
Appears on: 57–57v
Genres: Italian secular
57v–59 Vrai dieu d'amor qui me confortera -
Appears on: 57v–59
Genres: Italian secular
59–60v Non dormite o cacciatori / Je sum suis mates vellet / Fila lucia perché non fili tu / O gatto salvatico - Anonymous
Appears on: 59–60v
Genres: Italian secular
60v–61v L'ultimo di maggio - 1a pars (of 2): L'ultimo di maggio / Senti cantar la bella/ Un chavalier di Spagna - Anonymous
Appears on: 60v–61v
Genres: Madrigal (Italian)
62–64 L'ultimo di maggio - 2a pars (of 2): Che mangera la sposa la prima - Anonymous
Appears on: 62–64
Genres: Madrigal (Italian)
64–65 Madonna bella sete - Anonymous

Madonna bella sete

Anonymous
Appears on: 64–65
Genres: Italian secular
65v–67 O chameretta che già fusti un porto - Anonymous
Appears on: 65v–67
Genres: Italian secular
67–68 Donna da li occhi vostri - Anonymous
Appears on: 67–68
Genres: Italian secular
68–69v Fedele et bel cagnuolo che tanto spesso -
Appears on: 68–69v
Genres: Italian secular
69v–71 Con suave parlar con dolze accento -
Appears on: 69v–71
Genres: Madrigal (Italian)
71–72 Vita della mia vita quando gran tort -
Appears on: 71–72
Genres: Madrigal (Italian)
72–73 Madonna quando io v'odo -
Appears on: 72–73
Genres: Italian secular
73–74 Da che tu prendi ingrata - Anonymous
Appears on: 73–74
Genres: Italian secular
74–75v Donna se la belta delli vostri occhi - Anonymous
Appears on: 74–75v
Genres: Madrigal (Italian)
75v–76v Deh quando è dolce amor che a tanti è annoia - Anonymous
Appears on: 75v–76v
Genres: Italian secular
77–77v Amor io so che sai - Anonymous

Amor io so che sai

Anonymous
Appears on: 77–77v
Genres: Italian secular
77v–78v Lasso ch'io bramo cercho spero et aspecto - Anonymous
Appears on: 77v–78v
Genres: Italian secular
79–80 La mi fa fa la re, la riva del guarnel - Anonymous
Appears on: 79–80
Genres: Madrigal (Italian)
80–81v Et se per gelosia - Anonymous

Et se per gelosia

Anonymous
Appears on: 80–81v
Genres: Italian secular
81v–82v Quanto hai lasso el morire -
Appears on: 81v–82v
Genres: Madrigal (Italian)
82v–84 Deh quando è dolce amore - Anonymous
Appears on: 82v–84
Genres: Italian secular
84–85 Molti più che non sai / Quanti son donna mia li amanti tuoi - Anonymous
Appears on: 84–85
Genres: Italian secular
85v Occhi suavi et chiari -
Appears on: 85v
Genres: Italian secular
86 Che deggio far che mi consigli amore - Anonymous
Appears on: 86
Genres: Madrigal (Italian)
86v–87 Perché piangi alma se dal pianto mai - Anonymous
Appears on: 86v–87
Genres: Italian secular
87–88v Quel foco ch'io pensai che fussi spento - Anonymous
Appears on: 87–88v
Genres: Italian secular
88v–90 Amor fortuna et la mia mente schiva - Anonymous
Appears on: 88v–90
Genres: Italian secular
90–91v Leggiadre rime et voi parole accorte - Anonymous
Appears on: 90–91v
Genres: Italian secular
92–92v Vergine lieta et bella - Anonymous
Appears on: 92–92v
Genres: Lauda
93–94 Salve sancte pater patris - Anonymous
Appears on: 93–94
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 43–44v
Amor che vedi ogni pensier'aperto Anonymous 49–50v
Amor fortuna et la mia mente schiva Anonymous 88v–90
Amor io so che sai Anonymous 77–77v
Amor se d'hor in hor la doglia cresce 19–19v
Amor se vuoi ch'io torni al giogo antico 47v–49
Baysés moy ma douce amie (puzzle canon) Anonymous 2v
Ben mi credea passar mio temp'omai 41v–43
Cantar vorrei d'amore Anonymous 4–5
Cantiano horsù cantiano 3–4
Che deggio far che mi consigli amore Anonymous 86
Come senza costei viver potro 50v–51v
Con suave parlar con dolze accento 69v–71
Cosi vincete in terra Anonymous 6v–7v
Da che tu prendi ingrata Anonymous 73–74
Da colei ch'è sol mio bene Anonymous 52–52v
Deh dimmi amor s'io ti fé mai oltraggio Anonymous 53–54v
Deh non haranno mai triegua ne pace Anonymous 10–10v
Deh quando è dolce amor che a tanti è annoia Anonymous 75v–76v
Deh quando è dolce amore Anonymous 82v–84
Di pianto in pianto ognhor di pena in pena Anonymous 16–17
Dolc'ire et dolci sdegni et dolce paci Anonymous 35v–36v
Donna benche di rado et con riguardo 8–9
Donna da li occhi vostri Anonymous 67–68
Donna se la belta delli vostri occhi Anonymous 74–75v
Et se per gelosia Anonymous 28–29
Et se per gelosia Anonymous 80–81v
Fedele et bel cagnuolo che tanto spesso 68–69v
Io mi lamento iustamente et doglio Anonymous 20–21
L'ultimo di maggio - 1a pars (of 2): L'ultimo di maggio / Senti cantar la bella/ Un chavalier di Spagna Anonymous 60v–61v
L'ultimo di maggio - 2a pars (of 2): Che mangera la sposa la prima Anonymous 62–64
La dolce vista e'l bel guardo soave Anonymous 56–56v
La mi fa fa la re, la riva del guarnel Anonymous 79–80
La vaga pastorella el cor mi tolse Anonymous 13v–14v
Lasso ch'io bramo cercho spero et aspecto Anonymous 77v–78v
Leggiadre rime et voi parole accorte Anonymous 90–91v
Madonna bella sete Anonymous 64–65
Madonna egli e ben ver ch'alcuna volta Anonymous 6–6v
Madonna quando io v'odo 72–73
Madonna si potessi in qualche modo 57–57v
Molti più che non sai / Quanti son donna mia li amanti tuoi Anonymous 84–85
Muovesi el vechierel canuto et bianco Anonymous 30v–32
Ne bei vostri occhi donna Anonymous 29–30v
Non al suo amante più Diana piacque 46v–47v
Non dormite o cacciatori / Je sum suis mates vellet / Fila lucia perché non fili tu / O gatto salvatico Anonymous 59–60v
Non ha tanti animal el mar fra l'onde Anonymous 22v–23v
Non volgete e begli occhi quand'io passo Anonymous 18–19
O chameretta che già fusti un porto Anonymous 65v–67
O passi sparsi o pensier vaghi et prompti 26v–28
Occhi infelici ch'admirar si prompti 32v–33v
Occhi suavi et chiari 85v
Perch'ai viso d'amor portava insegna 11v–12v
Perché piangi alma se dal pianto mai Anonymous 86v–87
Poi che giunto il tempo et l'hora Anonymous 25v–26v
Preso al primo apparir del vostro raggio el cor Anonymous 23v–24v
Qual pena ahi lasso è si spieiata et cruda Anonymous 44v–46v
Quando el suave mio fido conforto Anonymous 12v–13v
Quanto hai lasso el morire 81v–82v
Quel foco ch'io pensai che fussi spento Anonymous 87–88v
Salve sancte pater patris Anonymous 93–94
Se a vostra voglia del mio male ingorda Anonymous 14v–16
Se cosi bella sete Anonymous 10v–11v
Se mai provasti donna qual sia amore 24v–25v
Se' l pensier che mi strugge 9–9v
Se'l dolze foco il cor ardendo pasce Anonymous 54v–55v
Si bella et si gentile Anonymous 38–39v
Si osassi di dir quel che piangendo 37–38
Si rubella d'amor ne si fugace Anonymous 17v–18
Solingo et vago augello - 1a pars (of 2): Solingo et vago augello Anonymous 33v–34v
Solingo et vago augello - 2a pars (of 2): Io vissi in gioia Anonymous 34v–35v
Son io donna qual mostri (II) 5–5v
Una donna più bella assai che'l sole Anonymous 21–22v
Vergine bella che di sol vestita Anonymous 39v–41v
Vergine lieta et bella Anonymous 92–92v
Vita della mia vita quando gran tort 71–72
Vrai dieu d'amor qui me confortera 57v–59

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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