Known as the Chansonnier Cangé, after the man who bought it from Baudelot in 1724. In alphabetical order of incipits without authors' names, though Cangé added many of these himself. The MS entered the Bibliothèque du Roi in 1733. There are 17 quaternios plus a final one of only 14 pages. 35 lines of text per page. 5 of the 351 songs have been copied twice. The only genuinely polyphonic piece is no. 2: it has Ballade features, and is a very early example of an accompanied song whose T does not seem to be derived from plainsong. The two motets have no T.

mensural: unique for a Trouvère manuscript; seems to represent an only partially successful attempt to mensuralise square notation.

12 red four-line staves per page

The folios numbered 142-151 are 18th century parchment additions containing songs transcribed by Cangé from other MSS.

typical Trouvère chansonnier script, written in two columns with red and blue initials alternately, like Ba and Tu.

The 12 preliminary parchment folios contain Cangé's index, first the authors, then the anonymi

vellum

RISM B/IV 1: A late 13th century vellum manuscript meas. 242 x 166 mm. and containing 141 folios. The folios numbered 142-151 are 18th century parchment additions containing songs transcribed by Cangé from other mss. This source is often known as the Chansonnier Cangé, after the man who bought it from Baudelot in 1724. The 12 preliminary parchment folios contain Cangé's index, first the authors, then the anonymi. The ms proper is in alphabetical order of incipits without authors' names, though Cangé added many of these himself. The ms entered the Bibliothèque du Roi in 1733. There are 17 quaternios plus a final one of only 14 pages. The typical Trouvère chansonnier script is written in two columns with red and blue initials alternately, like Ba and Tu. There are 35 lines of text per page with music on 12 red four-line staves per page. Of the 351 songs, 5 have been copied twice. Thibaut de Navarre comes first, no doubt because of his large repertoire of 64 songs, then usually Gace Brulé and the Chastelain de Coucy. The mensural notation is unique for a Trouvère manuscript, but it cannot be said to solve the problems of Trouvère rhythms. It often seems to represent an only partially successful attempt to mensuralise square notation. The only genuinely polyphonic piece is no. 2 in the present list; it has Ballade features, and is a very early example of an accompanied song whose T does not seem to be derived from plainsong. The two motets have no T.

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