Music and Riddle Culture in the...

Music and Riddle Culture in the Renaissance

Throughout the Renaissance, composers often expressed themselvesin a language of riddles and puzzles, which they embedded within themusic and lyrics of their compositions. This is the first book on thetheory, practice and cultural context of musical riddles during theperiod. Katelijne Schiltz focuses on the compositional, notational,practical, social and theoretical aspects of musical riddle culturec. 1450–1620, from the works of Antoine Busnoys, Jacob Obrechtand Josquin des Prez to Lodovico Zacconi’s manuscript collection ofCanoni musicali. Schiltz reveals how the riddle both invites andresists interpretation, the ways in which riddles imply a process oftransformation, and the consequences of these aspects for the riddle’sconception, performance and reception. Lavishly illustrated andincluding a comprehensive catalogue by Bonnie J. Blackburn ofenigmatic inscriptions, this book will be of interest to scholars ofmusic, literature, art history, theology and the history of ideas.

katelijne schiltz is Associate Professor at the University ofRegensburg. She is the author of a book on the motets of AdrianWillaert (2003), and her articles have appeared in a number ofjournals, including Early Music, Early Music History, Rivista italianadi musicologia, Archiv für Musikwissenschaft and the Tijdschrift vande Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis. Sheis general editor (together with David J. Burn) of the Journal of theAlamire Foundation and a member of the editorial board of Analysisin Context. A Laureate of the Royal Flemish Academy of Belgium forScience and the Arts, she has won prizes from the Society for MusicTheory and from the Lyrica Society for Word-Music Relations.

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Cambridge University Press978-1-107-08229-8 - Music and Riddle Culture in the RenaissanceKatelijne SchiltzFrontmatterMore information

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Music and Riddle Culture inthe Renaissance

katelijne schiltzwith a catalogue of enigmatic canonic inscriptions by Bonnie J. Blackburn






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© Katelijne Schiltz and Bonnie J. Blackburn 2015

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Library of Congress Cataloguing in Publication dataSchiltz, Katelijne, 1974- author.Music and riddle culture in the Renaissance / Katelijne Schiltz ; with a catalogue of enigmaticcanonic inscriptions by Bonnie J. Blackburn.

pages cmIncludes bibliographical references and index.ISBN 978-1-107-08229-8 (Hardback)1. Music–15th century–History and criticism. 2. Music–16th century–History and criticism3. Renaissance. 4. Riddles–History and criticism. I. Blackburn, Bonnie J., author. II. Title.ML172.S245 2015780.90031–dc23 2014038630

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For my parents






Doch glaube keiner, daß mit allem SinnenDas ganze Lied er je enträtseln werde!

Johann Wolfgang von Goethe,Die Geheimnisse. Ein Fragment, ll. 9–10






Contents

List of plates [page ix]List of figures [x]List of music examples [xiv]Acknowledgements [xv]List of abbreviations [xix]List of manuscript sigla [xxi]List of printed music [xxviii]

Introduction [1]

1. The culture of the enigmatic from Classical Antiquity to theRenaissance [22]Classical Antiquity and the Middle Ages [24]Riddles in the Renaissance [31]The discourse on obscurity [40]

2. Devising musical riddles in the Renaissance [65]The message of the notation [73]Why obscurity? The musical riddle in context [83]Techniques of transformation [93]Enigmatic inscriptions [130]Riddles and their resolutio [174]

3. The reception of the enigmatic in music theory [194]Theorists in favour of riddles [198]Critical voices [220]

4. Riddles visualised [273]Introduction: visual poetry – visual music [273]Geometrical figures: the circle [278]Religious symbols: the cross [301]Music and nature: the lunar cycle [326]Rebus, cryptography and chronogram [342]

Conclusion [359]

vii






Appendix 1 A brief introduction to mensural notation [365]

Appendix 2 Catalogue of enigmatic canonic inscriptions – Bonnie

J. Blackburn [367]Index to the catalogue of enigmatic canonicinscriptions [460]

Bibliography [478]

Index of compositions [505]

General index [509]

viii Contents






Plates

The colour plates can be found between pages 226 and 227

2.1 Anon., Kain Adler in der Welt in Vienna 192374.1 Anon., En la maison Dedalus. Berkeley, University of California

Music Library, MS 744 (olim Phillipps 4450), 624.2 Anon., Salve radix in London Royal 11 E.xi. © British Library Board4.3 Tielman Susato, Puisqu’en janvier in Vingt et six chansons

musicales (Antwerp: Susato, 1543), Tenor. With permission from theBibliothèque Royale Albert Ier/Koninklijke BibliotheekAlbert I in Brussels

ix






Figures

1.1 The encoded voice of Josquin des Prez, Missa Fortunadesperata, Agnus Dei I in Heinrich Glarean, Dodekachordon(Basel, 1547), 389: (a) enigmatic notation, (b) resolution.Munich, Bayerische Staatsbibliothek, 2 Mus.th. 215 [page 23]

1.2 Title page of Athenaeus, Banquet of the Learned (Venice:Aldus Manutius, 1514). Munich, Bayerische Staatsbibliothek,2 A.gr.b. 422 [33]

1.3 Title page of Symphosius’ Aenigmata (Basel, 1563).Munich, Bayerische Staatsbibliothek, Res/Ph.sp. 116#Beibd.2 [34]

1.4 Giovanni Francesco Straparola, Piacevole notti (Venice, 1586),fol. 52r (page with the riddle that is also cited in Pietro Cerone’sEl Melopeo y maestro). Munich, Bayerische Staatsbibliothek,P.o.it. 970 [37]

2.1 Tenor of Jacob Obrecht, Missa Fortuna desperata, fromMisse Obreht (Venice: Petrucci, 1503), beginning of the Gloria,fol. 25. Munich, Bayerische Staatsbibliothek, 4 Mus.pr.160#Beibd.1 [67]

2.2 Jacob Obrecht, Missa Fortuna desperata in the Segovia codex,beginning of the Gloria (with enigmatic Tenor and Tenor adlongum). With permission from the Archivo Capitular de laCatedral de Segovia [69]

2.3 Tenor of Jacob Obrecht, Missa Fortuna desperata in Concentusharmonici (Basel: Mewes, 1507), beginning of the Gloria. Basel,Universitätsbibliothek, kk III 23a [70]

2.4 Johannes Mittner,Missa Hercules dux Ferrariae; beginning of theOsanna. Staatliche Bibliothek Regensburg, 2� Liturg. 18, fol. 24v [77]

2.5 Scipione Cerreto, two-voice riddle in Pietro Cerone,El Melopeo y maestro (Naples, 1613), Enigma no. 11.Regensburg, Bischöfliche Zentralbibliothek, Th 34 [80]

2.6 Anon., Avant, avant in Canti B (Venice: Petrucci, 1502).Reproduced from Ottaviano Petrucci, Canti B numero cinquanta,Monuments of Music & Music Literature in Facsimile, SeriesI. Volume 23, by agreement with Broude Brothers Limited [96]x






2.7 Marbriano de Orto, D’ung aultre amer in Canti B (Venice:Petrucci, 1502). Reproduced from Ottaviano Petrucci, CantiB numero cinquanta, Monuments of Music & Music Literature inFacsimile, Series I. Volume 23, by agreement with BroudeBrothers Limited [97]

2.8 Anon., Languir me fais in Hermann Finck, Practica musica(Wittenberg, 1556), sig. Nniv–Nnijr. Regensburg, BischöflicheZentralbibliothek, Th 120 [99]

2.9 Leonhard Paminger, Cantus firmus ‘Mirificavit Dominus’ fromXXIII. Psalmus, Ad te, Domine, levavi animam meam fromQuartus tomus ecclesiasticarum cantionum (Nuremberg, 1580),Secundus Discantus. Munich, Bayerische Staatsbibliothek,4 Mus.pr. 181 [104]

2.10 Anon., Dy kraebis schere in the Glogauer Liederbuch, Superius. Withpermission from the Preußische Staatsbibliothek zu Berlin [109]

2.11 Matthaeus Le Maistre, Magnificat sexti toni in Schwerin 3382/2:Sicut locutus, Altus primus. With permission from theLandesbibliothek Mecklenburg-Vorpommern in Schwerin [110]

2.12 Matthaeus Pipelare, Missa Pour entretenir mes amours in Vienna11883, fol. 325v: final Agnus Dei, Altus [114]

2.13 Josquin des Prez, Vive le roy in Canti C (Venice: Petrucci, 1504),Tenor. Reproduced from Ottaviano Petrucci, Canti C numero centocinquanta, Monuments of Music & Music Literature in Facsimile,Series I. Volume 25, by agreement with Broude BrothersLimited [115]

2.14 Anon., Ave mundi spes Maria in Munich 3154, Quintus(secunda pars), fol. 466v (olim 292) [116]

2.15 Written-out solution of the Quintus from Ave mundi spesMaria, separate leaf added between fols. 466 and 467 [117]

2.16 Leonhard Paminger, Philippe qui videt me in Secundus tomusecclesiasticarum cantionum (Nuremberg, 1573), Tenor, fol. 100r.Munich, Bayerische Staatsbibliothek, 4 Mus.pr. 180#Beibd.1 [118]

2.17 Antoine Busnoys, Tenor of Maintes femmes in Canti C(Venice: Petrucci, 1504), fols. 117v–118r. Reproduced fromOttaviano Petrucci, Canti C numero cento cinquanta,Monuments of Music & Music Literature in Facsimile, Series I.Volume 25, by agreement with Broude Brothers Limited [124]

2.18 Grammatio Metallo, two-voice riddle in Pietro Cerone, El Melopeo ymaestro (Naples, 1613), 1109 (detail). Regensburg, BischöflicheZentralbibliothek, Th 34 [125]

List of figures xi






2.19 Antoine Busnoys, Maintes femmes in Canti C (Venice: Petrucci,1504), secunda pars. Reproduced from Ottaviano Petrucci, CantiC numero cento cinquanta, Monuments of Music & MusicLiterature in Facsimile, Series I. Volume 25, by agreement withBroude Brothers Limited [130]

2.20 Johannes Ockeghem (?), Ut heremita solus in Motetti C(Venice: Petrucci, 1504) [131]

2.21 Anon., Missa O Österreich in Munich 3154, Agnus Dei II,fol. 213r [135]

2.22 Anon. (Noel Bauldeweyn?), Missa Du bon du cueur in Munich 5,Agnus Dei, [Tenor II], first two folios, fols. 162r and 163r [144]

2.23 Anon., Dy kraebis schere in the Glogauer Liederbuch, Tenor. Withpermission from the Preußische Staatsbibliothek zu Berlin. [149]

2.24 Josquin Baston, Languir me fais in the Vingt et six chansonsmusicales (Antwerp: Susato, 1543), Superius. With permissionfrom the Bibliothèque Royale Albert Ier/Koninklijke BibliotheekAlbert I in Brussels. [158]

2.25 Jean Maillard, De fructu vitae, Quinta vox in Modulorum IoannisMaillardi (Paris: Le Roy & Ballard, 1565). Chicago, NewberryLibrary, Case VM 2099/L1/K39 [159]

2.26 Gioseffo Zarlino, Nigra sum sed formosa in Musici quinquevocum moduli (Venice: Gardano, 1555), Superius. Rome,Biblioteca Casanatense, Mus. 682.2 [164]

2.27 Alexander Agricola, Salve regina in Brussels 9126, Benedictumfructum, Tenor and Bassus, fol. 141v [166]

2.28 Pietro Cerone, Enigma del espejo in El Melopeo y maestro(Naples, 1613), 1122 (detail). Regensburg, BischöflicheZentralbibliothek, Th 34 [168]

2.29 Jacob Obrecht, Missa Je ne demande in Misse Obreht(Venice: Petrucci, 1503), Agnus Dei II, fols. 22v–23r [180]

2.30 Jacob Obrecht, Missa Je ne demande in Munich 3154,Agnus Dei II, Altus and Tenor [181]

2.31 Anon., Magnificat sexti toni in Kassel 9, fol. 31ar, loose leafadded to the Altus [187]

2.32 Sanctus (Tenor) from Josquin des Prez, Missa de beata virginein Liber quindecim missarum (Rome: Antico, 1516), fol. 123v,copy in Baden, Stadtarchiv, Stift Nr. 21 [190]

2.33 Josquin des Prez, Missa Hercules dux Ferrariae in Milan 2267,beginning of the Gloria, Tenor [191]

xii List of figures






3.1 Hermann Finck, Practica musica (Wittenberg, 1556): opening pagefrom the Liber tertius. Regensburg, Bischöfliche Zentralbibliothek,Th 120 [206]

3.2 Pietro Cerone, El Melopeo y maestro, 1075 (including the motto ofBook XXII and the first riddle – the Agnus Dei II of Josquin desPrez’s Missa L’homme armé super voces musicales). Regensburg,Bischöfliche Zentralbibliothek, Th 34 [213]

4.1 Baude Cordier, Tout par compas in the Chantilly Codex [280]4.2 Ulrich Brätel, Ecce quam bonum. Munich, Bayerische

Staatsbibliothek, 2 Mus.pr. 156#2 [287]4.3 Anon., Miraris mundum in Prague DR I 21, p. 307 [293]4.4 Thomas Morley, cross canon in A Plaine and Easie Introduction to

Practicall Musicke (London, 1597), 174. © BritishLibrary Board [302]

4.5 Pieter Maessens, Per signum crucis. Munich, BayerischeStaatsbibliothek, 2 Mus.pr. 156#1 [309]

4.6 Ghiselin Danckerts, Crucem sanctam subiit in Pietro Cerone,El Melopeo y maestro, 1138–9. Regensburg, BischöflicheZentralbibliothek, Th 34 [312]

4.7 Adam Gumpelzhaimer, Crux Christi – Quatuor evangelistae.Munich, Bayerische Staatsbibliothek, 2 Mus.pr. 156#19 [320]

4.8 Hermann Finck, Practica musica, sig. Cc2r. Regensburg,Bischöfliche Zentralbibliothek, Th 120 [333]

4.9 Scottish Anonymous (London Add. 4911), Fourteenth Canon,fol. 34r. © British Library Board [334]

4.10 Pietro Cerone, Enigma de la escala in El Melopeo y maestro,1125. Regensburg, Bischöfliche Zentralbibliothek, Th 34 [335]

4.11 Resolutio of the Tenor from Cerone’s Enigma de la escala,1126. Regensburg, Bischöfliche Zentralbibliothek, Th 34 [336]

4.12 Rebus in Paris, Bibliothèque nationale de France, fondsfrançais 5658 [344]

4.13 Signature of Petrus Alamire. London, British Library, CottonMS Galba B IV, fol. 203v. © British Library Board [345]

4.14 Gustav Selenus, Cryptomenytices et cryptographiae libri IX(Lüneburg, 162), 321–2. Munich, Bayerische Staatsbibliothek,Res/2 Graph. 39 [349]

4.15 Martin Agricola, Festina lente in Suavissimae et iucundissimaeharmoniae (Nuremberg: Gerlach, 1567), sig. B2v. Munich,Bayerische Staatsbibliothek, 2 Mus.pr. 40 [351]

List of figures xiii






Music examples

2.1 Scipione Cerreto, two-voice riddle: resolutio [page 81]2.2 Marbriano de Orto, D’ung aultre amer, bb. 1–20 [98]2.3 Anon., Languir me fais [101]2.4 Matthaeus Le Maistre, Magnificat sexti toni, beginning of the

Sicut locutus [111]2.5 Anon., Kain Adler in der Welt [122]2.6 Grammatio Metallo, two-voice riddle [126]2.7 Anon., Missa Du bon du cueur, Agnus Dei, bb. 1–31 [145]2.8 Anon., Dy kraebis schere [150]4.1 Ulrich Brätel, Ecce quam bonum [288]4.2 Anon., Miraris mundum [296]4.3 Thomas Morley, cross canon [303]4.4 Ghiselin Danckerts, Crucem sanctam subiit [314]4.5 Adam Gumpelzhaimer, Quatuor evangelistae [322]4.6 Adam Gumpelzhaimer, Crux Christi [324]4.7 Biagio Pesciolini, Tu celi pandis abscondita [331]4.8 Pietro Cerone, Enigma de la escala [337]4.9 Tielman Susato, Puisqu’en janvier [354]

xiv






Acknowledgements

Although writing as such is a solitary business, a book never comes intobeing without the help of friends, colleagues and institutions. It is my greatpleasure to acknowledge their help here and to express my gratitude. Thematerial conditions for my work were made possible through a generousgrant from the Ideenfonds of the LMUexcellent programme of the Ludwig-Maximilians-Universität Munich. The project leader, Hartmut Schick,supported my research in every possible way, for which I am most grateful.The grant not only enabled the funding of a series of lectures I organised atthe Department of Musicology in the years 2008–9, but also made possiblethe organisation of an international one-day conference on ‘Musik undRätselkultur in der Renaissance’, of which the proceedings have appearedin the Journal of the Alamire Foundation. In 2012, I submitted an earlierversion of this study as Habilitationsschrift at the University of Munich,and I am grateful to the members of the jury (Hartmut Schick, DoritTanay, Lorenz Welker and Claudia Wiener) for their constructivecomments.

In Renaissance musicology I seem gradually to have gained a reputationas a riddle aficionado. Several colleagues sent me material and challengedmy mind with fascinating brain-teasers in Renaissance manuscripts andprints, some of which, alas, are still waiting for a satisfactory resolutio: mysincere thanks to Andrea Ammendola, Jaap van Benthem, David Burn,Antonio Chemotti, Denis Collins, Marc Desmet, Scott Edwards, DavidFallows, Wolfgang Fuhrmann, Stefan Gasch, Clemens Goldberg, FranzGötz, Inga Mai Groote, Dieter Haberl, Martin Ham, Ulrike Hascher-Burger, Lenka Hlávková (Mráčková), Moritz Kelber, Franz Körndle, Hel-mut Lauterwasser, Christian Leitmeir, Andrea Lindmayr-Brandl, MattiasLundberg, Patrick Macey, Grantley McDonald, Klaus Wolfgang Niemöller,Molly Ryan, Bernhold Schmid, Anne Smith, Cristina Urchueguía and PeterUrquhart – I apologise to those who no longer come to memory. Manythanks also to Michael Anderson, Denis Collins, Päivi Mehtonen, ZoeSaunders and Anna Zayaruznaya for sending me their unpublishedmaterial.

xv






A special word of thanks goes to Bonnie J. Blackburn. Our commoninterest in riddles and canons finds expression in the book Canons andCanonic Techniques, 14th–16th Centuries that we co-edited in 2007, andhas continued in numerous discussions, via e-mail, lectures and confer-ences. In the course of the years, I have learnt a lot from her, not only fromher vast knowledge, but also about cooperativeness and willingly sharingknowledge with colleagues. There is no better way to illustrate this thanwith the catalogue of enigmatic inscriptions, which is presented in Appen-dix 2 of this book. Bonnie has been collecting such inscriptions for a longtime and she generously offered to publish them here as a ‘joint effort’.Leofranc Holford-Strevens was helpful as always with translations, tracingsources and much more. We hope that the catalogue will provide arepertory to draw upon for other scholars as well.This book has greatly benefited from many conversations, e-mails and

Skype sessions with friends, who have been accompanying me on my pathfor years: Camilla Cavicchi, Anne Smith, Dorit Tanay, Giovanni Zanovelloand Vasco Zara. Our common musicological basis has grown into afriendship that far exceeds the purely professional character of contacts.Some of them read large portions of the manuscript and considerablyimproved the final version with their comments. Markus Böggemann, JesseRodin, Melanie Wald-Fuhrmann and Anna Zayaruznaya also providedmany astute observations, which have found their way into this book. Thefinal result has also greatly benefited from the comments of the anonymousreaders, for which I am most grateful.In October 2013 I took up a position at the Musicology Department of

the University of Regensburg, where I have the privilege to work withwonderful colleagues and students. I would especially like to mentionWolfgang Horn: I not only share with him a deep interest in the work ofAdrian Willaert, but his humour, reliability and sincerity also make him amarvellous person to collaborate with. David Hiley and his wife Anne alsodid everything possible to make me feel welcome in Regensburg. FabianWeber kindly set the music examples.I have also enjoyed the company and support of colleague-musicians in

my native Belgium and my adoptive country Germany, who wittingly orunwittingly always reminded me of the practical side of musical riddles.Anne Smith offered me the opportunity to approach the rich repertory ofRenaissance musical riddles from the performer’s perspective. Togetherwith the participants in a seminar at the Schola Cantorum in Basel, weexperienced at first hand what it means to sing a melody in retrogrademotion, what mental concentration is needed for a mirror canon, and how

xvi Acknowledgements






eagle-eyed one must be in order to comply with a verbal instruction suchas Jacob Obrecht’s ‘Digniora sunt priora’. This seminar considerablyenlarged my vision on Renaissance musical riddles in general and the levelof training that was demanded of performers in particular. The same goesfor a workshop on riddles I was able to conduct at Indiana University,Jacobs School of Music in April 2013, to which I was invited by GiovanniZanovello. The enthusiasm and curiosity of both students and facultyshowed me once more how rich and rewarding it is to work on this topic,to talk about it and to experiment with it.

Several of the most intriguing riddles, such as the anonymous ballade Enla maison Dedalus, Ghiselin Danckerts’s chessboard Ave maris stella andJacob Vaet’s Qui operatus est Petro, were performed by the Belgian ensem-ble Zefiro Torna under the direction of Jurgen de Bruyn. In 2007, theycollaborated with Dance Company Zoo and turned the project ‘Puzzled’into a fascinating multimedia performance, in which the visual and theauditory received equal attention. This project has been an importantstimulus for my research.

Philippe Vendrix invited me to speak about my research at severalseminars and conferences at the Centre d’Études Supérieures de la Renais-sance in Tours. The relaxed and highly stimulating atmosphere thatcharacterises the Centre is unique and unforgettable, and I am grateful toPhilippe and his team for making this possible. Apart from that, I wasfortunate to teach seminars on musical riddles at the Ludwig-Maximilians-Universität Munich and the University of Utrecht, where I spent sometime as a visiting fellow. With a small but highly motivated group ofstudents we explored the musical riddle in its cultural context and hadlong, fruitful discussions about obscuritas, enigmatic inscriptions, resolu-tiones and much more. This book has benefited from these lively conver-sations, and I want to thank the students most sincerely for theircommitment and inquisitiveness.

The Music Department of the Bavarian State Library, with its manytreasures from the time of the Renaissance and other periods, created anideal working atmosphere and has somewhat become my second home.Special thanks are due to the staff and their director Reiner Nägele, whohas always done everything possible to put at my disposal the manuscriptsand prints I needed. Other libraries generously supplied copies of materialsfor this book: the Österreichische Nationalbibliothek, the British Library,the Bischöfliche Zentralbibliothek Regensburg, the University of CaliforniaMusic Library at Berkeley, the Universitätsbibliothek Kassel, the Universi-tätsbibliothek Basel and the Stadtarchiv Baden.

Acknowledgements xvii






The publication of this book has been made possible thanks to thegenerous support of two institutions. I am most grateful to the MartinPicker Endowment of the American Musicological Society, funded in partby the National Endowment for the Humanities and the AndrewW. Mellon Foundation, and to the University of Regensburg.At Cambridge University Press, thanks are due to Vicki Cooper, Fleur

Jones, Emma Collison, Pat Harper and Christina Sarigiannidou for theirexcellent assistance and prompt help with all kinds of questions.A special word of thanks to my dear friends Anna Rankl and Isabelle

Deleu and their families, who have closely followed the genesis of the bookfrom its earliest stages to its completion. Thanks to them the long journeywas alleviated by many pleasant moments.There is no easy way to describe the strong support I have been

privileged to receive from my husband Sven Lorenz. In addition to hisexpert knowledge as a classical philologist, which has proved to be ofimmense help during the project, he has always taken care to provide arelaxed atmosphere, offer a listening ear and encourage me to go onwriting, even at difficult moments.Despite the physical distance between us, my parents have always closely

followed my research with great interest. They raised their three childrenwith a good sense of openness towards the world and have done so with anempathy that goes beyond words. This book is dedicated to them.

xviii Acknowledgements






Abbreviations

2.p. second part / seconda parsA AltusA I Altus primusAMMM Archivium Musices Metropolitanum MediolanenseB BassusBL British Libraryc.f. cantus firmaCMM Corpus Mensurabilis MusicaeCT ContratenorEM Early MusicEMH Early Music HistoryJAF Journal of the Alamire FoundationJAMS Journal of the American Musicological SocietyJM Journal of MusicologyLU Liber UsualisMD Musica DisciplinaMGG2 Die Musik in Geschichte und Gegenwart, 2nd edn, ed.

L. Finscher, 29 vols. (Kassel: Bärenreiter, 1994–2007)ML Music & LettersMQ Musical QuarterlyMRM Monuments of Renaissance MusicNG New Grove Dictionary of Music and Musicians, 2nd edn, ed.

S. Sadie and J. Tyrrell, 29 vols. (London:Macmillan, 2001)

NJE New Josquin EditionOO Opera omniaQ Quinta voxRRMMAER Recent Researches in the Music of the Middle Ages and

Early RenaissanceRRMR Recent Researches in the Music of the RenaissanceRQ Renaissance QuarterlyS Superius

xix






Schmidt Proverbia sententiaeque Latinitatis medii ac recentioris aevi/Lateinische Sprichwörter und Sentenzen des Mittelalters undder frühen Neuzeit. Aus dem Nachlaß von Hans Waltherherausgegeben von P. G. Schmidt, 3 vols. (Göttingen:Vandenhoeck & Ruprecht, 1982–6)

SM Studi MusicaliT TenorTKVNM Tijdschrift van de Koninklijke Vereniging voor Nederlandse

MuziekgeschiedenisTosi R. Tosi, Dizionario delle sentenze latine e greche (Milan:

Rizzoli, 1991)TVNM Tijdschrift van de Vereniging voor Nederlandse

MuziekgeschiedenisV Quinta voxWalther H. Walther, Proverbia sententiaeque Latinitatis medii aevi/

Lateinische Sprichwörter und Sentenzen des Mittelalters, 6vols. (Göttingen: Vandenhoeck & Ruprecht, 1963–9)

xx List of abbreviations






Manuscript sigla

Barcelona 5 Barcelona, Biblioteca Orfeó Català, MS 5Basel F.IX.25 Basel, Universitätsbibliothek, MS F. IX. 25Berlin 40021 Berlin, Staatsbibliothek Preußischer Kulturbesitz,

MS Mus. 40021 (olim Z 21)Berlin theor. 1175 Berlin, Deutsche Staatsbibliothek, MS Mus.

theor. 1175Bologna B 57 Bologna, Museo Internazionale e Biblioteca della

Musica di Bologna, MS B 57 (treatise by Cimello)Bologna B 140 Bologna, Museo Internazionale e Biblioteca della

Musica di Bologna, MS B 140Bologna Q 16 Bologna, Museo Internazionale e Biblioteca della

Musica di Bologna, MS Q 16Bologna Q 18 Bologna, Museo Internazionale e Biblioteca della

Musica di Bologna, MS Q 18Bologna Q 21 Bologna, Museo Internazionale e Biblioteca della

Musica di Bologna, MS Q 21Brussels 228 Brussels, Bibliothèque Royale Albert Ier/

Koninklijke Bibliotheek Albert I, MS 228Brussels 5557 Brussels, Bibliothèque Royale Albert Ier/

Koninklijke Bibliotheek Albert I, MS 5557Brussels 9126 Brussels, Bibliothèque Royale Albert Ier/

Koninklijke Bibliotheek Albert I, MS 9126Cambrai 4 Cambrai, Médiathèque municipale, MS 4Cambrai 18 Cambrai, Médiathèque municipale, MS 18Cambridge Pepys1760

Cambridge, Magdalene College, Pepys Library,MS 1760

Casale Monferrato M Casale Monferrato, Archivio Capitolare, MS MChantilly Codex Bibliothèque du Château de Chantilly, MS 564Chigi Codex Vatican City, Biblioteca Apostolica Vaticana, MS

Chigi C VIII 234Cividale del Friuli 59 Cividale del Friuli, Museo Archeologico

Nazionale, MS LIX

xxi






Coimbra 12 Coimbra, Biblioteca Geral da Universidade, MSM.12

Dijon Dijon, Bibliothèque municipale, MS 517(olim 295)

Escorial IV.a.24 Escorial, Palacio Real, Monasterio de S Lorenzo,MS IV.a.24

Florence 178 Florence, Biblioteca Nazionale Centrale, MSMagl. XIX. 178

Florence 229 Florence, Biblioteca Nazionale Centrale, MSBanco Rari 229

Florence Cons. 2439 Florence, Biblioteca del Conservatorio di Musica‘Luigi Cherubini’, MS Basevi 2439

Florence Duomo 7 Florence, Duomo, Archivio Musicale dell’Operadi Santa Maria del Fiore, MS 7

Glogauer Liederbuch Berlin, Preußischer Staatsbibliothek zu Berlin,MS 40098

’s-Hertogenbosch72B

’s-Hertogenbosch, Archief van de Illustre LieveVrouwe Broederschap, MS 72B

’s-Hertogenbosch 73 ’s-Hertogenbosch, Archief van de Illustre LieveVrouwe Broederschap, MS 73

’s-Hertogenbosch 75 ’s-Hertogenbosch, Archief van de Illustre LieveVrouwe Broederschap, MS 75

Jena 2 Jena, Thüringer Universitäts-undLandesbibliothek, MS 2








xxii List of manuscript sigla






Kassel 9 Kassel, Universitätsbibliothek–Landesbibliothekund Murhardsche Bibliothek der Stadt Kassel, 4�

Mus. Ms. 9Leipzig 51 Leipzig, Universitätsbibliothek, MS

Thomaskirche 51London Add. 4911 London, British Library Additional MS 4911London Add. 31922 London, British Library, Additional MS 31922London Add. 35087 London, British Library, Additional MS 35087London Royal 8 G.vii London, British Library, Royal MS 8 G.viiLondon Royal 11 E.xi London, British Library, Royal MS 11 E.xiMechelen Mechelen, Archief en Stadsbibliotheek, MS s.s.Medici Codex Florence, Biblioteca Medicea Laurenziana, MS

Acq. e Doni 666Milan 2266 Milan, Archivio della Veneranda Fabbrica del

Duomo, Sezione Musicale, MS 2266 (Librone 4)Milan 2267 Milan, Archivio della Veneranda Fabbrica del

Duomo, Sezione Musicale, MS 2267 (Librone 3)Modena IX Modena, Duomo, Biblioteca e Archivio

Capitolare, MS Mus. IXModena α.M.1.2 Modena, Biblioteca Estense e Universitaria, MS

α.M.1.2Montserrat 773 Montserrat, Biblioteca del Monestir, MS 773Munich 5 Munich, Bayerische Staatsbibliothek, Mus. Ms. 5Munich 6 Munich, Bayerische Staatsbibliothek, Mus. Ms. 6Munich 7 Munich, Bayerische Staatsbibliothek, Mus. Ms. 7Munich 37 Munich, Bayerische Staatsbibliothek, Mus.

Ms. 37Munich 260 Munich, Bayerische Staatsbibliothek, Mus.

Ms. 260Munich 274a Munich, Bayerische Staatsbibliothek, Mus.

Ms. 274aMunich 322–25 Munich, Universitätsbibliothek der Ludwig-

Maximilians-Universität, MS 8o 322–325 (olimCim. 44a)

Munich 1503b Munich, Bayerische Staatsbibliothek, Mus.Ms. 1503b

Munich 3154 Munich, Bayerische Staatsbibliothek, Mus.Ms. 3154 (Leopold codex)

List of manuscript sigla xxiii






Naples VI.E.40 Naples, Biblioteca Nazionale Vittorio EmanuelleIII, MS VI.E.40

Occo Codex Brussels, Bibliothèque Royale Albert Ier/Koninklijke Bibliotheek Albert I, MS IV.922

Padua A 17 Padua, Duomo, Biblioteca Capitolare, CuriaVescovile, MS A 17

Prague DR I 21 Prague, Královská kanonie premonstrátů naStrahově, DR I 21

RegensburgB 220–22

Regensburg, Bischöfliche Zentralbibliothek, MSB 220–22

Regensburg C 100 Regensburg, Bischöfliche Zentralbibliothek, MSC 100

Rome Casanatense2856

Rome, Biblioteca Casanatense, MS 2856

Rome Vallicelliana Rome, Biblioteca Vallicelliana, MD SI 35–40(olim Inc. 107bis; S. Borromeo E.II.55–60)

Sankt Gallen 463 Sankt Gallen, Stiftsbibliothek, MS 463Schedel Munich, Bayerische Staatsbibliothek, Cgm 810

(olim Mus. ms. 3232; ‘Schedel Liederbuch’)Schwerin 3382/2 Schwerin, Landesbibliothek Mecklenburg-

Vorpommern, Mus. 3382/2Scottish Anonymous London, British Library, Additional MS 4911Segovia Segovia, Archivo Capitular de la Catedral, MS s.s.Seville 5–1–43 Sevilla,BibliotecaCapitularyColombina,MS5–1–43Siena K.I.2 Siena, Biblioteca Comunale degli Intronati, MS

K.I.2Toledo B. 17 Toledo, Biblioteca Capitular de la Catedral

Metropolitana, MS B. 17Toledo B. 21 Toledo, Biblioteca Capitular de la Catedral

Metropolitana, MS B. 21Toledo B. 33 Toledo, Archivio y Biblioteca Capitulares de la

Catedral Metropolitana, MS B. 33Trent 105 Trento, Archivio di Stato, sez. tedesca, Misc. 105Trent 283 Trento, Biblioteca Capitolare, MS 283Trent 1375 (88) Trento, Museo Provinciale d’Arte, Castello del

Buonconsiglio, MS 1375 (olim 88)Trent 1376 (89) Trento, Museo Provinciale d’Arte, Castello del

Buonconsiglio, MS 1376 (olim 89)

xxiv List of manuscript sigla






Trent 1377 (90) Trento, Museo Provinciale d’Arte, Castello delBuonconsiglio, MS 1377 (olim 90)

Turin I.27 Turin, Biblioteca Nazionale Universitaria, MSRiserva musicale I.27

Vatican CG XII, 2 Vatican City, Biblioteca Apostolica Vaticana, MSCappella Giulia XII, 2



Vatican CG XIII, 27 Vatican City, Biblioteca Apostolica Vaticana, MSCappella Giulia XIII, 27

Vatican CS 14 Vatican City, Biblioteca Apostolica Vaticana, MSCappella Sistina 14


Vatican CS 17 Rome, Biblioteca Apostolica Vaticana, MSCappella Sistina 17









Vatican CS 39 Rome, Biblioteca Apostolica Vaticana, MSCappella Sistina, 39


List of manuscript sigla xxv

















Vatican CS 197 Rome, Biblioteca Apostolica Vaticana, MSCappella Sistina197

Vatican SP B 80 Rome, Biblioteca Apostolica Vaticana, MSS. Pietro B. 80

Verona 756 Verona, Biblioteca Capitolare, MS DCCLVIVerona 757 Verona, Biblioteca Capitolare, MS DCCLVIIVerona 761 Verona, Biblioteca Capitolare, MS DCCLXIVienna 1783 Vienna, Österreichische Nationalbibliothek,

Handschriftensammlung, Cod. 1783Vienna 4810 Vienna, Österreichische Nationalbibliothek,




Musiksammlung, MS Mus. 15497

xxvi List of manuscript sigla






Vienna 19237 Vienna, Österreichische Nationalbibliothek,Musiksammlung, MS Mus. 19237

Zwickau 119/1 Zwickau, Ratsschulbibliothek, Ms. 119/1

List of manuscript sigla xxvii






Printed music

Antico, Liber 15missarum

Liber quindecim missarum electarum (Rome:A. Antico; RISM 15161)

Antico, Motetti novi Motetti novi e chanzoni franciose a quatro sopradoi (Venice: A. Antico; RISM 15203)

Attaingnant, Liber III Liber tertius; viginti musicales quinque, sex, velocto vocum motetos (Paris: P. Attaingnant;RISM 15345)

Attaingnant, Liber XI Liber undecimus XXVI. musicales habet modulosquatuor et quinque vocibus (Paris:P. Attaingnant; RISM 15353)

Dorico, Libro I de laSerena

Madrigali novi . . . Libro primo de la Serena(Rome: V. Dorico; RISM 15302 and 153415)

Dorico, Libro II de lacroce

Canzoni frottole et capitoli da diversieccellentissimi musici . . . Libro secondo de lacroce (Rome: V. Dorico; RISM 15314)

Gerlach, Suavissimae Suavissimae et iucundissimae harmoniae(Nuremberg: T. Gerlach; RISM 15671)

Gombert, Motetta 5v.

Nicolai Gomberti . . . Pentaphthongos harmonia(Venice: G. Scotto; RISM 15413)

Grapheus, Missaetredecim

Missae tredecim quatuor vocum (Nuremberg:H. Grapheus; RISM 15392)

Kriesstein,Selectissimae

Selectissimae necnon familiarissimae cantiones(Augsburg: M. Kriesstein; RISM 15407)

Le Roy & Ballard,Modulorum IoannisMaillardi

Modulorum Ioannis Maillardi (Paris: Le Roy &Ballard, 1565)

Moderne, Liber 10missarum

Liber decem missarum (Lyon: J. Moderne; RISM[1532]8 and 15401)

Moderne, Tertiusliber

Tertius liber motettorum ad quinque et sex voces(Lyons: Moderne, RISM 1538s)

Montanus & Neuber,Novum et insigne

Novum et insigne opus musicum (Nuremberg:J. Montanus & U. Neuber; RISM 15584)

xxviii






Montanus & Neuber,Secunda pars

Secunda pars magni operis musici (Nuremberg:J. Montanus & U. Neuber; RISM 15591)

Montanus & Neuber,Thesauri T. III

Thesauri musici tomus tertius (Nuremberg:J. Montanus & U. Neuber; RISM 15643)

Neuber, Liber II Liber secundus suavissimarum etiucundissimarum harmoniarum, RISM 15688)

Obrecht, Concentus Concentus harmonici quattuor missarum . . .

Jacobi Obrecht (Basel: G. Mewes, [c.1507])Petrucci, Canti B Canti B. numero cinquanta B (Venice:

O. Petrucci; RISM 15022)Petrucci, Canti C Canti C numero cento cinquanta (Venice:

O. Petrucci; RISM 15043)Petrucci, MisseBrumel

Misse Brumel (Venice: O. Petrucci, 1503)

Petrucci, Misse DeOrto

Misse De orto (Venice: O. Petrucci, 1505)

Petrucci, MisseGaspar

Misse Gaspar (Venice: O. Petrucci, 1507)

Petrucci, MisseGhiselin

Misse Ghiselin (Venice: O. Petrucci, 1503)

Petrucci, MisseJosquin L. I

Misse Josquin (Venice: O. Petrucci, 1502)

Petrucci, MisseJosquin L. II

Missarum Josquin Liber secundus (Venice:O. Petrucci, 1505)

Petrucci, MisseJosquin L. III

Missarum Josquin Liber tertius (Fossombrone:O. Petrucci, 1514)

Petrucci, MisseObreht

Misse Obreht (Venice: O. Petrucci, 1503)

Petrucci, Motetti A Motetti A numero trentatre (Venice: O. Petrucci;RISM 15021)

Petrucci, Motetti B Motetti B (Venice: O. Petrucci, 1503; RISM15031)

Petrucci, Motetti C Motetti C (Venice: O. Petrucci, 1504; RISM15041)

Petrucci, Odhecaton Harmonice musices Odhecaton A (Venice:O. Petrucci; RISM 1501)

Phalèse, Liber IV Liber quartus cantionum sacrarum (Louvain:P. Phalèse; RISM 155311)

List of printed music xxix






Susato, 26 chansons Vingt et six chansons musicales (Antwerp:T. Susato; RISM [1543]15)

Susato, Libersecundus

Liber secundus sacrarum cantionum ex optimishuius aetatis musicis (Antwerp: T. Susato; RISM15467)

Zarlino,Modulationes

Gioseffo Zarlino, Modulationes sex vocum(Venice: F. Rampazetto, 1566)

xxx List of printed music






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