Bibliografia Manuscritos de Tecla Medievales

Padua, Archivio di Stato, S. Giustina 553 (14th century). Fragmentary Gloria.
Edition: PMFC, xiii (1987), 229 only. Literature: G. Cattin: Ricerche sulla musica
a S. Giustina di Padova ..., AnnM, vii (196477), 17 41
http://www.lib.latrobe.edu.au/MMDB/Mss/PADH.htm
Padua, Archivio di Stato, S. Giustina 553
A recently discovered source of Italian sacred music. It contains a fragmentary Gloria
in keyboard notation, edited in PMFC XIII. An even more fragmentary `Ave mater' is
listed in PMFC XIII exclusa.
INVENTORY
CATTIN, Giulio. 'Ricerche sulla musica a S. Giustina di Padova all' inizio del
Quattrocento: Il copista Rolando da Casale. Nuovi frammenti musicali nell'Archivio di
Stato [di Padova]', Annales Musicologiques, VII (1977): 17-41.
CONTENTS
1. Gloria (intabulation))
Gloria anonymous intabulation
Sources
Padua: Archivio di Stato, S. Giustina 553.
Facsimiles
1. CATTIN, Giulio. 'Ricerche sulla musica a S. Giustina di Padova all' inizio del Quattrocento: Il copista
Rolando da Casale. Nuovi frammenti musicali nell'Archivio di Stato [di Padova]', Annales
Musicologiques, VII (1977), plate VI.
2. BERTOLDI, D. 'Problemi di notazione e aspetti stilistici-formali in una intavolatura organistica
padovana di fine Trecento', L'Ars nova italiana del Trecento V: Certaldo 1985, Palermo: 1985.
Editions
1. BERTOLDI, D. 'Problemi di notazione e aspetti stilistici-formali in una intavolatura organistica
padovana di fine Trecento', L'Ars nova italiana del Trecento V: Certaldo 1985, Palermo: 1985, p. 24.
2. Italian Sacred and Ceremonial Music, edited by Kurt von Fischer and F. Alberto Gallo, Monaco:
Editions de L'Oiseau-Lyre, 1987. Polyphonic Music of the Fourteenth Century XIII, p. 229.
Ave mater ())

Ave Mater. voice anonymous liturgical work
Sources
Padua: Archivio di Stato, S. Giustina 553 (fragment).

Literature
BENT, Margaret and Peter LEFFERTS. 'New sources of thirteenth- and fourteenth-century English
polyphonic music', Early Music History, edited by Iain Fenlon, Cambridge: Cambridge University Press,
2 (1982), pp. 325-329.
LITERATURE GENERAL
CATTIN, Giulio. 'Ricerche sulla musica a S. Giustina di Padova all' inizio del
Quattrocento: Il copista Rolando da Casale. Nuovi frammenti musicali nell'Archivio di
Stato [di Padova]'.
[Assisi, Biblioteca Comunale, 187, f.108 (c1400). Edition: PMFC, xiii (1987), 228
only. Literature: A. Ziino: Un antico kyrie a due voci per strumento a tastiera,
NRMI, xv (1981), 62831. Not certainly instrumental]
Assisi, Biblioteca Comunale 187

An Italian manuscript containing various theoretical writings including the Summa
logicae of Ockham. There is a single music folio containing a 2-part Kyrie in score, and
the beginning of the tenor of Landini's ballata `Donna s'i' t'ho fallito'.
INVENTORY
CENCI, Cesare. Bibliotheca manuscripta ad sacrum conventum assisiensem, Vol. I,
Assisi: Casa Editrice Francescana, 1981, p. 313.
CONTENTS
1. fol. 108, Donna, s'i' t'[h]o fallito (Francesco Landini))
Donna, s'i' t'[h]o fallito. ballata by Francesco Landini
Sources
Assisi: Biblioteca Comunale 187, fol. 108;
Florence: Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex), fol. 158 (2/2); Biblioteca
Nazionale Centrale, Panciatichiano 26, fol. 1 (2/2);
London: British Library, Additional 29987, fol. 23 (2/1);
Lucca: Archivio di Stato 184 (Mancini Codex), fol. 47v (2/?);
Oxford: Bodleian Library, MS Canonici Latin Patristic [Scriptores Ecclesiastici] 229, number 9 (2/?);
Paris: Bibliothque Nationale, fonds italien 568, fol. 85v-86 (2/2); Bibliothque Nationale, fonds nouv.
acq. franais 6771 (Reina Codex), fol. 34 (2/2).
Facsimiles
1. The Manuscript London, British Museum Add. 29987, facsimile edition by Gilbert Reaney, [n.p.]:
American Institute of Musicology, 1965. Musicological Studies and Documents 13, (Lo).
2. ZIINO, Agostino. 'Un antico "Kyrie" a due voci per strumento a tastiera', Nuova rivista musicale
italiana, XV/4 (1981), (p. 632).
3. CENCI, Cesare. Bibliotheca manuscripta ad sacrum conventum assisiensem, vol. I, Assisi: Casa
Editrice Francescana, 1981, fig. 16.
4. Il codice musicale Panciatichi 26 della Biblioteca Nazionale di Firenze, facsimile edition by F. Alberto
Gallo, Florence: Leo S. Olschki Editore, 1981, no. 1 (FP).
5. The Lucca Codex. Codice Mancini. Introductory Study and Facsimile Edition, edited by John Ndas
and Agostino Ziino, Lucca: Libreria musicale italiana editrice, 1990.
6. Il Codice Squarcialupi edited by F. Alberto GALLO, Lucca: Libreria Musicale Italiana, 1992.
Editions
1. The Works of Francesco Landini, edited by Leonard Ellinwood, Cambridge/Massachusetts: The
Mediaeval Academy of America, 1939, p. 81.
2. Der Squarcialupi-Codex Pal. 87 der Biblioteca Medicea Laurenziana zu Florenz, edited by Johannes
Wolf and H. Albrecht, Lippstadt: Kistner and Siegel, 1955, p. 284.
3. The Works of Francesco Landini, edited by Leo Schrade, Monaco: Editions de L'Oiseau-Lyre, 1958.
Polyphonic Music of the Fourteenth Century IV, p. 1.
4. WILLIAMS, Carol J. The Mancini Codex: A Manuscript Study, Ph.D. dissertation (University of
Adelaide), 3 vols., 1983, Vol. II, p. 39.
5. GOZZI, Marco. [London, British Library 29987: Transcription and Commentary], 2 vols., dissertation,
Cremona, Scuola di paleografica musicale, University of Pavia: 1984-1985.
6. GARFORTH, Constance C. The Lo Manuscript: A Trecento Collection, Ph.D. dissertation,
Northwestern University: 1983.
Text Editions
CORSI, Giuseppe. Poesie musicali del Trecento, Bologna: Commissione per i testi di lingua, 1970, p.
165.
Literature
1. D'ANCONA, Alessandro. La poesia popolare italiana, 2nd edition, Livorno: R. Giusti, 1907.
2. LUDWIG, F. 'Die geistliche nichtliturgische, weltliche einstimmige und die mehrstimmige Musik
des Mittelalters bis zum Anfang des 15. Jahrhunderts', Handbuch der Musikgeschichte, edited by G.
Adler, vol. I, Frankfurt am Main: Frankfurter Verlag, 1924, p. 282.
3. CORSI, Giuseppe. 'Madrigali e ballate inedite del Trecento', Belfagor, XIV (1959), p. 332.
4. GNTHER, Ursula. 'Die "anonymen" Kompositionen des Ms. Paris BN, fonds ital, 568 (Pit)',
Archiv fr Musikwissenschaft, XXIII (1966), pp. 82-85.
5. PROFESSIONE, A. Inventario dei manoscritti della Biblioteca Capitolare di Ivrea, rev. ed. 1967.
italiana, XV/4 (1981), p. 629.
7. FALLOWS, David. 'Specific information on the ensembles for composed polyphony, 1400-1474',
Studies in the Performance of Late Mediaeval Music, edited by Stanley Boorman, Cambridge:
C.U.P., 1983, pp. 140-141.
8. YUDKIN, Jeremy. Music in Medieval Europe, Englewood Cliffs, New Jersey: Prentice Hall, 1989,
pp. 540-542.
fol. 108, Kyrie (intabulation))

Kyrie anonymous intabulation
Sources
Assisi: Biblioteca Comunale 187, fol. 108 (2/2).
Facsimiles
italiana, XV/4 (1981): 628-33.
2. CENCI, Cesare. Bibliotheca manuscripta ad sacrum conventum assisiensem, vol. I, Assisi: Casa
Editrice Francescana, 1981, fig. 16.
Editions
italiana, XV/4 (1981), p. 632.
Editions de L'Oiseau-Lyre, 1987. Polyphonic Music of the Fourteenth Century XIII, p. 228.
Literature
ZIINO, Agostino. 'Un antico "Kyrie" a due voci per strumento a tastiera', Nuova rivista musicale italiana,
XV/4 (1981), pp. 628-633.
LITERATURE
ZIINO, Agostino. 'Un antico "Kyrie" a due voci per strumento a tastiera', Nuova rivista
musicale italiana, XV/4 (1981): 628-33.
CONCORDANCES
1.Florence, Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex) (158,
Donna, s'i' t'[h]o fallito).
2.Florence, Biblioteca Nazionale Centrale, Panciatichiano 26 (1, Donna, s'i' t'[h]o
fallito).
3.London, British Library, Additional 29987 (23, Donna, s'i' t'[h]o fallito).
4.Lucca, Archivio di Stato 184 (Mancini Codex) (47v, Donna, s'i' t'[h]o fallito).
5.Oxford, Bodleian Library, MS Canonici Latin Patristic [Scriptores Ecclesiastici] 229
(n9, Donna, s'i' t'[h]o fallito).
6.Paris, Bibliothque Nationale, fonds italien 568 (85v-86\1, Donna, s'i' t'[h]o fallito).
7.Paris, Bibliothque Nationale, fonds nouv. acq. franais 6771 (Reina Codex) (34,
Donna, s'i' t'[h]o fallito).
Faenza, Biblioteca Comunale, 117 [Faenza Codex] (c1420). 79 ff., of which 52

contain intabulations of vocal works and liturgical cantus firmus settings (see
fig.1). Editions: MSD, x. (1961) [facs.]; CMM, lvii (1972); Literature: MGG1
(Faenza, Codex 117; D. Plamenac) D. Plamenac: Keyboard Music of the 14th
Century in Codex Faenza 117, JAMS, iv (1951), 179201; D. Plamenac: New
Light on the Codex Faenza, IMSCR V: Utrecht 1952, 31026; N. Pirrotta: Note su
un codice di antiche musiche per tastiere, RMI, lvi (1954), 3339; D.
Plamenac:Faventina, Liber amicorum Charles van den Borren (Antwerp, 1964),
145 64; M. Kugler: Die Tastenmusik im Codex Faenza (Tutzing, 1972); A.
Cavicchi: Sacro e profano: Documenti e note su Bartolomeo da Bologna e gli
organisti della cattedrale di Ferrara nel primo Quattrocento, RIM, x (1975), 46
71; O. Mischiati: Indice descrittivo del manoscritto 117 della Biblioteca Comunale
di Faenza, L'organo, xx (1982), 335; T. McGee: Instruments and the Faenza

Codex, EMc, xiv (1986), 48090; J. Caldwell: Two Polyphonic istampite from the
14th Century, EMc, xviii (1990), 371 80
Faenza, Biblioteca Comunale 117 (Faenza Codex)

The earliest complete ms. of instrumental music. The contents are ornamented 2-part
instrumental arrangements of French and Italian secular and sacred works written in
score. Later additions on f.5v-35v, 59v-67v, f.84-87v by Bonadies.
INVENTORIES
1. Rpertoire international des sources musicales. BIV 3, 4. Handschriften mit
mehrstimmiger Musik des 14., 15. und 16. Jahrhunderts, 2 vols, edited by Kurt
von Fischer and Max Ltolf, G. Henle Verlag: Munich-Duisburg, 1972, pp. 898920.
2. Keyboard Music of the Late Middle Ages in the Codex Faenza 117, edited by D.
Plamenac, [n.p.]: American Institute of Musicology, 1972. Corpus Mensurabilis
Musicae 57.
3. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550, 5
vols, Neuhausen-Stuttgart: American Institute of Musicology, Hnssler Verlag,
1979-1988. Renaissance Manuscript Studies 1, Vol. I, p. 215.
4. MISCHIATI, Oscar. 'Indice descrittivo del manoscritto 117 della Biblioteca
Communale di Faenza', L' Organo, 20 (1982): 1-35.
CONTENTS
1. fol. 2-3, Kyrie (intabulation))
Kyrie. Anonymous intabulation
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 2-3 (2/0).
Facsimiles
1. CARAPETYAN, Armen. 'The Codex Faenza, Biblioteca Comunale 117 (Fa), pp.81-83.
2. An Early Fifteenth-Century Italian Source of Keyboard Music: The Codex Faenza, Biblioteca
Comunale, 117, facsimile edition by Armen Carapetyan, [n.p.]: American Institute of Musicology, 1961.
Musicological Studies and Documents 10, pp.9-11.
3. Keyboard Music of the Late Middle Ages in the Codex Faenza 117, edited by D. Plamenac, [n.p.]:
American Institute of Musicology, 1972. Corpus Mensurabilis Musicae 57.
Editions
1. Transcriptions from the Faenza Codex, edited by R. Huestis, Westwood, 1971, p. 39.
American Institute of Musicology, 1972. Corpus Mensurabilis Musicae 57, p. 1.
3. KUGLER, Michael. Die Tastenmusik im Codex Faenza, Tutzing: Hans Schneider, 1972.
Mnchner Verffentlichungen zur Musikgeschichte 21, p. 141.
4. Italian Sacred Music, edited by Kurt von Fischer and F. A. Gallo, Monaco: Editions de L'OiseauLyre, 1976. Polyphonic Music of the Fourteenth Century XII, p. 160.
2. fol. 3v-5, Gloria (intabulation))

Gloria. Anonymous intabulation
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 3v-5 (2/0).
Facsimiles
1. CARAPETYAN, Armen. 'The Codex Faenza, Biblioteca Comunale 117 (Fa), pp. 84-87.
Musicological Studies and Documents 10, pp. 12-15.
Editions
3. KUGLER, Michael. Die Tastenmusik im Codex Faenza, Tutzing: Hans Schneider, 1972. Mnchner
Verffentlichungen zur Musikgeschichte 21, p. 144.
4. Italian Sacred Music, edited by Kurt von Fischer and F. A. Gallo, Monaco: Editions de L'Oiseau-Lyre,
1976. Polyphonic Music of the Fourteenth Century XII, p. 163.
Literature
LINDLEY, Mark. 'Pythagorean intonation and the rise of the triad', RMA Research Chronicle, 16 (1980),
p. 38, example 16.
3. fol. 36-36v, Indescort. (intabulation from vocal model))

Indescort. Anonymous intabulation after a vocal original
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 36-36v (2/0).
Facsimiles
Editions
1. WOLF, Johannes. 'Ein Breslauer Mensuraltraktat des 15. Jahrhunderts', Archiv fr Musikwissenschaft,
I (1918-1919), p. 336.
3. French Secular Music. Ballades and Canons, edited by Gordon K. Greene, Monaco: Editions de
L'Oiseau-Lyre, 1982. Polyphonic Music of the Fourteenth Century XX, p. 115.
4. KREYSZIG, Walter Kurt. Anonymous Compositions from the Late-Fourteenth and Early-Fifteenth
Centuries, Vienna: Braumller, 1984. Forschungen zur lteren Musikgeschichte, Band 5, p. 319.
Literature
McGEE, Timothy J. 'Instruments and the Faenza Codex', Early Music, XIV/4 (1986), p. 482.
4. fol. 37-37v, Hont paur. (intabulation from vocal model))

Hont paur. Anonymous intabulation after a vocal original by Guillaume de Machaut
Sources
Facsimiles
Editions
Keyboard Music of the Late Middle Ages in the Codex Faenza 117, edited by D. Plamenac, [n.p.]:
Literature
1. REANEY, Gilbert. 'La tonalit des ballades et des rondeaux de Guillaume de Machaut', Guillaume de
Machaut, pote et compositeur. Colloque - Table Ronde, 1978, p. 299.
2. YUDKIN, Jeremy. Music in Medieval Europe, Englewood Cliffs, New Jersey: Prentice Hall, 1989, pp.
546-547.
5. fol. 37v-38v, De tout flors. (intabulation from vocal model))

De tout flors. Anonymous intabulation after a vocal original by Guillaume de Machaut
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 37v-38v (2/0).
Facsimiles
1. PLAMENAC, Dragan. 'Keyboard music of the 14th century in codex Faenza 117', Journal of the
American Musicological Society, IV (1951), ill. 1.
Editions
American Musicological Society, IV (1951), p. 189.
Literature
2. REANEY, Gilbert. 'Voices and instruments in the music of Guillaume de Machaut', Revue belge de
musicologie, X (1956), pp. 99-100, 103.
3. GODWIN, Joscelyn. '"Mains divers acors" - some instrument collections of the Ars Nova period',
Early Music, V/2 (1977): 148-159.
4. WILLIAMS, Sarah J. 'The lady, the lyrics and the letters', Early Music, V/4 (1977): 462-468.
5. WILKINS, Nigel. Music in the Age of Chaucer, Cambridge: D. S. Brewer, 1979. Chaucer Studies I, p.
39.
6. McGEE, Timothy J. 'Ornamentation, national styles, and the Faenza Codex', Early Music New Zealand,
III/2 (1987): 3-14.
6. fol. 38v-39, Aspire refus (intabulation))

Aspire refus. Two-voice anonymous intabulation
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 38v-39 (2/0);
Strasbourg: Bibliothque Municipale (olim Bibliothque de la Ville) 222 C. 22, fol. 36 (Contrafactum)
(lost).
Facsimiles
Editions
Literature
BORREN, Charles van den. Le manuscrit musical 222 C. 22 de la bibliothque de Strasbourg (XVe
sicle) brul en 1870, et reconstitu d'aprs une copie d'Edmond de Coussemaker, Antwerp: E.
Secelle, 1924, pp. 82-83.
7. fol. 39-40, Elas mon cuer (intabulation))

Elas mon cuer. Anonymous intabulation
Sources
Facsimiles
Editions
8. fol. 40-40v, De ce fol penser. (intabulation from vocal model))

De ce fol penser. Anonymous intabulation after a vocal original
Sources
Facsimiles
Editions
Verffentlichungen zur Musikgeschichte 21.
3. French Secular Music. Manuscript Chantilly, Muse Cond 564, Second Part, edited by Gordon K.
Greene, Monaco: Editions de L'Oiseau-Lyre, 1982. Polyphonic Music of the Fourteenth Century XIX, p.
130.
9. fol. 40v-41v, J'ay grant espoir. (intabulation from vocal model))

J'ay grant espoir. Anonymous intabulation after a vocal original
Sources
Facsimiles
Editions
2. French Secular Music. Ballades and Canons, edited by Gordon K. Greene, Monaco: Editions de
L'Oiseau-Lyre, 1982. Polyphonic Music of the Fourteenth Century XX, p. 154.
Literature
1. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. I. Neue Quellen des 14. und
beginnenden 15. Jahrhunderts', Archiv fr Musikwissenschaft, VII (1925): 167-252.
2. NEWES, Virginia E. 'Imitation in the Ars nova and Ars subtilior', Revue belge de musicologie,
XXXI (1977): 38-59.
3. NEWES, Virginia E. 'The relationship of text to imitative technique in 14th century polyphony',
Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Gnther and L.
Finscher, Kassel: Brenreiter, 1984, pp. 121-154.
4. McGEE, Timothy J. 'Ornamentation, national styles, and the Faenza Codex', Early Music New
Zealand, III/2 (1987): 3-14.
10. fol. 41v-42, Constantia (intabulation))

Constantia. Two-voice anonymous intabulation
Sources
Facsimiles
Editions
11. fol. 42-43, Le ior (intabulation))

Le ior. anonymous intabulation
Sources
Facsimiles
Editions
12. fol. 43-43v, Iorlevie. (intabulation from vocal model))

Iorlevie. Two-voice anonymous intabulation after a vocal original
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 43-43v (2/0), 50-50v (2/0).
Facsimiles
American Musicological Society, IV (1951): 179-201.
Musicological Studies and Documents 10, pp. 30-31, 44-45.
Editions
3. French Secular Music. Rondeaux and Miscellaneous Pieces, edited by Gordon K. Greene, with literary
texts by Terence Scully, Monaco: Editions de Oiseau-Lyre, 1989. Polyphonic Music of the Fourteenth
Century XXII, p. 84.
13. fol. 43v-44v, Viuer ne puis (intabulation))

Viuer ne puis anonymous intabulation
Sources
Facsimiles
1. CARAPETYAN, Armen. 'The Codex Faenza, Biblioteca Comunale 117 (Fa), 104-106.
Editions
14. fol. 44v-46v, Elas mon cuor (intabulation))

Elas mon cuor anonymous intabulation
Sources
Facsimiles
Editions
Literature
RONCAGLIA, Gino. 'Intorno ad un codice di Johannes Bonadies', Atti e memorie della Reale Accademia
di scienze, lettere ed arti di Modena, Ser. 5, vol. IV, (1939), p. 36.
15. fol. 46v-48, [Deduto sey a quel che may] (intabulation from vocal model))
[Deduto sey a quel che may] anonymous intabulation after a vocal original by Johannes Ciconia
Sources
Facsimiles
3. PLAMENAC, D. 'Faventina', Liber Amicorum Charles van den Borren, edited by Albert Vander
Linden, Antwerp: Lloyd Anversois, 1964, p. 152.
Editions
Linden, Antwerp: Lloyd Anversois, 1964, p. 157.
Literature
Linden, Antwerp: Lloyd Anversois, 1964, pp. 146-148.
2. REANEY, Gilbert. 'Transposition and "key" signatures in late medieval music', Musica Disciplina,
XXXIV (1979), p. 34.
16. fol. 48v-49, [Or sus, vous dorms trop] (intabulation from vocal model))
[Or sus, vous dormTs trop] anonymous intabulation after a vocal original
Sources
Facsimiles
Editions
2. French Secular Music. Virelais, edited by Gordon K. Greene, Monaco: Editions de L'Oiseau-Lyre,
1987. Polyphonic Music of the Fourteenth Century XXI, p. 117.
Literature
McGEE, Timothy J. 'Ornamentation, national styles, and the Faenza Codex', Early Music New Zealand,
III/2 (1987): 3-14.
17. fol. 49v, [untexted work: I-FZc 117 n17] (intabulation))

untexted work: I-FZc 117 n17] anonymous intabulation
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 49v (2/0).
Facsimiles
1. CARAPETYAN, Armen. 'The Codex Faenza, Biblioteca Comunale 117 (Fa), p. 75.
Musicological Studies and Documents 10, p. 43.
Editions
18. fol. 50, J'aime la biaut (intabulation))

J'aime la biautT anonymous intabulation
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 50 (2/0).
Facsimiles
Editions
19. fol. 50-50v, Iorlevie. (intabulation from vocal model))

Iorlevie. Two-voice anonymous intabulation after a vocal original
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 43-43v (2/0), 50-50v (2/0).
Facsimiles
American Musicological Society, IV (1951): 179-201.
Musicological Studies and Documents 10, pp. 30-31, 44-45.
Editions
3. French Secular Music. Rondeaux and Miscellaneous Pieces, edited by Gordon K. Greene, with literary
texts by Terence Scully, Monaco: Editions de Oiseau-Lyre, 1989. Polyphonic Music of the Fourteenth
Century XXII, p. 84.
Literature
American Musicological Society, IV (1951), p. 188., p. 188.
2. HARMAN, Alec. Man and His Music: The Story of Musical Experience in the West. Vol I:
Mediaeval and Early Renaissance Music, London: Barrie and Rockliff, 1962, pp. 176-177.
20. fol. 50v-52, [Roseta che non canci mai colore] (intabulation from vocal
model))
Roseta che non canci mai colore] anonymous intabulation after a vocal original by Antonius
'Zacharias' de Teramo
Sources
Facsimiles
Editions
2. Early Fifteenth Century Music, edited by Gilbert Reaney, [n.p.]: Hnssler-Verlag, American Institute
of Musicology, 1977. Corpus Mensurabilis Musicae 11/VI, p. 1.
Literature
XXXIV (1979), pp. 33-34.
2. McGEE, Timothy J. 'Instruments and the Faenza Codex', Early Music, XIV/4 (1986), pp. 483-484.
21. fol. 52v-54, Tupes[?] (intabulation)

Tupes[?] anonymous intabulation
Sources
Facsimiles
Editions
Literature
CALDWELL, John. 'Two polyphonic istampite from the 14th century', Early Music, 18 (1990), pp.
371-374
22. fol. 54, Sangilio[?] (intabulation))

Sangilio[?] anonymous intabulation
Sources
Facsimiles
Editions
Literature
CAVICCHI, Adriano. 'Sacro e profano: documenti e note su Bartolomeo da Bologna e gli organisti della
cattedrale di Ferrara nel primo Quattrocento', Rivista italiana di musicologica, X (1975), p. 70.
23. fol. 54-56, [untexted work: I-FZc 117 n23] (intabulation))

[untexted work: I-FZc 117 n23] anonymous intabulation
Sources
Facsimiles
Editions
Literature
CALDWELL, John. 'Two polyphonic istampite from the 14th century', Early Music, 18 (1990), pp. 371374.
24. fol. 56v-57, Biance flour (intabulation))

Biance flour. Two-voice anonymous intabulation
Sources
Facsimiles
Editions
Literature
American Musicological Society, IV (1951), pp. 187-188.
2. HARMAN, Alec. Man and His Music: The Story of Musical Experience in the West. Vol I:
Mediaeval and Early Renaissance Music, London: Barrie and Rockliff, 1962, p. 178.
25. fol. 57-58, Benedicamus Domino (intabulation))

Benedicamus Domino Three-voice anonymous intabulation
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 57-58.
Facsimiles
Editions
26. fol. 68-69v, Soto l'imperio del posente prine. (intabulation from vocal
model))
Soto l'imperio del posente printe. anonymous intabulation after a vocal original by Jacopo da Bologna
Sources
Facsimiles
Editions
27. fol. 69v-70v, Qualle lee move. (intabulation from vocal model))
Qualle lete move. anonymous intabulation after a vocal original by Bartolino da Padova
Sources
Facsimiles
Editions
28. fol. 71-72, La dolce sere. (intabulation from vocal model))

La doltce sere. anonymous intabulation after a vocal original by Bartolino da Padova
Sources
Facsimiles
Editions
Literature
1. REANEY, Gilbert. 'Voices and instruments in the music of Guillaume de Machaut', Revue belge de
musicologie, X (1956), p. 102.
2. PETROBELLI, Pierluigi. 'Bartolino da Padova', Dizionario biografico degli italiani, Rome: 1960,
p. 634.
3. GALLO, F.A. 'Bilinguismo poetico e bilinguismo musicale nel madrigale trecentesco', L'Ars nova
italiana del Trecento IV: Certaldo 1975, 1978, pp. 237-238.
4. McGEE, Timothy J. 'Ornamentation, national styles, and the Faenza Codex', Early Music New
Zealand, III/2 (1987): 3-14.
29. fol. 72-73, O ciecho mondo. (intabulation from vocal model))

O ciecho mondo. anonymous intabulation after a vocal original by Jacopo da Bologna
Sources
Facsimiles
1. Die Musik in Geschichte und Gegenwart, edited by Friedrich Blume, 16 vols., Kassel and Basel:
Brenreiter, 1949 ff, plate 52.
Editions
30. fol. 73-74v, Aquila altera. (intabulation from vocal model)

Aquila altera. Two-voice anonymous intabulation
Sources
Facsimiles
1. Die Musik in Geschichte und Gegenwart, edited by Friedrich Blume, 16 vols., Kassel and Basel:
Brenreiter, 1949 ff, plate 52.
Editions
2. Medieval Music, edited by W. Thomas Marrocco and Nicholas Sandon, London: Oxford
University Press, 1977, no. 85.
31. fol. 74v-77, Inperial sedendo. (intabulation from vocal model))

Inperial sedendo. anonymous intabulation after a vocal original by Bartolino da Padova
Sources
Facsimiles
Editions
Literature
1. WILKINS, Nigel. Music in the Age of Chaucer, Cambridge: D. S. Brewer, 1979. Chaucer Studies I, pp.
70-71.
2. McGEE, Timothy J. 'Instruments and the Faenza Codex', Early Music, XIV/4 (1986), p. 483.
32. fol. 77-78, Io me son uno che per le frasche. (intabulation from vocal
model))
Io me son uno che per le frasche. anonymous intabulation after a vocal original by Jacopo da Bologna
Sources
Facsimiles
Editions
Literature
McGEE, Timothy J. 'Instruments and the Faenza Codex', Early Music, XIV/4 (1986), p. 483.
33. fol. 78-79, Non na el so amante. (intabulation from vocal model))

Non na el so amante. anonymous intabulation after a vocal original by Jacopo da Bologna
Sources
Facsimiles
Editions
Literature
BESSELER, Heinrich and Peter GLKE. Schriftbild der mehrstimmigen Musik, Leipzig: Deutscher
Verlag fr Musik, 1973. Musikgeschichte in Bildern, vol. 3, part 5, pp. 76-77.
34. fol. 79-79v, Kyrie (intabulation))

Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 79-79v.
Facsimiles
American Musicological Society, IV (1951), ill. 3.
Editions
4. KUGLER, Michael. Die Tastenmusik im Codex Faenza, Tutzing: Hans Schneider, 1972.
Mnchner Verffentlichungen zur Musikgeschichte 21, p. 149.
35. fol. 79v-80v, Che pena questa. (intabulation from vocal model))
Che pena questa. Two-voice anonymous intabulation
Sources
Facsimiles
Editions
36. fol. 80v-81, Bel fiore dana (intabulation))

Bel fiore danta Two-voice anonymous intabulation
Sources
Facsimiles
Editions
Literature
1. CAVICCHI, Adriano. 'Sacro e profano: documenti e note su Bartolomeo da Bologna e gli organisti
della cattedrale di Ferrara nel primo Quattrocento', Rivista italiana di musicologica, X (1975), p. 65.
2. BROWN, Howard M. 'St. Augustine, Lady Music and the gittern in fourteenth-century Italy',
Musica Disciplina XXXVIII (1984), p. 45.
3. McGEE, Timothy J. 'Instruments and the Faenza Codex', Early Music, XIV/4 (1986), p. 480.
37. fol. 81-81v, Non ar may piet questa mia dona. (intabulation from vocal
model))
Non ara may pieta questa mia dona. anonymous intabulation after a vocal original by Francesco
Landini
Sources
Facsimiles
Editions
Literature
2. MARROCCO, W. T. and R. HUESTIS. 'Some speculations concerning the instrumental music of the
Faenza Codex 117', The Diapason, LXIII (1972), p. 3.
3. YUDKIN, Jeremy. Music in Medieval Europe, Englewood Cliffs, New Jersey: Prentice Hall, 1989, p.
547.
38. fol. 82-82v, [Un fior gentil] (intabulation from vocal model))
[Un fior gentil] anonymous intabulation after a vocal original by Antonius 'Zacharias' de Teramo
Sources
Facsimiles
Editions
Literature
PLAMENAC, Dragan. 'New light on the Codex Faenza 117', Bericht ber den internationalen
Kongress fr Kirchenmusik in Bern, 1952, Bern: Paul Haupt, 1953, pp. 310-326. Publikationen der
schweizerischen musikforschenden Gesellschaft ii/3.
39. fol. 82v-83v, Rosetta che non canbi may colore (Antonius `Zacharias' de
Teramo))
Rosetta che non canbi may colore ballata by Antonius 'Zacharias' de Teramo
Sources
Bologna: Civico Museo Bibliografico Musicale, Ms Q 15, fol. 66v-68 (3/3) (Gloria Contrafactum);
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 82v-83v (intabulation);
Lucca: Archivio di Stato 184 (Mancini Codex), fol. 55v-56 (2/2);
Paris: Bibliothque Nationale, fonds nouv. acq. franais 4917, fol. 20v-21 (fragment).
Facsimiles
The Lucca Codex. Codice Mancini. Introductory Study and Facsimile Edition, edited by John Ndas and
Agostino Ziino, Lucca: Libreria musicale italiana editrice, 1990.
Editions
American Institute of Musicology, 1972. Corpus Mensurabilis Musicae 57, p. 48 (Pn4917).
2. PIRROTTA, Nino. 'Zacharus musicus', Memorie e contributi alla musica del medievo all' et
moderna offerti a Federico Ghisi nel settantesimo compleanno (1901-1971), Bologna: 1974, vol. I, p.
167.
of Musicology, 1977. Corpus Mensurabilis Musicae 11/VI, p. 1 (Pn4917).
4. Italian Secular Music, edited by W. Thomas Marrocco, Monaco: Editions de L'Oiseau-Lyre, 1977.
Polyphonic Music of the Fourteenth Century X, p. 112.
5. WILLIAMS, Carol J. The Mancini Codex: A Manuscript Study, Ph.D. dissertation (University of
Adelaide), 3 vols., 1983, Vol. II, p. 49.
Literature
1. MANCINI, Augusto. 'Frammenti di un nuovo codice dell' Ars nova', Rendiconti dell' Accademia
Nazionale dei Lincei, ser. 8, II (1947), p. 89.
2. BONACCORSI, Alfredo. 'Un nuovo codice dell' Ars nova: Il codice Lucchese', Atti della Accademia
Nazionale dei Lincei, Ser. 8, I/12 (1948), pp. 589-590.
3. PIRROTTA, Nino and Ettore LI GOTTI. 'Il Codice di Lucca. III. Il repertorio musicale', Musica
Disciplina, V (1951), p. 136, 139.
4. FISCHER, Kurt von. 'Kontrafakturen und Parodien italienischen Werke des Trecento und frhen
Quattrocento', Annales musicologiques: moyen-ge et Renaissance, V (1957), p. 56.
XXXIV (1979), pp. 33-34.
6. ZIINO, Agostino. 'Magister Antonius dictus Zacharias de Teramo: alcune date e molte ipotesi', Rivista
italiana di musicologia, XIV/2 (1979), pp. 340-341.
40. fol. 82v-83v, [Roseta che non canci mai] (intabulation from vocal model))
[Roseta che non canci mai] anonymous intabulation after a vocal original by Antonius 'Zacharias' de
Teramo
Sources
Facsimiles
Editions
Literature
XXXIV (1979), pp. 33-34.
2. McGEE, Timothy J. 'Instruments and the Faenza Codex', Early Music, XIV/4 (1986), pp. 483484.
The Works of Antonius 'Zacharias' da Teramo
Other names: Antonius Zachara da Teramo (PMFC); Magister Zacherias (Chantor) (PMFC); Zacharias
(Apel); Zacar (Grove); Zachara und Zacharias (MGG); Zaccara (Il Sollazzo, n47); Zeltenpferd (!?!) (Str
n59); Magister {acharias Chantor Domini nostri Pape (Sq)
Antonius was a cripple whose appellations were many. He is listed in the Roman papal lists between 1391
and 1407 as `scriptor litterarum apostolicarum' and `cantor'. He may also have been connected with the
antipapal court in Bologna.
41. fol. 88-90, Kyrie (intabulation))

Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 88-90.
Facsimiles
1. PLAMENAC, Dragan. 'New light on the Codex Faenza 117', Bericht ber den internationalen
Kongress fr Kirchenmusik in Bern, 1952, Bern: Paul Haupt, 1953, ills. 2b/3/4.
Editions
Kongress fr Kirchenmusik in Bern, 1952, Bern: Paul Haupt, 1953, no. 2.
Literature
2. LINDLEY, Mark. 'Pythagorean intonation and the rise of the triad', RMA Research Chronicle, 16
(1980), p. 38, examples 19, 20.
42. fol. 90-92v, Gloria (intabulation))

Gloria anonymous intabulation
Sources
Facsimiles
Kongress fr Kirchenmusik in Bern, 1952, Bern: Paul Haupt, 1953, ill. 4.
Editions
Literature
LINDLEY, Mark. 'Pythagorean intonation and the rise of the triad', RMA Research Chronicle, 16
(1980), p. 38, example 17.
43. fol. 93-94, [untexted work: I-FZc 117 n42] (intabulation))

Sources
Facsimiles
Editions
American Institute of Musicology, 1972. Corpus Mensurabilis Musicae 57, p. 124
44. fol. 94v, [untexted work: I-FZc 117 n43] (intabulation))

Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 94v (2/0).

Facsimiles
Editions
45. fol. 95, [untexted work: I-FZc 117 n44] (intabulation))

Sources
Facsimiles
Editions
46. fol. 95-95v, [untexted work: I-FZc 117 n45] (intabulation))

Sources
Facsimiles
Editions
47. fol. 96-96v, [untexted work: I-FZc 117 n46] (intabulation))

Sources
Facsimiles
Editions
48. fol. 96v-97, Ave maris stella (intabulation))

Ave maris stella. Two-voice anonymous intabulation
Sources
Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 96v-97.
Facsimiles
Editions
49. fol. 97-97v, Benedicamus Domino (intabulation))

Benedicamus Domino Two-voice anonymous intabulation
Sources
Burgos: Monasterio de Las Huelgas, fol. 115v (3/2);
Facsimiles
1. CARAPETYAN, Armen. 'The Codex Faenza, Biblioteca Comunale 117 (Fa), pp. 103-104 (Fa97-97v).
Musicological Studies and Documents 10, pp. 111-112 (Fa97-97v).
Editions
Literature
p. 38, example 18.
LITERATURE GENERAL
1. RONCAGLIA, Gino. 'Intorno ad un codice di Johannes Bonadies', Atti e
memorie della Reale Accademia di scienze, lettere ed arti di Modena, Ser. 5,
Vol. IV, (1939), pp. 39ff.
2. BORREN, Charles van den. 'Le codex de Johannes Bonadies, musicien du XVe
sicle', Revue belge d'archologie et d'histoire de l'art, X (1940): 251-261.
3. PLAMENAC, Dragan. 'Keyboard music of the 14th century in codex Faenza
117', Journal of the American Musicological Society, IV (1951): 179-201.
4. PLAMENAC, Dragan. 'New light on the Codex Faenza 117', Bericht ber den
internationalen Kongress fr Kirchenmusik in Bern, 1952, Bern: Paul Haupt,
1953, pp. 310-326. Publikationen der schweizerischen musikforschenden
Gesellschaft ii/3.
5. BORREN, Charles van den. 'Bonadies, Johannes', Die Musik in Geschichte und
Gegenwart, II (1952): 102-105.
6. PLAMENAC, Dragan. 'Faenza Codex 117', Die Musik in Geschichte und
Gegenwart, III (1954): 1709-1714.
7. PIRROTTA, Nino. 'Note su un codice di antiche musiche per tastiera', Rivista
musicale italiana, LVI (1954): 333-339.
8. YOUNG, William. 'Keyboard Music to 1600. Part 1', Musica Disciplina,
XVI(1962), 115-150.
9. PLAMENAC, D. 'Faventina', Liber Amicorum Charles van den Borren, edited
by Albert Vander Linden, Antwerp: Lloyd Anversois, 1964, pp. 145-164 .
10. PLAMENAC, Dragan. 'A note on the rearrangement of the Faenza Codex 117',
Journal of the American Musicological Society, XVII/1 (1964): 78-81.
11. HAGOPIAN, Viola L. Italian Ars Nova Music. A Bibliographic Guide to

Modern Editions and Related Literature, Berkeley, Los Angeles, London:
University of California Press, 1964, pp. 42, 49-50, 67, 68, 103.
12. REANEY, Gilbert. 'The performance of medieval music', Aspects of Medieval
and Renaissance Music: A Birthday Offering to Gustave Reese, edited by Jan La
Rue, New York: W. W. Norton, 1966, pp. 704-722.
13. Italian Secular Music by Magister Piero, Giovanni da Firenze and Jacopo da
Bologna, edited by W. Thomas Marrocco, Monaco: Editions de L'Oiseau-Lyre,
1967. Polyphonic Music of the Fourteenth Century VI.
14. PLAMENAC, Dragan. 'Alcune osservazioni sulla struttura del codice 117 della
biblioteca comunale di Faenza', L'Ars nova italiana del Trecento III : Certaldo
1969, 1970, pp. 161-175.
15. Transcriptions from the Faenza Codex, edited by R. Huestis, Westwood, 1971.
16. Keyboard Music of the Late Middle Ages in the Codex Faenza 117.
17. MARROCCO, W. T. and R. HUESTIS. 'Some speculations concerning the
instrumental music of the Faenza Codex 117', The Diapason, LXIII (1972): 318.
18. KUGLER, Michael. Die Tastenmusik im Codex Faenza, Tutzing: Hans
Schneider, 1972. Mnchner Verffentlichungen zur Musikgeschichte 21.
19. Italian Sacred Music, edited by Kurt von Fischer and F. A. Gallo, Monaco:
Editions de L'Oiseau-Lyre, 1976. Polyphonic Music of the Fourteenth Century
XII.
20. HUESTIS, Robert. 'Scribal errors in the Faenza Codex: a clue to performance
practice?', Studies in Music (Aus.), X (1976): 52-61.
21. APEL, Willi. 'Orgelmusik in Ost-Europa im 15. und 16. Jahrhundert', Musica
Antiqua, IV (1977): 391-404.
22. BENT, Margaret. 'A preliminary assessment of the independence of English
Trecento notations', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978,
pp. 65-82.
23. LINDLEY, Mark. 'Pythagorean intonation and the rise of the triad', RMA
Research Chronicle, 16 (1980): 4-61.
24. BROWN, Howard M. 'St. Augustine, Lady Music and the gittern in fourteenthcentury Italy', Musica Disciplina XXXVIII (1984): 25-66.
25. Three Madrigals by Bartolino da Padova, for Keyboard, edited by Stanley
Boorman, Devon: Antico Edition AE 10, 1986.
26. McGEE, Timothy J. 'Instruments and the Faenza Codex', Early Music, XIV/4
(1986): 480-490.
27. McGEE, Timothy J. 'Ornamentation, national styles, and the Faenza Codex',
Early Music New Zealand, III/2 (1987): 3-14.
CONCORDANCES
1.Bologna, Civico Museo Bibliografico Musicale, Ms Q 15. (66v-68, Rosetta che non
canbi may colore).
2.Burgos, Monasterio de Las Huelgas (115v, Benedicamus Domino).
3.Lucca, Archivio di Stato 184 (Mancini Codex) (55v-56, Rosetta che non canbi may
colore).
4.Paris, Bibliothque Nationale, fonds nouv. acq. franais 4917 (20v-21, Rosetta che
non canbi may colore).
5.Strasbourg, Bibliothque Municipale (olim Bibliothque de la Ville) 222 C. 22 (36,
Aspire refus).
Paris, Bibliothque Nationale, nouv.acq.fr.6771 [Reina Codex] (French or Italian,

15th century). 2 pieces on ff.8585v. Edition: C. Parrish: The Notation of Medieval
Music (New York, 1957) [part facs.]. Literature: Y. Rokseth: The Instrumental
Music of the Middle Ages and Early Sixteenth Century, NOHM, iii (1960), 40565
(see alsoSources, MS, VIII, 2)
Paris, Bibliothque Nationale, fonds nouv. acq. franais

6771 (Reina Codex)
A central source of French and Italian secular music c.1400, probably compiled in
Padua before 1398; a supplement (f.89v-119) contains works of the early 15thC.
Principal concordances are Chantilly, Modena 5.24 and Strasbourg.
INVENTORIES
1. FISCHER, Kurt von. 'The manuscript Paris, Bibl. nat., nouv. acq. fr. 6771
(Codex Reina = PR)', Musica Disciplina, XI (1957): 38-78.
2. WILKINS, Nigel. 'The Codex Reina: a revised description (Paris Bibl. Nat. ms.
n.a.fr. 6771)', Musica Disciplina, XVII (1963): 57-74.
3. Rpertoire international des sources musicales. BIV 3, 4. Handschriften mit
mehrstimmiger Musik des 14., 15. und 16. Jahrhunderts, 2 vols, edited by Kurt
von Fischer and Max Ltolf, G. Henle Verlag: Munich-Duisburg, 1972, pp. 485549.
4. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550, 5
vols, Neuhausen-Stuttgart: American Institute of Musicology, Hnssler Verlag,
1979-1988. Renaissance Manuscript Studies 1, Vol. III, p. 33; IV, p. 464.
CONTENTS
1. fol. 1, Lo lume vostro dolce 'l mio singnore (Jacopo da Bologna))

2. fol. 1v-2, Sotto l'imperio del possente prine (Jacopo da Bologna))
3. fol. 2v-3, Aquila altera, ferma in su la vetta - Uccel di Dio, insengna di giustitia Creatura gentile, animal dengno (Jacopo da Bologna))
4. fol. 3, [D]e[h], no me fare languire (ballata))
5. fol. 3v, Non al su' amante pi Diana piaque (Jacopo da Bologna))
6. fol. 4, Un bel sparver entil de penna biancha (Jacopo da Bologna))
7. fol. 4v, Tanto che sete, aquistati nel giusto (Jacopo da Bologna))
8. fol. 5, Nel bel giardino che l'Adice cinge (Jacopo da Bologna))
9. fol. 5v, O ciecho mondo di lusinghe pieno (Jacopo da Bologna))
10. fol. 6, Prima virtut' constringer la lingua (Jacopo da Bologna))
11. fol. 6v, O in Italia felice Luguria (Jacopo da Bologna))
12. fol. 7, Osellecto selvaggio per stagione (Jacopo da Bologna))
13. fol. 7v, O dolce apresso un bel perlaro fiume (Jacopo da Bologna))
14. fol. 8, Io mi son un che per le frasch'andando (Jacopo da Bologna))
15. fol. 8v-9, Ogelletto silvagio per stagione (Jacopo da Bologna))
16. fol. 9, Posando sopr'un acqua, in sonnio vidi (Jacopo da Bologna))
17. fol. 9v-10\1, Nel prato pien de fiori (madrigal))
18. fol. 9v-10\2, Poi che da te mi convien partir via (Francesco Landini))
19. fol. 10v, Di novo giunto un chavalier errante (Jacopo da Bologna))
20. fol. 11, Gridavan tuti: Viva sachomano! (Jacopo da Bologna?))
21. fol. 11v, Fenice fu' e vissi pura e morbida (Jacopo da Bologna))
22. fol. 11v-12, I' senti' z como l'arco d'Amore (Jacopo da Bologna))
23. fol. 12v, Agnel son biancho e vo belando, be (Giovanni da Cascia))
24. fol. 12v-13, S'en vos por moy piti ne truis (Johannes Alanus))
25. fol. 13, Imperial sedendo fra pi stelle (Bartolino da Padova))
26. fol. 13v-14, La doulse cere d'un fier animal (Bartolino da Padova))
27. fol. 14, La sacrosanta carit d'amore (Bartolino da Padova))
28. fol. 14v-15, Alba columba con sua verde rama (Bartolino da Padova))
29. fol. 15, Sempre se trova in alta donna amore (Bartolino da Padova))
30. fol. 15v, Sempre, dona, t'amai de pura voglia (Bartolino da Padova))
31. fol. 16, Chi tempo ha e per vilt tempo aspetta (Bartolino da Padova))
32. fol. 16, Per figura del cielo (Bartolino da Padova))
33. fol. 17, Perch canzato 'l mondo da l'antico (Bartolino da Padova))
34. fol. 17v, El no me giova n val donna fuzire (Bartolino da Padova))
35. fol. 18\1, [untexted work: F-Pn 6771 n34] (Ma?))
36. fol. 18\2, Amor, che nel pensier mio viv'e regna (Bartolino da Padova))
37. fol. 18v, Donna liadra de afir vestita (Bartolino da Padova))
38. fol. 19, Ama chi t'ama e sempre a bona f (Bartolino da Padova))
39. fol. 19v, La biancha selva, Amor, che s verdea (Bartolino da Padova?))
40. fol. 20, Quando la terra parturisse, in verde (Bartolino da Padova))
41. fol. 20v, Le aurate chiome nodose ed avolte (Bartolino da Padova))
42. fol. 21, Madonna bench'i' miri in altra parte (Bartolino da Padova))
43. fol. 21v-22, Qual lege move la volubel rota (Bartolino da Padova))
44. fol. 22, Non corer troppo e tien la mano al freno (Bartolino da Padova))
45. fol. 22v-23, Imperial sedendo fra pi stelle (Bartolino da Padova))
46. fol. 23v, Per un verde boschetto (Bartolino da Padova))
47. fol. 24, Gioia di nuovi odori (Bartolino da Padova))
48. fol. 24v, Per subito comando (Bartolino da Padova))
49. fol. 25, Perch'i' non sepi passar ch'a 'n tal varcho (Paolo da Firenze))
50. fol. 25v, El capo biondo (Arrigo))
51. fol. 25v-26, Chi ama ne la lengua e chi nel petto (Jacobelus Bianchi))
52. fol. 26, Fenir mia vita, me conviene Conguay (ballata))
53. fol. 26v, L'ochi mie piangne sena algun rispetto (Jacobelus Bianchi))
54. fol. 26v-27, Ama, donna, chi t'amm' a pura fede (Francesco Landini))
55. fol. 27, Non per mio fallo mancho ni difetto (ballata))
56. fol. 27v, Con lagreme sospiro per grave dolya (ballata))
57. fol. 27v-28, I(i)o son un pellegrin che vo cercando (ballata))
58. fol. 28, Sia maladetta l'or' e 'l d ch'io venni (Francesco Landini))
59. fol. 28v, Lasso! per ben servire me trovo offeso (ballata))
60. fol. 28v-29, Troverao merc, o merc non vego como (ballata))
61. fol. 29, Dona, se 'l cor m'aperi (ballata))
62. fol. 29v, Dolce lo mio drudo (ballata))
63. fol. 30, Avendo me falcon tanto seguito (madrigal))
64. fol. 30v-31, Vestssi la cornachia d'altrui penne (Jacopo da Bologna))
65. fol. 30v-31, O tu chara sciena mie musica (Giovanni da Cascia))
66. fol. 31v, Che pensi di me far, dona, che vidi (ballata))
67. fol. 32, Donna nascosa dentr'al cor me stay (ballata))
68. fol. 32v, Nel meo a sey paghon ne vid'un biancho (Giovanni da Cascia))
69. fol. 33, Se questa dea de vert e d'onestate (Johannes Baus Correarius))
70. fol. 33v, S chome al canto della bella Yguana (Jacopo da Bologna))
71. fol. 34, Donna, s'i' t'[h]o fallito (Francesco Landini))
72. fol. 34v, Gram piant' a gli ochi, greve dolgli' al core (Francesco Landini))
73. fol. 35, Spesse fiate [h]a preso un sotil lao (madrigal))
74. fol. 35v-36\1, Du' anoliti del vago thesoro (madrigal))
75. fol. 35v-36\2, In somm' altea t'[h]a posta natura (Francesco Landini))
76. fol. 36v, Donna, che d'amor senta, non si mova (Francesco Landini))
77. fol. 37, Non do la colp'a te del duol ch'i' porto (Francesco Landini))
78. fol. 37v, Ochi pianete et tu cor tribulato (ballata))
79. fol. 38, Amore a lo to aspetto (ballata))
80. fol. 38v, E[h] vatene, segnor mio, e vatene, amore (ballata))
81. fol. 39, Streni li labri, c'hano d'amor melle (ballata))
82. fol. 39v, Dona, fallante mira lo to aspetto (ballata))
83. fol. 39v-40, Senpre serva chi vl eser servito (ballata))
84. fol. 40, Fa se 'l bon servo soto al bon signore (ballata))
85. fol. 40v-41, La nobil scala, che 'l signor lonbardo (madrigal))
86. fol. 43, Quel digno de memoria se p dire (Bartolino da Padova))
87. fol. 43v, Non vert, che cortesia non passy (madrigal))
88. fol. 44, Se premio de virt sol onore (Bartolino da Padova))

89. fol. 44v, Omay ascun se doglia (ballata))
90. fol. 45, Miracolosa toa sembianza apare (Bartolino da Padova))
91. fol. 45v-46, I bei senbianti con busiardi efetti (Bartolino da Padova))
92. fol. 46v, Beaut parfaite, bont soverayne (Antonellus da Caserta))
93. fol. 47, Du val prilleus ou pourpris de jeunesse (Antonellus da Caserta))
94. fol. 47v, La dolce vista, che da gli occhi move (Francesco Landini))
95. fol. 48, Per seguir la sperana che m'ancide (Francesco Landini))
96. fol. 48v, Gi perch'i' penso nella tuo partita (Francesco Landini))
97. fol. 48v-49, S'i' ti son stat' e volgli' eser fedele (Francesco Landini))
98. fol. 49, Vita non pi miser n pi ria (Francesco Landini))
99. fol. 49v, Come 'nfra l'altre donne tua chiarea (ballata))
100.
fol. 50, Quanto pi caro fai (Francesco Landini))
101.
fol. 50v, O graciosa petra (ballata))
102.
fol. 50v-51, De[h], non fuggir da me tua vaga vista (Francesco Landini))
103.
fol. 51, Chi pregio vuol in virt pong'amore (Francesco Landini))
104.
fol. 51v, Po' che veder non posso la mie donna (ballata))
105.
fol. 52, Non n'avr ma' piet questa mie donna (Francesco Landini))
106.
fol. 52v, Gentil aspetto in cu' la mente mia (Francesco Landini))
107.
fol. 53, Ma trdol rosignol joly - Aluette cryante apprs li rysignol Rosignolin del bos jolin (Borlet))
108.
fol. 53v, Dame vailans de prijs et de valo(i)[u]r - Amis, de tant que vous
avs desijr - Certainement puet on bien affirmer (ballade))
109.
fol. 54, Cortois et sages et a tous doit plasir (Egidius de Francia))
110.
fol. 54v-55, Quant Theseus, Hercules et Jason - Ne quier veoir la biaute
d'Absalon (Guillaume de Machaut))
111.
fol. 55, Bont de corps en armes esprouve (ballade))
112.
fol. 55v, Tres douche plasant bergiere - Reconforte toy, Robin (virelai))
113.
fol. 56, Phiton, Phiton, beste tres venimeuse (Magister Franciscus))
114.
fol. 56v, Dame qui fust si tres bien assenee (ballade))
115.
fol. 56v-57, En wyflye beildt ghestadt van sinne (ballade))
116.
fol. 57, Contre le temps et la sason jolye - H! mari, mari! vous soiis
onni (virelai))
117.
fol. 57v, Amor me fait desirer layaument (ballade))
118.
fol. 58, Rescos, rescos horrible feu d'ardant desir - Rescos le feu, le
feu, le feu (Grimace?))
119.
fol. 58v, En ce gracieux tamps joli (Jacob Senleches))
120.
fol. 58v-59, La grant biaut et la douchour (virelai))
121.
fol. 59, Amour doi je servir, regraciier (ballade))
122.
fol. 59v, A vous, sans plus, de ma dolour (ballade))
123.
fol. 59v-60, Marticius qui fu de Rome neis (ballade))
124.
fol. 60, Pour l'amour du tamps gracieux (virelai))
125.
fol. 60v, S'espoir n'estoit qui me donne confort (ballade))
126.
fol. 60v-61, Los, pris, honeur et avis en ses fais (Matheus de Sancto
Johanne?))
127.
fol. 61, D'anguiseus cuer doy gemir (ballade))
128.
fol. 61v, Fuions de ci, fuions, povre compaingne (Jacob Senleches))
129.
fol. 62, A gr d'Amours, dame, ouvra noblement (ballade))
130.
fol. 62v, Plasanche, or tost a eux vous assambls (Pykini))
131.
fol. 63, En amer a douce vie (Guillaume de Machaut))
132.
fol. 63v\1, Soit tart, tempre, mayn ou soir (virelai))
133.
fol. 63v\2, Il vient bien sans appeller (rondeau))
134.
fol. 64, C'estoit ma douce nouriture (Grimace?))
135.
fol. 64v, De Fortune me doy pleindre et loer (Guillaume de Machaut))
136.
fol. 65, Gais et jolis, lies, chantans et joieus (Guillaume de Machaut))
137.
fol. 65v, J'ay grant dsespoir de ma vie (ballade))
138.
fol. 65v-66, Passerose de beaut pure et fine (rondeau))
139.
fol. 66, Jour a jour la vie (rondeau))
140.
fol. 66v, Gente et devis noble et sage (ballade))
141.
fol. 67, Je voy le bon tens venir (virelai))
142.
fol. 67v-68, Onques ne fu si dure partie (virelai))
143.
fol. 68, Dame sans per, que pies'a comparay (ballade))
144.
fol. 68v, Dame, de qui toute ma joie vient (Guillaume de Machaut))
145.
fol. 69, A l'arme, a l'arme, sans sejour et sans demour (Grimace))
146.
fol. 69v, Il m'est avis qu'il n'est dons de Nature (Guillaume de Machaut))
147.
fol. 70, En discort sont Desir et Esperance (ballade))
148.
fol. 70v, [Je] languis d'amere mort (virelai))
149.
fol. 71, Conviens'a fede f, conviens'amore (Francesco Landini))
150.
fol. 71v, De ce que foul pens souvent remaynt (P. des Molins))
151.
fol. 72, De toutes flours n'avoit et de tous fruis (Guillaume de Machaut))
152.
fol. 72v, Comme le cerf la fonteine desire (ballade))
153.
fol. 72v-73, En tis, en latin, en romans (virelai))
154.
fol. 73, Conbienz qu'il soyt que ne vous voy souvent (rondeau))
155.
fol. 73v, Je voy mon cuer en un bactel vaguer (ballade))
156.
fol. 74, Combien que j'aie est ne soie (virelai))
157.
fol. 74v, Tres dolz et loyauls amis (virelai))
158.
fol. 74v-75, Dame, par le dolz plaisir (virelai))
159.
fol. 75, Puis qu'autrement ne puis avoir (virelai))
160.
fol. 75v, S'en moy est foi et droit cuer (rondeau))
161.
fol. 75v-76, Le souvenir de vous, dame excellente (rondeau))
162.
fol. 76, Par ton refuis, vif je d'efort (rondeau))
163.
fol. 76v, L'escu d'Amors, dont le champ est d'argent (ballade))
164.
fol. 77\1, Mais qu'il vous viengne a plaisance (virelai))
165.
fol. 77\2, Au tornai d'Amors cogn ay (ballade))
166.
fol. 77v\1, Jonesce de haut corage (ballade))
167.
fol. 77v\2, En tes doulz flans plains de virginit (rondeau))
168.
fol. 78\1, Le gay plaisir et la doce esperance (ballade))
169.
fol. 78\2, Jet fort qu'en amour (untexted work))
170.
fol. 78v-79, Or sus, vous dorms trop, ma dame joliete (virelai))
171.
fol. 79v, En nul estat n'a si grant fermet (Goscalch))
172.
fol. 80, Ge la remiray sans mesure (virelai))
173.
fol. 80v, En remirant vo douce pourtraiture (Philippot de Caserta))
174.
fol. 81, De Narcissus, home tres ourgilleus (Magister Franciscus))
175.
fol. 81v\1, La cornailhe qui hat le saige (virelai))
176.
fol. 81v\2, Adeu, mon cuer, car departir (virelai))
177.
fol. 82, Fuiis de moy, ami et trestout ire (ballade))
178.
fol. 82v\1, Va t'en, mon cuer, je t'em prie (virelai))
179.
fol. 82v\2, Dolour me tient par ma foy a bon droit (ballade))
180.
fol. 83, Se je ne suy si gay come je soloie (ballade))
181.
fol. 83v\1, Puis que l'alo ne fine (virelai))
182.
fol. 83v\2, E Dieus! commant j'ay grant desir (virelai))
183.
fol. 84, Mercy ou mort ay longtemps desir (ballade))
184.
fol. 84v, En atendant souffrir m'estuet grief payne (Philippot de Caserta))
185.
fol. 85, Questa fanciull', Amor, fallami pia (Francesco Landini))
Questa fanciull', Amor, fallami pia. ballata by Francesco Landini

Sources
Florence: Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex), fol. 138 (3/2); Biblioteca
Nazionale Centrale, Panciatichiano 26, fol. 22v (3/1);
Guardiagrele (Chieti): Chiesa di Santa Maria Maggiore 1, fol. 192v (Agnus Contrafactum);
Innsbruck: Universittsbibliothek, MS. s.s. (Wolkenstein-Rodeneck Codex), fol. 28v (Contrafactum);
Munich: Bayerische Staatsbibliothek, Clm 14274 (olim M.mus. 3232a), fol. 58v-59 (Contrafactum);
Paris: Bibliothque Nationale, fonds italien 568, fol. 70v (3/2); Bibliothque Nationale, fonds nouv.
acq. franais 6771 (Reina Codex), fol. 85 (2/0);
Strasbourg: Bibliothque Municipale (olim Bibliothque de la Ville) 222 C. 22, fol. 18 (Contrafactum)
(lost);
Vienna: sterreichische Nationalbibliothek 2777, fol. 30 (Contrafactum).
Facsimiles
1. PARRISH, Carl. The Notation of Medieval Music, New York: W. W. Norton, 1957, plate LX (Pn6771).
66.
3. Il codice musicale Panciatichi 26 della Biblioteca Nazionale di Firenze, facsimile edition by F. Alberto
Gallo, Florence: Leo S. Olschki Editore, 1981, no. 42 (FP).
4. Il Codice Squarcialupi edited by F. Alberto GALLO, Lucca: Libreria Musicale Italiana, 1992.
Editions
1. WOLF, Johannes. 'Musica fiorentina nel secolo XIV', La nuova musica, Appendice musicale I-III
(1899,1900,1901), Vol. II, p. 218 (Fl87).
2. The Works of Francesco Landini, edited by Leonard Ellinwood, Cambridge/Massachusetts: The
Mediaeval Academy of America, 1939, p. 285 (Fl87).
3. REESE, Gustave. Music in the Middle Ages, New York: W. W. Norton, London: J.M. Dent & Sons,
1940, no. 115 (Fl87).
4. Der Squarcialupi-Codex Pal. 87 der Biblioteca Medicea Laurenziana zu Florenz, edited by Johannes
Wolf and H. Albrecht, Lippstadt: Kistner and Siegel, 1955, p. 234.
5. The Works of Francesco Landini, edited by Leo Schrade, Monaco: Editions de L'Oiseau-Lyre, 1958.
Polyphonic Music of the Fourteenth Century IV, p. 116.
6. Anthology of Medieval Music, edited by Richard H. Hoppin, New York: W. W. Norton, 1978, no. 67.
7. FULLER, Sarah. The European Musical Heritage 800-1750, New York: Alfred A. Knopf, 1987.
Editions de L'Oiseau-Lyre, 1987. Polyphonic Music of the Fourteenth Century XIII, p. 2 (Mbs3232a).
9. 46 pices pour orgue, edited by F. Raugel, Paris.
Text Editions
CORSI, Giuseppe. Poesie musicali del Trecento, Bologna: Commissione per i testi di lingua, 1970, p.
216.
Literature
1. BORREN, Charles van den. Le manuscrit musical 222 C. 22 de la bibliothque de Strasbourg
(XVe sicle) brul en 1870, et reconstitu d'aprs une copie d'Edmond de Coussemaker,
Antwerp: E. Secelle, 1924, pp. 65-66, 191.
2. LUDWIG, F. 'Die geistliche nichtliturgische, weltliche einstimmige und die mehrstimmige Musik
des Mittelalters bis zum Anfang des 15. Jahrhunderts', Handbuch der Musikgeschichte, edited by G.
Adler, vol. I, Frankfurt am Main: Frankfurter Verlag, 1924, p. 281.
3. ELLINWOOD, Leonard. 'Francesco Landini and his music', Musical Quarterly, XXII (1936), pp.
202-203.
4. REESE, Gustave. Music in the Middle Ages, New York: W. W. Norton, London: J.M. Dent & Sons,
1940, pp. 368, 406.
5. GNTHER, Ursula. Der musikalische Stilwandel der franzsischen Liedkunst in der zweiten
Hlfte des 14. Jahrhunderts, dargestelt an Virelais, Balladen und Rondeax von Machaut., Ph.D.
dissertation, University of Hamburg: 1957, p. 40.
6. FISCHER, Kurt von. 'Kontrafakturen und Parodien italienischen Werke des Trecento und frhen
Quattrocento', Annales musicologiques: moyen-ge et Renaissance, V (1957), p. 46.
7. CORSI, Giuseppe. 'Madrigali e ballate inedite del Trecento', Belfagor, XIV (1959), pp. 333, 337.
8. ROKSETH, Yvonne. 'The instrumental music of the Middle Ages and early sixteenth century',
[chapter 12 of] The New Oxford History of Music, edited by Dom Anselm Hughes and Gerald
Abraham, London: Oxford University Press, 1960, p. 79, 423.
9. ELLINWOOD, Leonard. 'The Fourteenth Century in Italy', [chapter 2 of] The New Oxford History
of Music. III. Ars Nova and the Renaissance, edited by Dom Anselm Hughes and Gerald Abraham,
London: Oxford University Press, 1960, pp. 79-80.
10. GNTHER, Ursula. 'Die Mensuralnotation der Ars Nova in Theorie und Praxis', Archiv fr
Musikwissenschaft, XIX-XX (1962), p. 17.
11. GHISI, Federico. 'Gli aspetti musicali della lauda fra il XIV e il XV secolo, prima met',
Natalicia Musicologica Knud Jeppesen, edited by Bjorn Hjelmborg and Soren Sorensen, Hafnia: W.
Hansen, 1962, p. 54.
12. GLLNER, T. 'Landini's "Questa fanciulla" bei Oswald von Wolkenstein', Die Musikforschung,
XVII (1964): 393-98.
13. GNTHER, Ursula. 'Die "anonymen" Kompositionen des Ms. Paris BN, fonds ital, 568 (Pit)',
Archiv fr Musikwissenschaft, XXIII (1966), p. 80.
14. FISCHER, Kurt von. 'Musica e societ nel Trecento italiano', L'Ars nova italiana del Trecento
III: Certaldo 1969, 1970, p. 26.
15. ZIINO, Agostino. 'Ancora sulle composizioni polifoniche di Guardiagrele. Aggiunte e
precisazioni', Rivista italiana di musicologia, VIII (1973): 9-13.
16. GALLO, F. Alberto. Il Medioevo, vol. II, Turin: Edizioni di Torino, 1977. [English translation as
Music of the Middle Ages, vol. II, Cambridge: Cambridge University Press, 1985], pp. 75-76.
17. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978, p. 460.
18. WILKINS, Nigel. Music in the Age of Chaucer, Cambridge: D. S. Brewer, 1979. Chaucer Studies
I, pp. 64-65, 69-70.
19. ARLT, Wulf. 'Instrumentalmusik im Mittelalter: Fragen der Rekonstruktioneiner schriftlosen
Praxis', Basler Jahrbuch fr Historische Musikpraxis, VII (1983), p. 46.
20. LECLERCQ, F. 'Questions propos d'un fragment rcemment dcouvert d'une chanson du
XIV sicle: une autre version de "Par maintes fois"' Musik und Text in der Mehrstimmigkeit des 14.
und 15. Jahrhunderts, Kassel: Brenreiter, 1984, p. 204.
186.
fol. 85v, Je voy le bon tens venir (virelai))
Je voy le bon tens venir. anonymous virelai

Sources
Paris: Bibliothque Nationale, fonds nouv. acq. franais 6771 (Reina Codex), fol. 67 (3/2), 85v.
Editions
1. A Fourteenth-Century Repertory from the Codex Reina, edited by Nigel Wilkins, [n.p.]: American
Institute of Musicology, 1966. Corpus Mensurabilis Musicae 36, p. 44.
2. French Secular Compositions of the Fourteenth Century, music edited by Willi Apel, texts edited by
Samuel N. Rosenberg, Rome: American Institute of Musicology, 1972. Corpus Mensurabilis Musicae
53/III, p. 28.
3. French Secular Music. Virelais, edited by Gordon K. Greene, Monaco: Editions de L'Oiseau-Lyre,
1987. Polyphonic Music of the Fourteenth Century XXI, p. 92.
Literature
HASSELMAN, Margaret P. The French Chanson of the Mid-Fourteenth Century, 2 vols., Ph.D.
dissertation, University of California (Berkeley), pp. 185-187.
187.
fol. 85v, Je voy le bon tens (intabulation from vocal model))
Je voy le bon tens. anonymous intabulation after a vocal original

Sources
Paris: Bibliothque Nationale, fonds nouv. acq. franais 6771 (Reina Codex), fol. 85v (2/0).
Editions
French Secular Music. Virelais, edited by Gordon K. Greene, Monaco: Editions de L'Oiseau-Lyre, 1987.
Polyphonic Music of the Fourteenth Century XXI, p. 94.
Literature
BORREN, Charles van den. Le manuscrit musical 222 C. 22 de la bibliothque de Strasbourg (XVe
sicle) brul en 1870, et reconstitu d'aprs une copie d'Edmond de Coussemaker, Antwerp: E.
Secelle, 1924, pp. 71-72.
188.
189.
fol. 105v-106, Mersi chiamando adiuto (Bartholomeus de Bononia))

fol. 113v-114, Quant si loing suy de ma joyeuse joye (rondeau))
LITERATURE
1. Anonymous French Verse, edited by N. H. Wallis, London: 1929.

2. The Works of Francesco Landini, edited by Leonard Ellinwood,
Cambridge/Massachusetts: The Mediaeval Academy of America, 1939.
3. APEL, Willi. The Notation of Polyphonic Music 900-1600,
Cambridge/Massachusetts: The Medieval Academy of America, 1942.
4. PIRROTTA, Nino and Ettore LI GOTTI. 'Paolo Tenorista, fiorentino "extra
moenia"', Estudios Dedicados a Menndez Pidal III, Madrid: S. Aguirre, 1952,
pp. 577-606.
5. FISCHER, Kurt von. Studien zur italienischen Musik des Trecento und frhen
Quattrocento, Bern: Haupt, 1956. Publikationen der Schweizerischen
Musikforschenden Gesellschaft, Ser. II, Vol. 5.
6. FISCHER, Kurt von. 'The manuscript Paris, Bibl. nat., nouv. acq. fr. 6771
(Codex Reina = PR)'.
7. FISCHER, Kurt von. 'Trecentomusik - Trecentoprobleme: ein kritischer
Forschungsbericht', Acta Musicologica, XXX (1958): 179-199.
8. FISCHER, Kurt von. 'Drei unbekannte Werke von Jacopo da Bologna und
Bartolino da Padua?', Miscelnea en Homenaje a Monsenor Higinio Angls,
Barcelona: 1958-1961, Vol. 1, pp. 265-281.
9. FICKER, Rudolf von. 'The transition on the continent', [chapter 5 of] The New
Oxford History of Music. III. Ars Nova and the Renaissance, edited by Dom
Anselm Hughes and Gerald Abraham, London: Oxford University Press, 1960.
10. REANEY, Gilbert. 'Pariser Handschriften', Die Musik in Geschichte und
Gegenwart, X (1962): 796-797.
11. WILKINS, Nigel. 'The Codex Reina: a revised description (Paris Bibl. Nat. ms.
n.a.fr. 6771)'.
12. FISCHER, Kurt von. 'Reina, Codex', Die Musik in Geschichte und Gegenwart,
XI (1963): 179-181.
13. FISCHER, Kurt von. 'Reply to N. E. Wilkins' article on Codex Reina', Musica
Disciplina, XVII (1963): 75-77.
14. A Critical Edition of the French and Italian Texts and Music Contained in the
Codex Reina (Paris, Bibl. Nat., N.A. fr. 6771), Ph.D. dissertation, University of
Nottingham: 1963-1964.
15. HAGOPIAN, Viola L. Italian Ars Nova Music. A Bibliographic Guide to
Modern Editions and Related Literature, Berkeley, Los Angeles, London:
University of California Press, 1964, pp. 42, 56-57, 56/n45, 69, 78, 79, 86, 88,.
16. A Fourteenth-Century Repertory from the Codex Reina, edited by Nigel Wilkins,
[n.p.]: American Institute of Musicology, 1966. Corpus Mensurabilis Musicae
36.
17. A Fifteenth-Century Repertory from the Codex Reina, edited by Nigel Wilkins,
[n.p.]: American Institute of Musicology, 1966. Corpus Mensurabilis Musicae
37.
18. GNTHER, Ursula. 'Bemerkungen zum lteren franzsischen Repertoire des
Codex Reina', Archiv fr Musikwissenschaft, XXIV (1967): 237-252.
19. Italian Secular Music by Magister Piero, Giovanni da Firenze and Jacopo da
Bologna, edited by W. Thomas Marrocco, Monaco: Editions de L'Oiseau-Lyre,
1967. Polyphonic Music of the Fourteenth Century VI.
20. PIRROTTA, Nino. 'Musica polifonica per un testo attributo a Federico II', L'Ars
nova italiana del Trecento: Certaldo, 1961-1967, 1968, pp. 97-108.
21. HASSELMAN, Margaret P. The French Chanson of the Mid-Fourteenth
Century, 2 vols, Ph.D. dissertation, University of California (Berkeley): 1970,
pp. 82-83.
22. HUGHES, Andrew. 'Viella: facere non possumus', International Musicological
Society: Report of the Eleventh Congress, Copenhagen: 1972, Vol. I, pp. 453 456.
23. PIRROTTA, Nino. 'New glimpses of an unwritten tradition', Words and Music:
The Scholar's View, edited by Laurence Berman, Cambridge: Harvard
University, 1972, pp. 271-292.
24. NADAS, John. 'The Codex Reina revisited'. Paper read at the 48th annual
meeting of the American Musicological Society, University of Michigan, 4-7
November, 1982.
25. French Secular Music. Ballades and Canons, edited by Gordon K. Greene,
Monaco: Editions de L'Oiseau-Lyre, 1982. Polyphonic Music of the Fourteenth
Century XX.
26. NADAS, John. The Transmission of Trecento Secular Polyphony: Manuscript
Production and Scribal Practices in Italy at the End of the Middle Ages, Ph.D.
dissertation, New York University, 1985.
CONCORDANCES
1.Assisi, Biblioteca Comunale 187 (108, Donna, s'i' t'[h]o fallito).
2.Autun, Bibliothque Municipale 152 (olim 130) (160v, De Narcissus, home tres
ourgilleus).
3.Basel, Staatsarchiv, Urkunden-Fragment (3v, [Je] languis d'amere mort).
4.Bern, Brgerbibliothek 218 (MachK) (59v, En amer a douce vie; 60v, Dame, de qui
toute ma joie vient).
5.Bern, Brgerbibliothek A 421 (19v, Quant si loing suy de ma joyeuse joye).
6.Bologna, Biblioteca Universitaria 596, busta HH2 (n1, La grant biaut et la
douchour).
7.Bologna, Biblioteca Universitaria 1072 XI 9 (5, O ciecho mondo di lusinghe pieno).
8.Cambrai, Bibliothque Municipale B. 1328 (1176), ff.8-15 (11v, Plasanche, or tost a
eux vous assambls).
9.Cambrai, Bibliothque Municipale B. 1328 (1176), f. 16 (16 (#23), De ce que foul
pens souvent remaynt).

10.Cambrai, Bibliothque Municipale B. 1328 (1176), ff.17-18 (18v (#15), De ce que
foul pens souvent remaynt).
11.Cambridge, Magdalene College, Pepys Library 1594 (23v-24, En amer a douce vie;
25v, Dame, de qui toute ma joie vient).
12.Cambridge, University Library, Additional 5943 (165v, Le gay plaisir et la doce
esperance).
13.Chantilly, Bibliothque du Muse Cond 564 (17, Fuions de ci, fuions, povre
compaingne; 19v, De Narcissus, home tres ourgilleus; 20v, Phiton, Phiton, beste tres
venimeuse; 33v, En atendant souffrir m'estuet grief payne; 39v, En nul estat n'a si grant
fermet 39, En remirant vo douce pourtraiture; 49, De Fortune me doy pleindre et loer;
53v, De ce que foul pens souvent remaynt; 54, Quant Theseus, Hercules et Jason - Ne
quier veoir la biaute d'Absalon; 55, Plasanche, or tost a eux vous assambls; 55v, A
l'arme, a l'arme, sans sejour et sans demour).
14.Copenhagen, Det kongelige Bibliothek, fragment 17a, nos. 2400-2403 (av-bv, Or
sus, vous dorms trop, ma dame joliete).
15.Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini D 1175 (1v, Nel
bel giardino che l'Adice cinge; 2, O dolce apresso un bel perlaro fiume).
16.Florence, Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex) (1,
Agnel son biancho e vo belando, be; 3v-4\2, Nel meo a sey paghon ne vid'un biancho;
5v-6\1, O tu chara sciena mie musica; 7v-8, Sotto l'imperio del possente prine; 8v-9,
Aquila altera, ferma in su la vetta - Uccel di Dio, insengna di giustitia - Creatura
gentile, animal dengno; 9v-10\1, Un bel sparver entil de penna biancha; 9v-10\2, Nel
bel giardino che l'Adice cinge; 10v-11\1, Non al su' amante pi Diana piaque; 10v-11\2,
Posando sopr'un acqua, in sonnio vidi; 11v-12\1, O ciecho mondo di lusinghe pieno;
11v-12\2, Di novo giunto un chavalier errante; 12v-13\2, Prima virtut' constringer la
lingua; 12v-13\1, Osellecto selvaggio per stagione; 13v, Ogelletto silvagio per
stagione; 14v-15\2, Tanto che sete, aquistati nel giusto; 14v-15\1, O dolce apresso un
bel perlaro fiume; 15v-16\2, Lo lume vostro dolce 'l mio singnore; 15v-16\1, I' senti' z
como l'arco d'Amore; 16v-17\1, Fenice fu' e vissi pura e morbida; 17v-18\2, O in Italia
felice Luguria; 17v-18\1, Io mi son un che per le frasch'andando; 19v-20\2, S chome al
canto della bella Yguana; 20v-21\1, Vestssi la cornachia d'altrui penne; 101v-102, La
doulse cere d'un fier animal; 102v-103, I bei senbianti con busiardi efetti; 103v-104\1,
La sacrosanta carit d'amore; 103, Sempre se trova in alta donna amore; 103v-104\2,
Per subito comando; 104v-105\2, Per figura del cielo; 105v-106\1, Alba columba con
sua verde rama; 106v-107\2, Quando la terra parturisse, in verde; 107v-108\1, Le
aurate chiome nodose ed avolte; 108v, Donna liadra de afir vestita; 109v-110,
Imperial sedendo fra pi stelle; 109, Amor, che nel pensier mio viv'e regna; 109v-110,
Imperial sedendo fra pi stelle; 110v, Madonna bench'i' miri in altra parte; 111v,
Miracolosa toa sembianza apare; 112v, Sempre, dona, t'amai de pura voglia; 112, Chi
tempo ha e per vilt tempo aspetta; 113v-114\2, Quel digno de memoria se p dire; 113,
Se premio de virt sol onore; 114v, El no me giova n val donna fuzire; 115, Perch
canzato 'l mondo da l'antico; 116, Non corer troppo e tien la mano al freno; 118v,
Ama chi t'ama e sempre a bona f 119v-120\1, Qual lege move la volubel rota; 119v120\2, Gioia di nuovi odori; 120v, Per un verde boschetto; 133v, Gram piant' a gli ochi,
greve dolgli' al core; 133, Gentil aspetto in cu' la mente mia; 134v\1, Non do la colp'a
te del duol ch'i' porto; 134, Non n'avr ma' piet questa mie donna; 138\1, Questa
fanciull', Amor, fallami pia; 142v\1, Poi che da te mi convien partir via; 142v\2, S'i' ti
son stat' e volgli' eser fedele; 143v, Quanto pi caro fai; 144v\1, De[h], non fuggir da
me tua vaga vista; 150v\1, Donna, che d'amor senta, non si mova; 150\2, La dolce
vista, che da gli occhi move; 152v-153, Conviens'a fede f, conviens'amore; 157, Chi
pregio vuol in virt pong'amore; 158, Donna, s'i' t'[h]o fallito; 164v\1, Ama, donna, chi
t'amm' a pura fede; 166, Per seguir la sperana che m'ancide; 167\2, Vita non pi
miser n pi ria; 169v\2, In somm' altea t'[h]a posta natura; 169\1, Gi perch'i' penso
nella tuo partita; 170v\1, Sia maladetta l'or' e 'l d ch'io venni).
17.Florence, Biblioteca Medicea-Laurenziana, Palatino 105 (123v, O ciecho mondo di
lusinghe pieno).
18.Florence, Biblioteca Nazionale Centrale, Incunab. F.5.5 (137v, Chi pregio vuol in
virt pong'amore).
19.Florence, Biblioteca Nazionale Centrale, Magliabechiano VII 1041 (47, Donna, che
d'amor senta, non si mova; 47v, Vita non pi miser n pi ria; 48, Ama, donna, chi
t'amm' a pura fede; 48, Per seguir la sperana che m'ancide; 51, O ciecho mondo di
lusinghe pieno; 51v, Gentil aspetto in cu' la mente mia; 52, Non n'avr ma' piet questa
mie donna).
20.Florence, Biblioteca Nazionale Centrale, Magliabechiano VII 1078 (20v, Gi perch'i'
penso nella tuo partita; 23v, Sia maladetta l'or' e 'l d ch'io venni; 36, Gram piant' a gli
ochi, greve dolgli' al core; 36, Vita non pi miser n pi ria).
21.Florence, Biblioteca Nazionale Centrale, Palatino 315 (88v, Nel bel giardino che
l'Adice cinge; 88v, O ciecho mondo di lusinghe pieno; 97v, Sotto l'imperio del possente
prine; 97, Aquila altera, ferma in su la vetta - Uccel di Dio, insengna di giustitia Creatura gentile, animal dengno).
22.Florence, Biblioteca Nazionale Centrale, Panciatichiano 26 (1, Donna, s'i' t'[h]o
fallito; 1v, Gi perch'i' penso nella tuo partita; 5, Poi che da te mi convien partir via;
6v, Sia maladetta l'or' e 'l d ch'io venni; 8v, Ama, donna, chi t'amm' a pura fede; 8, S'i'
ti son stat' e volgli' eser fedele; 10v, Vita non pi miser n pi ria; 11v, Chi pregio vuol
in virt pong'amore; 21v, Per seguir la sperana che m'ancide; 22v, Questa fanciull',
Amor, fallami pia; 24, Non do la colp'a te del duol ch'i' porto; 26, Gram piant' a gli
ochi, greve dolgli' al core; 26v-27\1, Quanto pi caro fai; 27v-28\1, Gentil aspetto in
cu' la mente mia; 30v, Non n'avr ma' piet questa mie donna; 32, De[h], non fuggir da
me tua vaga vista; 32v, Conviens'a fede f, conviens'amore; 47v-48\2, I(i)o son un
pellegrin che vo cercando; 48v-49\1, Agnel son biancho e vo belando, be; 51v-52, O tu
chara sciena mie musica; 55, Nel meo a sey paghon ne vid'un biancho; 61, Tanto che
sete, aquistati nel giusto; 62v, O dolce apresso un bel perlaro fiume; 63v, Nel bel
giardino che l'Adice cinge; 64, O in Italia felice Luguria; 64v, Io mi son un che per le
frasch'andando; 65, O ciecho mondo di lusinghe pieno; 65v-66, Posando sopr'un
acqua, in sonnio vidi; 66v-67\1, Prima virtut' constringer la lingua; 66, Per un verde
boschetto; 67v, Lo lume vostro dolce 'l mio singnore; 68v-69, Osellecto selvaggio per
stagione; 68, Di novo giunto un chavalier errante; 69, [Je] languis d'amere mort;
71v-72, Sotto l'imperio del possente prine; 71, Non al su' amante pi Diana piaque;
72v-73, Ogelletto silvagio per stagione; 73v-74\1, Un bel sparver entil de penna
biancha; 73v-74\2, Jour a jour la vie; 86v-87\2, De ce que foul pens souvent remaynt;
91v-92, Aquila altera, ferma in su la vetta - Uccel di Dio, insengna di giustitia Creatura gentile, animal dengno; 94v-95, S chome al canto della bella Yguana; 97, En
amer a douce vie; 99v, De toutes flours n'avoit et de tous fruis; 108v-109, La doulse
cere d'un fier animal).
23.Florence, Biblioteca Riccardiana 2735 (61, Per un verde boschetto).
24.Florence, San Lorenzo, Archivio Capitolare 2211 [palimpsest] (Av, Quanto pi caro
fai; 3v-4, O tu chara sciena mie musica; 6v-7, I bei senbianti con busiardi efetti; 7v-8,
La doulse cere d'un fier animal; 9v-10, Alba columba con sua verde rama; 11v-12,
Osellecto selvaggio per stagione; 11, I' senti' z como l'arco d'Amore; 12v-13, O ciecho
mondo di lusinghe pieno; 13v-14, Prima virtut' constringer la lingua; 14v-15, Tanto
che sete, aquistati nel giusto; 15v-16, Ogelletto silvagio per stagione; 16v-17, Agnel
son biancho e vo belando, be; 31v-32, Le aurate chiome nodose ed avolte; 32v-33,
37v?, Donna liadra de afir vestita; 33v-34, Se premio de virt sol onore; 35v, Amor,
che nel pensier mio viv'e regna; 37v, Sempre se trova in alta donna amore; 37, Gioia di
nuovi odori; 38v-39, Quel digno de memoria se p dire; 39v-40, Quando la terra
parturisse, in verde; 40v, Qual lege move la volubel rota; 43v-44, Nel bel giardino che
l'Adice cinge; 44v, Io mi son un che per le frasch'andando; 45v-46, Sotto l'imperio del
possente prine; 47v, Un bel sparver entil de penna biancha; 47, O in Italia felice
Luguria; 48, Lo lume vostro dolce 'l mio singnore; 48v-49, Aquila altera, ferma in su la
vetta - Uccel di Dio, insengna di giustitia - Creatura gentile, animal dengno; 100, Vita
non pi miser n pi ria; 109v, S'i' ti son stat' e volgli' eser fedele).
25.Gent, Rijksarchief n.133 (Abbey of the Groenen Briel) (2v, Dame, par le dolz
plaisir).
26.Gent, Rijksarchief, Varia D.3360 (Abbey Ter Haeghen) (1v, [Je] languis d'amere
mort; 1, Or sus, vous dorms trop, ma dame joliete; 3v, De ce que foul pens souvent
remaynt).
27.Grottaferrata, Biblioteca dell' Abbazia E. B.XVI (olim 374) (1v-2, Ma trdol
rosignol joly - Aluette cryante apprs li rysignol - Rosignolin del bos jolin; 3v-4,
Posando sopr'un acqua, in sonnio vidi; 3, Poi che da te mi convien partir via; 3, S
chome al canto della bella Yguana).
28.Grottaferrata, Badia Greca, Biblioteca, collocazione provisoria 197 (3v, En atendant
souffrir m'estuet grief payne).
29.Guardiagrele (Chieti), Chiesa di Santa Maria Maggiore 1 (192v, Questa fanciull',
Amor, fallami pia).
30.Innsbruck, Universittsbibliothek, MS. s.s. (Wolkenstein-Rodeneck Codex) (n48,
Jour a jour la vie; 19v-20, Je voy mon cuer en un bactel vaguer; 22v-23, Fuiis de moy,
ami et trestout ire; 28v, Questa fanciull', Amor, fallami pia).
31.Ivrea, Biblioteca Capitolare 115 (14v-15\2, Or sus, vous dorms trop, ma dame
joliete).
32.London, British Library, Cotton Titus A. xxvi (n1, Jour a jour la vie).
33.London, British Library, Additional 29987 (1v-2, O dolce apresso un bel perlaro
fiume; 2v-3, Di novo giunto un chavalier errante; 3v-4, O dolce apresso un bel
perlaro fiume; 6v-7, O tu chara sciena mie musica; 7v, S chome al canto della bella
Yguana; 11v-12, Alba columba con sua verde rama; 12v-13, Prima virtut' constringer
la lingua; 13v-14, Quando la terra parturisse, in verde; 14v-15, La doulse cere d'un fier
animal; 15v-16, Osellecto selvaggio per stagione; 19v-20, Qual lege move la volubel
rota; 20v-21, Quando la terra parturisse, in verde; 22v-23, Non n'avr ma' piet questa
mie donna; 23, Donna, s'i' t'[h]o fallito; 24, I(i)o son un pellegrin che vo cercando;
28v-29, Gram piant' a gli ochi, greve dolgli' al core; 36, Poi che da te mi convien partir
via; 48v-49, Quanto pi caro fai; 58v, Gi perch'i' penso nella tuo partita; 76v-77, Or
sus, vous dorms trop, ma dame joliete; 79, La dolce vista, che da gli occhi move; 80v81, Per un verde boschetto).
34.London, British Library, Additional 41667(I) (McVeigh fragment) (26, De ce que
foul pens souvent remaynt).
35.London, Westminster Abbey 21 (16, Gais et jolis, lies, chantans et joieus).
36.Lucca, Archivio di Stato 184 (Mancini Codex) (20, La doulse cere d'un fier animal;
20v-21, Donna liadra de afir vestita; 26v, Per un verde boschetto; 26, Gioia di nuovi
odori; 27, La sacrosanta carit d'amore; 27v, Perch canzato 'l mondo da l'antico;
30v-31, Sempre, dona, t'amai de pura voglia; 30, Le aurate chiome nodose ed avolte;
31v, Non corer troppo e tien la mano al freno; 47v, Donna, s'i' t'[h]o fallito; 52, Poi che
da te mi convien partir via; 90v-92, Imperial sedendo fra pi stelle; 90v-92, Imperial
sedendo fra pi stelle; 97v, S'i' ti son stat' e volgli' eser fedele).
37.Melk, Bibliothek des Benediktinerstifts 391 (olim J 1 and 486) (1, Fuiis de moy,
ami et trestout ire).
38.Milan, Biblioteca Trivulziana 193 (145v, Vita non pi miser n pi ria).
39.Modena, Biblioteca Estense e Universitaria a.M.5.24 (Latino 568; olim IV.D.5) (4v5\2, El no me giova n val donna fuzire; 13v, Du val prilleus ou pourpris de jeunesse;
14, Beaut parfaite, bont soverayne; 15v-16, Fuions de ci, fuions, povre compaingne;
21, En atendant souffrir m'estuet grief payne; 22, I bei senbianti con busiardi efetti;
26v\1, En ce gracieux tamps joli; 26, De toutes flours n'avoit et de tous fruis; 28v-29,
Soit tart, tempre, mayn ou soir; 30v-31, Imperial sedendo fra pi stelle; 30v-31,
Imperial sedendo fra pi stelle; 30, Amor me fait desirer layaument; 30v, Gais et jolis,
lies, chantans et joieus; 31v\1, Amour doi je servir, regraciier; 35v-36, En remirant vo
douce pourtraiture; 35\1, Ge la remiray sans mesure; 36, Cortois et sages et a tous doit
plasir; 40, Perch canzato 'l mondo da l'antico).
40.Mons, collection prive F. Leclercq (verso, Plasanche, or tost a eux vous assambls).
41.Montserrat, Biblioteca del Monestir 823 (5v, Quant si loing suy de ma joyeuse joye).
42.Munich, Bayerische Staatsbibliothek, Handschriften-Inkunabelabteilung 352b (olim
Mus. 3725) (Buxheimer Orgelbuch) (43v, En discort sont Desir et Esperance).
43.Munich, Bayerische Staatsbibliothek 29775 (C'estoit ma douce nouriture).
44.Munich, Bayerische Staatsbibliothek, Clm 14274 (olim M.mus. 3232a) (En discort
sont Desir et Esperance; 46v-47, Jour a jour la vie; 58v-59, Questa fanciull', Amor,
fallami pia).
45.Munich, Bayerische Staatsbibliothek, Handschriften-Inkunabelabteilung, Latinus
monacensis 15611 (229v-230, De ce que foul pens souvent remaynt; 232v-233, Bont
de corps en armes esprouve).
46.New York, Pierpont Morgan Library M. 396 (Quant Theseus, Hercules et Jason - Ne
quier veoir la biaute d'Absalon; En amer a douce vie; Dame, de qui toute ma joie vient;
213v, De toutes flours n'avoit et de tous fruis; 214, De Fortune me doy pleindre et loer).
47.New York, Wildenstein Collection (6v, Gais et jolis, lies, chantans et joieus; 20,
Beaut parfaite, bont soverayne; 26, Il m'est avis qu'il n'est dons de Nature; 27, De
Fortune me doy pleindre et loer; 109v, En amer a douce vie; 111v, Dame, de qui toute
ma joie vient; 307v, Il m'est avis qu'il n'est dons de Nature; 308v, De Fortune me doy
pleindre et loer; 313, De toutes flours n'avoit et de tous fruis; 314v, Quant Theseus,
Hercules et Jason - Ne quier veoir la biaute d'Absalon; 315v, Gais et jolis, lies,
chantans et joieus).
48.Oxford, Bodleian Library, MS Canonici Latin Patristic [Scriptores Ecclesiastici] 229
(n3, O ciecho mondo di lusinghe pieno; n9, Donna, s'i' t'[h]o fallito).
49.Padua, Biblioteca Universitaria 658 (1v, O ciecho mondo di lusinghe pieno; 1,
Ogelletto silvagio per stagione; 2, Or sus, vous dorms trop, ma dame joliete).
50.Padua, Biblioteca Universitaria 684 (n2, Gram piant' a gli ochi, greve dolgli' al core;
n3, S'i' ti son stat' e volgli' eser fedele).
51.Padua, Biblioteca Universitaria 1115 (nB, En ce gracieux tamps joli).
52.Padua, Biblioteca Universitaria 1475 (n12, Se questa dea de vert e d'onestate; n14,
De[h], non fuggir da me tua vaga vista).
53.Paris, Muse des Arts, wallhanging (De ce que foul pens souvent remaynt).
54.Paris, Bibliothque de l'Arsenal 5203 (olim 97 BF) (66, En amer a douce vie; 67v,
Dame, de qui toute ma joie vient).
55.Paris, Bibliothque Nationale, fonds franais 843 (Quant Theseus, Hercules et Jason
- Ne quier veoir la biaute d'Absalon; En amer a douce vie; Dame, de qui toute ma joie
vient; De toutes flours n'avoit et de tous fruis; 173v, Gais et jolis, lies, chantans et
joieus; 187, Beaut parfaite, bont soverayne; 193, Il m'est avis qu'il n'est dons de
Nature; 194, De Fortune me doy pleindre et loer; 240v, De Fortune me doy pleindre et
loer; 240v, Il m'est avis qu'il n'est dons de Nature; 243, Gais et jolis, lies, chantans et
joieus).
56.Paris, Bibliothque Nationale, fonds franais 881 (olim 7235) (104v, Gais et jolis,
lies, chantans et joieus; 112v, Beaut parfaite, bont soverayne).
57.Paris, Bibliothque Nationale, fonds franais 1584 (MachA) (68v, En amer a douce
vie; 70v, Dame, de qui toute ma joie vient; 183v, Gais et jolis, lies, chantans et joieus;
196v, Beaut parfaite, bont soverayne; 202v, Il m'est avis qu'il n'est dons de Nature;
203v, De Fortune me doy pleindre et loer; 282, Quant Theseus, Hercules et Jason - Ne
quier veoir la biaute d'Absalon; 464v, Il m'est avis qu'il n'est dons de Nature; 465v, De
Fortune me doy pleindre et loer; 470, De toutes flours n'avoit et de tous fruis; 471v,
Quant Theseus, Hercules et Jason - Ne quier veoir la biaute d'Absalon; 472v, Gais et
jolis, lies, chantans et joieus).
58.Paris, Bibliothque Nationale, fonds franais 1585 (MachB) (6v, Gais et jolis, lies,
chantans et joieus; 37, Beaut parfaite, bont soverayne; 43, Il m'est avis qu'il n'est
dons de Nature; 44, De Fortune me doy pleindre et loer; 126v-127, En amer a douce
vie; 128v, Dame, de qui toute ma joie vient; 305v, Il m'est avis qu'il n'est dons de
Nature; 306v, De Fortune me doy pleindre et loer; 312, De toutes flours n'avoit et de
tous fruis; 313v, Quant Theseus, Hercules et Jason - Ne quier veoir la biaute d'Absalon;
314v, Gais et jolis, lies, chantans et joieus).
59.Paris, Bibliothque Nationale, fonds franais 1586 (MachC) (46, En amer a douce
vie; 47v, Dame, de qui toute ma joie vient; 126v, Gais et jolis, lies, chantans et joieus;
140, Beaut parfaite, bont soverayne; 146v, Il m'est avis qu'il n'est dons de Nature;
147v, De Fortune me doy pleindre et loer; 200, De Fortune me doy pleindre et loer;
204, Il m'est avis qu'il n'est dons de Nature).
60.Paris, Bibliothque Nationale, fonds franais 1587 (olim 612) (8, Gais et jolis, lies,
chantans et joieus; 24v, Beaut parfaite, bont soverayne; 32v, Il m'est avis qu'il n'est
dons de Nature; 33v, De Fortune me doy pleindre et loer).
61.Paris, Bibliothque Nationale, fonds franais 9221 (MachE) (9, Beaut parfaite,
bont soverayne; 31, En amer a douce vie; 32, Dame, de qui toute ma joie vient; 149, Il
m'est avis qu'il n'est dons de Nature; 150v, De Fortune me doy pleindre et loer; 150v,
De toutes flours n'avoit et de tous fruis; 153v, Gais et jolis, lies, chantans et joieus;
199v, Quant Theseus, Hercules et Jason - Ne quier veoir la biaute d'Absalon).
62.Paris, Bibliothque Nationale, fonds franais 22545 (MachF) (54v, En amer a douce
vie; 56v, Dame, de qui toute ma joie vient; 181v, Quant Theseus, Hercules et Jason - Ne
quier veoir la biaute d'Absalon).
63.Paris, Bibliothque Nationale, fonds franais 22546 (MachG) (58v, Beaut parfaite,
bont soverayne; 141v, Il m'est avis qu'il n'est dons de Nature; 142, De Fortune me doy
pleindre et loer; 144, De toutes flours n'avoit et de tous fruis; 146v, Quant Theseus,
Hercules et Jason - Ne quier veoir la biaute d'Absalon; 147v, Gais et jolis, lies,
chantans et joieus).
64.Paris, Bibliothque Nationale, fonds italien 568 (1v-2, Sotto l'imperio del possente
prine; 2v-3, Aquila altera, ferma in su la vetta - Uccel di Dio, insengna di giustitia Creatura gentile, animal dengno; 3v-4\1, Un bel sparver entil de penna biancha; 4v5\1, Non al su' amante pi Diana piaque; 5v-6\1, O ciecho mondo di lusinghe pieno;
6v-7\1, Posando sopr'un acqua, in sonnio vidi; 7v-8\1, Nel bel giardino che l'Adice
cinge; 8v-9\1, O dolce apresso un bel perlaro fiume; 9v-10, Prima virtut' constringer
la lingua; 10v, Di novo giunto un chavalier errante; 18v-19\1, Agnel son biancho e vo
belando, be; 25v-26\2, Passerose de beaut pure et fine; 33v-34, De Narcissus, home
tres ourgilleus; 39v-40, Per un verde boschetto; 41v-42, La doulse cere d'un fier
animal; 42v, I(i)o son un pellegrin che vo cercando; 43v-44, Ogelletto silvagio per
stagione; 47v-48, Imperial sedendo fra pi stelle; 47v-48, Imperial sedendo fra pi
stelle; 61, Ama, donna, chi t'amm' a pura fede; 61v-62, Non n'avr ma' piet questa mie
donna; 62v-63\1, Per seguir la sperana che m'ancide; 66v-67, Gentil aspetto in cu' la
mente mia; 67v-68\1, Sia maladetta l'or' e 'l d ch'io venni; 67v-68\2, Gram piant' a gli
ochi, greve dolgli' al core; 68v-69\1, Gi perch'i' penso nella tuo partita; 69v, Chi
pregio vuol in virt pong'amore; 70v, Questa fanciull', Amor, fallami pia; 85v-86\1,
Donna, s'i' t'[h]o fallito; 89v-90\1, S'i' ti son stat' e volgli' eser fedele; 90v-91, Quanto
pi caro fai; 96v-97\2, El capo biondo; 100, La dolce vista, che da gli occhi move;
103v, Vita non pi miser n pi ria; 104v-105\2, Donna, che d'amor senta, non si
mova; 107v-108, Conviens'a fede f, conviens'amore; 120v, De toutes flours n'avoit et
de tous fruis; 121v\2, Jour a jour la vie; 122, En amer a douce vie; 122v-124, Or sus,
vous dorms trop, ma dame joliete; 124, De ce que foul pens souvent remaynt; 126v127, Ge la remiray sans mesure; 132v-133, [Je] languis d'amere mort).
65.Paris, Bibliothque Nationale, fonds nouv. acq. franais 6221 (18v, 20, Quant
Theseus, Hercules et Jason - Ne quier veoir la biaute d'Absalon; 20, Dame, de qui toute
ma joie vient).
66.Paris, Bibliothque Nationale, fonds nouv. acq. franais 23190 (olim Serrant
Chteau, ducs de la Trmolle) (12v-13, De ce que foul pens souvent remaynt; 12v-13,
De toutes flours n'avoit et de tous fruis; 15v-16, En amer a douce vie; 17v-18, Dame
sans per, que pies'a comparay; 20v-21, De Fortune me doy pleindre et loer; 21v-22, De
Narcissus, home tres ourgilleus; 27, Dame, de qui toute ma joie vient; 28v-29, Mercy ou
mort ay longtemps desir 30v-31, Jour a jour la vie; 32, J'ay grant dsespoir de ma vie;
44v-45, Comme le cerf la fonteine desire; 44v-45, Fuiis de moy, ami et trestout ire).
67.Parma, Archivio di Stato, Busta n.75 (frammenti musicale) (2v, [Je] languis d'amere
mort).
68.Parma, Biblioteca Palatina, Parmense 1081 (92, Agnel son biancho e vo belando, be).
69.Philadelphia, University of Pennsylvania Library, French MS 15 (n178, 179, Quant
Theseus, Hercules et Jason - Ne quier veoir la biaute d'Absalon; n164, De Fortune me
doy pleindre et loer; n173, Gais et jolis, lies, chantans et joieus; Mercy ou mort ay
longtemps desir 48, Tres dolz et loyauls amis).
70.Pistoia, Archivium Capituli Pistoriensis B 3 5 (IIIv, Gentil aspetto in cu' la mente
mia).
71.Praha, Sttn Knihovna CSSR - Universitn Knihovna XI E 9 (248v, [Je] languis
d'amere mort; 249v, Fuiis de moy, ami et trestout ire; 250, Soit tart, tempre, mayn ou
soir; 258, Dame, par le dolz plaisir; 261, Je voy mon cuer en un bactel vaguer).
72.Rome, Biblioteca Apostolica Vaticana, Barberiniano latino 3695 (81, O ciecho
mondo di lusinghe pieno).
73.Rome, Biblioteca Apostolica Vaticana, Chigiano L.IV.131 (385v, O ciecho mondo di
lusinghe pieno; 387v, Gentil aspetto in cu' la mente mia; 387v, Non n'avr ma' piet
questa mie donna).
74.Rome, Biblioteca Apostolica Vaticana, latino 3195 (11v, Non al su' amante pi
Diana piaque).
75.Rome, Biblioteca Apostolica Vaticana, Ottoboniano latino 1790 (77v, Nel meo a sey
paghon ne vid'un biancho).
76.Santa Barbara, Academia Monteverdiana (En atendant souffrir m'estuet grief payne).
77.Strasbourg, Bibliothque Municipale (olim Bibliothque de la Ville) 222 C. 22 (10v,
En tes doulz flans plains de virginit 15v, Amor me fait desirer layaument; 16v, Fuiis
de moy, ami et trestout ire; 17v, Onques ne fu si dure partie; 18, Questa fanciull', Amor,
fallami pia; 24v, Conbienz qu'il soyt que ne vous voy souvent; 36v, De ce que foul pens
souvent remaynt; 43, Los, pris, honeur et avis en ses fais; 47v\2, Dame, par le dolz
plaisir; 48, Jour a jour la vie; 51, En ce gracieux tamps joli; 66v, De Fortune me doy
pleindre et loer; 67v\1, A l'arme, a l'arme, sans sejour et sans demour; 67v\2, [Je]
languis d'amere mort; 74, Bont de corps en armes esprouve; 76v, Or sus, vous
dorms trop, ma dame joliete; 78v\2, Le souvenir de vous, dame excellente; 83, Je voy
mon cuer en un bactel vaguer; 87v, Soit tart, tempre, mayn ou soir; 94-95v, De toutes
flours n'avoit et de tous fruis; 103, S'en vos por moy piti ne truis; 106v, En discort sont
Desir et Esperance).
78.Treviso, Biblioteca Comunale 43 (6v, Poi che da te mi convien partir via).
79.Utrecht, Universiteitsbibliotheek 1846 (shelfmark 6 E 37) (29v, S'espoir n'estoit qui
me donne confort; 29, Mercy ou mort ay longtemps desir 30v, En discort sont Desir et
Esperance).
80.Venice, Biblioteca Nazionale Marciana XIV, lat. 223 (34v, La sacrosanta carit
d'amore).
81.Vienna, sterreichische Nationalbibliothek 5094 (n2, En discort sont Desir et
Esperance).
82.Vienna, sterreichische Nationalbibliothek 2777 (En tes doulz flans plains de
virginit 13v-14, Je voy mon cuer en un bactel vaguer; 14v-15, Jour a jour la vie; 15v16, Fuiis de moy, ami et trestout ire; 30, Questa fanciull', Amor, fallami pia).
83.Vorau, Bibliothek des Augustiner Chorherrenstifts 380 (87v, Soit tart, tempre, mayn
ou soir).
84.Warsaw, National Library III. 8054 (olim Krasinski 52) (184, En discort sont Desir
et Esperance).
85.[A late 14th century source, now lost except for a single work preserved in Gerbert's
De cantu et musica sacra, II (1774), repr 1968]. (Mais qu'il vous viengne a plaisance).
London, British Library, Add.28550 [Robertsbridge Codex] (c1360). Keyboard
music on ff.434 only (seeTablature, fig.1). 3 estampies (the 1st incomplete) and 3
motet arrangements (the last incomplete), all anon.; the 1st 2 motets are from the
Roman de Fauvel. Editions: Early English Harmony, i (1897), pl.425 [facs.];
CEKM, i (1963), 19. Literature: J. Wolf: Zur Geschichte der Orgelmusik im
vierzehnten Jahrhundert, KJb, xiv (1899), 1431; W. Apel: The Notation of
Polyphonic Music, 9001600 (Cambridge, MA, 1942, 5/1953/R; Ger. trans., 1962);
C. Parrish: The Notation of Medieval Music (London, 1958); Apel, Eng. trans.,
1972. For the date, see E.H. Roesner: Introduction to Philippe de Vitry: Complete
Works (Monaco, 1984)
London, British Library, Additional 28550

(Robertsbridge Codex)
This manuscript, from the middle third of the century, contains part of a chronicle of the
Abbey of Robertsbridge. Folios 43-44v contain the earliest known keyboard works: 3
estampies and 3 ornamented arrangements of motets (2 from the Roman de Fauvel).
INVENTORY
Rpertoire international des sources musicales. BIV 2. Manuscripts of Polyphonic

Music (c.1320-1400), edited by Gilbert Reaney, G. Henle Verlag: Munich-Duisburg,
1969, pp. 236-238.
CONTENTS
1. fol. 43\1, [untexted work: GB-Lbl 28550 43r] (intabulation))
[untexted work: GB-Lbl 28550 43r] Anonymous intabulation
Sources
London: British Library, Additional 28550 (Robertsbridge Codex), fol. 43 (2/0) (incomplete).
Editions
1. Keyboard Music of the Fourteenth and Fifteenth Centuries, edited by Willi Apel, [n.p.]: American
Institute of Musicology, 1963. Corpus of Early Keyboard Music 1, no. 1.
2. English Music for Mass and Offices (II) and Music for Other Ceremonies, edited by Ernest H. Sanders,
Frank Ll. Harrison and Peter M. Lefferts, Monaco: Editions de L'Oiseau-Lyre, 1986. Polyphonic Music of
the Fourteenth Century XVII, p. 149.
Literature
WILKINS, Nigel. Music in the Age of Chaucer, Cambridge: D. S. Brewer, 1979. Chaucer Studies I,
p. 90
2. fol. 43\2, Estampie (intabulation))

Estampie. Anonymous intabulation
Sources
London: British Library, Additional 28550 (Robertsbridge Codex), fol. 43 (2/0).
Editions
2. Medieval Music, edited by W. Thomas Marrocco and Nicholas Sandon, London: Oxford University
Press, 1977, no. 84.
Literature
pp. 33, examples 7a, 7b.
3. fol. 43v, Estampie retrove (untexted work))
Estampie retrove. Anonymous untexted work

Sources
London: British Library, Additional 28550 (Robertsbridge Codex), fol. 43v (2/0).
Facsimiles
89.
2. ARLT, Wulf. 'Instrumentalmusik im Mittelalter: Fragen der Rekonstruktioneiner schriftlosen Praxis',
Basler Jahrbuch fr Historische Musikpraxis, VII (1983), 60.
Editions
2. Historical Anthology of Music. Vol. I. Oriental, Medieval and Renaissance Music, edited by Archibald
T. Davison and Willi Apel, Cambridge/Massachusetts: Harvard University Press, 1966, no. 58.
Literature
I, p. 90.
(1980), p. 33, examples 5 and 12.
4. fol. 43v-44, Ades[to] (intabulation from vocal model))

Ades[to]. Two-voice intabulation by Philippe de Vitry
Sources
London: British Library, Additional 28550 (Robertsbridge Codex), fol. 43v-44 (2/0).
Facsimiles
1. WOOLDRIDGE, H. E. Early English Harmony, London: Plainsong and Mediaeval Music Society,
1897, vol. I, plates 43-44.
89.
Editions
1. WOLF. Johannes 'Zur Geschichte der Orgelmusik im vierzehnten Jahrhundert', Kirchenmusikalisches
Jahrbuch, XIV (1899), p. 19.
Institute of Musicology, 1963. Corpus of Early Keyboard Music 1, p. 3.
Literature
1. WOLF. Johannes 'Zur Geschichte der Orgelmusik im vierzehnten Jahrhundert', Kirchenmusikalisches
Jahrbuch, XIV (1899), p. 29.
2. ZWICK, Gabriel. 'Deux motets indits de Philippe de Vitry et de Guillaume de Machaut', Revue de
musicologie, XXVII (1948), p. 33.
3. GREENE, Gordon K. 'Incipient Ars nova in the Brussels rotulus', Studies in Music (Canada), I (1976),
p. 12.
4. WILKINS, Nigel. Music in the Age of Chaucer, Cambridge: D. S. Brewer, 1979. Chaucer Studies I, pp.
90-91, 92.
(1980), p. 33, examples 6, 11, 13.
6. LEFFERTS, Peter M. The Motet in England in the Fourteenth Century, Ann Arbor: UMI Research
Press, 1986, p. 264.
5. fol. 44-44v, Tribum quem non abhorruit (intabulation from vocal model))
Tribum quem non abhorruit. Intabulation after a vocal original by Philippe de Vitry
Sources
London: British Library, Additional 28550 (Robertsbridge Codex), fol. 44-44v (2/0).
Facsimiles
1. WOOLDRIDGE, H. E. Early English Harmony, London: Plainsong and Mediaeval Music Society,
1897, vol. I, plates 42-45.
2. WOLF, Johannes. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und
praktischen Quellen, 3 vols., Leipzig: Breitkopf & Hrtel, 1904. [reprinted Hildesheim: G. Olms, 1965],
p. 144.
3. BESSELER, Heinrich and Peter GLKE. Schriftbild der mehrstimmigen Musik, Leipzig: Deutscher
Verlag fr Musik, 1973. Musikgeschichte in Bildern, vol. 3, part 5, plates 18a,b.
Editions
1. WOLF, Johannes. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und
praktischen Quellen, 3 vols., Leipzig: Breitkopf & Hrtel, 1904. [reprinted Hildesheim: G. Olms, 1965],
Vol. III, p. 191.
Literature
1. WOLF. Johannes 'Zur Geschichte der Orgelmusik im vierzehnten Jahrhundert',
Kirchenmusikalisches Jahrbuch, XIV (1899), p. 19.
2. BLACHLY, Alexander. The Motets of Philippe de Vitry, Columbia University (M.A. thesis), pp.
21, 65, 67-68, 78-80.
3. BESSELER, Heinrich and Peter GLKE. Schriftbild der mehrstimmigen Musik, Leipzig:
Deutscher Verlag fr Musik, 1973. Musikgeschichte in Bildern, vol. 3, part 5, pp. 76-77.
4. GREENE, Gordon K. 'Incipient Ars nova in the Brussels rotulus', Studies in Music (Canada), I
(1976), pp. 10-11.
I, pp. 91-92.
(1980), p. 33, examples 8a, 8b.
7. LEFFERTS, Peter M. The Motet in England in the Fourteenth Century, Ann Arbor: UMI Research
Press, 1986, p. 264.
6. fol. 44v, Flos vernalis (intabulation))

Flos vernalis. Anonymous intabulation
Sources
London: British Library, Additional 28550 (Robertsbridge Codex), fol. 44v (2/0) (incomplete).
Editions
Literature
p. 33, examples 9, 10.

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Padua, Archivio di Stato, S. Giustina 553 (14th century). Fragmentary Gloria.

Ave mater ())

Padua: Archivio di Stato, S. Giustina 553 (fragment).

Assisi, Biblioteca Comunale 187

fol. 108, Kyrie (intabulation))

Faenza, Biblioteca Comunale, 117 [Faenza Codex] (c1420). 79 ff., of which 52

di Faenza, L'organo, xx (1982), 335; T. McGee: Instruments and the Faenza

Faenza, Biblioteca Comunale 117 (Faenza Codex)

2. fol. 3v-5, Gloria (intabulation))

3. fol. 36-36v, Indescort. (intabulation from vocal model))

4. fol. 37-37v, Hont paur. (intabulation from vocal model))

5. fol. 37v-38v, De tout flors. (intabulation from vocal model))

6. fol. 38v-39, Aspire refus (intabulation))

7. fol. 39-40, Elas mon cuer (intabulation))

8. fol. 40-40v, De ce fol penser. (intabulation from vocal model))

9. fol. 40v-41v, J'ay grant espoir. (intabulation from vocal model))

10. fol. 41v-42, Constantia (intabulation))

11. fol. 42-43, Le ior (intabulation))

12. fol. 43-43v, Iorlevie. (intabulation from vocal model))

13. fol. 43v-44v, Viuer ne puis (intabulation))

14. fol. 44v-46v, Elas mon cuor (intabulation))

17. fol. 49v, [untexted work: I-FZc 117 n17] (intabulation))

18. fol. 50, J'aime la biaut (intabulation))

19. fol. 50-50v, Iorlevie. (intabulation from vocal model))

21. fol. 52v-54, Tupes[?] (intabulation)

22. fol. 54, Sangilio[?] (intabulation))

23. fol. 54-56, [untexted work: I-FZc 117 n23] (intabulation))

24. fol. 56v-57, Biance flour (intabulation))

25. fol. 57-58, Benedicamus Domino (intabulation))

28. fol. 71-72, La dolce sere. (intabulation from vocal model))

29. fol. 72-73, O ciecho mondo. (intabulation from vocal model))

30. fol. 73-74v, Aquila altera. (intabulation from vocal model)

31. fol. 74v-77, Inperial sedendo. (intabulation from vocal model))

33. fol. 78-79, Non na el so amante. (intabulation from vocal model))

34. fol. 79-79v, Kyrie (intabulation))

36. fol. 80v-81, Bel fiore dana (intabulation))

41. fol. 88-90, Kyrie (intabulation))

42. fol. 90-92v, Gloria (intabulation))

43. fol. 93-94, [untexted work: I-FZc 117 n42] (intabulation))

44. fol. 94v, [untexted work: I-FZc 117 n43] (intabulation))

Faenza: Biblioteca Comunale 117 (Faenza Codex), fol. 94v (2/0).

45. fol. 95, [untexted work: I-FZc 117 n44] (intabulation))

[untexted work: I-FZc 117 n44] anonymous intabulation

46. fol. 95-95v, [untexted work: I-FZc 117 n45] (intabulation))

47. fol. 96-96v, [untexted work: I-FZc 117 n46] (intabulation))

48. fol. 96v-97, Ave maris stella (intabulation))

49. fol. 97-97v, Benedicamus Domino (intabulation))

11. HAGOPIAN, Viola L. Italian Ars Nova Music. A Bibliographic Guide to

Paris, Bibliothque Nationale, nouv.acq.fr.6771 [Reina Codex] (French or Italian,

Paris, Bibliothque Nationale, fonds nouv. acq. franais

1. fol. 1, Lo lume vostro dolce 'l mio singnore (Jacopo da Bologna))

88. fol. 44, Se premio de virt sol onore (Bartolino da Padova))

fol. 50, Quanto pi caro fai (Francesco Landini))

fol. 50v, O graciosa petra (ballata))

fol. 51, Chi pregio vuol in virt pong'amore (Francesco Landini))

fol. 52v, Gentil aspetto in cu' la mente mia (Francesco Landini))

fol. 54, Cortois et sages et a tous doit plasir (Egidius de Francia))

fol. 55, Bont de corps en armes esprouve (ballade))

fol. 56, Phiton, Phiton, beste tres venimeuse (Magister Franciscus))

fol. 56v, Dame qui fust si tres bien assenee (ballade))

fol. 56v-57, En wyflye beildt ghestadt van sinne (ballade))

fol. 57v, Amor me fait desirer layaument (ballade))

fol. 58v, En ce gracieux tamps joli (Jacob Senleches))

fol. 58v-59, La grant biaut et la douchour (virelai))