Jan Herlinger (Louisiana State University)

Biblioteca Nazionale Marciana, MS Latini, Cl. VIII.85: A Preliminary Report

Appendix A. Critical editions of treatises based on Marciana, Latini, Cl. VIII.85.

Seay, Albert. “An Anonymous Treatise from St. Martial.” Annales musicologiques 5 (1957):7-42. Item 3 of the inventory (Appendix C).

Sachs, Klaus-Jürgen. “Die Contrapunctus-Lehre im 14. und 15. Jahrhundert,” in Die mittelalterliche Lehre von der Mehrstimmigkeit, 187-88. Geschichte der Musiktheorie, ed. Frieder Zaminer, 5. Darmstadt: Wissenschaftliche Buchgesellschaft, 1984. Item 10.

Marchetto of Padua. The “Lucidarium” of Marchetto of Padua: A Critical Edition, Translation, and Commentary. Edited and translated by Jan Herlinger. Chicago: University of Chicago Press, 1985. Items 1a, b, c, and 17.

Johannes Ciconia. “Nova musica” and “De proportionibus”: New Critical Texts and Translations. Edited and translated by Oliver B. Ellsworth. Greek and Latin Music Theory, 9. Lincoln and London: University of Nebraska Press, 1993. Item 11.

Ars practica mensurabilis cantus secundum Iohannem de Muris: Die Recensio maior des sogenannten “Libellus practice cantus mensurabilis”. Edited by Christian Berktold. Bayerische Akademie der Wissenschaften: Veröffentlichungen der Musikhistorischen Kommission, 14. München: Verlag der Bayerischen Akademie der Wissenschaften, 1999. Item 2.

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Appendix B. References to Marciana, Latini, Cl. VIII.85.

 

not included: introductions to editions listed in Appendix A.

 

Valentinelli, Giuseppe. Bibliotheca Manuscripta ad S. Marci Venetiarum. 6 vols. Venezia: Commercio, 1868-73 (Volume 5, 1872).

Wolf, Johannes. “Der niederländische Einfluß in der mehrstimmigen gemessenen Musik bis zum Jahre 1480: Eine bibliographische Skizze.” Tijdschrift der Vereeniging voor Noord-Nederlands Muziekgeschiedenis 6 (1900):197-217.

Handschin, Jacques. “Aus der alten Musiktheorie, 2: Orgel und Organum.” Acta Musicologica 14 (1942):19-27.

Clercx, Suzanne. “Johannes Ciconia théoricien.” Annales musicologiques 3 (1955):39-75.

Gallo, F. Alberto. La teoria della notazione in Italia dalla fine del XIII all’inizio del XV secolo. Bologna: Tamari, 1966.

Fischer, Pieter, ed. The Theory of Music from the Carolingian Era up to 1400, Volume 2: Italy. Répertoire international des sources musicales, B III2. München and Duisburg: Henle, 1968.

Michels, Ulrich. Die Musiktraktate des Johannes de Muris. Beihefte zum Archiv für Musikwissenschaft, 8. Wiesbaden: Steiner, 1970.

Huglo, Michel. Les Tonaires: inventaire, analyse, comparaison. Paris: Société Française de Musicologie, Heugel, 1971.

Sachs, Klaus-Jürgen. Der Contrapunctus im 14. und 15. Jahrhundert: Untersuchungen zum Terminus, zur Lehre und zu den Quellen. Beihefte zum Archiv für Musikwissenschaft, 13. Wiesbaden: Steiner, 1974.

Fuller, Sarah. “An Anonymous Treatise dictus de Sancto Martiale.” Musica Disciplina 31 (1977):5-30.

Herlinger, Jan. “A Fifteenth-Century Italian Compilation of Music Theory.” Acta Musicologica 53 (1981):90-105.

Eggebrecht, Hans Heinrich. “Die Mehrstimmigkeitslehre von ihren Anfängen bis zum 12. Jahrhundert.” In Die mittelalterliche Lehre von der Mehrstimmigkeit, 9-87. Geschichte der Musiktheorie, ed. Frieder Zaminer, 5. Darmstadt: Wissenschaftliche Buchgesellschaft, 1984.

Gallo, F. Alberto. “Die Notationslehre im 14. und 15. Jahrhundert.” In Die mittelalterliche Lehre von der Mehrstimmigkeit, 257-356.

Sachs, Klaus-Jürgen. “Die Contrapunctus-Lehre im 14. und 15. Jahrhundert. In Die mittelalterliche Lehre von der Mehrstimmigkeit, 161-256.

Berger, Karol. Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. Cambridge: Cambridge University Press, 1987.

Katz, Daniel Seth. “The Earliest Sources for the Libellus cantus mensurabilis secundum Johannem de Muris.” Ph. D. dissertation, Duke University, 1989.

Herlinger, Jan. “Marchetto’s Influence: The Manuscript Evidence.” In Music Theory and its Sources: Antiquity and the Middle Ages, ed. André Barbera, 235-58. Notre Dame Conferences in Medieval Studies, 1. Notre Dame, Indiana: University of Notre Dame Press, 1990.

Blackburn, Bonnie J. “Buccellanito, Nicolaus de.” In The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie, vol. 4, 529

Meyer, Christian, ed. The Theory of Music, Volume 6: Manuscripts from the Carolingian Era up to c. 1500 (Addenda, Corrigenda). Répertoire international des sources musicales, B III6. München: Henle, 2003.

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Appendix C. Marciana, Latini, Cl. VIII.85: Structure and Contents.

Items in shaded fields were copied by hands other than the main scribe’s.
 
Libellus 1 (copied Mantova, November 1464)
Fascicle 1 (V), ff. 1-10
1v-10r 1a. Marchetto, Lucidarium, opening through 2.9.4 (breaking off)

caption: In festo virginis katherine et matris sanctissime principiaui Mantue hunc tractatum. In nouembrio 25 currente die. Anno domini 1464

10v 1b. Marchetto, Lucidarium, 2.9.4-2.10.2
  1c. Note stating that most of the Lucidarium text is missing
     
Libellus 2 (copied Bozzolo, May-June 1464)
Fascicles 2 (VI), ff. 11-22; 3 (VI), 23-34; 4 (VI), 35-46; 5 (VII), 47-60
11r-23v 2. Ars practica mensurabilis cantus secundum Iohannem de Muris (=Libellus cantus mensurabilis)
   

inscription at beginning: Michi Resera. B.I.V.

   

inscription at end: B.I.V. Ex actis pensa futura

   

colophon: In bozolo. 12. mensis madij

24r-47v 3. Tractatus dictus de Sancto Martiale
   

inscription: Michi Resera

   

colophon: Finis peractus est huius operis bozoli .19. die mensis Junij. currente festo Sanctorum Geruasij e prothasij. Anno domini. 1464. hora quasi 23.

47v 4. Greek note names, Latin note names
   

inscription: B.V.I. Ex actis pensa futura

48r-56v 5. Texts on counterpoint and coniunctae
    a.  Pair of counterpoint treatises
           Notandum est quod duodecim (48r)
           Sequitur primo contrapunctus nature basse (48r-49v)
b.  Ut unisonus dat (49v-50r)
c.  Incipiunt coniuncte secundum artem et praticam cum plano cantu mixte (50r-56v)
57r-60v Blank  
     
Libellus 3
Fascicle 6 (VI-1), ff. 61-71
61r 6. Sidonius Apollinaris, letter 8 [of Book 2] to Candidianus
61v-67v 7. Nicolaus Auritus de Buccellanito, Introductiones artis musice
68r-v Blank  
69r 8. Regule proportionum in quantum pertinent ad musicam
69v-70r Blank  
70v-71r 9. Proportio est habitudo duorum terminorum ad inuicem
   

inscription: Michi Resera

71v 10. Sciendum est quod novem sunt species contrapuncti
   

inscription: I.H.S.

     
Libellus 4 (copied Mantua, September-October 1463)
Fascicle 7 (VI), ff. 72-83
72r-77r 11. Ciconia, Liber de proportionibus
   

inscription at beginning: Michi resera

   

colophon: Scriptum mantue in domo strennui militis illustrisque uiri domini baltasaris de castello leonis hora quasi 20 die proxima martis precurrente festum sancti michaeli archangeli. Anno domini Mo cccc lxiijo

   

inscription at end: Michi Resera

77v-78r 12. De vi et laudibus musice
   

colophon: Hec ex libro francisci de robertis cuntis mantuani

78r-80v 13a. Isidore, Etymologiae 3.15-23
  13b. Note on the muses (78r, u.r. margin)
   

colophon: Hec Ysydorus sanctissimus ubi supra sabbato primo mensis octobris anno ut supra. hec collecta perfici

80v-82r 14. Nota quod a gamaut
82v Blank  
83r 15. Illustration of hand, with Greek note names
83v 16. Notes on classical subjects
     
Libellus 5
Fascicle 8 (III), ff. 84-89; 9 (I), 90-91
84r 17. Marchetto, Lucidarium 16
84v-88v 18. Tercius liber musice
89r-90v 19. Prolationes sunt due
91r-v 20. Diagram of hexachords; miscellaneous notes
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