Linda Page Cummins
Correr 336, Part 4: A New Compendium
of Late Medieval Music Theory
Saint
Bonaventure, on the ways of making books: Someone … writes
the materials of others, adding but nothing of his own, and this
person is said to be the compiler.
(A. J. Minnis, Medieval Theory of
Authorship)
The manuscript Venice, Biblioteca del
Museo Correr, Correr 336, part 4, is devoted principally to a
compilation of Latin music theory texts dealing with hexachords
(including coniunctae) and mutation, intervals, and modal theory,
all presented without attribution.[1] The compiler claims
to have made the collection for his own use and that of pupils;
thus it represents the interests of a musician who was also a
teacher and who chose material that he considered practical,
organized in a way he intended to be useful. Because I have been
able to find concordances for almost all of the texts included in
the longer of the compendium’s two main sections, comparison
with these sources has made it possible to determine what portions
of pre-existing material the compiler included, what he omitted,
what he changed, and how he imposed a design on his borrowed
material. The comparison thus reveals his attitudes, concerns, and
prejudices, as well as his perception of his role as compiler. The
work also provides an example of a compendium or compilation that
is far more than merely a series of copied sources.
The present MS Correr 336 is a composite
volume consisting of four separate manuscripts. At some point after
these were bound together, the folios were numbered sequentially
1-456 (with some errors) at the bottom center of the rectos;
earlier foliations are evident in the last three manuscripts (this
will be explained for part 4 below). According to a table of
contents on the second front flyleaf, the first manuscript contains
the Tractatus de admirandis et secretioribus philosophiae
arcanis by Giovanni Mariano Buri, the second the Opera
spirituale of Bartolomeo Mozzi da Seravalle, dedicated to
Clement XI. The third manuscript contains a hand-written copy,
dated 1502, of the 1496 print of Franchino Gaffurio’s
Practica musice, followed by a treatise in Italian on
mensuration (Perche in ogni cosa la brevita et expeditione de
quella e cosa degna como se dice in Brevitate moderni gaudent
…), the latter not mentioned in the table of contents.
The table of contents makes no reference
whatever to the fourth manuscript, which contains the music theory
compilation; this omission may in part explain why this fourth
manuscript was long overlooked. Giuliano di Bacco identified it as
a source for Divina auxiliante gratia in his 2001 study of
the transmission of the Ars contrapunctus of Johannes de
Muris.[2] A description of the manuscript first
appeared in RISM’s Theory of Music 6 (2003).[3]
Correr 336, part 4, consists of 32 paper
folios (215 x 157 mm) gathered in two fascicles of eight bifolios
each; there are two visible watermarks: a crown somewhat similar to
Briquet 4752 (Carignola 1453) on ff. 425-441 and three mountains
surmounted by a double cross somewhat similar to Briquet 11778
(Padua 1490-1502) on ff. 443-454, both signalled in RISM Theory
of Music 6. Though the folios of part 4 are now numbered
425-456, the original numbering of the bifolios (1-8 for the first
half of the first fascicle and 9-16 for the first half of the
second) is still visible in the lower right corners of the rectos;
thus we know that this document was intended as a work, or at least
as the opening of a work. The collection of music theory was copied
onto the first twenty-three folios (ff. 425-447) in medium brown
ink in a not particularly refined cursive humanistic hand;
paragraphi and some captions are in red, as is a good deal
of underlining of text within the writing block. A collection of
Psalm and Magnificat tones (ff. 448-456), copied in a more careful
book hand using darker ink, seems to be the work of a different
scribe, and I do not consider it in this essay.
The crudeness of the handwriting in the
collection of music theory and the sometimes fanciful but rarely
carefully drawn paragraphi in red ink lead a reader at first
sight to consider this a carelessly produced document—an
impression not ameliorated by a crowded writing block (unlined, but
with the four margins drawn in pencil) in which the number of lines
varies between 32 and 44, initials that appear to have been placed
thoughtlessly, a confusing array of captions in both brown and red
ink (captions in red sometimes duplicating those in brown,
sometimes centered but more often placed in margins or at the ends
of lines or squeezed between them), and a repetitious and seemingly
haphazard sequence of topics—intervals, for instance, are
discussed four times, modal theory five times, hexachords and
mutation six times; the various texts offer differing and sometimes
contradictory views. This first-sight impression is far from
correct, but discerning the compiler’s design depends on both
the identification of the sources from which he borrowed and the
unraveling of visual cues, particularly initials and captions.
The largest initial in the treatise, and
the only one written in red ink and within space left for it in the
writing block, marks the source identified by RISM’s
Theory of Music 6 (pp. 629-30) as a digest of plainchant (on
ff. 434r-444r), drawn "in part" from Marchetto’s
Lucidarium; this is, in fact, Divina auxiliante
gratia, drawn not in part but entirely from the
Lucidarium and known from five other manuscripts.[4] This
copy of Divina includes the chapter titles present in four
of the five other versions of the text;[5] they are written in
the brown ink, given adequate space and often centered, and appear
to have been part of the first layer of copying. Though the entire
caption (Capitulum de plus the topic) appears in the first
entries, the label Capitulum is soon dropped, leaving only
de plus the topic. (The only four red captions found within
the Correr Divina were squeezed into space underneath
examples, and do not appear as captions in the other versions of
that text.)[6] Initials that mark subdivisions of the
Divina text—much smaller than the opening of
Divina but as large or larger than any others in other
sections of the Correr text—are also in brown, placed within
the writing block, and often decorated with red; this also fits the
pattern of other Divina copies. Thus it would appear that
the Correr scribe copied the Divina text from an exemplar
not very different in layout from most other known sources.
If the Divina text is excluded
from consideration of the physical appearance of the Correr
document, two things become clear: only two initials of
considerable size and only two captions that are centered and in
brown ink remain for consideration.
The two large initials, the opening N
(Nota quod sunt tres modi cantandi) and the S (Sciendum
quod mutatio) on folio 426v—both written in brown ink, in
the left margin outside the writing block, and decorated in
red—mark the points at which the compiler began to copy from
his other two main source texts. As the compiler in neither case
began at the beginning of the source texts as they are known from
other manuscripts—that is, did not begin with the incipits
that usually identify such texts—these initials are the only
vestiges that remain to signal the beginning of something new. The
RISM Theory 6 entry indicates material corresponding to
chapter 8 of Berkeley’s First Treatise ("p. 84 et
passim," referring to Ellsworth’s edition), beginning in
Correr on f. 429r (De motetis et aliorum cantuum iudicium
iudicandi); but Berkeley material actually begins on f. 426v
(marked by the initial S just mentioned) and corresponds to the
second through the eighth chapters, that is, the bulk, of
Berkeley’s First Treatise. This extract includes not only the
well-known reference to mode in motets and ballades noted by RISM,
but also the discussions of mutation, mode, and very significantly
coniunctae (hexachords built on notes other than C, G, and
F).[7] RISM does not mention a third substantial
concordant source, Rome, Vallicelliana C.105, 119r-123v, from which
La Fage published excerpts.[8] The Correr compiler
takes material from near the opening of the C.105 treatise as his
own opening statement, following that text through the end of the
discussion of plainchant, breaking off where C.105 begins a
discussion of counterpoint.
Outside Divina, with only two
exceptions, all other captions in Correr (excluding labels for
musical examples) were written in red in spaces too small for them
to have been allocated in advance, and thus were most likely part
of a second layer of copying; their inclusion may in fact have been
as much an afterthought as their physical appearance suggests.
Perhaps the addition of red chapter titles, almost all beginning
with de plus the topic in the manner of the Divina
captions, occurred to the scribe after he had copied the
Divina text.
The two remaining brown captions signal
the large-scale structure of the Correr treatise: first, the title
Ars cantandi at the beginning, followed by the later
addition of scilicet de modis cantandi in red; second,
Manus on folio 444v. These brown captions introduce the two
major divisions of the Correr compendium: Ars cantandi is a
comprehensive survey of the art of plainchant; Manus is at
once a review and an exhortation to pupils to commit the
information presented to memory. These sections having been
established, it becomes possible to address the seemingly haphazard
and repetitious sequence of topics. I will consider the two
sections in order.
ARS CANTANDI
The discussion of hexachords and
mutation in Ars cantandi is drawn principally from unknown
sources concordant first with Vallicelliana C.105, then with
Berkeley; but the compiler seems to have tailored each to create a
more logical sequence of material. He begins (without prologue)
with C.105’s discussion of the properties of hexachords
("There are three manners of singing, square , nature, and soft
or round b"),[9] and continues by identifying the three
initial letters, C, F, G ("In every place where G is found, there
is the beginning [of the hexachord] of square , that is, ut; and
[when ut is] C, there [is the hexachord of] nature; and [when] ut
is F, there is the beginning [of the hexachord] of round b, that
is, soft b.")[10] He omits two short passages on mutation
from C.105 (items I/A/1 and I/A/4), as they anticipate material
better introduced later. Berkeley will provide the bulk of his
discussion of mutation, but as the Berkeley section 1.2 (in
Ellsworth’s edition) begins with a definition of disiuncta
("A disjunction is a violent transition from one hexachord to
another, without whatever mutation of syllables might be possible
there"),[11] the Correr compiler omits it, probably
deeming it inappropriate for opening a discussion of mutation.
Instead he inserts a straightforward definition of mutation and a
discussion of its fundamentals drawn from the tradition of Johannes
de Garlandia (I/A/7/a).[12] Only after this
does he turn to Berkeley’s exhaustive discussion,
encompassing not only the conventional hexachords (item I/A/7/b)
but coniuncta hexachords built on EEb, FF, A,
Bb, D, Eb, a, bb, d,
eb, and aa as well (item I/A/7/b). After a discussion of
mode, which the Correr compiler includes (to be discussed below),
the Berkeley text returns to examples of hexachords, mutations, and
coniunctae (item I/A/9/a-e), which the Correr compiler supplements
with examples and a further discussion he either invented himself
or drew from unidentified sources (items I/A/9/f-g). Thanks to the
compiler’s judicious cutting and pasting, material on
mutation from the three sources follows in a logical and
progressive manner. (The same is true of the treatment of mode he
constructed, as we shall see below.)
Though he omitted Berkeley’s
definition of disiuncta, the compiler of Ars cantandi
retained its examples of the practice (item I/A/9/c), with a
significant modification. He replaced the diminished fifth with the
less objectionable minor sixth (by definition a disiuncta since it
cannot be negotiated within a single hexachord). He also replaced
Berkeley’s caption in which these disiunctae are called
"notable" (notabiles), replacing that term with "good"
(bone)—the strong implication being that he did not
find the diminished fifth "good." And in fact he omits the
diminished fifth both from the list of intervals and their
definitions (I/A/3)—even though the concordant texts in C.105
include it[13]—and from the examples of intervals
he provides in item I/A/9/h; this list, the definitions, and the
examples replace Berkeley’s chapter 9, whose discussion of
intervals includes the diminished fifth.[14]
The compiler introduces modal theory on
f. 425r (item I/A/2), in simple statements drawn from C.105: "Note
that there are four letters that are finals, low D, E, F, and G...
Note that there are eight tones, four authentic and four
plagal."[15] He omits a discussion of the notes of the
gamut as well as material on register and mode duplicated in the
previous passage, but continues with the classification of mode by
species of diatessaron and diapente, the five classes of tones
(perfect, imperfect, pluperfect, mixed, intermixed), rules for
choosing between b natural and b flat in the first tone, and the
doctrine of employing the cord (the note a third above the final)
to determine, in ambiguous cases, whether a mode is authentic or
plagal. These statements present the fundamentals of the modal
theory of Marchetto of Padua, pervasive in Italian music theory
treatises of the fourteenth and fifteenth centuries.[16]
At 427v (item I/A/8), Berkeley provides
a more conventional, but a more complete, doctrine of plainchant:
from Berkeley 1.5 (Ellsworth, 66-75) the definition of mode, the
"original four authentic modes of the Greeks" (protus, deuterus,
tritus, tetrardus) expanded by the addition of four plagal modes to
create eight, the ethnic names of the modes, and ranges of the
modes (regular and irregular; the latter with ranges greater than a
tenth); from Berkeley 1.6 (74-81), the four finals and the modes
that use each, then the initial letters of the various modes; from
Berkeley 1.7 (80-85), examples of the psalm tones. Significantly,
given his lack of hesitation to omit or change material from his
sources, the Correr compiler does retain Berkeley’s doctrine
of mode in polyphonic music.
The culmination of the modal theory is
the full-blown treatment of Marchetto’s doctrine in Divina
auxiliante gratia, ff. 434r-444r (item I/A/10). Divina
includes material from treatises 9 and 11 of the Lucidarium
nearly complete (that is, the bulk of Marchetto’s modal
doctrine, and the preliminary treatment of intervals), treatise 12
on the cord, treatise 13 on rests, and treatise 14 on clefs and
registers. Divina developed its own manuscript tradition,
appearing in six sources (see Contents, note 32); as only one of
them contains the Lucidarium itself (I-PIu, 606), and that
one is devoted in large part to Marchetto’s works, one may
say that in the other five manuscripts Divina functions as a
primary representative of his modal theory, standing in for the
longer treatise. Thus the compiler’s discussion of mode
progresses from the simple statements of C.105 to more
sophisticated treatments, covering both the traditional doctrine of
Berkeley and Marchetto’s more radical approach.
Following the Divina text, which
does not include Marchetto’s subdivision of the tone, the
scribe appends a short passage (f. 444r-v, item I/A/11) dealing
with the tone, semitones, and the smaller dieses taken from
Martianus Capella’s Nuptiae Philologiae et Mercurii.
This may be a nod to one of the most controversial features of
Marchetto’s theory, his division of the tone into five
dieses. Perhaps the compiler of the Correr manuscript only knew
Marchetto’s reputation but did not have a text of the
Lucidarium to copy and so used another text in which the
word diesis appears (though these dieses are not those Marchetto
had described); another Marchettan digest, Sciendum quod
antiquitus, mentions Marchetto’s division of the tone at
the end of a work otherwise devoted entirely to modal
theory.[17]
MANUS
The second section of the Correr
compendium (item I/B) opens with the heading Manus and
closes with a diagram of the information so often projected onto
the hand: the scale, the letters, hexachords and their syllables,
registers, etc. Here the compiler turns to practicality, issuing an
exhortation to pupils to learn terms, "since the beginning of all
knowledge is to know terms, as the Philosopher [Aristotle] says in
the first book of the Posterior Analytics,"[18]
and to commit to memory the material here presented [item I/B/1].
He begins appropriately with gamma, the first letter of the hand,
and with an explanation of its name; this corresponds to the
subject matter he had deleted from the beginning of Vallicelliana
C.105, and also from the beginning of Divina auxiliante
gratia. (The opening of Manus is similar to, but not a
literal repetition of, the Divina opening; see below.) He
continues with a review of the Ars cantandi material,
repeating the introductory paragraph on mutation literally, several
times referring the reader back to information given "previously"
(antea); but in this section, information is presented in
formats more conducive to memorization.[19]
Mnemonic verses for remembering the
finals of modes appear on f. 447r (item I/B/7):[20]
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The first and second tone are on D or on A
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Est in .d.
uel in a / primus tonus atque secundus:
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The third and the fourth are on E or stand on square
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Tercius et quartus est in e uel in quadrum
statuuntur:
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(the fourth sung with soft b)
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jdem quartus per b molle locutus:
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The fifth and the sixth tones rest on F or on C;
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Cun [sic] quinto et sexto tono in F uel in C
requiescunt:
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The seventh and eighth hold G as their end;
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Septimus et octauus in .g. seseneunt [l.
sustinent?] sibi finem:
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The seventh sometimes comes to rest on high D.
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Septimus in .d. quandoque quiessit acuto:
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A note introducing the verses calls them
"a certain rule for recognizing the tones, briefly
presented—the rule placed at the beginning
notwithstanding";[21] the discrepancy
signalled by "notwithstanding" (non obstante) is surely
between the verses given here—easily memorized in that all
the cofinals lie a fifth above the corresponding finals even though
the high D, often cited as cofinal of the seventh and eighth modes,
is really unsuitable for them, as the third above it is
minor—and the more accurate listing at the beginning of
Ars cantandi, where the cofinals are given as A, square B,
round , and high C.[22]
An exhaustive list (item I/B/5) of the
notes of the gamut with their letter names, syllables, hexachords,
and mutations fully spelled out is, thanks to its repetitions and
formulaic presentation, also in a form conducive to memorization.
The following are typical of the entries, which extend from
Gamma-ut all the way up to E-la:[23]
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Cfaut. C is a low letter; fa and ut are two
syllables and two mutations, fa to ut ascending and ut to fa
descending. Fa is sung through square and is governed by
the ut of Gamma ut; ut is sung through nature in the low register,
and is governed by itself.
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C.faut / C est litera grauis. fa et ut sunt due note
et due mutatione<s> scilicet fa in ut ascendendo ut in fa
descendendo: fa cantatur per quadrum et regitur ab ut de gamaut:
et ut cantatur per naturam et regitur a se ipso /
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…
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…
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Alamire. A is a high letter; la, mi, and re are
three syllables and six mutations, la to mi and vice versa, mi to
re and vice versa, la to re and vice versa. La is sung through
nature and is governed by the ut of Cfaut; mi is sung through soft
b and is governed by the ut of Ffaut; re is sung through square
and is governed by the ut of Gsolreut.
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Alamire. a est litera acuta. la my re sunt tres note
et sex mutationes scilicet la in my et e conuerso / my in re et e
conuerso / la in re et e conuerso: la cantatur per naturam et
regitur ab ut de Cefaut: my cantatur per /b/ molle et regitur ab ut
de ffaut / re cantatur per quadrum et regitur ab ut de
gsolreut:
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After this list, the compiler cautions:
"And all these you are to commit to your memory,"[24]
then he advises readers to turn back to examples of mutation
"notated on folio 5 and following"[25] (i.e., ff.
429r-430v of the current numbering), where such examples do, in
fact, appear. I shall return to this last point.
CONCLUSION
Many of the compiler’s text
manipulations have been noted; one more remains. In every other
copy of Divina auxiliante gratia, the preface reads (minor
variations aside):
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With the aid of divine grace, I intend to compile a
short treatise on the art of plainchant, first for my own
edification, and second for the profit of pupils. [It is] extracted
for the most part from the books of Boethius and the most excellent
teacher, the music theorist Master Marchetto the Paduan.
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Diuina auxiliante gratia breuem tractatum compilare
intendo de arte musicali plana. et hoc primo ad eruditionem mei
secundo ad proficuum adiscentium tamen pro maiori parte ex libris
boetij ac excellentissimi doctoris musici videlicet Magistri
marcheti paduani extractum.
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In place of this, the Correr compiler
introduced Divina only with the phrase "Divina auxiliante
gratia, etc." Did he do this because he regarded the opening as too
well-known to bother copying? Because he intended to use the
remainder of that first sentence later (which he did)? Because he
deliberately wished to suppress the attribution? Though he
relocates the words that in other manuscripts follow his "etc." to
the opening of Manus (and it is this relocation that proves
his copy of Divina included the full preface), he never
names Boethius or Marchetto. There is, in fact, nothing from
Boethius in Divina; Boethius seems to have been mentioned
only auctoritatis causa by its compiler. The compiler of the
Correr compendium seems to have felt little need of auctoritatis
causa or indeed of auctoritas, whether real or invented.
Of the three major texts he chose, only Divina includes an
attribution in the extant sources; the concordant sources for his
shorter excerpts (Martianus Capella, for example) may include an
attribution, but it is not present in the passages he
selected.[26] Whether by choice or by chance, the
Correr compiler needed only the deliberate omission of the
Divina attribution to create a text that lacks any
attribution at all. In fact, the Correr text lacks any appeal to
authority other than to God and Aristotle. The following excerpt
gives the opening of Manus.
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Desiring to treat of the rules of song, first for my
own edification, second for the profit of pupils, not in my own
words but in those of others almost completely—plucking
flowers—with the Lord providing inspiration, I compiled this
short little work; and since the beginning of all knowledge is to
know terms, as the Philosopher says in the first book of the
Posterior Analytics, in those same [words of the others] we shall
consider, first, what gamma is ...
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Cupiens de rationibus cantus tractare. primo ad
erudicionem mei / secundo / ad profectum adissencium / non meis sed
aliorum dictis quasi expleto flores decerpens[27] / domino
Inspirante hoc breue opusculum compilauj: Et quia principium
alicuius scientie est scire terminos ut ait philosophus in primo
posteriorum / in eisdem videbimus primo quid sit gama...
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The reference to Aristotle is not an
appeal to authority to lend credibility to the information
presented; rather it is an appeal to students, urging them to
learn, to memorize. Words from the opening of Divina have
been relocated and refocused to serve what may very well have been
the compiler’s primary purpose—though, as taken from
Divina, it occupies second place: "for the profit of
pupils."
The deliberate excision of material from
a source drawn on for Ars cantandi and the relocation of it
into Manus suggests that whoever compiled the two thought of
them as a unit; but can Correr 336, part 4, be seen as the original
version of the compilation? That is, did the creator of Correr 336,
part 4, compile his text from separate documents, or simply copy a
text that already existed as a unit in some other manuscript?
Consider the treatment of initials in Ars cantandi. In the
part of the text that corresponds to material in Vallicelliana
C.105 there is only one large initial; it is placed in the margin
and decorated with red tracery. In the part that corresponds to
material in the Berkeley treatise, the initials are smaller and
undecorated but still placed in the margins. In the part that
presents Divina auxiliante gratia and the text from
Martianus Capella, initials are relatively large and placed within
the writing block; the first of them, a D that begins the
Divina text and is the largest initial in the manuscript, is
uniquely in red ink. The first initial of Manus is again in
the margin. These variations in style strongly suggest that the
scribe of Correr took not only the words he copied but their visual
style from various exemplars. If so, both the relocation of text
from Divina to Manus and the folio-number reference
in Manus back to a passage in Ars cantandi represent
efforts of the compiler of Correr 336, part 4, to unify the
disparate texts he had borrowed from various sources and arranged
in a feasible order.
In the first sentences of the opening of
Manus (above), the Correr compiler echoes St.
Bonaventure’s definition of the compiler: he has written "not
in my own words but in those of others," but with one caveat:
"almost completely"—and he echoes this definition using the
words of another (the Divina compiler)—"almost
completely." As Parkes and Minnis have shown, much of the
contribution of compilers in the later Middle Ages consisted of
imposing order on the material they copied, often by dividing a
large work into sections, providing new headings, making tables of
contents, even reorganizing material—all to make the
information more accessible to the reader.[28] The Correr
compiler, working with multiple sources, has performed this same
function. He has made the material of music theory accessible by
ordering from simple to more complex, by omitting material (and
perhaps by adding headings) to make smoother and more logical
transitions from one topic to another, and by dividing his material
into two units: knowledge on the one hand, and on the other the
practical methods of absorbing that knowledge.
The Correr compiler has also described
his working method; he chose his sources as though "plucking
flowers"; but it is clear that he has not created this bouquet
willy-nilly. It is a meticulously crafted arrangement of carefully
chosen flowers that the compiler has pruned, selected, separated,
and rearranged to create a bouquet whose design is logical,
practical, and beautiful.
For the profit of modern scholars, the
Correr compiler offers another glimpse into the concerns of the
medieval musician, concerns that center around the selection of
appropriate material and the dissemination and teaching of useful
and practical information; the Correr treatise also illustrates the
liberties a compiler may feel free to take with his source texts,
presents a compilation that exhibits a unity that simple
collections often lack, and thus offers an expanded view of the
variety of forms a compilation may take; and the manuscript itself
should alert scholars to the possibility that physical appearance
may veil, rather than reveal, a logical underlying plan.
Appendix – Contents of Venice,
Biblioteca del Museo Correr, Correr 336, part 4:
cap.
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caption
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cont.
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continues
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del.
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deleted
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ex.
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example
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exp.
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ends
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fig.
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figure
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inc.
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begins
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in marg.
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in margin
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med.
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centered
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rub.
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in red
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sic
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thus
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I. Texts on music theory. Ff.
425r-447v.
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A. Ars cantandi: Compilation of
texts on plainchant. Cap. med.: Ars cantandi [rub.:
scilicet de modis cantandi]. Ff. 425r-445v.
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1. On hexachords, their initial letters and
properties; on the three registers. Inc. Nota quod sunt tres
modi cantandi, scilicet quadro, natura, et b mole...
Cont. [cap. rub.: de natura cantus] Nota quod sunt
tres nature cantus scilicet graves, acute, et superacute...
[cap. rub.: de literis principalibus] Nota quod litere
principales sunt tres scilicet C.F.G... Exp. ... et in g per
quadrum. F. 425r.
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~ Rome, Biblioteca Vallicelliana, MS C.105,[29] f.
119r-v (excerpt in La Fage, 423). C.105 continues with a note on
mutation: "ut re mi ascendit, fa sol <la> quoque
descendit."
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2. On mode.
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a) Inc. [cap. rub.: de tonis] Nota quod
toni sunt 8. primus ascendit quintam re la... Exp. ...
Octauus ascendit quartam: ut fa. F. 425r.
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~ C.105, f. 119v. C.105 continues with a discussion
of the twenty notes of the gamut, their registers, and a list of
the eight modes (the latter two items duplicating material
previously presented).
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b) Inc. [cap. rub.: de finalibus
literis] Nota quod litere finales sunt quatuor... Cont.
littere confinales sunt quatuor... Nota quod primus tonus atque
secundus finitur in d graue... [cap. rub.: de natura
tonorum] Nota quod toni sunt octo. quatuor autentici et quatuor
plagales... [cap. rub.: de perfectione tonorum] Nota quod
tonorum alius perfectus, alius imperfectus, alius
plusquamperfectus, alius mixtus, alius commixtus... [cap.
rub.: de partibus musice] Nota quod partes musice sunt due
species principales scilicet diatesseron et diapente... [cap.
rub.: de formatione tonorum] Nota quod primus tonus formatur ex
prima specie dyapente et ex prima dyatessaron superius... [cap.
rub.: quomodo cantari (sic) debemus tonos perfectos] Nota quod
si primus tonus sit perfectus cantari debet per quadrum...
Exp. ... si per cantaretur tunc in eo reperiatur
tritonus qui omnino est euitandus in omni cantu. Ff. 425r-v.
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~ C.105, 119v-121v (excerpts in La Fage, 423-24).
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3. On intervals. Inc. [cap. rub.: de
speciebus cantuum] Nota quod species cantus sunt 16, scilicet
unisonus. tonus. semitonus... Exp. Bis dyapason est
dispositio 16 [sic] vocum et coherentia 11. [sic]
tonorum cum quatuor semitonis sicut ad [sic] C grauj ad C
superacuto. et in omni loco ubi talis coniuntio invenitur.
Ff. 425v-426r.
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~ C.105, 121v-123r, which presents a slightly
different array of intervals (omitting the unison but including the
diminished fifth, omitted from the list in Correr 336) with
different definitions (excerpts in La Fage, 424); texts of both
C.105 and Correr 336 make similar mistakes in counting the numbers
of tones and semitones in the eleventh, twelfth, and double
octave.
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4. On clefs. Inc. [cap. rub.: de
clavibus] Nota quod clavis est reseratio omnium notarum ...
Exp. secunda [fig.] sic formatur et ponitur in C
acuto. F. 426r.
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~ C.105, 123r (excerpt in La Fage, 424-25). C.105
continues with a note on mutation: "Nota quod mutatio est uariatio
uocis seu note in eodem spatio uel linea eodem sono. Et nota quod
ut mutatio fiat op [sic] oportet ut uoces sint equales."
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5. On the invention of B flat. Inc. [cap.
rub.: de invencione b mollis] Nota quod b rotundum b [sic]
inventum fuit tribus de causis ... Exp. ... tertio causa
essentie in quinto et sexto tono. F. 426r.
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~ C.105, 123r (printed in La Fage, 424-25).
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6. On judgment of mode by the cord. Inc.
[cap. rub.: de corda] Nota quod sunt aliqui cantus qui ultra
dyapente non ascendunt et sub suo fine nisi discendunt ...
Exp. corda septimi et octaui toni est quadrum acutum. F.
426r.
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~ C.105, 123r-v. C.105 continues with a
Graduslehre table and accompanying treatise.
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7. On mutation and coniunctae.
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a) Introduction. Inc. [cap.
rub.: de mutationibus] Mutatio sic difinitur. mutatio est unius
vocis dimissio propter aliam in eodem spacio vel linea ac in eodem
sono: ... Cont. [cap. rub.: propter quid sit mutatio]
Nota quod mutatio aliquando fit causa signi sequentis scilicet b
rotundi et quadri: ... Exp. ... Nota quod ubi sunt due
voces tantum ibi sunt due mutationes. vbi autem sunt tres ibi sunt
6 mutationes. Nota quod in bfa.mi non fit mutatio quia
.bfa.bmi. habet duas diuierssas voces et duas diuerssas litteras et
mutatio oportet fieri eadem voce et sono. quia quadrum habet
signifficare duricies. et b.rotundum molicies. et in duo sunt
contraria ergo de mi in fa non fit mutatio. F. 426r-v.
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~ Ars musice plane optima et perfecta, I-Ls,
359, 107rb-108rb (ed. Nigel Gwee, "De plana musica and
Introductio musice," 348-49; and, less closely,
Introductio musice secundum magistrum de Garlandia, CS
1:160a-b, 161b (reedited on the basis of all sources by Gwee,
264-67, 277-78, and on the basis of four sources by Meyer,
Musica plana Johannis de Garlandia, 72, 75).[30]
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b) Doctrine of mutation, presented as a continuation
of the preceding. Inc. Sciendum quod mutatio prout hic
sumitur nichil aliud est quam unius vocis propter aliam ad minus a
se tono differente dimissio in eodem loco omnino... Cont.
[cap. rub.: de ratione mutationis] Racione vocis quando ut
est infima. la vero suprema ... [cap. rub.: de
coniunctionibus vocum que patent in mutationibus] Pro his sciendum
quod in manu secundum usum sunt loca 14 in quibus sunt coniuntiones
vel compositiones duarum vel plurium vocum... Exp. ... que
omnia supradicta prout manum usualiter concernunt inferius per
exempla declarabo. Ff. 426v.
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~ Berkeley 1.2 (Ellsworth, 48-50)
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c) On coniunctae. Inc. His igitur una cum
infrascriptis exemplis diligenter consideratis. potest unusquisque
voces cuiusque cantus discernere easque secundum rationem debite
iudicare: nisi forte intervenerit aliquis inusitatus cantus. quem
aliqui sed male falssam musicam appelauerunt. alij perfectam
musicam: alij per coniunctam vel coniunctas connominaverunt. et
bene: [cap. rub.: de coniunctionibus cantuum] Est enim
coniuncta quedam aquisita canendi actualis attributio in qua licet
facere de tono semitonum et e converso... Cont. Amplius
autem diversi cantores diversum numerum coniunctarum posuerunt. nan
[sic] allij 7. allij 8 allij vero plures dixerunt esse coniunctas:
[cap. rub.: de proprietatibus cantuum et coniunctis] Dico
autem ego quod 10 posunt esse coniuncte:... Exp. ... quibus
omnibus ut supra scripta sunt cum infrascriptis exemplis. cum
intellectis plenarie atque satis non deberet quis de cognicione
vocum et earum discrecione indicantia in cantu quocunque
aliquatenus dubitare. Ff. 426v-427v.
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~ Berkeley 1.3-4 (Ellsworth, 50-66).
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8. On mode.
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a) Definitions and basic theory.
Inc. [cap. rub.: quid sit tonus] Ad propositum igitur
redeundo videre restat quid sit tonus prout hic sumitur: ...
Cont. [cap. rub.: de ordine cantuum] Omnis vero
cantus regularis debet in 10 vocibus contineri... [cap.
rub.: de modo constituendi cantuum (sic)] Insuper
volentes facere cantum aliquem toni autentici specialiter
ecclesiasticum potest sepe hilariter ascendere et descendere per
quinque voces aut sex et aliquando per 7 vel 8... [cap.
rub.: de motetis et alliis cantibus] De cantibus vero aliis
puta motetis baladis et huiusmodi sciendum quod in placalibus eque
bene possunt ascendi et descendi [sic] per plures voces
sicut in autenticis... [cap. rub.: de locis
finiendi cantus] Sciendum est primo quod quatuor sunt litere
principales in quarum alica cantus ecclesiasticus debet regulariter
facere suum finem... [cap. rub.: de literis
principalibus vel inicialibus incipere debet cantus] Primus autem
tonus finiens in d graue: habet sex litteras principales seu
iniciales... Exp. ... si uero non ascendat in d acutam nisi
bina vice erit octaui toni: Ff. 427v-428v.
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~ Berkeley 1.5-6 (Ellsworth, 66-80).
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b) On Psalm tones. Inc.
[cap. rub.: de Euouae] Preterea cum in finibus
antifonarum ponatur comuniter Euouae. ... [cap.
rub.: versus] Unde versus: Nota primus ad quintam.
secundus ad tertiam. tertius ad sextam. quartus ad quartam. quintus
ad quintam. sextus ad tertiam. septimus ad quintam. octauus ad
quartam. et sic etiam recordor [cap. rub.: de
inceptione spalmorum (sic.) secundum tonos] De inceptionibus
autem spalmorum secundum tonos versus: Primus cum sexto fa sol la
semper abeto... [cap. rub.: de inceptione
tonorum] Nota quod secundus et octauus tonus soleniter incipi
debent per ut re ut fa...[cap. rub.: de
mediacionibus spalmorum (sic)] De mediationibus quidem
ipsorum psalmorum reperio hos versus: Septimus et sextus dant fa mi
re mi ... [cap. rub.: de fine spalmorum per euouae] Fines
autem ipsorum spalmorum senper dicendi sunt pro ut Euouae
demonstrant: Et hoc Euouae debet sic regulariter terminari ut post
eorum finem congrua fieri possit inceptio antiphonarum. F.
428v.
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~ Berkeley 1.7 (Ellsworth, 80-84).
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c) On mode in motets and ballades (further), diagram
of gamut. Inc. [cap. rub. med.:
De motetis et aliorum cantuum Iudicium iudicandi] Restat quidem
nunc de cantibus aliis puta motetis. baladis et huiusmodi de quibus
[del.] tonis seu modis iudicandi fuerint aliqua
declaracione: ... (examples) Exp. Opus duorum graduum ex
quinque coniunctim et diuisim in prima deductione et sic potest
fieri in aliis deductionibus istorum duorum graduum et aliorum
trium per ordinem: (Ex.). F. 429r.
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~ Berkeley 1.8 (Ellsworth, 84-86, 88
Exx. 8 ["Primus gradus"] and 9 ["Secundus gradus,"
truncated]).[31]
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9) Material on hexachords, mutations, coniunctae,
intervals.
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a) [cap. med.
rub.: De deductionibus] Prima deductio cuius omnes
uoces cantantur per quadrum. ... (Exx.). F. 429r-v.
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~ Berkeley, 88, Exx. 1-7.
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b) [cap. rub.: De locis 14 que
sunt in manu.] sequntur 14 loca in quibus possunt fieri mutationes
de voce in vocem ... Ff. 429v-430v.
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~ Berkeley, 92, Exx. 26-39.
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c) [cap. rub.: Iste
sunt quedam bone disiuncte.] Iste sunt quedam bone disiuncte. Ff.
430v-431r.
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~ Berkeley, 94, Ex. 40.
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d) [cap. rub.:
deductiones coniunctarum]. F. 431r.
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~ Berkeley, 94, Exx. 45, 46, 43.
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e) [cap. rub.: gradus] F.
431r.
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~ Berkeley, 88, Exx. 1 (again), 9-12 condensed; 90,
Exx. 13-25 highly condensed.
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f) Examples of mutation. [cap.
rub.: de mutationibus] De mutationibus. Mutatio est
dimissio unius vocis propter alteram propinquam (Exx.). F.
431r-v.
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g) On letters, hexachords, and
mutations. Inc. [cap. rub.: de literis
musicalibus] In principio sunt septem litere musicales videlicet
a.b.c.d.e.f.g ... Cont. [cap. rub.: de
deducionibus quod sunt] Deduciones sunt tres videlicet naturam. b
molle seu rotundum. et quadrum ... [cap.
rub.: quid est deducio] Deducio est discursus sex
vocum videlicet ut re my fa sol la ... [cap. rub.: versus]
Versus. ut re my scandunt: fa sol la quoque desendunt: (Exx. of
mutations: per quadro grave ... mutationes ascendendo et
descendendo a b molle supra acuto in supra acuto ut hic) Ff.
431v-433v.
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h) On intervals, with examples: Unisonus. Tonus.
Semitonus. Ditonus. Dyapente. Tonus cum diapente. Semitonus cum
dyapente. Dyatesseron. Tritonus. Diapason. Exadem. Eptadem.
Bisdyapason. Ff. 433v-434r.
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10. On mode: Divina auxiliante gratia.[32]
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a) Preface, presented as a continuation of the
preceding discussion of intervals. Inc. [cap. rub.
med.: De duobus genera (sic) specierum] Divina
auxiliante gratia etc. et brevitatis causa ... Exp. ...
accedo ad duo genera specierum, videlicet dyatesseron et dyapente /
ad hoc ut istis cognitis faciliter omnes toni possent cognosci. F.
434r
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b) On the species of diatessaron and
diapente. Inc. Pro cuius declaratione sciendum est quod
licet nos primo dicamus in manu gamaut ... Cont. ars ibi non
incipit. sed solum in a re. et incipit prima species dyatesseron
que formatur a tono semitono et tono:... De istis autem qualiter
omnes autentici et placales toni formantur inferius clare patebit:
Ff. 434r-435r.
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~ Marchetto, Lucidarium 9.1.70,
77-114 (Herlinger, 340-60).
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c) On the modes. Inc. [cap.: Capitulum
de tonis; cap. rub.: Capitulum de tonis] Accedendo ad
declaracionem tonorum videndum est quod quatuor sunt toni scilicet
primus tertius quintus septimus ... Cont. [cap. rub.:
de perfectione et imperfectione tonorum autenticorum; cap.:
Capitulum de perfeccione et inperfeccione tonorum] Visis et tonis
autenticis et placalibus nunc uidendum est de ipsorum
perfeccionibus... [cap. rub.: De perfectione tonorum
placalium] In placalibus uero scilicet perfectus ascensus est
cuiuslibet a suo finali sextam ascendere et quartam a suo finali
descendere et non vltra... [cap. rub.: De imperfectione
tonorum] Tonus autem imperfectus siue sit autenticus siue sit
placalis ... Exp. ... uel cum alio quam cum suo autentico si
sit placalis videtur conmisceri. Ff. 435r-436r.
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~ Marchetto, Lucidarium 11.2.1-34 (Herlinger,
372-88).
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d) On judgment of the modes. Inc.
[cap.: Capitulum quod non solum toni sunt iudicandi propter
ascensum et descensum:] Sunt non nulli qui absque specierum lege
cantus diiudicant cuius toni sunt ... Exp. ... Nos autem
posumus ostendere quomodo cantus per suas distinctiones et species
cognoscantur. F. 436r-v.
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~ Marchetto, Lucidarium 11.3.1-11 (Herlinger,
390-94).
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e) On formation of the first mode. Inc.
[cap.: Capitulum qualiter primus tonus formetur.] Primus
tonus formatur ex prima specie dyapente: que est a d graue ad a
acuto et ex prima specie dyatesseron superius ... Exp. ...
Et talis tonus dicitur aquisitus eo quod eius species aquiruntur
per uariationem signorum b rotundi et quadri et etiam
quia inproprie terminatur: F. 436v-438r.
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~ Marchetto, Lucidarium 11.4.1-48 (Herlinger,
394-416).
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f) On initial notes of the first mode.
Inc. [cap. med.: De principiis primi tonj.] Primus
tonus habet principia sex videlicet C. D. E. F. G gravia et a
acutum:... Cont. Item in c grauj... Item in E graui et hoc
Et hoc [sic] commiste ... Exp. ... Possunt autem
species proprie in principiis propriis terminare et in C et in D
acutis: Mixte autem in mixtis: et commixte in commistis. sed
rarissime in E graui terminare: F. 438r-v.
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~ Marchetto, Lucidarium
11.4.49-59. 73-74, 81-86 (Herlinger, 416-20, 428, 430-32).
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g) On the second mode. [Inc. cap. med.:
De secundo tono:] Secundus tonus formatur ex prima species dyapente
sicut primus: et ex prima dyatesseron: comuni et inferius...
Cont. Secundus autem tonus habet quinque principia propria
videlicet: A.C.D.F graue et vnum plusquamperfectum: scilicet:
gamaut... Exp. ... Possunt autem eius species terminare in
suis principiis propriis. Et in g graue / et in a acuto: F.
438v.
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~ Marchetto, Lucidarium
11.4.87-105 (Herlinger, 432-40).
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h) On the third mode. Inc.
[cap. De tercio tono.] Tercius tonus formatur ex secunda
specie dyapente et secunda dyatesseron superius ... Cont.
Tercius tonus habet principia propria quatuor scilicet E.F.g graue
et C acutum:... Exp. ... ad euitandum tritonum qui caderet
uel cadere posset cum ab b secundo acuto descensum faceret / a d
graue uel ab ipsa E ascensum faceret ad b secundum acutum. Ff.
438v-439r.
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~ Marchetto, Lucidarium 11.4.106-22
(Herlinger, 440-46).
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i) On the fourth mode. Inc. [cap. med.:
De quarto tono.] Quartus tonus formatur a secunda specie dyapente
et secunda dyatesseron. comuni et inferius:... Cont. Quartus
autem tonus habet sex principia scilicet C.d.E.F.G grauia et a
acutum:... Exp. ... Possunt et eius species terminare in
omnibus suis principiis et in quadrum acutum. F. 439r-v.
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~ Marchetto, Lucidarium 11.4.123-36
(Herlinger, 446-52).
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j) On the fifth mode. Inc. [cap. med.:
De quinto tono.] Quintus tonus formatur in suo ascensu ex tercia
specie dyapente: et tercia diatesseron: superius... Cont.
Quintus tonus habet principia propria quatuor. scilicet F et g
graue: a et C acutum: et vnum plusquamperfectum scilicet d graue...
Exp. ... si vero ad ipsum d atingat et ultra dyapason
ascendat a fine dicetur plusquamperfectus supra / et mixtus infra:
F. 439v-440v.
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~ Marchetto, Lucidarium
11.4.137-72 (Herlinger, 454-70).
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k) On the sixth mode. Inc. [cap. med.:
De sexto tono]. Sextus tonus formatur in suo asensu ex tercia
specie dyapente: et tercia dyatesseron: ... Cont. Sextus
tonus habet tria principia vsitata scilicet c.d et f graue...
Exp. ... Possunt autem eius species terminare in omnibus
suis principiis et in g graue: F. 440v.
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~ Marchetto, Lucidarium 11.4.173-83
(Herlinger, 472-76).
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l) On the seventh mode. Inc.
[cap. med.: De septimo tono] Septimus tonus formatur ex
quarta specie dyapente: que sursum est tendens... Cont.
Septimus tonus habet principia sex scilicet F et G graue a et
quadrum acutum. c et d acutum... Exp. ...
Possunt autem eius species terminare in omnibus suis principiis et
in C.E. et g acutis: Ff. 440v-441r.
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~ Marchetto, Lucidarium 11.4.184-96
(Herlinger, 476-82).
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m) On the eighth mode. Inc. [cap. med.:
De octauo tono] Octaus tonus formatur ex quarta specie dyapente:
que incipitur in g graue: et ex tercia specie dyatesseron:...
Cont. Octauus tonus habet propria principia quinque scilicet
d.f.g. grauia a et C acutum: et unum plusquamperfectum scilicet C
graue... Exp. ... Possunt autem eius species terminare in
omnibus suis principiis et in secundo quadro: et d
acutum. F. 441r.
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~ Marchetto, Lucidarium
11.4.197-211 (Herlinger, 482-88).
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n) On the naming of the species of
diatessaron and diapente. Inc. [cap. De speciebus
dyatesseron: et dyapente quomodo in tonis posite nominentur:] Viso
et declarato de tonis qualiter per species formentur uidere oportet
de ipsis speciebus qualiter nominentur:... Exp. Remissa
dicitur illa que fit per tesim id est per descenssum ut hic patet
per exemplum [ex.]. F. 441r-442r.
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~ Marchetto, Lucidarium 11.4.212-30
(Herlinger, 488-508).
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o) On intermediations of the first species of
diapente. Inc. [cap. rub. med.: De interrupcionibus;
cap. De interrupcionibus dyapente et dyatesseron: et quomodo
in quolibet tono interrumpantur:] Et prima interruptio dyapente:
fit ex omnibus suis tonis siue per arsim siue tesim ut patet hic
per exemplum [ex.] ... Sed notandum est quod species
dyapente que fit ex vno interuallo quecunque sit illa: in vno cantu
bis uel ter repercussa fuerit quantumcunque talis cantus descendat.
etiam si non ascendat ultra suum dyapente: a fine talis cantus
dicitur autenticus: ut R. Sint lumbi uestri precinti. F 442r-v.
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~ Marchetto, Lucidarium
11.4.231-48 (Herlinger, 508-16).
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p) On judgment of modes in ambiguous cases.
Inc. [cap. De cantibus qui propter eorum asensum non
sunt autentici et propter eorum descensum non sunt placales:] Sunt
non nullj cantus qui a fine eorum ad dyapente et non vltra
procedunt... Cont. [cap. rub. med.: De Judicio
tonorum per cordam:] Corda namque primi et eius placalis est F
graue... Exp. ... tria semitonia enarmonica sex dieses
faciunt inclusiue: Unus autem tonus continet solum quinque et sic
de omnibus cantibus sunt aduertende regule supradicte: F.
442v-443v.
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~ Marchetto, Lucidarium
12.1.14-44 (Herlinger, 522-32).
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q) On rests. Inc. [cap. De pausis
quomodo debeant figurari in cantu:] Sunt non nulli qui proprio suo
libito voluntatis absque distincionum specierum ratione ipsas in
cantibus figurant ... Exp. ...Neume dicuntur ille que in
vnoquoque tonorum diuersse existunt: que quidem ponuntur tan circha
principium quam circa medium / et circa finem: que senper
terminantur in finali vbi terminari debet cantus in quo posite
sunt. F. 443v.
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~ Marchetto, Lucidarium 13.1.1-11
(Herlinger, 534-36).
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r) On the clef. Inc. [cap. med.: De
clauibus et que sint] Clauis est reseracio notarum in quolibet
cantu signatarum:... Cont. Sed dicet aliquis quid est vox
grauis et acuta... Exp. ... et nota quod vnaqueque vox
humana quantumcunque ascendere posit et descendere: uel
quantumcunque ascensus et descensus est semper penuriam patitur.
Ff. 443v-444r.
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~ Marchetto, Lucidarium 14.1.1-21
(Herlinger, 538-42).
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11. On the tone and smaller intervals. Inc.
Dico quidquid rite sonuerit aut tonum esse aut semitonium aut
quartam toni que diesis appellatur:... Exp. Acumine uero
quod in in [in bis] aciem terminatam gracilis et erecte
modulationis extenditur: Ff. 444r-v.
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~ Martianus Capella, De nuptiis
(Dick, 494-96).[33]
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B. Manus: Compilation of texts on
plainchant for review and memorization. Cap.
med.: Manus. Ff. 444v-447v.
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1. Preface, in part employing words
retrofitted from Divina auxiliante gratia, item I/A/10/a
above: Cupiens de rationibus cantus tractare. primo ad erudicionem
mei. secundo ad profectum adissencium. non meis sed aliorum dictis.
quasi expleto. flores decerpens. domino inspirante hoc breue
opusculum compilavi: F. 444v.
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2. On the letters Γ and A, in part
employing words retrofitted from Divina. Inc. et quia
principium alicuius scientie est scire terminos. ut ait philosophus
... Cont. Dico primo quod gama est nomen grecum ...
Expl. Conclusum est igitur quod prima litera artis nostre
est / a / ubi dicitur / are / et ibi incipiendum est. F. 444v
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3. On letters and registers. Inc. His visis
siendum est quod septem sunt litere in quibus omnis cantus
dinositur ... Exp. ... Sed dicet aliquis quid est vox
gravis. responsum est antea in predicta carta. F. 444v.
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4. On mutation. Inc. Et quia
contingit per sepe ob necessitatis causam mutationes fieri in
huiusmodi scilicet gravi et acuto et e contra. ideo convenienter de
ipsis mutationibus nec non a quibus unaqueque illarum sillabarum
positarum in manu regatur nunc videndum est. Sed primo quid sit
mutatio: Mutatio sic diffinitur. Mutatio est unius vocis dimissio
propter aliam in eodem spacio vel linea et eodem sono...
Exp. ... quia in gamaut et in are: et in +my et ela tantum
vna sola vox reperitur ideo in ipsis nulla fit mutatio quia vna
sola vox mutari non potest. F. 444v-445r.
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Concordance from "Mutatio sic diffinitur
...": see note to item I.A.7.a, above.
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5. On the letters and their syllables,
hexachords, and mutations. Inc. Sed gama ut supra dictum est
est grecum. g [sic; l. Γ] est litera gravis et
ut est nota et cantatur per quadrum et regitur per se sola.
Are... Exp. E la: e est litera superacutissima la est nota
et cantatur per quadrum et regitur ab ut de Gsolreut. Que
omnia ista reducantur ad tui memoriam. Hec de mutationibus dicta
sufficiant. Exempla dictarum mutationum sunt antea scripta et
notata. scilicet in carta quinta et sucessive notata respice. Ff.
445r-446r.
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~ Nicolaus de Capua, Compendium
musicale, Venice, Biblioteca Nazionale Marciana, MS Lat.
VIII.82, ff. 6r-9r.
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6. On intervals. [cap.
rub.: De coniunctione vocum] Inc. Unisonus est
duarum uel plurium vocum coniuncio equalem sonum redencium... Tonus
est coniuncio duarum vocum plenam elevationem redens sine aliquo
intervallo... Semitonus... Exp. ... Semiditonus cum diapason
est coniuncio duarum vocum et dispositio sex tonorum cum tribus
semitonis: Et inuenitur de g [sic; l. Γ] graue in b
molle acuto / de a graue in c acuto / de quadro graue in d
acuto / de d graue in f acuto / de e graue in g superacuto [sic;
l. acuto] / de g acuto in b molle superacuto / de a acuto in c
superacuto / de acuto in d superacuto: Et exempla posita sunt
antea et hec dicta sufficiant: Ff. 446r-447r.
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7. Mnemonic verses on modes. [cap.
rub.: Regula] Inc. Est quedam Regula ad agnoscendum
tonos: breuiter posita non obstante Regula posita in principio ut
patet: Est in .d. uel in a / primus tonus atque secundus:...
Exp. ... Septimus in .d. quandoque quiessit acuto: F.
447r.
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~ Muris, Ars discantus [CS
3:100]; Nicolaus, Compendium [La Fage, 308]; Guilielmus
Monachus, Precepta [CSM 11, 15]; etc.[34]
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8. The gamut. Diagram of hexachords
in the gamut. F. 447v.
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II. Psalm and Magnificat tones. Ff. 448r-456v.
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________________________
[Bio] Linda
Cummins, Coordinator of Musicology at the University of Alabama
(USA), is the author of Debussy and the Fragment (2006) and
is preparing critical editions of the Compendium of Nicolaus
de Capua and Divina auxiliante gratia.
[1] This paper stems from
research for a larger project, an edition and translation of
Divina auxiliante gratia, a fifteenth-century digest of
modal theory from the Lucidarium of Marchetto of Padua,
which Jan Herlinger and I are preparing. Research was carried out
with the assistance of a Research Advisory Committee grant from the
University of Alabama. Thanks are due to the staff of the
Biblioteca del Museo Correr for their courtesy and assistance.
Earlier versions were read at the American Musicological Society,
Annual Meeting, Washington, DC, October 2005; Third Annual
Conference, Louisiana Consortium of Medieval and Renaissance
Scholars, Northwestern Louisiana State University, October 2005;
Medieval and Renaissance Music Conference, Tours, France, July
2005.
[2] Giuliano di Bacco,
De Muris e gli altri: sulla tradizione di un trattato trecentesco
di contrappunto (Lucca: LIM, 2001), 48. With thanks to Di
Bacco, who kindly shared this information before the publication of
his book and whose input has been invaluable.
[3] Christian Meyer,
Giuliano Di Bacco, Pia Ernstbrunner, Alexander Rausch, and Cesarino
Ruini, eds., The Theory of Music: Manuscripts from the
Carolingian Era Up to c. 1500: Addenda, Corrigenda: Descriptive
Catalogue, Répertoire international des sources musicales
B III6 (München: G. Henle, 2003), 627-30.
[4] See Appendix, note 32.
The Correr manuscript has been particularly helpful in establishing
the text of Divina as it is one of only two that transmit
the complete text of the treatise, and the pages of the other
complete version, I-Fl Ashburnham 1119, have been so badly corroded
by ink that the text is sometimes illegible.
[5] In all the others
except I-BGc MAB 21.
[6] One exception: De
interrupcionibus, Correr 336, f. 443r, has a coordinate in
Bergamo MAB 21, f. 84r: De interuptionibus dyapenthe et
dyatexaron Capitulum xxxj.
[7] The Correr manuscript
thus provides an important further witness to the dissemination of
this doctrine in Italy, along with two other Berkeley sources,
Catania D.39 (copied in southern Italy or Sicily in 1473) and
Bergamo MAB 21 (copied in Bergamo in 1487), the latter described
but not collated by Ellsworth.
[8] Adrien de la Fage,
Essais de diptherographie musicale (Paris: Legouix, 1864),
423-28.
[9] Nota quod sunt tres
modj cantandj: scilicet ..quadro. natura. et .b. mole uel
rotundum.
[10] In omni loco
ubi inuenitur .g. ibi est principium .. quadrj scilicet
ut. et .C. ibi natura. et ut .f. ibi est principium .b. rotundj.
scilicet b mole.
[11] The Berkeley
Manuscript, ed. and trans. Oliver B. Ellsworth, Greek and Latin
Music Theory 2 (Lincoln: University of Nebraska Press, 1984),
48-49. The complete statement: “Quia ab una deduccione sepe
sit transitus ad aliam in cantu, quod absque mutacione vocum bono
modo fieri non potest, licet aliquando fiat per disiunctas. Est
enim disiuncta vehemens transitus ab una deduccione in aliam,
absque quacumque vocum mutacione ibi fieri possibile. [Although
there may often be a transition from one hexadhord to another in
song (which cannot be accomplished in a good manner without the
mutation of syllables), it may take place sometimes by
disjunctions. A disjunction is a violent transition from one
hexachord to another, without whatever mutation of syllables might
be possible there.]”
[12] Perhaps the
compiler omitted the C.105 definition of mutation because he
preferred the term dimissio used both in the Garlandia
tradition (“mutatio est vnius uocis dimissio propter aliam in
eodem spacio uel linea ac in eodem sono”] and in Berkeley
(“Racione vocis … de quacumque voce nemo potest nisi ea
dimissa et locus eius inferiori pro ascensu aut superiori pro
descensu assumpta”) over the term variatio in C.105
(“Nota quod mutatio est uariatio uocis sue note in eodem
spatio uel linea eodem sono”).
[13] Despite this
difference and Correr’s inclusion of the unison not present
in C.105, the concordance of Correr with C.105 is underlined by
their common mistakes in counting the numbers of tones and
semitones in the eleventh, twelfth, and double-octave.
[14] Curiously, the
diminished fifth appears in a list of intervals in Manus,
not under its own name but as a type of tritone: “Tritonus
est coniuntio duarum vocum et dispositio trium tonorum sine aliquo
semitono et figuratur vno modo scilicet fa my: et inuenitur de f in
/ et de b in e: ¶Item aliter tritonus est
coniuncio duarum vocum et dispositio duorum [duorum ex trium
corr.] tonorum cum additione duorum semitonorum / et
figuratur vno modo scilicet my fa / et inuenitur de in f / et de e
in b: [The tritone is an interval of two syllables and the
arrangement of three tones without any semitone, and it is written
in one way, fa-mi; it is found from F to square b and from round b
to e. The other tritone is an interval of two syllables and the
arrangement of two tones with the addition of two semitones, and it
is written in one way, mi-fa; it is found from square b to f and
from e to round b.]”
[15] “Nota
quod litere finales sunt quatuor scilicet d. e. f. g graves... Nota
quod toni sunt 8. 4 autentici. et 4 placales.”
[16] Jan Herlinger,
“Marchetto's Influence: The Manuscript Evidence,” in
Music Theory and its Sources: Antiquity and the Middle Ages,
ed. André Barbera, Notre Dame Conferences in Medieval Studies,
no. 1 (Notre Dame, IN: University of Notre Dame Press, 1990),
235-58.
[17] Edited by
Raffaello Monterosso, “Un compendio inedito del
Lucidarium di Marchetto da Padova,” Studi
medievali, 3rd series, 7 (1966): 914-31, on the basis of Pavia,
Biblioteca Universitaria, MS Aldini 361; the compendium is
transmitted also in that library's MS Aldini 450 and in Sevilla,
Biblioteca Capitular y Colombina, MS 5.2.25.
[18] “... quia
principium alicuius scientie est scire terminos ut ait philosophus
in primo posteriorum.”
[19] On this topic,
see Anna-Maria Busse Berger, Medieval Music and the Art of
Memory (Berkeley: University of California Press, 2005).
[20] The RISM
Theory 6 entry notes the comparison (cfr.) of a
“Regula” given on folio 447r with a similar one in the
treatise published by Coussemaker as Tractatus de musica plana
et organica: Scriptorum de musica medii aevi nova series a
Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris:
Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963),
2:484-98.
[21] Et quedam
regula ad agnoscendum tonos breuiter posita non obstante Regula
posita in principio ut patet.
[22] The cofinals
given in Berkeley 1.6 (pp. 76-77) are A for modes 1 and 2,
for mode 3, A for mode 4 (sung with round b), C for
modes 5 and 6, D for modes 7 and 8.
[23] A similar list
appears in the version of the Compendium musicale of
Nicolaus of Capua transmitted in Venice, Marciana, Latini
VIII.82.
[24] Que omnia ista
reducantur ad tui memoriam.
[25] Exempla
dictarum mutationum sunt antea scripta et notata: scilicet in carta
quinta et sucessiue notata respice:
[26] C.105, unlike
some other lists of short statements about music, is not littered
with attributions and misattributions to the great authorities of
music, to Boethius and Guido and Bernardus, “etc.”;
there is no evidence to suggest that the Correr compiler had access
to the third treatise of Berkeley, where the only attribution (to
Doctor Gostaltus francigena) is found (Ellsworth, 182-83)—and
that only in the Catania manuscript.
[27] Cf., e.g.,
“quasi quosdam ex prato flores carperes (as if you were
plucking flowers out of a meadow),” in Fabian Lochner,
“Un Évêque musicien au Xme siècle:
Radbod d’Utrecht (†917),” Tijdschrift van de Vereniging
voor Nederlandse Muziekgeschiedenis 1988, 15; but for ex
prato Correr has expleto very clearly.
[28] A. J. Minnis,
Medieval Theory of Authorship: Scholastic Literary Attitudes in
the Later Middle Ages (London: Scolar Press, 1984),
passim. Malcolm Parkes, “The Influence of the Concepts
of Ordinatio and Compilatio on the Development of the
Book,” in Medieval Learning and Literature, ed. J. J.
G. Alexander and M. T. Gibson, 115-141 (Oxford: Clarendon Press,
1976), passim.
[29] Vallicelliana
C.105 is an Italian collection of music theory texts from the
fourteenth or fifteenth century; see RISM B III2,6.
[30] Nigel Gwee,
“De plana musica and Introductio musice: A
Critical Edition and Translation, with Commentary, of Two Treatises
Attributed to Johannes de Garlandia,” Ph.D. diss., Louisiana
State University, 1996; Christian Meyer, ed., Musica plana
Johannis de Garlandia, Collection d'Études Musicologiques,
91 (Baden-Baden and Bouxwiller: Valentin Koerner, 1998).
[31] RISM, Theory
of Music 6 (p. 629) identifies only the material begining with
item I.A.8.c as concordant with Berkeley: “Ellsworth,
[Berkeley] Manuscript, p. 84 et passim.”
[32] Divina
auxiliante gratia, like other material in the manuscript
presented without identification, is a digest of the modal theory
presented in the Lucidarium of Marchetto of Padua. It has
five concordant sources, all Italian and evidently from the
fifteenth century: I-BGc MAB 21 (olim S.IV.37), 67r-86v;
I-Fl Ashburnham 1119, 36r-46r; I-Fl Pluteus 29.48, 93r-97v; I-PIu
606, 58r-65r; I-Rv B.83, 18r-29v. Jan Herlinger and I are
completing a critical edition and English translation of
Divina.
[33] Martianus
Capella, De nuptiis Philologiae et Mercurii, ed. Adolfus
Dick (Leipzig: B. G. Teubner, 1925), 469-535.
[34] Though RISM,
Theory of Music 6 (p. 630) gives the anonymous Musica
plana et organica as a concordant reading (CS 2:497:
“Est in D vel in A primus tonus atque secundus / Tertius et
quartus in vel E collocantur / Cum quinto sextus in C vel in F
religatur / Septimus, octavus in G sola requiescunt”), this
text differs more from Correr’s than those I list above.
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