Motet Cycles between Devotion and Liturgy

This book explores the corpus of motet cycles composed and disseminated in manuscript and printed sources of polyphony ca. 1470–ca. 1510, including works by Loyset Compère, Gaspar van Weerbeke, and Franchinus Gaffurius. In doing so, it tackles some of the most essential and stimulating issues of late medieval and Renaissance music, clustering around the role of sacred polyphony in the interaction between devotion and liturgy. The different chapters, organized in four sections, cover topics ranging from the relationship between ritual and cycles to the “shape and sound of prayer textsâ€?, revisit the problematic association between Milan, motetti missales and Josquin, and offer a series of case studies approached from an interdisciplinary perspective. By addressing issues of textual and musical design, function, and performance, the book illuminates this fascinating repertory and the rich devotional and cultural context in which it flourished.

About the series Since its establishment in 1933, the Schola Cantorum Basiliensis (University of Applied Sciences and Arts Northwestern Switzerland / Basel Academy of Music) has been involved in the research of historical musical practice. The series Schola Cantorum Basiliensis ­Scripta presents topical subjects and research results in monographic form, whereby a broad ­spectrum of issues and presentation formats is cultivated. The publications are intended not only for specialists, but also for students and interested persons outside the immediate field, and in this way encourage an in-depth occupation with the diversity of early music.

Motet Cycles between Devotion and Liturgy

Motet Cycles between Devotion and Liturgy Edited by Daniele V. Filippi and Agnese Pavanello

Schola Cantor um Basiliensis Scripta 7

Filippi & Pavanello (eds.)

SCB S7

Motet Cycles between Devotion and Liturgy Edited by Daniele V. Filippi and Agnese Pavanello

, 6 % 1

Schwabe Verlag www.schwabeverlag.ch

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22.05.19 13:56

Schola Cantorum Basiliensis Scripta

Veröffentlichungen der Schola Cantorum Basiliensis Fachhochschule Nordwestschweiz / Musik-Akademie Basel Hochschule für Musik Band  Herausgegeben von Thomas Drescher und Martin Kirnbauer

Motet Cycles between Devotion and Liturgy Edited by Daniele V. Filippi and Agnese Pavanello

Schwabe Verlag

Publiziert mit freundlicher Unterstützung der Maja Sacher-Stiftung

Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de.

Copyright © 2019 Schwabe Verlag, Schwabe Verlagsgruppe AG, Basel, Schweiz This work is protected by copyright. No part of it may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, or translated, without the prior written permission of the publisher.

Cover illustration: Incipit of the [Missa] Galeazescha, Milan, Archivio della Veneranda Fabbrica del Duomo di Milano, Sezione Musicale, Librone 3, fol. 125v. © Veneranda Fabbrica del Duomo di Milano Copy-editing: Bonnie J. Blackburn, Oxford Cover design: Die Medienmacher AG, Muttenz Typesetting: Schwabe Verlag, Berlin Print: Hubert & Co., Göttingen Printed in Germany ISBN 978-3-7965-3837-7 rights@schwabe.ch www.schwabeverlag.ch

Contents Preface and Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VII List of illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IX List of music examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XIII Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XVI Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Daniele V. Filippi and Agnese Pavanello I Between Devotion and Liturgy 1 Structure and Meaning in the Mass: The Ordinarium Missae and Beyond . . . . . . . . . . . . . . . . . . . . . .

Andrew Kirkman

1

19

2 Simultaneous Ceremonies at the Collegiate Church of St. Donatian in Bruges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Robert Nosow

37

3 Where Devotion and Liturgy Meet: Reassessing the Milanese Roots of the Motetti missales . . . . . . . .

Daniele V. Filippi

53

4 Horologia Passionis: Hours, Hymns, and Motet Cycles for the Cross and the Passion . . . . . . . . . . . . . . . . . . . . . . . . . . .

Fañch Thoraval

93

II Fashioning the Shape and Sound of Prayer Texts 5 Liturgical Poetry and Poetical Liturgy: The Texts of Motet Cycles as a Continuation of Earlier Textual Practice . . . . . . . . . . . . . . . 135 Hana Vlhová-Wörner 6 Sequence Texts in Transmission (ca. 1200–ca. 1500) . . . . . . . . . . 157 Marco Gozzi 7 “Old Texts for New Music”? Textual and Philological Observations on the Cycles Salve mater salvatoris and Ave Domine Iesu Christe from Librone 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Eva Ferro

vi

CONTENTS

III Milan, Motet Cycles, Josquin 8 Milan, Motet Cycles, Josquin: Further Thoughts on a Familiar Topic . . . . . . . . . . . . . . . . . . . . 221 Joshua Rifkin IV In the Cycle Workshop: Case Studies 9 Praying to Mary: Another Look at Gaspar van Weerbeke’s Marian Motetti missales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Agnese Pavanello 10 Surveying the First Gaffurius Codex: Reconsiderations on the Motetti missales Paradigm . . . . . . . . . . . . . . . . . . . . . . . . . 381 Francesco Rocco Rossi 11 Metre and the Motetti missales . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Clare Bokulich 12 Gaude flore virginali – Message from the “Black Hole”? . . . . . . . 429 Felix Diergarten Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Preface and Acknowledgements To say that the present volume originates from the conference of the same name held in Basel on April 7–8, 2016 gives a very reductive idea of its genesis. The preliminary explorations and rich exchanges of ideas that preceded the meeting, the communal discussion during the conference, and the intense scholarly work that followed all played a decisive role in giving shape to this collection of essays.

The idea of the whole enterprise, its title, and its basic structure occurred in the spring of 2015, only a few months after the launch of the three-year project Motet Cycles (c.1470–c.1510): Compositional Design, Performance, and Cultural Context, funded by the Swiss National Science Foundation (project no. 149236; see http://p3.snf.ch/Project-149236) and hosted by the Schola Cantorum Basiliensis (Fachhochschule Nordwestschweiz, Musik-Akademie Basel).

Those first months had seen the research team engaged in a wide range of activities, from cataloguing the existing motet cycles to sifting the literature, searching the archives, and starting workshops for analysis and performance.

The more we gathered information of different kinds about motet cycles, the more we realized that we needed to widen our horizons, to include questions and topics apparently far removed from the core business of musicology stricto sensu, and to embrace a multidisciplinary perspective. In this spirit we embarked on the conference-and-book project, hoping that the coordinated efforts of a group of distinguished scholars, though far from covering all the possible angles of enquiry, would produce valuable results and reopen the scholarly debate on this topic.

The other members of the research team, our colleagues Marie Verstraete and Felix Diergarten, contributed to the Motet Cycles project in numberless ways, sharing their unique talents, insights, and experiences. We are also thankful to Hanna Marti, who joined the team in the last phase. Dominique Vellard was responsible for the practical part of the project: with his first-hand knowledge of late medieval and Renaissance liturgical music not only did he experiment with the performance of the cycles (leading a group of students and performers from the Schola), but he actively contributed to our reflection on the reconstruction of the original performance contexts for this repertory. Our warm thanks go also to Ozan Karagöz, who led the performance experiments in the last year of the project.

In presenting this volume to the readers, we warmly acknowledge a series of persons and institutions. The infrastructural support of our host institution

v iii

P R E FA C E A N D A C K N OW L E D G E M E N T S

has been crucial: the directors of the Schola Cantorum Basiliensis, first Pedro Memelsdorff, then Thomas Drescher, and the director of the Research department, Martin Kirnbauer, have continuously supported the project, and we are especially grateful for the opportunity to publish our work in the prestigious series Scripta. The volume benefited from a publication grant from the Maja Sacher-Stiftung.

We have had the privilege to cooperate with a distinguished group of contributors. We took advantage of their knowledge and versatility and they kindly accepted to treat specific topics in their chapters in response to our requests: our heartfelt thanks to each and all of them for the opening of new perspectives that their outstanding scholarly work has made possible.

The reader will often find in the book references to the Motet Cycles Database, an online research tool, available in open access at www.motetcycles.ch, prepared and published during the project. To the editors, contributors, and developers of the database go the collective thanks of all its users.

We are thankful to Jeffrey Dean for letting us use his font “Mensuration” to elegantly display mensuration signs.

During our research we have initiated a fruitful collaboration with the Archive of the Veneranda Fabbrica del Duomo di Milano, which hosts the Libroni, or Gaffurius Codices. We are extremely grateful to the archivist, Maddalena Peschiera, and her team for facilitating our work with uncommon generosity and genuine love for scholarly interchange, and to the Veneranda Fabbrica for granting the reproduction of the images from the Libroni included in this volume.

Finally, we want to express our profound gratitude to Bonnie Blackburn, who not only contributed to the peer-reviewing process, but patiently and painstakingly copyedited the book.

Basel, Summer 2018

List of illustrations Fig. 2.1

Map of the Church of St. Donatian and adjacent chapels in 1500 .................................................................................................. 39

Fig. 2.2

Tabula missarum, Bruges, Bisschoppelijk Archief, Reeks D 6, detail ...... 40

Fig. 3.1

Circle of Bernardino Butinone, Ludovico il Moro in bed praying to the Madonna and Child, ca. 1488. Milan, Museo Poldi Pezzoli, no. inv. 1636 ... 56

Fig. 3.2

Beginning of the litany of the BVM in the prayer book of Isabella d’Aragona. Milan, Archivio Storico Civico e Biblioteca Trivulziana, MS 2144, fols. 8v–9r ............................................................................. 58

Fig. 3.3

Ambrosian missal with the names of Bianca Maria and her mother Agnese inserted into a prayer during Mass. Milan, Archivio Storico Civico e Biblioteca Trivulziana, MS 513, fol. 52r .................................... 60

Fig. 3.4

Full-page illumination with the investiture of Ludovico il Moro (1495) in the Messale Arcimboldi. Biblioteca del Capitolo Metropolitano di Milano, MS D.1.13 ............................................................................................. 61

Fig. 3.5

Document of 26 March 1473 detailing the liturgical books and vestments for the Monastery of S. Maria Annunziata in Abbiategrasso which Duke Galeazzo was to pay for. ASMi, Registri delle missive 111a, fol. 45r ................................................................................................. 62

Fig. 3.6

Decorated initial with the emblem of the Veneranda Fabbrica del Duomo from Librone , fol. 2vA, detail ................................................ 69

Fig. 3.7

Fair copy of a letter from Duke Galeazzo to his chapel master Antonio Guinati of 4 June 1473 specifying the location of the singers so people could hear them. Milan, Archivio Storico Civico e Biblioteca Trivulziana, MS Arch. B7 a, fol. 187r, detail ............................................................. 74

Fig. 3.8

ASDMi, Visite Pastorali, Metropolitana XXIV, 20: table of Masses to be celebrated at the Duomo, subdivided by altars ................................. 76

Fig. 3.9

Murder of Duke Galeazzo Sforza, from the title page of Lamento del duca Galeazo Maria, duca di Milano. Quando fu morto nella chiesa di Santo Stefano da Giouan’Andrea da Lampognano (Florence 1568) ........... 79

Fig. 3.10

Gaude virgo mater Christi from a confraternity prayer book.

Milan, Archivio Storico Civico e Biblioteca Trivulziana, MS 417, fols. 38v–39r ......................................................................................... 81

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L I S T O F I L LU S T R AT I O N S

Fig. 3.11

Gaude virgo mater Christi in Bernardino de’ Busti, Mariale seu sermones de beatissima virgine Maria, vol. 3 of his Rosarium sermonum (Brescia: P. M. Marchetti 1588), p. 852 ................................................................. 82

Fig. 3.12

Ave cuius conceptio in a Milanese book of hours of the late fifteenth century. Milan, Archivio Storico Civico e Biblioteca Trivulziana, MS 475, fols. 130v–131r .......................................................................... 89

Fig. 4.1

The Passion as a founding principle of a devotion based on the canonical hours ..................................................................................... 96

Fig. 4.2

The “Septem opera passionis”, “Septem horæ canonicæ”, and “septem dona gratuita”. Aarau, Aargauer Kantonsbibliothek, MS WettF 9, fol. 248r ........................................................................... 97

Fig. 4.3

German translation of the Patris sapientia hymn (together with the Latin version). Munich, Bayerische Staatsbibliothek, 2 Mus. pr. 156–12/14 .............................................................................. 103

Fig. 4.4

French translation of the Patris sapientia hymn (together with the Latin version). Paris, Bibliothèque nationale de France, MS fr. 1869, fol. 8r ... 107

Fig. 4.5

The rubrics of the Natus sapientia cycle. Munich, Bayerische Staatsbibliothek, Mus. ms. 3154, fols. 43v, 44v, 45r, and 45v ............................ 111

Fig. 4.6

The hymn In passione Domini in the Corona spinea office. Karlsruhe, Badische Landesbibliothek, Günterstal 6, fol. 29r ................................. 116

Fig. 4.7

Kneeling in prayer before a private altar from a book of hours. Paris, Bibliothèque nationale de France, MS fr. 1869, fols. 3v–4r .................... 124

Fig. 6.1

The sequence Verbum bonum in Rome, Santa Sabina, MS XIV L 1 (Dominican exemplar), fol. 367r (13th century) .................................... 159

Fig. 6.2

Incipit of Verbum bonum in Salamanca, San Esteban, MS SAL.-CL.01 (second Dominican exemplar), fol. 151r (13th century) .......................... 164

Fig. 6.3

The sequence Verbum bonum in Munich, Universitätsbibliothek, 2° 156 (Cim. 100), fol. 213r (from Moosburg, ca. 1360) .................................... 165

Fig. 6.4

Incipit of Verbum bonum in Florence, Biblioteca Nazionale Centrale, Banco Rari 18, fol. 142r ......................................................................... 165

Fig. 6.5

The sequence Verbum bonum in Graduale sanctuarium ad consuetudinem Sacrosanctae Romanae Ecclesiae (Venice: apud Iuntas 1572), fol. 350r ...... 166

Fig. 6.6

Incipit of the sequence Verbum bonum in two voices in Assisi, Biblioteca del Sacro Convento, Fondo antico, MS 695, fol. 238v (from Reims? early 13th century) .......................................................... 168

L I S T O F I L LU S T R AT I O N S

xi

Fig. 6.7

Incipit of the sequence Verbum bonum in two voices in Burgos, Monasterio de las Huelgas (Las Huelgas Codex, ca. 1300), fols. 36v–37r . 169

Fig. 6.8

Incipit of the sequence Verbum bonum in two voices in Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 628 Helmst., fols. 208v–209r .. 169

Fig. 6.9

Incipit of the sequence Verbum bonum in two voices in Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 1099 Helmst., fol. 141v ............ 170

Fig. 6.10

Incipit of the sequence Verbum bonum in Oxford, Bodleian Library, Lyell 72, fols. 161v–162r (Veneto, 14th century) ..................................... 170

Fig. 6.11

The sequence Verbum bonum in Cividale del Friuli, Museo Archeologico Nazionale, cod. LVI, fol. 332v ............................................................... 171

Fig. 6.12

The sequence Verbum bonum in Cividale del Friuli, Museo Archeologico Nazionale, cod. LVI, fol. 333r ................................................................ 172

Fig. 6.13

Polyphonic setting of Verbum bonum in Munich, Bayerische Staatsbibliothek, Clm 14274 (olim Mus. ms. 3232a) (St. Emmeram Codex), fols. 10v–11r ........................................................................................... 175

Fig. 6.14

Polyphonic setting of Verbum bonum in Munich, Bayerische Staatsbibliothek, Clm 14274 (olim Mus. ms. 3232a) (St. Emmeram Codex), fol. 113v ................................................................................................. 175

Fig. 6.15

Incipit of the sequence Ave mundi in Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 628 Helmst., fol. 186r ...................................... 178

Fig. 6.16

Incipit of the sequence Ave mundi in Trent, Biblioteca musicale Laurence Feininger, MS FC 103, p. 23 (15th century) ........................................... 180

Fig. 6.17

Incipit of the sequence Gaude virgo mater Christi in Bari, Archivio della Basilica di San Nicola, MS 5 (85), fol. 301r (13th century) ............. 184

Fig. 6.18

Incipit of the sequence Gaude virgo mater Christi in Pozsony (Bratislava), Archív mesta, MS EC Lad. 3, EL 18, fol. 351v (Missale notatum Strigoniense, 14th century) ...................................................................... 184

Fig. 8.1

Josquin, Qui velatus facie fuisti, 3a pars, Altus (Petrucci, Motetti B, 1502) .. 264

Fig. 8.2

Josquin, Sanctus de passione, Altus (Petrucci, Fragmenta missarum, 1505) ... 265

Fig. 9.1

Salve mundi domina / et celi regina: text and melody from Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 18.30 Aug. 4°, end 14th c. (1396), fols. 46v–47r ......................................................................................... 346

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L I S T O F I L LU S T R AT I O N S

Fig. 9.2

Salve mundi domina / et celi regina: text and melody from Krajske Muzeum, Knihovna, MS II A 7, Codex Speciálník, pp. 450–451 ........... 348

Fig. 9.3

Letter by Galeazzo Maria Sforza concerning disputes between Dominicans and Franciscans. ASMi, Registri delle missive 120, fol. 155r . 371

Fig. 10.1

Librone , tabula ................................................................................... 385

Fig. 10.2

Librone , tabula (detail of the beginning of the right-hand column) .... 386

Fig. 10.3

Librone , tabula (detail of the left-hand column) ................................. 386

Fig. 10.4

Librone , tabula (detail of the right-hand column) .............................. 387

Fig. 10.5

Librone , tabula (detail of the bottom) ................................................ 389

Fig. 10.6

Librone , fols. 97v–98r, Benedicamus Domino ...................................... 391

Fig. 11.1

Sesquialtera in semibreves and in minims: (a) in semibreves; (b) in minims ........................................................................................ 398

Fig. 11.2

Rhythmic activity plots: (a) Quam pulchra es; (b) O pulcherrima mulierum. White signifies rests and black an abundance of rhythmic activity ................................................................................... 413

Fig. 11.3

Rhythmic activity plot for Compère, Hodie nobis ................................. 413

List of music examples Ex. 8.1

Antoine Busnoys, Ung plus que tous, bb. 1–18 ........................................ 231

Ex. 8.2

Gaspar van Weerbeke, Ave mundi domina (Ave mundi domina, no. 1), bb. 1–44 ................................................................................................ 232

Ex. 8.3

Antoine Busnoys, M’a vostre cueur, bb. 1–13 .......................................... 234

Ex. 8.4

Loyset Compère, Galeazescha, loco Offertorii, bb. 1–11 ........................... 235

Ex. 8.5

Anonymous, Se je mue la couleur/Adieu pour mesuen, bb. 10–38 ............ 236

Ex. 8.6

Loyset Compère, Galeazescha, loco Sanctus, bb. 1–11 (1–6) ..................... 237

Ex. 8.7

Loyset Compère, Galeazescha, ad Elevationem, bb. 19–32 (10–16) .......... 238

Ex. 8.8

Anonymous (Compère?), Ave Domine Jesu Christe, loco Deo gratias, bb. 1–15 (1–8) ........................................................................................ 240

Ex. 8.9

Johannes Regis, O admirabile commercium/Verbum caro factum est, bb. 62–69 ............................................................................................. 242

Ex. 8.10

Johannes Regis, Clangat plebs/Sicut lilium, bb. 168–209 ........................ 246

Ex. 8.11

Johannes Regis, O admirabile commercium/Verbum caro factum est, bb. 41–51 ............................................................................................... 248

Ex. 8.12

(a) Josquin des Prez, Mente tota, bb. 1–14 (Vultum tuum deprecabuntur, bb. 295–308); (b) Gaspar van Weerbeke, Ave regina celorum, mater (Quam pulchra es, no. 5), bb. 1–15 .......................................................... 259

Ex. 8.13

(a) Josquin des Prez, Ora pro nobis, bb. 1–32 (Vultum tuum deprecabuntur, bb. 395–426); (b) Gaspar van Weerbeke, Ave regina celorum, ave (Ave mundi domina, no. 5), bb. 1–25 .................................. 260

Ex. 8.14

Possible imitations of Ave Maria … virgo serena chant .......................... 308

Ex. 8.15

(a) Johannes Regis, Ave Maria … virgo serena, bb. 120–128; (b) Josquin des Prez, Ave Maria … virgo serena, bb. 63–77; (c) Josquin des Prez, Ave Maria … virgo serena, “Ut lucifer lux oriens” (bb. 64–77), polyphonic cells ................................................................ 308

Ex. 8.16

Josquin des Prez, Ave Maria … virgo serena, bb. 54–65 .......................... 321

Ex. 8.17

Johannes Regis, Ave Maria … virgo serena, bb. 216–228 ........................ 322

Ex. 8.18

Johannes Regis, Ave Maria … virgo serena, bb. 97–104 .......................... 330

Ex. 9.1

Gaspar van Weerbeke, Ave mundi domina, bb. 1–9 ................................ 358

xiv

LIST OF MUSIC EXAMPLES

Ex. 9.2

Comparison of Kyrie IX melody with tenor incipits of Ave mundi domina and Quam pulchra es ................................................................. 359

Ex. 9.3

Comparison of melody of O sancta mundi domina with superius incipits of Ave mundi domina and Ave mater gloriosa ............................. 359

Ex. 9.4

Gaspar van Weerbeke, Ave mundi domina: melodic patterns of the passages mentioning the joys of Mary (reduction) ................................ 361

Ex. 9.5

Gaspar van Weerbeke, Salve virgo salutata, bb. 18–46 (Quam pulchra es, 3a pars) ..................................................................... 364

Ex. 10.1

Motif A ................................................................................................. 392

Ex. 10.2

Motif B ................................................................................................. 392

Ex. 10.3

Motif C ................................................................................................ 392

Ex. 10.4

Motif D ................................................................................................ 392

Ex. 11.1

Anonymous, Salve salvator, bb. 14–24 ................................................... 399

Ex. 11.2

Gaspar van Weerbeke, Quam pulchra es, bb. 34–42 ............................... 400

Ex. 11.3

Anonymous, Salve salvator, bb. 6–14 (reduced note values; modus barring) ...................................................................................... 401

Ex. 11.4

Gaspar van Weerbeke, Quam pulchra es, bb. 34–40 (reduced note values) ........................................................................................... 401

Ex. 11.5

Gaspar van Weerbeke, Quem terra, bb. 11–23 ........................................ 408

Ex. 11.6

Gaspar van Weerbeke, Ave mundi domina, bb. 44–70 ........................... 409

Ex. 11.7

Gaspar van Weerbeke, O pulcherrima mulierum, bb. 36–54 ................... 411

Ex. 11.8

Gaspar van Weerbeke, Salve virgo virginum, bb. 56–69 ......................... 412

Ex. 11.9

Loyset Compère, Hodie nobis, bb. 14–20 ............................................... 414

Ex. 11.10

Anonymous, Ave Domine Jesu Christe, bb. 31–51 .................................... 418

Ex. 11.11

Anonymous, Ave Domine Jesu Christe … vita dulcis, bb. 10–35 ............. 419

Ex. 12.1

Openings of six motets from Gaude flore ............................................... 438

Ex. 12.2

Gaude flore, cantus, bb. 12–21 compared with Josquin, Ave Maria … virgo serena, cantus, bb. 111–116 ............................................................. 441

Ex. 12.3

Jean Pullois, Flos de spina, bb. 1–7 ......................................................... 445

Ex. 12.4

Anonymous, Secundum multitudinem, bb. 1–5 ...................................... 446

LIST OF MUSIC EXAMPLES

xv

Ex. 12.5

Gaspar van Weerbeke, O pulcherrima mulierum, bb. 1–7 ....................... 447

Ex. 12.6

Franchinus Gaffurius, Missa de Carneval, Kyrie, bb. 1–7 ....................... 447

Ex. 12.7

Johannes Ghiselin, Ave domina, bb. 1–7 ................................................ 448

Ex. 12.8

Adrian Willaert, Omnipotens sempiterne deus, bb. 1–9 ............................ 448

Ex. 12.9

Gaude flore from Trent 89, fols. 170v–171r, beginning ............................ 450

Ex. 12.10

Gaude flore from Trent 89, fols. 171v–172r, homophonic passage ............ 451

Ex. 12.App. Gaude flore virginali, from Munich 3154, fols. 38v–39r ........................... 453

Abbreviations Sigla of Manuscripts Bologna Q15

Bologna, Museo Internazionale e Biblioteca della Musica, MS Q15

Leopold Codex

See Munich 3154

Librone 

Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione Musicale, Librone  (olim 2269)

Librone 

Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione Musicale, Librone  (olim 2268)

Librone 

Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione Musicale, Librone  (olim 2267)

Librone []

Milan, Archivio della Veneranda Fabbrica del Duomo, Cassette Ratti, n. VII, 34–43 (olim MS 2266)

London 1070

London, Royal College of Music, MS 1070

Lucca Codex

Lucca, Archivio di Stato, MS 238

Munich 3154

Munich, Bayerische Staatsbibliothek, Musiksammlung, Mus. ms. 3154 (Leopold Codex)

Segovia s.s.

Segovia, Catedral, MS without signature

Speciálník

Hradec Králové, Krasjke Muzeum, Knihovna, MS II A 7 (Codex Speciálník)

Strahov Codex

Prague, Památník národního písemnictví (Strahov), D.G.IV.47

Trent 87

Trent, Museo Provinciale d’Arte, Castello del Buon Consiglio, MS 1374 (olim 87)

Trent 88

Trent, Museo Provinciale d’Arte, Castello del Buon Consiglio, MS 1375 (olim 88)

Trent 89

Trent, Museo Provinciale d’Arte, Castello del Buon Consiglio, MS 1376 (olim 89)

Trent 91

Trent, Museo Provinciale d’Arte, Castello del Buon Consiglio, MS 1378 (olim 91)

Trent 92

Trent, Museo Provinciale d’Arte, Castello del Buon Consiglio, MS 1379 (olim 92)

Trent 93

Trent, Museo Diocesano, MS BL

Vatican CS

Vatican City, Biblioteca Apostolica Vaticana, Cappella Sistina

x v ii

A B B R E V I AT I O N S

Other Abbreviations AfMw

Archiv für Musikwissenschaft

AH

Analecta Hymnica Medii Aevi, ed. Clemens Blume and Guido M. Dreves, 55 vols., Leipzig: Reisland 1886–1922

AMl

Acta Musicologica

ASDMi

Archivio Storico Diocesano di Milano

ASL

Archivio Storico Lombardo

ASMi

Archivio di Stato di Milano

AVFDMi

Veneranda Fabbrica del Duomo di Milano, Archivio Storico

BnF

Paris, Bibliothèque nationale de France

CMM

Corpus mensurabilis musicae

CSM

Corpus Scriptorum de Musica

EDM

Das Erbe deutscher Musik

EM

Early Music

EMH

Early Music History

JAF

Journal of the Alamire Foundation

JAMS

Journal of the American Musicological Society

JM

Journal of Musicology

M&L

Music & Letters

MD

Musica disciplina

MeS

Musica e Storia

Mf

Die Musikforschung

MGG2P

Die Musik in Geschichte und Gegenwart, ed. L. Finscher, 2nd rev. edn., Personenteil, Kassel and Stuttgart: Bärenreiter and Metzler 1999–2007

MGG2S

Die Musik in Geschichte und Gegenwart, ed. L. Finscher, 2nd rev. edn., Sachteil, Kassel and Stuttgart: Bärenreiter and Metzler 1994–1998

Motet Cycles Database

http://www.motetcycles.ch/

MQ

Musical Quarterly

MSD

Musical Studies and Documents

NGroveD2

The New Grove Dictionary of Music and Musicians, 2nd edn., ed. S. Sadie and John Tyrrell, London: Macmillan 2001

x v iii

A B B R E V I AT I O N S

NGroveD-online Grove Music Online. Oxford Music Online http://www.oxfordmusiconline.com NJE

New Josquin Edition

NJE 6

Josquin des Prez, Masses Based on Secular Monophonic Songs, vol. 2, ed.

Jesse Rodin, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2014 (NJE 6)

NJE 7

Josquin des Prez, Masses Based on Secular Polyphonic Songs, ed. Thomas Noblitt, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 1997 (NJE 7)

NJE 13

Josquin des Prez, Mass Movements, ed. Barton Hudson, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 1999 (NJE 13)

NJE 14

Josquin des Prez, Motets on Texts from the Old Testament, 1: Texts from Samuel, Job, The Song of Songs, Ecclesiasticus, ed. Richard Sherr, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2002 (NJE 14)

NJE 15

Josquin des Prez, Motets on Texts from the Old Testament, 2: Texts from the Psalms, vol. 1, ed. Patrick Macey, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 2009 (NJE 15)

NJE 16

Josquin des Prez, Motets on Texts from the Old Testament, 3: Texts from the Psalms, vol. 2, ed. Martin Picker, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 2000 (NJE 16)

NJE 18

Josquin des Prez, Motets on Texts from the Old Testament, 4: Texts from the Psalms, vol. 4, ed. Leeman L. Perkins, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2011 (NJE 18)

NJE 20

Josquin des Prez, Motets on Texts from the New Testament, vol. 2, ed. Martin Just, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2006 (NJE 20)

NJE 21

Josquin des Prez, Motets on Non-biblical Texts, 1: De Domino Jesu Christo, vol. 1, ed. Bonnie J. Blackburn, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2007 (NJE 21)

NJE 22

Josquin des Prez, Motets on Non-biblical Texts, 2: De Domino Jesu Christo, vol. 2, ed. Bonnie J. Blackburn, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2003 (NJE 22)

NJE 23

Josquin des Prez, Motets on Non-biblical Texts, 3: De beata Maria virgine, vol. 1, ed. Willem Elders, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2006 (NJE 23)

NJE 24

Josquin des Prez, Motets on Non-biblical Texts, 4: De beata Maria virgine, vol. 2, ed. Willem Elders, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2007 (NJE 24)

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A B B R E V I AT I O N S

NJE 25

Josquin des Prez, Motets on Non-biblical Texts, 5: De beata Maria virgine, vol. 3, ed. Willem Elders, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2009 (NJE 25)

NJE 26

Josquin des Prez, Motets on Texts pro diversis temporibus et festis and on Miscellaneous Texts, ed. Ton Braas, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2013 (NJE 26)

NJE 28

Josquin des Prez, Secular Works for Four Voices, ed. David Fallows, Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 2005 (NJE 28)

NOE

New Obrecht Edition

PL

Patrologia Latina, ed. J.-P. Migne, 221 vols., Paris: Garnier 1844–1864

PMM

Plainsong and Medieval Music

PrN

Prague, National Library of the Czech Republic

RdM

Revue de Musicologie

RH

Ulysse Chevalier, Repertorium Hymnologicum, Louvain and Brussels: Société des Bollandistes 1892–1921

RIM

Rivista italiana di musicologia

RIMS

Rivista internazionale di musica sacra

RISM

Repertoire international de sources musicales

SJbMw

Schweizerisches Jahrbuch für Musikwissenschaft

SM

Studi musicali

s.t.

sine titulo

TML

Thesaurus Musicarum Latinarum. http://www.chmtl.indiana.edu/tml/

VS

Carteggio Visconteo-Sforzesco