![]() 15129 and Uppsala, Universiteitsbibl., C 55). Alberto Gallo.ī) ANONYMOUS, Ars musicae mensurabilis secundum Franconem (ca. (See MSD 31 for a edition and translation of part VI.)ĬSM 15 a) PETRUS PICARDUS, Ars motettorum compilata breviter (ca. Edited by André Gilles and Cecily Sweeney.ĬSM 14 WALTER ODINGTON (b. Edited by Cecily Sweeney.ī) ANONYMOUS, De semibrevibus caudatis (ca. Edited by André Gilles and Gilbert Reaney.ĬSM 13 a) ANONYMOUS, De musica mensurabili (ca. Edited by Gilbert Reaney.Ĭ) JOHANNES TORKESEY, Declaratio trianguli et scuti. Edited by Gilbert Reaney.ī) Tractatus de figuris sive de notis (first half 14th c.). Edited by Albert Seay.ĬSM 12 a) Breviarium regulare musicae (late 14th c.). Edited by Albert Seay.ĬSM 11 GUILIELMUS MONACHUS (second half 15th-first quarter 16th c.), De preceptis artis musicae. 1487), Tres tractatuli contra Bartholomeum Ramum. Edited by Albert Seay.ĬSM 10 JOHN HOTHBY (d. Edited by Gilbert Reaney, André Gilles, and Jean Maillard.ĬSM 9 ANONYMOUS, Ex Codice Vaticano Lat. III, Liber quartus, Liber quintus, and the Tractatus Monochordi.ĬSM 8 PHILIPPE DE VITRY (1291-1361), Ars Nova. II, Liber secundus and Liber tertius.ĬSM 7-3 Vol. Edited by Albert Seay in 3 volumes.ĬSM 7-2 Vol. Edited by Giuseppe Vecchi.ĬSM 7 UGOLINUS URBEVETANIS (Ugolino of Orvieto) (ca. Edited by Joseph Smits van Waesberghe.ĬSM 5 ANONYMOUS, Notitia del valore delle note del canto misurato.Edited by Armen Carapetyan.ĬSM 6 MARCHETTUS OF PADUA (active early 14th c.), Pomerium. ĬSM 4 GUIDO ARETINUS (Guido of Arezzo) (shortly before 1000-ca. New research by Margaret Bent, suggests that this author should now be referred to as “Jacobus de Ispania.”)ĬSM 3-2.1 Vol. Smits van Waesberghe.ĬSM 3 JACOBUS LEODIENSIS (Jacobus of Liège) (1260?-1330?), Speculum Musicae.Edited by Roger Bragard in 7 volumes. Edited by Joseph Smits van Waesberghe.ĬSM 2 ARIBO (11th c.), De musica. in the last decades of the 11th c.), De Musica cum Tonario. This redating, in turn, invites broad reconsideration of the transition between ars antiqua and ars nova.Publications of Medieval Musical ManuscriptsĬSM 1 JOHANNES AFFLIGEMENSIS (Cotto) (John of Affligem) (b. In light of this, I suggest that the Speculum musice could have been finished as late as the 1350s by an author in his mid- to late seventies. 1320, but the latest notational developments he mentions include semiminims, dragmas, and even note shapes otherwise associated with the so-called ars subtilior. His notational proclivities are those of a musician who came of age in a post-Franconian idiom prevalent until ca. It is clear that Jacobus was older than the moderni and finished his treatise as an old man, but he also reveals that he wrote over a long span of time and revised his work repeatedly. This study reconsiders the date of completion for the last, seventh book of the Speculum musice. Since the Speculum cites a range of ars nova treatises that in turn cite a repertoire of motets, Jacobus's comments serve as a terminus ante quem for the ars nova writ large. And yet the earliest ars nova theory dates from 1319, while the completion of the Speculum musice is often placed in the mid-1320s or ca. This passage and several others suggest that Jacobus was writing at a time when the ars nova was hardly new. In chapter 27 of the last book of his Speculum musice, Jacobus faults an unnamed theorist for misattributing some ars nova doctrine to the ars antiqua he then excuses the offense by explaining that the oldest ars nova theory might already seem old to current practitioners. ![]()
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