The British Museum Manuscript Additional 35087

37~? NB/cl

THE BRITISH MUSEUM MANUSCRIPT ADDITIONAL 35087:

A TRANSCRIPTION OF THE FRENCH, ITALIAN, AND

LATIN COMPOSITIONS WITH CONCORDANCE

AND COMMENTARY

DISSERTATION

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF PHILOSOPHY

William M. McMurtry, B. M. E., M. M. E.

Denton, Texas

August, 1967 TABLE OF CONTENTS

Chapter Page

I. THE MANUSCRIPT AND ITS HISTORY ...... 1

Physical Features Historical Background Music at the Court of Philippe le Beau

II. NOTATION...... 29

Clefs Modes Cadences Key Signatures and Partial Signatures Accidentals and Musica Ficta Meter Signatures Blackened Notes Subsidiary Symbols

III. FORMS OF THE TEXTS ...... 40

Chansons Motet-Chanson Song Motets

IV. MUSICAL FORMS ...... 57

Rondeaux Free Chansons Motet-Chanson Song Motets Latin Motets

V. LIST OF SOURCES ...... 94

Manuscripts Early Printed Collections Modern Editions

VI. CONCORDANCE ...... 114

VII. VARIANTS IN THE MUSICAL READINGS...... 180

iii VIII. TRANSCRIPTIONS ...... 202

IX. INDEX OF COMPOSERS ...... 388

X. INDEX OF TEXT INCIPITS ...... 392

BIBLIOGRAPHY ...... 396

iv CHAPTER I

THE MANUSCRIPT AND ITS HISTORY

Physical Features

The London British Museum Manuscript Additional 35087, hereafter referred to as London Add. 35087, is an important parchment manuscript in large octavo choirbook arrangement from the beginning of the sixteenth century. Its measure- ments are 19.4 x 29.3 centimeters. The manuscript contains ninety-five folios and one stub where a leaf has been torn out (f. 4).1 The last composition in the manuscript is incomplete, which indicates that one leaf is lacking at the end (f. 96).

Two sets of foliation are shown: the original Roman and a more recent Arabic. Both are placed in the upper right hand corner of folio recto. The sets agree in folios

4-93. Folios 1 and 2 show no Roman figures now; folio 3 has "ii," and therefore the missing leaf probably had

"iii." The Arabic numbering does not account for this missing leaf. This folio might have been assigned "4," but this number is given on the next complete leaf to coincide

'Augustus Hughes-Hughes, Catalogue of Manuscript Music in the British Museum (London, 1906-190977 I, 262; letter from T. S. Pattie, Assistant Keeper, Department of Manu- scripts, The British Museum, London, September 14, 1966.

1 2 with the Roman "iiii." At the end, by mistake, folio 94 has

"xciii" and folio 95 has "xciiii."

Folio 1 gives the initial fifteen notes of the tenor of

O vos omnes, which is the first composition in the manuscript and which is given in its entirety on f. 1'-2. The inscription "Hieronymus Laurinus est meus herus" (Hieronymus Laurinus is my master) is also set on folio 1. This inscription indicates that Hieronymus Laurinus, the Latinized version of

Jerome Lauweryn, was the original owner of the manuscript.

Another inscription is found in the top margin of folio

75 verso. It reads, "There ys litle such p arjchement now to be had any where for money," apparently in a sixteenth century hand.2 This would indicate that the manuscript passed from the original owner into English hands sometime during the sixteenth century.3 One other inscription (the signifi- cance of which is not clear) is located in the side margin of folio 37 verso and reads, "Com all Tru Harted Lovers and

Har."

No illuminations occur in the manuscript. Elaborate initials are found throughout the first third of the work

(f. 1'-26, 27'-28) and in various other places on the remaining leaves (f. 59'-60, 61'-62, 64'-65, 89'-94).

2 Letter from T. S. Pattie, August 27, 1965.

3 Hughes-Hughes, Catalogue of Manuscript Music, I, 262.

4Letter from T. S. Pattie, September 14, 1966. The probable reading of this inscription is "Come all true hearted lovers and hear." 3

London Add. 35087 contains seventy-eight compositions.

These include the fifty-three pieces of this study--thirty- six French chansons, one motet-chanson, fourteen Latin motets, and two works with Italian texts--and the twenty-five

Flemish chansons edited and published by Johannes Wolf. 5

Fifty of the compositions are for three voices, superius, tenor, and contra; the other three are for four parts.

The arrangement of compositions within the manuscript, including Flemish pieces, follows. The numbers following the type of work refer only to the pieces included in this study:

f. 1'- 4; Latin motets; nos. 1, 2, 3, and 4 f. 4'- 5; French chanson; no. 5 f. 51'- 7; Flemish chansons; two pieces f. 7'-10; French chansons; nos. 6 and 7 f. 101-11; Latin motet; no. 8 f. 11'-12; Italian chanson; no. 9 f. 12'-13; French chanson; no. 10 f. 131-16; Flemish chansons; three pieces f. 161-19; Latin motets; nos. 11 and 12 f. 19'-21; Flemish chanson; one piece f. 21'-25; French chansons; nos. 13, 14, 15, an d 16 f. 25'-27; Flemish chansons; two pieces f. 27'-28; Italian chanson; no. 17 f. 281-33; French chansons; nos. 18, 19, 20, 21, and 22 f. 33' -34; Flemish chanson; one piece f. 34'-35; Latin motet; no. 23 f. 35'-36; Flemish chanson; one piece f. 36'38; French chansons; nos. 24 and 25 f. 38'-39; Flemish chanson; one piece f. 391-40; Latin motet; no. 26 f. 40-42; Flemish chansons; two pieces f. 42'-45; French chansons; nos. 27, 28, and 29 f. 45'-49; Flemish chansons; three pieces

5Johannes Wolf, editor, 25 driestemmige Oud-Nederlandsche Liederen uit het Einde der viftiende Eeuw naar den Codex London British Museum~~Additional SS. 35087 (Amsterdam,~910) . 4

f. 49'-51; French chanson; no. 30 f. 51'-53; Flemish chansons; two pieces f. 53'-54; French chanson; no. 31 f. 54'-55; Flemish chanson; one piece f. 55'-57; French chansons; nos. 32 and 33 f. 57'-61; Flemish chansons; two pieces f. 61'-62; Latin motet; no. 34 f. 62'-66; Flemish chansons; two pieces f. 66'-69; French chansons; nos. 35 and 36 f. 69'-71; Flemish chanson; one piece f. 71'-73; French chanson; no. 37 f. 73'-75; Flemish chanson; one piece f. 75'-78; Latin motets; nos. 38 and 39 f. 78'-83; French chansons; nos. 40, 41, 42, and 43 f. 83'-84; Latin motet; no. 44 f. 84'-86; French chansons; no. 45 f. 86'-87; French motet chanson; no. 46 f. 87'-94; French chansons; nos. 47, 48, 49, 50, 51, and 52 f. 94'-95'; Latin motet; no. 53 These compositions are by Franco-Flemish composers, the most important group of musicians of the late fifteenth and early sixteenth centuries. They were widely respected as members of the musical assemblages of the music-loving princes, kings, and other nobles of France, Italy, Spain, and the Holy Roman Empire, as well as the Burgundian Nether- lands. The following composers are named among the fifty- three works from London Add. 35087: Agricola (2 pieces),

Appenzeller (1), Compere (1), Fevin (1), Ghiselin (Verbonnet)

(1), Mouton (1), and Vyzeto (1). Many other compositions are attributed to these and other composers through concordance: Appenzeller (1), Brumel (1), Busnois (1), Compre

(3), FAvin (3), Hayne (1), Josquin (3), Lepetit (1), Mouton

(3), Obrecht (1), and Prioris (2). 5

London Add. 35087 is arranged in the popular choirbook

form of chansonniers of the time. The voice-parts are placed

on two facing leaves, so that the performers might read from

the book resting on a table. The upper two-thirds of folio verso contains the superius; the staves below the superius are either left blank or contain the residuum of the contra.

The upper half of folio recto is reserved for the tenor and the lower half, the contra. The parts are labeled in the following few instances. The tenor is named in three pieces, nos. 34, 50, and 51, while the contra is labeled bassus in two works, nos. 34 and 52. The residuum of the contra of no. 50 is named on folio 90 verso.

In contrast to the foregoing arrangement, the contra is set on the folio verso below the superius in two pieces, nos. 5 and 44; the residuum of no. 44 continues on the recto of the succeeding leaf (f. 84). No. 3, one of the two pieces left incomplete by the first missing folio, follows this arrangement also. The superius and contra are found on folio 3 verso; the tenor is lacking. Perhaps the missing superius and contra of no. 4 might have been placed on the verso side of the missing leaf; the tenor of no. 4 is given on folio 4 recto. Ten works show residua of their three voice-parts on the next following opening.

The writing of both words and notes is bold and clear, and there are few instances of omission of notes. Partial or fragmentary texts are found under the music of all voices. 6

Little concern is shown for matching words and syllables to appropriate notes. A partial text may be a chanson refrain, a single stanza of a free chanson, or a single line of a motet. Pieces which contain only fragmentary texts are nos. 23,

36, 42, 50, and 53; no. 11 gives the textual incipits only.

All others contain partial texts that are more nearly complete. One additional stanza is placed below the superius of no. 31 on folio 53 verso.

Most of the manuscript (f. 1-93) is the work of the same three scribes: one for the notation, one for the text, and one for the initials. The last two pieces, nos. 52 (f. 93'-94) and 53 (f. 94'-95') are the work of two other groups of scribes. The notation and calligraphy of these pieces are far inferior to those of the foregoing works. This suggests that these pieces might have been later additions to the original manuscript.

Historical Background

Modern Research Concerning the Manuscript

Johannes Wolf's edition of the Flemish pieces of London

Add. 35087 is a noteworthy early study of the manuscript.

Wolf reveals that through the efforts of Barclay Squire the

British Museum acquired the manuscript from Herbert Thompson

6 Wolf, 25 driestemmige Oud-Nederlandsche Liederen. 7

in 1897.7 No further information concerning its early history is given. Wolf claims that the twenty-five Flemish

chansons comprise a unique body of works, the majority of which do not appear in other manuscripts.8 His transcriptions of these compositions provide a practical edition for both scholar and performer.

Separate lists of the motets and chansons from London

Add. 35087 are published by Hughes-Hughes.9 By mistake, he labels the residuum, Adieu myn lief (f. 48t-49), to the

Flemish piece, Ghisternavent was ic maecht (f. 47'-48), as a separate composition. This accounts for his total of seventy- nine rather than seventy-eight pieces in the manuscript. A limited concordance with other British Museum manuscripts accompanies the lists.

Several pieces included, in London Add. 35087 are contained in the nineteenth-century edition by Robert-Julien van Maldeghem, Tre'sor musical, which appears in two series, one of secular and one of sacred music. 0 Gustave Reese has pointed out some shortcomings of this edition, such as wrong notes and attributions, alteration and substitution of texts,

7 Ibid., p. vii.

8Ibid., p. viii.

9 Hughes-Hughes, Catalogue of Manuscri t Music, I (Sacred Vocal Music), 262; II (Secular Vocal Music , 128-129.

10Robert-Julien van Maldeghem, editor, Tresor musical: collection authentigue de musigue sacree et profane es anciens ma'tres belges, 58 volumes (Brussels, 1865-1893). 8 and inadequate concordance." Collected editions of the works of Josquin and Obrecht also contain pieces from London

Add. 35087.12 Rokseth, Hewitt, Brown, and Picker have used

the manuscript in establishing concordances for their publi-

cations.' 3 A complete listing of modern editions containing pieces in London Add. 35087 is found in the List of Sources

and Concordance.

Jed'me Lauweryn

Manuscripts such as London Add. 35087 were costly luxury

items. They were not only prized for their musical and tex-

tual contents but also for the elaborate decorations and

beautiful illuminations which many contained. Their visual

beauty was as much a source of pride and personal edification

to their owners as was the aural beauty represented within

their leaves.

11Gustave Reese, "Maldeghem and His Buried Treasure. A Bibliographical Study," Music Library Association Notes, 2nd Series, VI (December, 197),775-117.

12Josquin des Pres, Werken van Josquin des Pres: Missen, edited by Albert Smijers (Amsterdam, 1925- ), I, 105; Jacob Obrecht, Werken van Jacob Obrecht: Motetten, edited by Johannes Wolf (Amsterdam, 1908-1921), II, 95.

13Yvonne Rokseth, editor, Treize motets et un prelude pour orgue parus chez Pierre Attaingnant en 1531 TParis, 1930), pp. xiv, xxiii; Helen Hewitt, editor, Harmonice musices Odhecaton A with edition of the literary texts by Isabel Pope (Cambridge, Massachusetts, 1942), pp. 133, 164-165; Howard M. Brown, Music in the French Secular Theater, 1400-1550 (Cam- bridge, Massachusetts, 1963), pp. 201, 212-213, 237, 246, 265; Martin Picker, The Chanson Albums of Marguerite of Austria, MSS 228 and 11239 of the Bibliotheque Royale de Belgique, Brussels~(Berkeley,~195), pp. 142, 143, 144. 9

At the turn of the sixteenth century only members of the aristocracy, royalty, and wealthy bourgeoisie could afford to collect manuscripts for their libraries. The London, British

Museum, MS Harley 5242 belonged to Frangoise de Foix, mis- tress of Francis I. '4 The Paris, Bibliotheque Nationale, MS

Fonds fr. 1597 contains the coat of arms of Rene'de Vaudemont, duke of Lorraine, and. MS Fonds fr. 2245 from the same library was probably written in 1496 by the singer Crespinet for the count of Orleans, later Louis XII.' 5 The Brussels, Biblio- theque Royale de Belgique, MSS 228 and 11239 are familiarly called the "Chanson Albums of Marguerite of Austria.",16

London Add. 35087 was compiled for another aristocrat,

Jerome Lauweryn (Hieronymus Laurinus). Jerome Lauweryn,

Laurin, or Lauwerin, served in the governments of three regents of the Burgundian Netherlands: Maximilian, regent from

1482 to 1493; his son Philippe le Beau, regent from 1493 to

1506; and his daughter Marguerite of Austria, regent from

1507 to 1530. Jerome was counselor, chamberlain, and treasurer general of the finances of Philippe le Beau (Philip the

Handsome), archduke of Austria, king of Castille, and one of

l4 Paule Chaillon, "Le Chansonnier de Frangoise (M.S. Harley 5242, Br. Mus.)," Revue de musicologie, XXXV (1953), 1ff.

15 Brown, Music in the French Secular Theater, p. 112.

l6 Picker, The Chanson Albums of Marguerite of Austria, p. 2. 10 the most musically enlightened monarchs of his time.' 7

Jerome reclaimed, land in an area of northern Flanders between the present towns of Boekhoute and St.-Jan-in-Eremo.

Philippe le Beau built three fiefs on this land and gave them to Je'r'ome and his heirs. These were Waterdizk, Waterland, and Watervliet. Watervliet was the most important of the fiefs, and Lauweryn enclosed the town, built a beautiful church, and established the craft of cloth-making.18 The following information from the documents of the Chambre des

Comptes of the Archives generales du Royaume in Brussels confirms Jerome Lauweryn's activities as treasurer to the regents:

No. 7141 An account of the domains of Damme rendered by Jerome Lauwerin, knight, lord of Watervliet, counselor, and receiver general of Flanders, from October 1, 1508, to October 1, 1509.

Nos. 7218-7220 Three accounts of the new domain of the city of l'Ecluse by the receiver Jerome Lauwerin from July 12, 1497, to July 12, 1500.

No. 16104 An account by Je'rome Lauwerin, counselor and receiver general of subsidies in Flanders: (1) in the third year of a subsidy of 400,000 ecus granted by the four members in April, 1497, pay- able in four years;

1 7 Henry de Vocht, Historyof the Foundation and the Rise of the Collegium Trilingue Louvaniense, 1517-1550 (Louvain, 1951-1955), II, 68. 18L. Roersch, "Guido Laurin," Vol. XI of Biographie Nationale de Belgique, 28 volumes (Brussels, 1866-1944), column 458. 11

(2) of a sum of 12,437 lbs. 10 s. for Flanders' quota in the subsidy of 50,000 lbs. granted by the Estates General in 1497 at the time of the war of Guelders. No. 17425 An account rendered by Jacques Baden in the name of the deceased Jerome Lauwerin, knight, lord of Watervliet, counselor, and receiver general of Flanders, of the rights to relief of the fiefs of the city of Bruges from May 25 to August 31, 1509. No. 23117 This account of taxes collected on the sale of beer at Bruges (1492-93) contains a transcription of the letters patent from Maximilian and Philippe le Beau (Inns- bruck, September 4, 1493) discharging Jerome Lauwerin of the farm of Grute of Bruges because it had caused him nothing but losses.

From a statement found on folio 9 of account no. 7141, it is clear that Jerome Lauweryn was dead by December, 1509; this is verified by a remark on folio 7 of account no. 17425.19

Jerome's death in 1509 is substantiated in other sources.

Records of the Archives departementales du Nord in Lille dis- close that following Jerome's death in 1509 his heirs received payment before July 10, 1510, on loans made by Lauweryn to Maximilian and Philippe le Beau.20 Gaillard, in his account of the Laurin family, gives July 21, 1509, as the date of Jerome's death and the Church of St. Bavo in Ghent as his

19 Letter from L'Archiviste general du Royaume, Archives generales du Royaume, Brussels, August 24, 1966; he also points out that Roersch ("Guido Laurin") lists Lauweryn's death date as August 1, 1519, and burial place as the church in Watervliet, both of which are erroneous. 20 Letter from Rene Robinet, Conservateur en Chef, Archives departementales du Nord, Lille, April 11, 1967. 12 burial site.2 1 Vocht also states that Jerome died. in 1509 and, that both he and his wife, Jacqueline Pedart (died 1502), are buried in St. Bavo's Church in Ghent.2 2

Jerome was no doubt a man of learning and, a connoisseur of art forms. He was probably acquainted with some of the famous musicians, painters, and men of letters at the courts of Maximilian, Philippe le Beau, and Marguerite of Austria.

The excellence of the court chapel and the active musical life at the court of Philippe le Beau may have stimulated

Lauweryn's appreciation of music and may have led directly to the compilation of London Add. 35087. Although it is impossible to determine definitely, the contents of the manuscript indicate that it was written in 1505 or 1506, prior to the death of Philippe le Beau in Spain.

Jerome Lauweryn was the ancestor of a family of Renais- sance humanists. His sons Matthias (died 1540), Marc (1488-

1546), Peter (1489-1521/22), Charles (1506-1552), and James

(died in 1512) were all acquaintances of Erasmus of Rotter- dam.2 3 The eldest son, Matthias, inherited his father's estate and became lord of Watervliet and treasurer general of

21J. Gaillard, Chez l'auteur, Vol. I of Bruges et le Franc, ou leur magistrature et leur noblesse, avec des donnEes historiques et gn6alogiques sur chague famille, 6 volumes Bruges, 1857-1864), pp. 363-3F.

22Vocht, History of the Collegium Trilingue Louvaniense, II, 68.

2 3 Ibid., II, 67-68. 13 the finances.24 He also became a member of the Council for

Flanders in 1538.25 He shared with his brother, Marc, a love for the principles and ideas of classicism. Erasmus wrote Matthias concerning these subjects in a letter ad- dressed from Basel in 1523. Matthias and his wife, Franioise

Ruffault, were the parents of two great antiquarians, March and Guido (or Guy). Matthias died on September 9, 1540, and was buried in Watervliet.2 6

Jerame's second son, Marc, was born on May 17/18, 1488.

He was appointed canon of St. Donatian's Church in Bruges in

1512 and dean of the chapter on September 24, 1519. He distinguished himself by his taste for letters and was the cen- ter of an eager group of young humanists. Marc was a close friend of Erasmus and often welcomed him to his home. He also maintained a steady correspondence with the great hu- manist; one letter written by Erasmus to Marc, dated Febru- ary 1, 1523, in Basel, contains much valuable information on the life of the learned man. Marc died on November 4, 1540, and was buried in the church where he had officiated for nearly thirty years.2 7 The Sylvula Carminum, an edition of

4 2 Roersch, "Guido Laurin," column 459.

25Vocht, History of the Collegium Trilingue Louvaniense, II, 68. 26 Boersch, "Guido Laurin," column 459. 2 7 Ibid., column 458; Vocht, History of the Collegium Trilingue Louvaniense, II, 68. 14 poems published by Robert Wouters and Erasmus Verreecken at

Bruges in 1544, contains epitaphs on Marc Laurin written by

Georges Cassander and other poets.28

Jerome Lauweryn's grandsons, Marc and Guido, continued in this scholarly tradition. Marc was born at Bruges in 1530 and died at Calais in 1581. He succeeded his father, Matthias, as lord of Watervliet on September 5, 1541. From early child- hood he engaged in the study of ancient history. His wealth enabled him to assemble an imposing collection of literary and archeological treasures, which were greatly admired by the erudite men of his time. Renowned as a numismatist, he was led by his study of antique medallions and coins to write a biography of Julius Caesar and to illustrate it with draw- ings of Caesar's coins. Hubert Goltz, an accomplished painter and draftsman from Wtrzburg, prepared representations of the coins, and Marc's brother, Guido, provided descrip- tions of them. The work was published around 1563.29

Guido Laurin was born at Bruges in 1532 and died at Lille in 1589. After earning a law degree at Dle on March 24,

1555, he set up practice at Bruges in 1557. Guido was keenly interested in Roman jurisprudence and his brother's numis- matic endeavors and greatly influenced all those who devoted themselves to the same studies. The lawyer Raevard dedicated

28Vocht, History of the Collegium Trilingue Louvaniense, II, 181.

29 Roersch, "Guido Laurin," column 461. 15 his Tribonianus to Guido on January 1, 1560, and L. Carrion dedicated his writings about the historian Sallust to him in

1564. Guido's letters to Hadrianus Junius (H. Junii epistolae,

Dordrecht, 1652, p. 617) and to Stephen Pighius (Pigii epistolae, Bibliotheque Royale de Belgique, MS 7700) refer to his scholarly activities. Guido wrote a large amount of

Latin poetry, all of which is lost except for a fragment of twenty-eight verses. He left Bruges with his brother in 1580 to reside in Lille, St.-Omer, and finally Calais. Following his brother's death he became lord of Watervliet and returned to Bruges in 1584.30

The Burgundian Netherlands

Jerome Lauweryn and his heirs served within a varying political framework as a result of the following course of events. The death of Charles the Bold at the battle of Nancy in January, 1477, brought an era of Burgundian power and splendor to a close. Fear of French aggression forced Marie of Burgundy, Charles' daughter and heir, to marry Maximilian, the Hapsburg archduke of Austria, in August, 1477. The births of their children, Philippe le Beau in 1478 and

Marguerite of Austria in 1480, reawakened loyalty to the dynasty and contributed to the successful rebuilding of the

Burgundian Netherlands.

30 Ibid., columns 457-461. 16

Marie's death in 1482, as a result of a riding accident, weakened Maximilian's authority. But his signing of the

Treaty of Arras with his father-in-law's old antagonist,

Louis XI of France, strengthened his hold on the regency.

Under the provisions of the treaty Marguerite was betrothed to Charles, dauphin of France, and her dowry consisted of

Artois and Franche-Comte. The treaty also allowed the estates to install Philippe le Beau as the count of Flanders, the fig- urehead for their alternative government.3 ' Marguerite lived at the French court from 1483 to 1491 under the guardianship of Anne of Beaujeu, daughter of Louis XI and regent for her brother Charles.3 2

After the death of Louis XI in 1483, Maximilian compelled the estates to restore his son to him. Philippe le Beau was then entrusted to the care of his step-grandmother, Margaret of York, widow of Charles the Bold, who lived at Mechlin.3 3

In 1485 Maximilian traveled to Germany to be crowned king of the Romans, and upon his return he involved his estates in another war with France. His attempts to recover the entire inheritance of the former dukes of Burgundy failed, and in

3 1C. A. J. Armstrong, "The Burgundian Netherlands, 1477- 1521," The Renaissance, 1493-1520, Vol. I of The New Cam- bridge Modern History, edited by G. R. Potter, 12 volumes (Cambridge, 1957-1960), p. 224.

3 2 Picker, The Chanson Albums of Marguerite of Austria, p. 9.

3 3 Armstrong, "The Burgundian Netherlands," p. 234. 17

1488 he was imprisoned by the irate citizens of Bruges. When his father, Frederick III, emperor of Austria, approached the city with an imperial army, Maximilian gained his release and returned to Germany. In 1489 he made peace with France at

Frankfurt, and the Burgundian estates again recognized him as regent.

In December, 1491, Charles VIII of France married Anne of Brittany, who had already married Maximilian by proxy the year before. Charles' action annulled Maximilian's marriage as well as his own betrothal to Marguerite of Austria. War ensued when Charles failed to release Marguerite and her dowry. Maximilian allied with Henry VII of England and the

Catholic kings of Spain, and in 1493, induced Charles through the Treaty of Senlis to restore Marguerite to him, along with

Artois and Franche-Comte. Charles retained the county of

Burgundy.

The Treaty of Senlis marked the end of Maximilian's regency. In the treaty year Frederick III died, and Maximilian succeeded as Holy Roman Emperor and ruler of Hapsburg lands.

The Treaty of Venice of 1495 represented Maximilian's most significant political achievement. The betrothals of Philippe le Beau and Marguerite to Juan and Juana, children of Ferdi- nand and Isabella of Spain, assured the future power of the house of Hapsburg. The son of Philippe and Juana, Charles V,

34 "Maximilian I," Encyclopedia Britannica, Vol. XV (Chicago, 1963). 18 became the ruler of the Empire, Spain, and the Burgundian

Netherlands.3 5

In 1493 Philippe le Beau attained his majority and the regency of the Burgundian Netherlands. Unlike his father and grandfather (Charles the Bold), Philippe's tact and mod- eration proved popular with his subjects and rival heads of state. His regime achieved more unity among the estates than at any time since the death of his mother.36

In 1496 Philippe married Juana in Flanders, and in 1497 the Spanish celebrated the marriage of Juan and Marguerite in

Burgos.3 7 Juan died in that same year, and Marguerite returned to her brother and father. In 1500 Philippe and

Juana fell heir to the Spanish crowns when Don Miguel, the nephew of Ferdinand and Isabella, died. The birth of

Charles V, the first child of Philippe and Juana, also took place in 1500.38

Philippe visited Spain twice, in 1501 and 1506. The citizenry cheerfully acclaimed him as he traveled across

France in 1501, and on the return trip he visited his sister

3 5 Armstrong, "The Burgundian Netherlands," pp. 243-245.

36 Ibid.

37 Jean Molinet, Chronigues de Jean Molinet (1474-1506), edited by Georges Doutrepont and Omer Jodogne (Brussels, 1935), II, 428-434.

38 Ibid., II, 468-471. 19

Marguerite in Savoy.3 9 In 1504 Isabella of Spain died, and

Philippe and Juana prepared for a second journey. They set

sail in January, 1506, but bad weather forced them to disem- bark in England, where they remained as guests of Henry VII

for three months. In April, 1506, they arrived in Spain and were crowned king and queen of Castille, Leon, and

Granada. Philippe's illustrious career ended when he died

September 25th of that year. The shock of her husband's death rendered Juana insane and incapable of ruling, and the

Burgundian court plunged into chaos.4 1

In 1507 the estates recalled Maximilian, who assigned the regency to his daughter Marguerite, along with the guard-

ianship of Charles V and his three sisters. In 1501 Mar- guerite married a second time, to Philibert II le Beau, duke of Savoy, but this marriage was short-lived. Philibert died in 1504, and Marguerite once again returned to the Burgundian

Netherlands. Martin Picker gives a full account of Mar- guerite's regency (1507-1530).42

3 9Noel Dupire, Jean Molinet, la vie, les oeuvres (Paris, 1932), p. 46; Molinet, Chroniques,~II~7F98-507.

40Georges van Doorslaer, "La Chapelle musicale de Philippe le Beau," Revue belge d'arche'ologie et d'histoire de l'art, IV (1934), 52. 4 lDupire, Jean Molinet, p. 25; Molinet, Chroniques, II, 585.

4 2Picker, The Chanson Albums of Marguerite of Austria, pp. 9-20. 20

Music at the Court of Philippe le Beau

Music played a leading role among the arts at the Bur- gundian Netherlands court during the fifteenth and early

sixteenth centuries. Sacred and secular music served important functions in the daily activities of the court. Members of the court chapel, called chaplains, provided sacred music for Mass, Office Hours, and other religious solemnities.

Many chaplains were priests as well as singer-composers, or- ganists, and music teachers; and their high social rank is an indication of the esteem in which they were held. This combination of religious and musical employment attracted many of the foremost musicians of the time to the court. The chaplains also composed secular chansons, which they themselves performed for courtly entertainment.

The musical assemblage further included instrumentalists who furnished music for dancing, the hunt, entertainments, and processions. Occasionally, they were called upon to join with the chapel in performing music for sacred services.

Contemporary accounts tell us of the admiration reserved for music. Tinctoris, the eminent theorist and music di- rector to Ferdinand of Aragon, reveals the original purpose of the Burgundian and other court chapels of the time:

The most Christian princes . . . have set up chapels for the glorification of the service of God, after the example of David; in these they kept various singers at great expense in order to praise God pleasantly and fittingly with harmonious voices. And because the 21

princely singers win honour, renown, and wealth, many have taken such wonderful progress in these days that a new art appears to have risen. 3

Jean Molinet, chronicler of the dukes and regents of

Burgundy and a great lover of music, praises the art in the following terms:

For music is the resonance of the heavens, the voice of the angels, the joy of paradise, the hope of the air, the organ of the Church, the song of the little birds, the recreation of all gloomy and despairing hearts, the persecution and driving away of the devils.

During Philip the Good's famous Feast of the Golden

Pheasant in 1454, music greatly enhanced the festivities:

"When the noise had somewhat abated, the peal of church bells was heard announcing the first interlude. Then the choir boys sang and a tenor chanted a lovely Benedicte; after this a shepherd played a new air on the bagpipes."45

In 1431 at Dijon, the third duke of Burgundy, Philip the Good, created the court chapel for the singing of Mass daily.46 Hayne van Ghizeghem, the great chanson composer, entered the duke's service around 1457 and continued under

Charles the Bold as singer and "valet de chambre" (1467)

4Otto Cartellieri, The Court of Burgundy, translated by Malcolm Letts (London,1929), pp. 153-154.

44 Johan Huizinga, The Waning of the Middle Ages (Garden City, New York, 1954), p. 268.

45Cartellieri, The Court of Burgundy, p. 145.

46 Picker, The Chanson Albums of Marguerite of Austria, p. 22. 22 until 1472. 4 After Philip's death in 1467, his son, Charles the Bold, endeavored to maintain the artistic quality of the chapel. In 1474 Charles' chapel contained forty members who performed at Office Hours and at Mass.48 Charles became the first of the aristocratic amateurs to take an active part in the musical life at court. Others included his daughter,

Marie of Burgundy, and grandchildren, Philippe le Beau and

Marguerite of Austria. Antoine Busnois, the most illustrious second generation composer of Burgundy, taught counterpoint to both Charles and Marie and served in their chapels from

1467 to 1482.49

The chaotic conditions at court that followed the death of Charles the Bold in 1477 precluded the further development of the chapel, and many members sought employment elsewhere.

Individual musicians like Busnois, however, continued their duties in the chapel under Marie of Burgundy and her husband,

Maximilian. Following Marie's death in 1482, Maximilian at- tempted to restore the court chapel to its former degree of brilliance. He took great pride and pleasure in his chapel and afforded its members endless opportunities to perform.

47Jeanne Marix, Histoire de la musigue et des musiciens de la cour de Bourgogne sous le rrene de Philippe le Bon (1420-1467)(Strasbourg, 1939), p. 205.

48Doorslaer, "La Chapelle musicale de Philippe le Beau," p. 25.

4 9Genevieve Thibault, "Antoine Busnois," Die Musik in Geschichte und Gegenwart, Vol. II (Kassel, 1952T 23

In May, 1481, the chapel performed the Office Hours during the reunion of the Order of the Golden Fleece in Bois-le-duc.

On October 12, 1488, Maximilian honored the chapel with a banquet in appreciation of their services and awarded each member six pounds.50

The chapel accompanied Maximilian on his many trips to

Ghent, Brussels, and Mechlin. In 1496 the chapel traveled to Germany to take part in the coronation ceremonies when

Maximilian became king of the Romans. At this time his chapel included Busnois; Nicolas Mayoul, "chappellain de la premiere basse messe"; Pierre Beurse, the organist who in- structed Marie in clavichord playing; and Jean Cordier.

After 1488 Maximilian's children, Philippe le Beau and

Marguerite of Austria, received excellent music instruction at the palace of Margaret of York in Mechlin. The chapel exerted a powerful influence in molding Philippe's musical tastes. In 1492 Philippe purchased an organ and received instruction from the organist, Govard Nepotis, who took the place of Pierre Beurse in that same year.5 1

With the succession of Philippe to the regency in 1493, the court chapel returned to its former artistic level. The first list of Philippe's chapel musicians is dated October 2,

50Doorslaer, "La Chapelle musicale de Philippe le Beau," p. 34. 5 1 Edmond Vander Straeten, La Musigue aux Pays-Bas avant le XIXe siecle (Brussels, 1867-1888), III, 213. 24

1495. According to the account, the twenty-five members of

the chapel, which included Mayoul, "premier chapelain,"

Nepotis, and Pierchon (Pierre) de la Rue among eight

"chantres," had not been paid from November 17, 1492, when

Maximilian retained them in his service, until September 30,

1495, at which time they were transferred to Philippe's

chapel.52

During the time in which Philippe and his court resided

in Mechlin, the chapel frequently entertained at banquets in

addition to the daily singing at Mass and Office Hours. Per-

formances by the chapel also enhanced the inaugural cere-

monies when Philippe became regent on March 27, 1494, and the

marriage ceremony of Philippe and Juana on October 25, 1496.

The religious services of Philippe's court were celebrated

in the parish church of Sts. Peter and Paul, or, for more

grandiose occasions, the collegiate church of St. Rombaut.53

With the establishment of Philippe and Juana's court in

Brussels, the chapel was reorganized into two organizations: a randeg chapelle," which contained the chief musicians and which in 1496 included fourteen chaplains, two clerics, two "sommeliers" (caretakers), two "fourriers" (quartermasters), and three other servants; and the "petite chapelle," which contained two chaplains, six clerics, and two "sommeliers."

5 2 Doorslaer, "La Chapelle musicale de Philippe le Beau," p. 34. 5 3 1bid., p. 43. 25

The "grande chapelle, " which again contained Mayoul, "premier chapelain," Pierre de la Rue, and now Jaspar Dodemere (Gaspar van Weerbecke), celebrated High Mass and Office Hours for the bulk of the court, while the "petite chapelle" performed at

Low Mass in Philippe's oratory, next to his private apart- ments. Alexander Agricola, "chapellain" and "chantre," ap- peared on the list of 1500, along with Henry Bredemerch

(Bredemers), who replaced the deceased Govard Nepotis as court organist.54

Philippe's musical assemblage further consisted of several instrumentalists. A list of 1501 named ten trumpeters including the famous Augustin de Scarparye; eight of these ten are again mentioned in a list of twelve trumpeters, dated 1506. Sackbut (trombone) players, lutenists, violists, and tambourin players, whose lively music heightened the gaiety of court life, completed the list of household musicians. 5 5

The two trips to Spain, in 1501 and 1506, were probably the most significant events of Philippe's reign, and on both journeys, his chapel constituted an indispensable part of his entourage. On the first trip, undertaken when Philippe and

Juana became heirs to the Spanish crown, he took most the chapel with him to provide music during the long journey

5 aIbid., p. 47.

55Vander Straeten, _La Musique aux Pays-Bas, VII, 149. 26

across France. At Blois, Louis XII met Philippe and his

court and honored them with five days of feasts. On Decem-

ber 13, 1501, a Mass was celebrated in which "the singers of

the King [Louis XIIJ sang one part, while those of the mon-

seigneur [Philippe1 the other. After the Mass, they all sang

the Te Deum together."56

After their arrival in Spain, the chapel, along with

Augustin, took part in a Mass on May 15, 1502, in Toledo:

"The singers of the King (Ferdinand) sang one part of the

Mass, the singers of monseigneur, the other part; master

Augustin played the cornet with the singers of monseigneur,

which was good to hear with the singers." 5 7 On the return

trip Philippe's chapel performed in Avignon and Lyon. Master

Augustin is further singled out for praise when the chapels

of Philippe and Philibert II, husband of Marguerite of Aus-

tria, joined in singing Mass at Easter of 1503 in Savoy:

"IPhilippe's) singers and those of the duke tof Savoy) sang very well, one after the other, and master Augustin played

his cornet with the singers, which was good to hear." 5 8

Philippe then traveled to Innsbruck, where his chapel and

that of Maximilian sang together with the accompaniment of

56 Molinet, Chroniques, II, 504.

57 Doorslaer, "La Chapelle musicale de Philippe le Beau," p. 50.

58 Picker, The Chanson Albums of Marguerite of Austria, p. 24. 27

an organ and other instruments. On September 26, 1503, Mass

was performed and "the sackbuts of the King [Maximilian3 began

the Gradual and played the Deo gratias and the Ite missa est,

and the singers of monseigneur sang the Offertory." 5 9

In 1504 Isabella of Spain died, and Philippe and Juana

became king and queen of Castille, Leon, and Granada. For

their second journey to Spain in 1506, five hundred members

of the court sailed with them in early January. Bad weather

forced their ships, one of which carried the members of the

chapel, to the English coast. For three months Henry VII en-

tertained the shipwrecked party at Windsor, where instrumen-

talists of both princes performed at a festive banquet.6o

Philippe set sail again for Spain and died shortly after

his arrival on September 15, 1506. The last list of his

"grandechapelle," dated July 22, 1506, at Valladolid, men-

tioned Agricola, Pierre de la Rue, Marbriano de Orto, and

Antoine Divitis among its thirty-three members.61 Since

Agricola's name did not appear on the list of the chapel

drawn up at the order of Juana in October, he may also have died at about the same time as Philippe. Since the strain

of her husband's death rendered Juana incapable of governing

59 Doorslaer, "La Chapelle musicale de Philippe le Beau," p. 52. 60Vander Straeten, La Musigue aux Pays-Bas, VII, 160f. 6 lDoorslaer, "La Chapelle musicale de Philippe le Beau," pp. 53-54. 28

the affairs of the court, most of the chapel dispersed.

Those who returned home performed at a Requiem Mass in honor

of their dead sovereign: "The singers of the late King began the Introit of the Requiem, singing in piteous lamenta-

tion . . .62

Under Marguerite of Austria, who became regent in 1507, music continued to play a leading role among the arts at the

Burgundian Netherlands court. An interesting and comprehen-

sive study of the musical life of Marguerite's court has been prepared by Martin Picker.6 3

6 2Ibid. pp. 54-55.

63Picker, The Chanson Albums of Marguerite of Austria, pp. 27-35. CHAPTER II

NOTATION

London Add. 35087 is written in the white mensural notation of the late fifteenth century. In transcribing the

French, Italian, and Latin compositions of the manuscript in- to modern notation, a reduction of 2:1 is used; thus, a half note of the transcription is equal to a semibreve of the original. All ligatures of the old notation are shown by a

in the transcription.

Clefs

In the manuscript the C clef placed on the first, second, or third staff lines and the G clef on the second line are employed in the superius parts; the C clef on the first, third, or fourth lines, the G clef on the second line, and the F clef on the third line are used in the tenor parts; the C clef on all five lines and the F clef on the third or fourth lines are employed in the contra parts.

Eighteen different combinations of clefs are found among the fifty-three compositions. The most favored is the combination of the C clef on the first line (superius), C clef on the fourth line (tenor), and F clef on the fourth line

29 30

(contra), used for sixteen pieces. 1Eleven compositions utilize a combination of C clef on the first line (superius), C clef on the third line (tenor), and F clef on the third line

(contra).2 The employment of so many different clefs and the variety of clef combinations indicate the scribe's intention of keeping each voice part on the staff and restricting the need for leger lines.

Most of the transcriptions of this edition employ the treble clef for the superius, the treble clef to be read an octave lower for the tenor, and the bass clef for the contra. To avoid the extensive use of leger lines, various other combinations are needed for nine works.3

Modes

The compositions of the manuscript are written in the widely used ecclesiastical modes of the time. The modes have been identified from the roots of the final cadential chords in connection with the prevailing key signatures.

The following statistics have been compiled on this basis:

'Nos. 1, 3, 5, 7, 11, 23, 25, 27, 28, 30, 37, 38, 40, 41, 46, and 49. 2Nos. 9, 15, 29, 31, 32, 34, 39, 43, 44, 47, and 48.

3 No. 45:$4C; no. 53:1 ; no. 42:4 *9; no. 12: 9; nos. 33, 35, 50, 51, 52:_ . Helen Hewitt and Isabel Pope, editors, Harmonice musices Odhecaton A (Cambridge, Massachusetts, 1942), p. 19. 31

Mode Total

Dorian...... 25

untransposed ...... " 7

once transposed,...... 18

Phrygian ...... 1

Lydian with B flat in signature 8

Mixolydian ...... 0 . . . . 8

Aeolian ...... 9

Ionian ...... 2

Grand Total: 53

This table shows that the Dorian mode--either in untransposed position with the final on D or once transposed, with B flat in the signature and the final on G--is employed for almost one-half of the compositions. Since the Lydian mode never occurs without a flat in the signature, it can also be considered the once transposed position of the

Ionian.5

Cadences

In forty-eight of the fifty-three compositions all parts close on the final of the mode. Four others close with the fifth of the chord in one voice, the roots appearing in the

5 Gustave Reese, Music in the Renaissance (New York, 1959), pp. 185-186. ~~~ 32

remaining voices.6 The one composition written in the

Phrygian mode concludes with two roots and a minor third. 7

In this work the second resolving downward to the final is

considered the leading tone and the seventh remains un-

raised. 8It should be noted further that the majority of

the pieces begin with either the final or the fifth of the

mode in one or more voice parts.

Key Signatures and Partial Signatures

Twenty-seven compositions show blank key signatures.

This indicates that these works are written in the untrans-

posed position of the modes. Twenty-four compositions show

one flat in the signatures of all voice parts, indicating

the use of a once transposed position of the mode (up a

fourth or down a fifth).

Two works give partial or conflicting signatures. Both

in Fortuna desperata (no. 9) and Plaine dennuy / Anima mea

liquefacta est (no. 46), the tenor and contra show one flat

in their signatures while the superius contains none. Since

the number of B-naturals in the superius of Fortuna desperata

is small, the existing accidental (measure 54) and the normal

6 No. 20 contains two roots and a fifth in a three-part work, and nos. 24, 33, and 44 contain three roots and a fifth in four-part works.

7No. 38.

8 "Cadence," Harvard Dictionary of Music (Cambridge, Massachusetts, 1956). 33

application of musica ficta obviated a need for a flat in

the key signature.9 This is substantiated by the following

list of variant conflicting signatures found for this work

in other manuscript sources, most of which contain a fourth

voice:

SA .TB

London Add. 31922...... q b b b Paris 4379, Seville 5-I-43 q b b b Paris Vm7 676...... q b b b1 St. Gall 462 ......

Segovia .-...... -.-....---... b b b

In Plaine dennuy / Anima mea liguefacta est, however,

no accidentals occur in the superius and much musica ficta

is required. Perhaps this indicates an error of omission in

the scribe's work. This also can be verified by a list of

full signatures found for this piece in other manuscripts:

S TB

Bologna Q 17 b

Brussels 228

Florence 2439 . . . . . I, b:71

9 See Edward E. Lowinsky, "The Function of Conflicting Signatures in Early Polyphonic Music," The Musical quarterly, XXXI (April, 1945), 241. 34

Accidentals and Musica Ficta

All accidentals found in the manuscript are placed on

the staff in the transcriptions. No sharps are given, but

B-flat and E-flat occur. These are employed to prevent

cross relations, melodic augmented fourths and diminished

fifths, or diminished fifths and octaves between voices.

One flat occurs before "f" (no. 18, superius, measure 34) to

help the singer identify this note outside the gamut.10

Flats are also placed before the sixth degree of the Dorian mode in accordance with the rule una nota supra la semper

est canendum fa.

The customary rules of musica ficta have been applied

to all compositions as a supplement to the sparse usage of accidentals. These rules are summarized as follows:

Melodic:

1. the melodic augmented fourth or diminished fifth

should be rendered perfect;

2. Subsemitonium modi must be used at cadences in the

Dorian, Mixolydian, and Aeolian modes; this does not apply to the Phrygian mode;"

3. the sixth of the Dorian mode must be flatted when between two A's in accordance with the rule una nota supra la semper est canendum fa.

10 Ibid., pp. 254-256.

"See p. 32. 35

Harmonic:

1. all fifths, octaves, and twelfths must be perfect;

if not perfect according to the signature, they must be ren-

dered perfect;

2. the third expanding to the fifth must be major; the

third contracting to the unison must be minor;

3. the sixth expanding to the octave must be major;

the sixth contracting to the fifth must be minor.12

The general observation of these rules by the performers

of the time is indicative of the strong leaning toward the

later establishment of tonality.' 3

Meter Signatures

The majority of compositions in the manuscript use

tempus imperfectum diminutum or proportio dupla. This is

transcribed as 2/2 (*=J). In no. 28 the meter signature of

the contra is omitted by the scribe, but is clearly meant to be . The superius and contra of no. 19 show C 2, which is another symbol for proportio dupla and is transcribed as

such.14 Measures 1-16 of no. 22 employ C , tempus imperfectum, in all voices and are transcribed in 2/1 (O=o)).

'2 See Gustave Reese, Music in the Middle Ages (New York, 1940), p. 381.

'3 Edward E. Lowinsky, Tonality and Atonality in Sixteenth- Century Music (Los Angeles, 1962), pp. 1-2.

'4 Willi Apel, The Notation of Polyphonic Music 200-1600, rev. ed. (Cambridge, Massachusetts, 1953), p. 1I7. 36

Four works employ 4 3, which would appear to be a combi-

nation of dupla and tripla called proportio sextupla. How-

ever, f at the beginning of the sixteenth century was used

in the sense of C , so that "the figure 3 does not combine

with the dupla-stroke, but only modifies its meaning to indi-

cate tripla rather than dupla."1 5 Thus, J 3 may be considered proportio sesquialtera in which three semibreves in the pro-

portion equal two in proportio dupla ( 340=('4). 4 3 is therefore transcribed as 3/2. No. 23 is written entirely in

3, while three others utilize it only in part: no. 22, measures 17-23; no. 51, measures 35-42; no. 39, measures 57-

58 in the tenor only as the other voices continue in

creating a momentary cross rhythm.

There are a few instances in which the penultimate measure of a composition contains three beats instead of two.

This fifteenth century practice of holding off the final chord by elongating the preceding measure is indicated in the transcriptions by the insertion of a 3/2 penultimate bar.16 Other 3/2 bars are required before chords in inter- mediary cadences.17

Blackened Notes

Coloration occurs throughout the manuscript. The blackening of semibreve and minim, minor color (+ ), is used

15Ibid., p. 157. 16Nos 14, 25, 31, 32, and40.

'7 Nos. 25, 31, 32, and 40. 37

interchangeably and as an alternate to -f.18 A few in-

stances of half-blackened ligatures c. o. p. contain minor

color as follows: 6 = 4=44-.19 Occasionally, the blackening of breve and semibreve, minor color temporis, is

employed (==.;=Q 1-) . 2O Brackets Ef~~are placed

above all examples of coloration in the transcriptions.

Subsidiary Sumbols

The purpose and use of the signum congruentiae, corona, repetition signs, double bar lines, and custos found in the manuscript are discussed as follows.

Signum Congruentiae

The signum congruentiae "-. provides points of reference

in the various parts. In free chansons signa mark the beginning of the last section.21 A signum marks the beginning of the last statement of the cantus firmus in yet another composition. 22

The symbol is used in three canonic pieces to indicate the entrance of the comes (consequent of the canon). In no. 24, Coment peult avoir joye, a signum is shown over the

'8 Apel, The Notation of Polyphonic Music, pp. 128-129.

19Ibid., pp. 129, 142.

20 Ibid., p. 130. 21 Nos. 14, 16, and 28.

2 2 No. 47. 38 third semibreve of the superius; at this point the imitative voice begins above the superius at the interval of a fourth in accordance with the instruction "In dyatesseron" shown at the top of folio 36 verso. In no. 33, Je le lairay, a signum shown over the second note of the superius marks the entrance of the imitative altus at the interval of the fifth below. In no. 44, Salve mater Salvatoris, a signum is found over the first dotted semibreve of the contra (which starts on d) along with the instruction "Canon Qui se exaltat humiliabit(ur)." This passage is taken from the second half of Luke 14:11, which reads: "quia omnis gui se exaltat, humiliabitur et se humiliat, exaltabitur." The English version is as follows: "For whosoever exalteth himself shall be abased; and he that humbleth himself shall be exalted."

Canon by inversion is implied here; the altus is realized by starting on d' at the signum and imitating the contra in contrary motion.23 All signa congruentiae found in the manuscript have been placed in the transcriptions.

Corona

The meaning of the corona (\ is that of "hold," the same as that of the modern-day fermata, which it resembles.

It, like the signum congruentiae, marks the close of a

23 Heinrich Glarean, Dodecachordon, translation, transcription, and commentary by Clement A. Miller (Rome, 1965), II, 281. 39 section; it is also used to mark the end of a composition.25

Repetition Sign, Double Bar Lines and Custos

The repetition sign -indicates the repeat of a section and is used in free chansons. Double bar lines, placed on the staff after the final longa in each voice, mark the end of the composition. The custos i- is used throughout the manuscript at the end of a staff to indicate the pitch of the first note of the next staff. 2 7 4 2 Nos. 1, 4, 5, 14, 17, 25, 34, 37, and 49.

25 Nos. 18, 33, 36, and 40.

26Nos. 13, 15, and 32.

2 7 Apel, The Notation of Polyphonic Music, p. 24. CHAPTER III

FORMS OF THE TEXTS

The texts found in London Add. 35087 are limited to ron-

deaux refrains, single stanzas of free chansons, and single

lines of motets. Only one piece, Adieu solas tout plaisir

(no. 31), provides more: one additional stanza lies beneath

the superius of this free chanson. The texts occur under all

voices, and the lines of text usually coincide with matching

musical phrases.

Five compositions contain fragmentary text only. More

complete texts to two of these works, Ut queant laxis (no. 23)

and Fors seulement (no. 42), have been found and are given

in the Transcriptions. However, the texts to Que nest il vray (no. 36), Je ML soloye aller (no. 50), and. Dicant nunc

Judaei (no. 53) have not been located and remain incomplete.

Another piece, Pauper sum ego (no. 11), gives only the tex-

tual incipits; the full text found in Psalm LXXXVII:16

(E.V. LXXXVIII:15) is used in the transcription of this song motet. Where London Add. 35087 shows an omission, the missing words, found elsewhere, are placed in the Transcrip-

tions in brackets, with a footnote identifying their source.

40 41

Chansons

Like many manuscripts compiled at the end of the fifteenth and the beginning of the sixteenth centuries, London

Add. 35087 includes examples of the two important types of

French secular music of that time: the courtly chanson musicale and the more popular chanson rustique. The formes fixes used for the chanson musicale dealt with the courtly themes of unrequited love, inconsolable grief, and melancholic thoughts of death, all treated in a sophisticated and affected style. The three principal formes fixes were the rondeau, virelai, and ballade.

The manuscript has no virelai or ballade, but does contain five rondeaux. Two of the five, Mon souuenir (no. 18) and Mais gue che fut (no. 19), are rondeaux quatrains with refrains of four lines. Mais gue che fut may serve as an example of this form: Text Music Mais aue che fut secretement A A En aulcum lieu ou le diroie B James homme n'escondiroie B B Pour ung petit cop seulement A CQui priroit trop longuement I Pour le second ie le feroye b a Mais gue che fut secretement A En aulcum lieu ou je diroie B tSi en vouliez plus largement a Je cuyde que ie noseroye b J Par dieu ie men aduiseroie b Dy trouuer bon appointementJ'a

'Le Jardin de plaisance et fleur de rethoricque (Paris, Antoine V rard, n.d.), f. 119'; Eugenie Droz and Arthur Piaget, editors, Introduction et notes, Vol. II of Le Jardin de plaisance et fleur de rethoricque, 2 volumes (Paris, 1910- 25), No. 548. 42

Mais cue che fut secretement A En aulcum lieu ou je diroie James homme n'escondiroie B Pour un petit co p seulement

The full rondeau text contains three separate stanzas.

The first constitutes the refrain and is found in the manuscript; the two remaining stanzas are taken from Le Jardin de plaisance.2 This rondeau quatrain follows the rhyme-scheme,

ABBA, and falls into two musical sections, A and B, with a medial cadence occurring between the two sections in measures 12-13.

The first two lines of the second stanza follow an ab rhyme and are sung to the music of the first part of the refrain; the remainder of the stanza is a repetition of the words and music of the first part of the refrain. The third stanza incorporates both the rhyme-scheme (abba) and the music (AB) of the full refrain, after which comes the final recurrence of the refrain.

The structure of the rondeau quatrain may also employ an alternate rhyme-scheme: ABAB abAB abab ABAB. In sources having full rondeaux texts, repetitions of the refrain are often indicated by the first hemistich, called the rentrement. 3

2lbid.

For a comprehensive discussion of the rondeau and other formes fixes, see Helen Hewitt, editor, Harmonice musices Odhecaton A with edition of literary texts by Isabel Pope (Cambridge, Massachusetts, 1942), pp. 45ff. 43

Three other pieces, Cest mal sarchie (no. 25), Sourdes regretz (no. 37), and Fors seulement (no. 42) are rondeaux cinquains with refrains of five lines. Sourdes regretz will serve as an example of this form:

Text Music Sourdes regretz environes mon ceu A Tout de sospirs de peines et de] doleur, A A Puis qu'ainsy est quay ma dame perdue, B J'aimaisse mieulx james l'avoir veue, B B Pour en estre s lontemps en languer. A

fMais j'espoir bien que grace lion m'aporte b Pour le remede qui me vauldra bon eur ; a a ...... ? Sourdes regretz environes mon ceur A Tout de sospirs de peines et de)4 doleur, A A Puis qu'ainsy est qu'ay ma dame perdue. B

[Aujourd'huy n'est plaisir qui me supporte; b Le coeur m'estraint et me tient en rigeur, a a Aligiez moy et me donnez vigeur 4 a Ou je vaulx mort, a vous je m'en rapporte; bb

Sourdes regretz environes mon ceu A Tout de sospirs de peines et [d_ doleur, A A Puis qu'ainsy est qu'ay ma dame erdue, B J'aimaisse mieulx james l'avoir veue, B B Pour en estre s lontemps en languer. A

The final refrain line of a rondeau cinquain rhymes with one of the preceding pairs. In this example the fifth line rhymes with the first pair: AABBA. The refrain again falls into two musical sections, A and B; the close of the first section is marked by a corona above each voice in measure 30.

4Brussels, Bibliotheque Royale de Belgique, MS 228, f. 54'-55; Martin Picker, The Chanson Albums of Marguerite of Austria, MSS 228 and 11239 of the Biblioteque~Royale de Belgique, Brussels (Berkeley, ~95), pp. 379-381. 44

The two remaining stanzas follow the scheme of the rondeau quatrain.5 It is possible that the scribe of the Brussels manuscript made an error and either omitted a line from each of these stanzas or copied the stanzas of a different Sourdes regretz. Although the rhyme-endings of the stanzas agree with those of the refrain, their reversed order produces a different rhyme-scheme: ba baab. Pugh presumes that the stanzas belong to a rondeau cinquain but suggests only that the third stanza lacks a line.6 However, a third line must also be added to the short stanza to provide sufficient text for its musical section (first part of refrain setting). If one assumes the stanzas to be incomplete, the piece could be performed today with the repetition of line two of the short stanza and any one line of the third stanza.

In Fors seulement because of the instrumental style of the long opening duet between superius and contra, only the tenor has been given the refrain text of this rondeau cinquain. This interpretation of the work as a vocal-instrumental arrangement is also necessitated by the absence of a

5 Martin Picker, "The Chanson Albums of Marguerite of Austria: Manuscripts 228 and 11239 of the Bibliotheque Royale de Belgique, Brussels," unpublished doctoral dissertation, School of Music, University of California, Berkeley, California, 1960, p. 154.

6 Martha Elvira Pugh, "An Edition of Some Chansons of Antoine Busnois, Loiset Compere, and Hayne de Ghizeghem," unpublished master's thesis, Department of Romance Languages, University of North Carolina, Chapel Hill, North Carolina, 1950, p. 54. 45 strong medial cadence at which the return to the beginning could be made after the short stanza. Two medial cadences occur, but in neither do all voices cadence at once. The close of the third line of text falls in measures 29-30 in the superius, measures 36-37 in the tenor and contra.

By the beginning of the sixteenth century, the chanson rustigue supplanted the chanson musicale as the predominant form of secular music. The preponderance of chansons of a more popular genre in London Add. 35087 is an indication of the decline in the use of the formes fixes at the end of the fifteenth century. Whereas the formes fixes treated courtly life and love, the chanson rustique dealt with everyday life with its variety, wit, and realism. Its poetry treated love in a bucolic and naive manner or as a subject for satire and irony; favorite subjects were the cuckolded husband, the young girl married to an old man, and the amorous adventures of members of the clergy.7

There are thirty-three free chansons in the manuscript.

Their texts are strophic or consist of a single through- composed stanza. Refrains punctuate the strophic structure of several works, and there is a tendency toward assonance rather than genuine rhyme in many texts. The musical phrases, which will be discussed in the succeeding chapter, follow the

7Howard M. Brown, "The Chanson Rustique: Popular Ele- ments in the Fifteenth- and Sixteenth-Century Chanson," Journal of the American Musicological Society, XII (Spring, 1959), 19. 46 scheme and metrical structure of the poems more directly than they do the meanings.

Nine pieces (nos. 10, 13, 16, 29, 33, 40, 45, 51, and

52) take both text and music from the two monophonic chansonniers of the period: Paris, Bibliotheque Nationale, Fonds fr. 9346 and Fonds fr. 12744. A discussion of eight representative chansons with and without refrains follows:

No. 28 Je voy je viens Text Music Je voy, je viens, mon ceur s'en volle, a A Je me tue, et ne sgay pourquoy. b B Vous est-il point ainsi de moy? b Nenny, je ne suis pas si folle. A A t

This is a chanson with refrain. The one-line refrain follows the stanza of three lines. Three other stanzas are provided by Howard Brown. The stanza and refrain together employ a rondeau quatrain rhyme-scheme: abbA; the music has a simple ternary structure. The poem is heterometric: 9 8

8 9. The text recounts how a man entreats a woman to love him.

No. 31 Adieu solas tout plaisir Text Music Adieu solas, tout plaisir, et liesse a A Mon poure ceur sy bit en grant tristesse a Sc'Test du regret gue Pay de mon amy B B Ellas, il m'a fally. B

8 Howard M. Brown, Theatrical Chansons of the Fifteenth and EarySixteenth Centuries (Cambridge, Massachusetts,Y1963), p. 127. 47

Je meneray lassus au vert bochage c A Ou je feray fonder ung ermitage A Pour les regretz gue jay de mon amy B B Ellas, ellas, ii m'a fallyYi B

This chanson with refrain has a stanza of two lines followed by a two-line refrain. The second stanza is found only in our manuscript. Each stanza shows a paired rhyme as does each refrain. The text is set to two musical sections, the second being repeated in London, British Museum, MS Harley

5242, f. 20'-21. The wording of the first line of the refrain changes slightly in the second stanza. Elisabeth Heldt calls this rather curious procedure "Refrainwechsel" or "changing refrain." Note also that the first word of the second refrain line, ellas, is repeated in the second stanza making a line of eight syllables rather than six. The poem is heterometric: 11 11 10 6 (8). The text is a lament of a lost sweetheart.

No. 10 En lombre dung buisonnet Text Music En l'ombre d'ung buisonnet a Tout au long d'ung riviere, bA J'ay trouv4 le filz Marquet, a A Qui prioit sa dame chiere, b 3 En disant par tel mani'ere: b "Je vous ayme mon ceur doulx." c B A dont respondit la bergi'ere: B C "Robyn, coment l'atendez vous?" C D "Robyn, coment l'atendez vous?" C D' "Robyn, coment l'atendez vous?" C D"

9 London Add. 35087 gives the second stanza of text under the superius, f. 53'.

'0 Elisabeth Heldt, Die Liedformen in den 'Chansons du XVe siecle' (Ed. G. Paris7V(Halle, 1916), p. 14. 48

This chanson with refrain has a six-line stanza followed by a refrain of two lines with the last line repeated twice.

The monophonic source gives one stanza of text with the first line beginning, A l'ombre d'ung buissonet.1 Three other stanzas, whose two-line refrains are quite similar to ours, are taken from another monophonic source, Aupres d'un jolys boucquet.12 The stanza is set to three musical sections, whereas the refrain utilizes four. The stanza shows two different cross rhymes and the refrain one: ababbc BC(CC). The poem is heterometric: 7 8 7 8 8 7 9 8 (8 8). The text is similar to that of the earlier pastourelle; it relates a scene between a shepherd and a shepherdess in rather base language.13

No. 45 Vray dieu damour Text Music Vray dieu d'amour confortez moy a A Vous m'avez mys en grand ennoy a A' Pour la belle gue point me oy_ A B En ceste novelle sayson: B Helas! comment passeray Edonc] B B Ce temps deste gui est long? B Ce temps deste gui est long? B C

11Paris, Bibliotheque Nationale, Fonds fr. 9346, f. 104'; Theodore Gerold, editor, Le Manuscrit de Bayeux: texte et musique d'un recueil de chansons du XVe siecle (Strasbourg, 1921), No. 101.

' 2 Gaston Paris and Franjois-Auguste Gevaert, editors, Chansons du XVe si'ecle publiees d'apres le manuscrit de la Biblioth que Nationale de Paris Paris, 1935), No. 9.

'3Gerold,, Le Manuscrit de Bayeux, p. xxiii; Julien Tiersot, "Elzear Genet, dit Carpentras et la chanson 'A lombre dung buissonet,'" La Tribune de St. Gervais (1899), p. 241. 49

This is another chanson with refrain. The two-line stanza has a paired rhyme, aa, and the four-line refrain with the last line repeated has the rhyme-scheme, ABBB(B). The seven lines are set to five musical sections. The monophonic source supplies the missing word, donc, needed to complete the rhyme of the third refrain line as well as six other stanzas which employ "changing refrains." The first line changes with each new singing of the refrain, whereas the second line of the refrain is retained in six of the seven stanzas. The third and fourth lines remain unaltered in each of the stanzas. The poem utilizes octosyllabic lines: 8 8

8 8 8 8 (8). The text shows the anxiety of a young woman who is separated from her sweetheart.15

No. 29 Jayme bien mon amy Text Music J'ayme bien mon amy a A De vray amour certaine, b B Car je shay bien qui m'aime, b C Et oussy fai-ge luy a A Et oussy fai-ge luy. a At

This is a four-line strophic chanson with the last line repeated. Its rhyme-scheme is abba(a), and its text is set to a five-part musical structure. The monophonic source supplies one other stanza.16 The poem is heterometric: 6 7

14 Paris, Bibliotheque Nationale, Fonds fr. 12744, f. 6'-7; Paris and Gevaert, Chansons du XVe si'ecle, No. 8.

15 Heldt, Die Liedformen, p. 4. 6 1 Paris 9346, f. 29'-30; Gerold, Le Manuscrit de Bayeux, No. 29. 50

7 6 (6). The text is a statement of love by a woman for her lover who reciprocates in this love.

No. 16 Si jayme mon amy Text Music Si j'ayme mon amy a Trop plus que mon mary, a A En avez vous merveille: b Il n'est ouvrier que luy a De che mestier joly a A' Que se faict sans chandeille. b

This is a six-line strophic chanson. The stanza con- sists of two equal sections, each following the rhyme-scheme of the bar-form: aab aab; the text is set to two similar musical sections. London, British Museum, MS Harley 5242, f. 22' contains eight other stanzas, and the monophonic source has four extra stanzas. The poem is heterometric:

6 6 7 6 6 7. The text is a lament of a mal mariee.18

No. 52 On a mal dit de mon amy Text Music On a mal dit de mon amy, a A Don j'ay le ceur triste et marn, a A Mais qu'en ont il affaire, b B Ou s'il [est) bien, ou s'il [est] laid, b C Puisqu'il est bien'a mon plaisir? a A Puisqu'il est bien a mon plaisir? a A' Puisqu'il est bien a mon plaisir? a A"

This is another strophic chanson. The five-line stanza with the last line repeated twice has the rhyme-scheme,

17Pa2is 12744, f. 80'-81; Paris and Gevaert, Chansons du XVJe siecle, No. 118.

'8 Heldt, Die Liedformen, p. 4. 51 aabba(aa), and is set to a seven-part musical structure. The insertion, est, is derived from the monophonic source, which also includes two other stanzas.19 The second of these two extra stanzas appears to be incomplete, having only three lines with the rhyme-scheme: aab. It is possible that two of these lines were to be repeated for the fourth and fifth essential lines of the stanza. Or, perhaps three lines of the first stanza were meant to be inserted after the above three lines, in the same manner as the first part of a rondeau refrain follows the short stanza. Paris 12744, f. 46, gives four stanzas of a somewhat different text, and its melody, beyond the initial phrase, is not related to the above composition.20 The poem is heterometric: 8 8 7 8 8 (8 8); the text is yet another lament of a mal mariee.

No. 15 Helas dame que jayme tant op Text Music Helas, dame que j'ayme tant a Plaise vous ma requeste oui'r bJ Vous sgavez qu'il i a long temps, a A Que j'ay desir de vous jouir, b Veulliez moy ung pu secourir, b B Je vous supplie tres humblement, c Ou du brief my fauldra morir, b A En deul, en peine, et en tourment. c}3

The stanza of this eight-line strophic chanson employs two different cross rhymes: ababbcbc. The lines of the text

19Paris 9346, f. 75'-76; Gerold, Le Manuscrit de Bayeux, No. 74. 20 Paris and Gevaert, Chansons du XVe siecle, No. 69. 52 pair off into a four-part musical structure. The poem is heterometric: 8 9 8 8 8 9 8 9. The text tells of a man's

frustrations in courting a woman.

The two pieces with Italian texts, Fortuna desperata

(no. 9) and Consummo la mia vita (no. 17), are included among the thirty-three free chansons. Both are through-composed songs with two- and four-line stanzas. A discussion of

Fortuna desperata follows:

Text Fortuna desperata a iniqua maledicta a che di tal dona electa a la fama ay denegata a

The poem is heterometric, 7 7 8 8, and each line ends with the same rhyme: aaaa. The music is through-composed and follows the style of the Burgundian song. The text is a complaint to the goddess "Fortuna," who played an important part in Renaissance thought; 2 1 the text is the basis for many chanson settings of the late fifteenth century (see

Concordance).

Motet-Chanson

London Add. 35087 contains one motet-chanson--a work combining French and Latin texts. Plaine dennuy / Anima mea liquefacta est (no. 46) unites a rondeau quatrain refrain in

2 1 Edward E. Lowinsky, "The Goddess Fortuna in Music," The Musical Quarterly, XXIX (January, 1943), 65. 53 the two upper voices with a Latin passage from the Song of

Solomon V:6 and 8, in the contra.22 Maniates gives the following description of the texts: "In the French poem, a lady welcomes death as a relief from the pain of disappointed love; the Latin text appropriately expresses the despair of a bride searching for her beloved." 2 3 Martin Picker points out that

"the import of the Biblical passage in this context is evi- dently secular rather than sacred. "24

Song Motets

Closely allied to the motet-chanson is the song motet.

London Add. 35087 includes nine of these works: nos. 1, 2,

3, 4, 8, 11, 23, 26, and 34. Stylistically, these resemble chansons and are more often included in chansonniers of around 1500 than in motet collections for church use.2 5

Contrafacta have been found for some of the works, which indicate their existence also as motet-chansons. The distinction

22 Bibliorum Sacrorum, iuxta Vulgatam Clementinam. Breviario perpetuo et concordantiis aucta (Rome, 1946), Canticum canticorum Salomonis V:6 and 8.

23 Maria Rika Maniates, "Mannerist Composition in Franco- Flemish Polyphony," The Musical Quarterly, LII (January, 1966), 18.

24 Picker, "The Chanson Albums of Marguerite of Austria," p. 254.

25 Heinrich Besseler, Die Musik des Mittelalters und der Renaissance, Vol. II of Handbuch der Musikwissenschaft, edited by Ernst Bfchen, 10 volumes (Potsdam, 1931), pp. 213- 214; Wolfgang Stephan, "Die burgundisch-niederlundische Motette zur Zeit Ockeghems," Heidelberger Studien zur Musik- wissenschaft, edited by Heinrich Besseler (Kassel,1937 pp. 51-52. 54 between the two forms appears to be as follows: the song motet is devotional and mono-textual; and the motet-chanson is basically secular and bi-textual.26 Three representative song motets from the manuscript will now be discussed:

No. 1 0 vos omnes

0 vos omnes u transitis per viam, attendite et videte si est dolor sicut dolor meus; quoniam vindemiavit me, ut locutus est Dominus in die irae furious sui.

The text of 0 vos omnes is derived from the first part of the Lamentations of Jeremiah I:12.27 Its English translation follows: All ye that pass by, behold and see if there be any sorrow like unto my sorrow. Several manuscripts show the music as a setting of this text, whereas two different contrafacta are also found associated with our music.

Brussels, Bibliotheque Royale de Belgique, MS 228 gives the work as a motet-chanson (f. 59'-60) with a French text, 0 devotz ceurs, in the two upper voices over 0 vos omnes in the contra. The French text expresses the mourning of Mary for the dead Christ.2 8

Three other sources (see Concordance) give a rondeau refrain, Tant ay dennuy, for this piece; the full rondeau

6 2 Picker, "The Chanson Albums of Marguerite of Austria," pp. 250-251.

27 Bibliorum Sacrorum, Threni 1:12. 28 Picker, The Chanson Albums of Marguerite of Austria, p. 54. 55 text is found in Le Jardin de plaisance.2 9 Picker thinks that the work originated as a motet-chanson and the French text, Tant ay dennuy, rather than 0 devotz ceurs was the original text in the two upper voices.30

No. 4 Parce Domine

Parce Domine, populo tuo, Qui Pius es et misericors, Exaudi nos in aeternum Domine.

The first line of this text is taken from Joel 11:17; the second line is from Ecclesiastes 11:13, whereas the third line is an invocation which has not been found.3 ' Its English translation follows: "Have mercy, 0 Lord, on thy people, For thou art kind and merciful. Hear us forever, 0 Lord." 3 2

No. 11 Pauper sum ego

Pauper sum ego et in laboribus a juventute mea; exaltatus autem humiliatus sum et conturbatus.

This Latin text is found in Psalm LXXXVIII:15 (Vulgate:

LXXXVII:16). 3 3 Its English translation follows: "I am

29Le Jardin de plaisance, f. 116; Droz and Piaget, Jardin, Vol. II, Introduction et notes, No. 514.

30 Picker, The Chanson Albums of Marguerite of Austria, pp. 54, 144.

3 1Bibliorum Sacrorum, Joel 11:17; Ecclesiasticus 11:13.

32 Carl Parrish and John F. Ohl, Masterpieces of Music before 1750 (New York, 1951), p. 55.

3 3Bibliorum Sacrorum, Psalm LXXXVII:16. 56 afflicted and ready to die from my youth up: While I suffer thy terrors I am distracted." This work exists as a motet- chanson in two sources. Florence, Biblioteca del Conserva- torio "L. Cherubini," MS 2439 (f. 89'-90) has the French incipit, Fortune destrange plummaige, in the two upper voices, whereas Brussels 228 gives a French text, Ce povre mendiant, for the two upper voices of the same work (f. 58'-59).

Five extended motets, which unlike song motets do not resemble chansons, are also found in London Add. 35087: nos. 12, 38, 39, 44, and 53. For the most part these are lamentations or prayers of repentance. Peccantem me guotidie

(no. 12) has the text of a response for the Office for the

Dead at Matins. Vivo e dicit Dominus (no. 38) gives the text of an antiphon. 3 5

34Benedictines of Solesmes, editors, The Liber Usualis (Tournai, 1938), p. 1797. 3 5 Antiphonale sacrosanctae Romanae ecclesiae pro diurnis horis (Tournai, 1949), p. 81. CHAPTER IV

MUSICAL FORMS

The fifty-three compositions of this study represent an interesting cross-section of French, Italian, and Latin musical genres from the end of the fifteenth and beginning of the sixteenth centuries. These genres will be discussed separately, and each discussion will include commentary on representative examples. Secular music comprises the bulk of the works in London Add. 35087, including five courtly rondeaux and thirty-three free chansons. One motet-chanson, nine song motets, and five other extended motets complete the forms.

Rondeaux

Fifteenth-century rondeaux by Hayne van Ghizeghem

(no. 18), Alexander Agricola (no. 25), and Loyset Compere

(nos. 19 and 37) constitute the earliest stylistic group of pieces in our manuscript. Generally, the superius is the predominant voice in these works. The tenor provides an effective counterpoint to the superius melody, whereas the contra is subjugated to a more harmonic and accompanying role.

In the period from 1460 to about 1480 Hayne van

Ghizeghem was one of the foremost chanson composers of the

57 58

Burgundian school. Both Eloy d'Amerval in his Livre de la

Deablerie and Guillaume Cretin in his Deploration sur la mort de Ockeghem attest to Hayne's fame.2 Following his death (1472?), his works appear to have been neglected until the beginning of the sixteenth century when a number of manuscripts and Petrucci prints incorporate them.3

Hayne's Mon souuenir (no. 18) contains a melodic superius with long, rounded phrases. To this is joined a conjunct tenor in similar rhythmic motion to produce occasional thirds and sixths, and they often cadence together. The independent contra begins one measure after the entrance of the superius and tenor and remains behind them throughout the piece. The cadence of each phrase of the contra thereby overlaps the beginning of each succeeding phrase sung by the upper voices.

Only in the final cadence does the contra catch the other two parts. Little use of imitation is observed: Cf. superius, m. 9f. with tenor, m. 10f.; superius, m. 19ff. with tenor, m. 20ff. and contra, m. 26f. The work is written in a "non- quartal" style (without harmonic fourths) and could be performed with the contra omitted without disrupting the

'Genevieve Thibault, "Chanson," Die Musik in Geschichte und Gegenwart, Vol. II (Kassel, 1952).

2 Charles van den Borren, "Hayne van Ghizeghem," Die Musik in Geschichte und Gegenwart, V (1956).

3Jeanne Marix, "Hayne van Ghizeghem, Musician at the Court of the Fifteenth-Century Burgundian Dukes," The Musi- cal Quarterly, XXVIII (July, 1942), 282. 59

correctness of intervals between the other two voices.

Each line of text is set to a separate musical phrase,

but little regard is given to the proper accentuation of the

words. The musical phrases, which vary in length, begin syl-

labically with breves and semibreves before changing into

melismas with minim and semiminim values. Hayne limits his

harmonies to triads in root position or first inversion.

Open fifths and octaves are usually reserved for cadential

points. Overall, the melodic style of the piece dominates

the musical structure.

Cest mal sarchie (no. 25) is one of ninety-three secular

pieces composed by Alexander Agricola. This highly esteemed

member of Philippe le Beau's chapel wrote in a style similar

to Hayne's. The song-like superius of his work is the domi-

nant voice to which is added a lyric tenor in almost note-

against-note counterpoint. Unlike the lowest voice of Mon

souuenir, Agricola's contra begins with the other voices and

more directly supports them as a harmonic bass. The third

and fourth phrases show imitative beginnings in all voices:

Cf. contra, m. 14ff. with tenor, m. 15ff. and superius,

m. 16ff.; contra, m. 21ff. with tenor, m. 22ff. and superius,

4Charles W. Fox, "Non-Quartal Harmony in the Renais- sance," The Musical Quarterly, XXXI (January, 1945), 33-53. In fifteenth century composition all fourths were prohibited between voices except as passing tones, neighboring tones, escaped notes, suspensions, anticipations, etc. The rule applied to all instances except when the contratenor was a middle voice. Mon souuenir contains a single harmonic fourth in measure 8, at which point the contra is above the tenor. 60 m. 23ff. After the fourth note in each voice, however, the work returns to the preceding harmonic style. Minim rests serve to break up the phrase structure and prepare short syncopated passages: Cf. tenor, m. 31ff. with contra, m. 32ff.; all voices, m. 38ff. These rests also create poetic caesuras in the second phrase after the second accented syllable (m. 11), whereas coronas are employed on the fourth syllable in the first phrase (m. 4).

One source contains an added si placet voice for Cest mal sarchie.5 In general, this voice is unlike the three principal parts. Its wide range, abrupt skips, and dissimilar style indicate that it was not part of the original composition but a later addition to serve as a "filler" or an instrumental accompaniment for the other voices.

Two important rondeaux by Loyset Compere appear in our manuscript: Mais che fut (no. 19) and Sourdes regretz

(no. 37). The great diffusion of Compere's works in the manuscripts of the end of the fifteenth century is an indication of his importance as a chanson, motet-chanson, and song motet composer. Petrucci included sixteen of Compere's pieces in Odhecaton, six in Canti B, and five in Canti C.6

5Harmonice musices Odhecaton A (Venice, Ottaviano Petrucci, 1501), f. 14'-15; Helen Hewitt, editor, Harmonice musices Odhecaton A with edition of literary texts by Isabel Pope (Cambridge, Massachusetts, 1942), p. 244. 6Ludwig Finscher, "Loyset Compere and His Works," Musica Disciplina, XII (1958), 120. 61

Stylistically, Mais gue che fut and Sourdes regretz resemble Hayne's work in many respects: the melodic superius coupled to the tenor, the harmonically supporting contra, and the rounded, singable phrases of unequal length which begin syllabically and become more melismatic toward the cadences.7 Like Agricola, however, Compere employs short imitative patterns, but his imitations are more carefully organized than those of his contemporary.

In Mais gue che fut (no. 19) all phrases except for the first utilize some imitation between the two upper voices, but in no instance do the imitative passages extend past the fourth syllable in a text line: Cf. superius, m. 14ff. with tenor, m. 15ff.; superius, m. 21f. with tenor, m. 22ff.

Thus, these bits of imitation provide poetic caesuras associated with the rondeau text.

Sourdes regretz (no. 37) employs systematic imitation at the beginnings of phrases in all voices: Cf. tenor, m. 1ff., with contra, m. 2ff.; and superius, m. 3ff.; contra, m. 35ff. with tenor, m. 36ff. and superius, m. 37ff. Yet, the imitation does not continue through to the cadence but breaks off in the middle of the phrase, after which the harmonic, note-against-note style resumes. The phrases are of a more uniform length, and a corona instead of a signum

7Martin Picker, The Chanson Albums of Marguerite of Austria, MSS 228 and 11239 of the Biblioteque Royale de Belgique, Brussels (Berkeley, 1965), p. 60. 62 marks the medial cadence in each voice, the only such usage

in the manuscript. Martin Picker comments on Compere's

cadential formulas by stating that his "cadences include well-defined areas of subdominant as well as dominant:

II5-V-I cadences occur in . . . 'Sourdez regretzT (m. 11)."8

Compere also employs text declamation briefly in his work: m. 18-20, 26-28.9

Helen Hewitt thinks that the anonymous setting of Fors

seulement (no. 42) in the manuscript is an important link between the original rondeau written by Ockeghem and those works which contain the "new" cantus firmus.10 Our piece begins with a long opening duo between the superius and contra before the tenor enters in measure 9. The first five measures of the superius condense and imitate the first six measures of Ockeghem's contra; in measures 6-9 the superius then paraphrases measures 7-10 of Ockeghem's contra. Ac- cording to Hewitt, the tenor of our setting does not appear to be borrowed but can be considered the source of the "new" cantus firmus.11 Since the cantus firmus is prefaced by that

8 id 9 Ibid.

9Ibid.

'0 The settings of Fors seulement were the subject of a paper by Helen Hewitt, "'Fors seulement' and the Cantus Firmus Technique of the Fifteenth Century," read at the annual meeting of the American Musicological Society in Berkeley, California, in December, 1960. See pp. 8-9 of the mimeographed material distributed at the meeting.

"Ibid. 63

of Ockeghem, this piece acknowledges Ockeghem's work as the number one setting of Fors seulement.

Our setting has several interesting features: points of

imitation occur between the two outer voices in the opening duo (Cf. superius, m. 1-3 with contra, m. 2-4); strong cadences arise throughout the piece (Cf. superius and contra, m. 9; all voices, m. 19, 30, 37, 54). These cadences and the clear-cut phrase structure of the tenor clearly indicate

that the work is a rondeau. However, the long opening duo disrupts the coordination of the lines of text, so that no medial cadence can be found which is common to the third text line ending in all voices. This prevents a joint return to the beginning after the completion of the short stanza. A possible solution may be text repetition: following the entrance of the tenor in measure 9, the first line of text could be repeated in the next musical phrase of the superius and contra, beginning in measure 10; this would involve crowding the text lines of the contra and would conflict with the setting of the refrain text in the outer voices as shown in the Antico collection.12 Since the problem appears in- soluble and because of the instrumental style of the opening duo between the outer voices, only the tenor has been assigned the text and will be sung to the accompaniment of the superius and contra.

12 Chansons a troys (Venice, Andrea Antico, L. A. Giunta, 1520), No. 19. 64

The following Fors seulement settings are patterned after our piece with its "new" cantus firmus. Pipelare's four-part

Fors seulement has the "new" cantus firmus in the tenor, and like our piece opens with a duet between two outer voices.13

Another setting by Antoine de Fevin is a parody on Pipelare's chanson. Hewitt states that all of the phrases of the "new" cantus firmus except the first two are found, in the superius or tenor of this piece.14 A four-part anonymous setting contains the "new" cantus firmus in its tenor; in addition several phrases of the cantus firmus are anticipated in one or another of the upper parts.15 Still another anonymous setting from the "Diane de Poitiers" Codex has the "new" cantus firmus in its superius and the first eight measures of

Ockeghem's tenor in its altus. Thus, this setting and our work form interesting links between the chansons based on

Ockeghem's Fors seulement and those based on the "new" cantus firmus.

Free Chansons

The thirty-three free chansons of our manuscript divide into three rather distinct styles of composition. Pieces in all three types employ chanson rustique melodies, and many

'3 Picker, The Chanson Albums of Marguerite of Austria, p. 74. l4 Hewitt, "Fors seulement," pp. 8-9.

'5 Cambrai, Bibliotheque de la Ville, MS 124 (125-128), f. 144'. 65 borrow tunes from the two monophonic chansonniers: Paris,

Bibliotheque Nationale, Fonds fr. 12744 and Fonds fr. 9346.

As Howard Brown has indicated, these "melodies are simple and straightforward; the ranges are narrow, the phrase struc-

ture regular, and the rhythm uncomplicated. Usually each phrase of a melody begins with a short concise rhythmic mo-

tive .16 The phrases tend to be syllabic as the melodies mirror the shape of the words, the meter, and the rhyme schemes.17

Twenty-four of our free chansons are composed in the first of these three styles. They include works by the most

important composers of the beginning of the sixteenth cen-

tury: Josquin, Mouton, Brumel, and Lepetit. In general,

these pieces contain the chanson rustique melody, the cantus prius factus, in the tenor, around which a freely-imitative

superius and contra are fashioned. All three voices are

similar in their melodic and rhythmic structures as well as being equal in range; but the tenor can be distinguished as the cantus prius factus usually in the following ways: it alone preserves the repetition scheme; it is less embellished, and it may be sung alone as an independent melody.18

6 l Howard M. Brown, "The Genesis of a Style: The Parisian Chanson, 1500-1530," Chanson and Madrigal 1480-1530, Studies in Comparison and Contrast, edited by James Haar (Cambridge, Massachusetts, 196T),7p. 20.

7 lbid.,I p. 35.

'8 Howard M. Brown, Music in the French Secular Theater, 1400-1550 (Cambridge, Massachusetts, 1963), p. 122. 66

The imitative texture is smoothly worked out and although the voices enter separately at the beginning of a phrase, they all cadence together. Often, each successive phrase of the tenor is prepared by anticipatory imitations in the outer voices; this elaborate treatment forces the composer to state each phrase of the cantus prius factus in unadorned form, to enable it to cadence with the other voices.19 Cadence formulas lean toward a rudimentary tonality and tend to fall regularly into a few distinguishable types. Many could be termed authentic or half cadences; often the authentic type contains a 2-1 melodic progression in the tenor, 8-7-8 suspension in the superius, and 5-1 in the contra.

All of the above features are embodied in two interesting works by Josquin: Quant fe vous voye (no. 6) and En lombre dung buisonnet (no. 10). According to Brown, Josquin may have composed both chansons at the court of Louis XII of

France.20 Quant je vous voye is a remarkable little piece only found in one other source.21 This chanson with a two- line refrain is set to a simple but carefully planned ternary form in which the lines of the refrain are sung to the two

19 Howard M. Brown, "The Chanson Rustique: Popular Ele- ments in the Fifteenth- and Sixteenth-Century Chanson," Journal of the American Musicological Society, XII (Spring, 1959), 22; Brown, "The Genesis of a Style," p. 22.

20 Brown, "The Genesis of a Style," p. 12. 21 Tricinia. Tum veterum tum recentiorum in arte musica syphonistarum, latina, germanica, brabantica & gallica . . (Wittemberg, Georg Rhau, 1542), No. 87. 67

A sections, one an exact repetition of the other (m. 1-8;

32-39). The cantus prius factus begins in the tenor in measure 2 following anticipatory imitations by contra and superius.

The phrases of tenor and superius continue to show imitation

throughout the rest of the work and are supported by a freer, less imitative contra. Further imitation in the contra is restricted to the 5-3-1 head motive, which begins the repeti-

tive A section in measure 31ff., and to a tentative restate- ment of the first half of the first refrain line in measures

19ff. (Cf. all voices, m. 1-4 with m. 19-22). Rhythmic vi-

tality is achieved through the imitation of groups of four minims, minim rest and three minims, semibreve in all voices.

These devices also provide good text declamation. Polyphonic

cadences paralleling the harmonic authentic cadence appear in measures 8, 31, and 39.

En lombre dung buisonnet (no. 10) was one of the most

celebrated chanson texts of the fifteenth and sixteenth cen-

turies. The Concordance lists nine different polyphonic

settings of this song: three by Josquin; one each by Busnois,

Issac and Gombert; and three anonymous works. The Busnois piece is a four-voice bergerette with three different texts

(see related piece no. 9). Rabelais included the text among the one hundred eighty chansons in the thirty-third chapter of the fifth book of Pantagruel. 2 2

2 2 Julien Tiersot, "Elzear Genet, dit Carpentras et la chanson 'A lombre dung buissonet,'" La Tribune de St. Gervais (1899), 211. 68

Our setting is a chanson with a two-line refrain with the last line repeated twice. The stanza of six lines is set

to three musical parts of which the first two are alike

(m. 1-11; 11-21); whereas the refrain is set to four musical

sections, the last three being somewhat similar. The cantus prius factus is derived from the monophonic chansonnier, Paris,

Bibliotheque Nationale, Fonds fr. 9346, f. 1041, A l'ombre d'ung buissonet.2 3 The melody first appears in the tenor and

is immediately imitated at the fifth above by the superius.

This imitation continues over an independent contra until the last phrase of the borrowed tune. At this point the cantus prius factus is paraphrased by all voices. In measure 32ff. the tenor shows the phrase melody under a superius counterpoint derived from the preceding phrase, whereas the contra rests. Then in measure 36 the contra is given the melody as the tenor provides the above counterpoint under a tacit

superius. Finally, the superius picks up the last repetition

in measure 39 before the contra ends its phrase in the next measure, after which the two lower voices provide harmonic

support up to the final cadence. The final cadence appears to parallel a strong V-I progression.

Vray dieu damour (no. 45), composed by Josquin's contemporary, Antoine Brumel, is unique among our free chansons

2 3 Theodore Gerold, editor, Le Manuscrit de Ba eux: texte et musique d'un recueil de chansons du XVe si'eFle Strasbourg, 1921), No. 101. 69

in two ways: the use of the Ionian mode and the soprano

tessitura of all voices. The range of the three parts falls

between c' and g", which suggests that the work was written

for high voices. The piece is a chanson with a four-line

refrain with the last line repeated and is set to a five-part musical structure: AA'BBC. The fourth section repeats the

third exactly, but the second is a modified repetition of the

first.

The tenor is derived from the monophonic chansonnier,

Paris, Bibliotheque Nationale, Fonds fr. 12744, f. 6'-7.24

The cantus prius factus follows the monophonic source except for the last phrase, where the tenor progresses up a seventh rather than a sixth as shown in Paris 12744. Following anticipatory imitations by superius (m. 1ff.) and contra

(m. 2ff.), the tenor enters with the head motive of the first phrase (m. 4-5). At this point the tenor stops as the superius and contra proceed with a little duet in thirds

(m. 5-7) before the tenor re-enters with the remainder of the phrase. Apparently, Brumel is fond of this device because in the modified repetition of the first section, he provides a similar duet for the outer voices around sustained longas in the tenor (m. 17-19; 20-22).

2LGaston Paris and Fran9ois-Auguste Gevaert, editors, Chansons du XVe siecle publides d'apres le manuscrit de la Bibliotheque Nationale de Paris (Paris, 1935), No. 8. 70

Apart from the initial point of imitation (m. 1-5) and

its repetition (m. 12-17), imitation is limited to the last three sections. Beginning with measure 29, the two lower voices follow anticipatory imitation by the superius through the next two phrases in a manner which produces cross-rhythms and full triads (c-e-g chords in m. 30, 35, 44; f-a-c chords

in m. 33, 34). In the last phrase (m. 41-46), the contra begins followed by the imitative upper voices. Several

strong cadences are observed in this work with dominant-tonic feeling. However, the melodic progressions of the two upper voices at these cadential points are reversed from those found in the two preceding works: the superius has the 2-1 progression; the tenor has the 8-7-8 suspension (m. 11-12; 33-34; 40-41; 45-46).

Dieu gard de mal (no. 51) is the longest chanson in the manuscript and is one of the finest examples of polyphonic

secular music derived from a pre-existent melody. It was composed by Josquin's most gifted successor, Jean Mouton.2 5

The setting follows the melody and form of the cantus prius factus, Paris, Bibliotheque Nationale, Fonds fr. 9346, f. 32'-33, quite closely.26 The overall form is ABA, and through this ternary structure the composer projects two compositional types: the imitative style now under

25 Gustave Reese, Music in the Renaissance (New York, 1959), p. 280. 6 2 Gerold, Le Manuscrit de Bayeux, No. 32. 71

consideration is employed for the A sections; whereas, the

middle section utilizes a note-against-note, syllabic style,

which resembles the later "Parisian" chanson.

As in Josquin's pieces, Mouton's imitation is extensive

and well organized. Reese and Karp suggest that the cantus

prius factus is found in the superius;27 whereas Chaillon

thinks that the tenor shows the complete melody.28 Study

confirms Chaillon's opinion: initially, the first phrase of

the melody is set imitatively between the two upper voices; but in measures 27-34, the superius rests as the tenor and

contra continue the imitative development of the second phrase. Thus, the tenor is the only voice which contains all of the melody of the first section and therefore must be considered the cantus prius factus. This is further verified by a comparison of the two outer sections. In the tenor measures 47-70 contain an exact repetition of measures 4-27; whereas modifications are made in the superius and contra in measures 43-70, which are not found in the first section in measures 1-27. Note that the two-voice passage between tenor and contra in measures 27-35 is not repeated in the shorter, final section. The middle section is clearly set off from the others as a result of its homorhythmic style, larger note

27 Gustave Reese and Theodore Karp, "Monophony in a Group of Renaissance Chansonniers," Journal of the American Musico- logical Society, V (Spring, 1952), 9.

28 Paule Chaillon, "Le Chansonnier de Frangoise (M.S. Harley 5242, Br. Mus.)," Revue de musicologie, XXXV (July, 1953), 16. 72 values, and triple meter. This section also more definitely establishes the tenor as the cantus prius factus. Again, the dominant-tonic feeling recurs in the final cadence: 5-1 melodic progression in contra, 2-1 in tenor, and 8-7-8 suspen-

sion in superius.

Another interesting work is Nino Lepetit's Cest donc par moy (no. 43). Like Dieu gard de mal (no. 51) this piece appears to contain features of both the imitative and "Pari-

sian" styles. However, here the styles are intermixed with the imitative type dominating the other. The initial melodic motive is presented in a duet between the two upper voices in thirds and sixths, before the contra enters in imitation in measure 3. The imitation which follows is not so well organized as it is in the works previously discussed and is restricted to patterns of minims and semibreves, which begin on the up-beat or weak portion of the beat (Cf. tenor, 17ff. with superius and. contra, m. 18ff.).

In measures 28-36 two other features of the imitative style are observed: repetitions of text and music. A part of the third text line in the contra, au monde nest gue mo, is set to a g-g-e-f-g-c-g motive in measures 28-30; both text and motive are repeated without the final g semibreve in measures 31-33 and again without the final g but with the c now a breve in measures 34-36. Imitation also takes place: the superius imitates the contra in measures 28f. before the tenor answers the contra in imitation in measures 30ff.; 73 following the first repetition of the contra (m. 31ff.), the

imitation recurs in the superius in measures 32ff. Finally,

the contra repeats its motive for the second time in measures

34ff.

A number of shorter, less sophisticated free chansons

written in the imitative style appear in our manuscript. The most important of these are Mon mary ma diffamee (no. 13), an anonymous piece, Jayme bien mon amy (no. 29) by Johannes

Ghiselin, and Je voy je viens (no. 28), another anonymous work.

Mon mary ma diffamee is a chanson with a four-line re-

frain. Hewitt gives a comprehensive discussion of the poetic form of this text and explains the features of its changing refrain.2 9 The cantus prius factus, derived from Paris 12744, f. 75'-76, is shown in the tenor.3 0 This voice enters last

(m. 5ff.), following the statements of the contra (m. 1ff.) and imitative superius (m. 3ff.). As is customary in these works, the tenor is the simplest and most direct voice in the texture and is freely imitated by the outer parts. The contra appears to be written in an instrumental style with a wide range and abrupt skips of as much as an octave (m. 8-9;

16; 17-18; 32). This suggests that the part was designed to be performed by an instrument. At any rate, words have been placed in this voice to be sung, if desired.

29 Helen Hewitt, editor, Canti B. numero cinquanta B, Vol. II of Monuments of Renaissance Music, edited by Edward E. Lowinsky, 2 volumes to date (Chicago, 1967), p. 38.

3 0 Paris and Gevaert, Chansons du XVe si'ecle, No. 111. 74

The musical form resembles the ballade: AAB. The four

lines of the stanza are set to two like sections, one a repe-

tition of the other (repetition signs are given in m. 18); whereas the refrain is given a third and completely different

setting. There are strong cadences at the end of the A and B

sections (m. 18 and 34), but elsewhere phrases overlap in

such a way as to avoid the formation of a strong cadence.

Jayme bien mon amy (no. 29) is one of the shorter chan-

sons in the manuscript: 18 measures. This little work, attributed to "Verbonnet" (Ghiselin) in London Add. 35087, contains a variant statement of the popular tune in the tenor.

This melody is derived from Paris 9346, f. 29'-30.31 The tenor shows the cantus prius factus in its untransposed state with only minor changes in figuration. The first phrase (m. 1-4) is repeated twice for the last line of text and its repetition (m. 12-15; 15-18). One deviation from the version of the melody given by Gerold is that the first note of this phrase each time is c", not aT as in Ghiselin's setting.

In contrast to the simple, straightforward rhythm of the tenor in longer note values, the outer voices feature dotted minims, semiminims, and fusas in a running style, set off by occasional large leaps. Possibly, these voices were intended to be played by instruments; however, words have been placed

31G- Gerold, Le Nanuscrit de Bayeux, No. 29. 75

in the parts so that they may be sung, if desired.

Je voy le viens (no. 28) is a more homogeneous work with

the borrowed melody again in the tenor. All voices enter

jointly on the weak portion of the beat, and imitation is restricted to the development of motives within the homophonic framework of the phrases. The one-line refrain is set in imitation between the contra (m. 16ff.) and a superius-tenor duo in sixths (m. 17ff.). Homorhythm is featured at the beginning of the second phrase (m. 9ff.), where all syllables of the text line except the last are set syllabically to minims. Strong dominant-tonic cadences occur in measures 8-9 and at the end in measures 25-26.

Two of our free chansons are composed in a second style in which the borrowed melody is stated in two-part canon with two other voices added to fill out the texture. These pieces are Je le lairay (no. 33) by Jean Mouton and Coment peult avoir joye (no. 24) by Johannes de Vyzeto. In Je le lairay the superius enters with the cantus prius factus followed by the altus half a measure later in canon at the fifth below. The signum found over the second note of the superius signals the entrance of the altus. These two voices progress through the entire composition with their joint statement of the melody. As may be expected in a strict canon, the melody is plain and straightforward, utilizing long note values (semibreves). The melody is derived from 76

Paris 9346, f. 67'-68, with variations in pitch and note values.32

In contrast to the two-voice canon, the lower two voices are distinguished by smaller note values, dotted rhythms, wide ranges, abrupt skips, and a more instrumental style.

Both voices serve necessary supporting roles to the canonic parts above them.

The work follows a five-part musical form: ABCAA. The two lines of the refrain--one line of eight syllables and a second line of four--are set together to the first phrase and the last phrase (the third A section).

In Coment peult avoir joye (no. 24) the direction "In dyatesseron" and a signum above the third semibreve in the highest given voice indicate a fourth, canonic part. Thus, the superius follows the altus two beats later in canon at the fourth above. The melody is a variant of a German folk song, "Wohlauf, gut G'sell von hinnen." The two lower voices imitate four-note head motives of several phrases, but beyond this they do not take part in the imitative structure and are subjugated to supporting roles. The music falls into a four- part AABA form.

Hewitt explains that our setting contains the most complete text of all related French pieces.3 3 However, our poem

32 Ibid., No. 66.

33Hewitt, Canti B. numero cinguanta B, p. 47. 7?

contains seven lines to which must be added another line

following our first line, makingan eight-line text with the rhyme-scheme: abab cdcd. This missing second line, Qui

Fortune contrent, is found as the second of four lines in a quodlibet from Florence, Biblioteca Nazionale Centrale, MSS

Magl. XIX.164-167. Hewitt expounds further as follows:

Since these four lines are the only bit of French in a text otherwise completely Italian, it is not strange that an Italian scribe gave a highly distorted reading. If the French equivalent is substituted for "che fortuna" this line will read "Qui Fortune contrent."34

The third compositional style prevalent among our free chansons comprises the following features: a plain, direct statement of the cantus prius factus in either superius or tenor; a homorhythmic accompaniment in the other voices; occasional points of imitation; phrase repetition; compactness, and brevity. The six chansons in this style (nos. 14, 15, 16,

31, 32, and 40) anticipate the homorhythmic "Parisian" chanson made popular by Claudin de Sermisy and his contemporaries in the second quarter of the sixteenth century.

Two of these works, Si jayme mon amy (no. 16), an anonymous work, and Buuon ma commere (no. 40) by Benedictus

Appenzeller, take both texts and melodies from the monophonic chansonniers. In Si jayme mon amy the cantus prius factus is given to the superius, which follows the monophonic source,

Paris 12744, f. 80'-81, quite closely.35 In our setting the

4Ibid.,p. 48.

35Paris and Gevaert, Chansons du XVe siecle, No. 118. 78

six-line stanza is divided into two musical sections, one a modified, repetition of the other (Cf. m. 1-8 with in. 8-15).

This chanson differs from all others in two important aspects: it is the shortest chanson in the manuscript, numbering only fifteen measures; and it is completely void of

imitation. All voices enter simultaneously with three-minim anacruses and continue in a homorhythmic manner, which is

conspicuous for its succession of minims (Cf. all voices, m. 1-3; 8-10; 12-13). Although the work is notated in duple meter, the poetry seems to indicate 3/2 not 2/2. During the

Renaissance it was common practice to conceal triple rhythm within duple meter. This could be done because the tactus is completely independent of rhythm and accent.36

Appenzeller's Buuon ma commere (no. 40) combines a homorhythmic tenor-contra duo with a slightly imitative, more elaborate superius. The text and melody of this happy drinking song stem from Paris 9346, f. 15-16, and this cantus prius factus is placed in the tenor of our setting.3 7 The form of the piece is a simple ABA with the refrain line sung to both A sections (m. 1-7; 19-24) and the two-line stanza set to the longer middle section (m. 8-18). Note-against- note homophony in all voices occurs in measures 8-10, and

6 3 Curt Sachs, Rhythm and Tempo, a Study in Music History (New York, 1953), p. 242ff.

3 7Gerold, Le Manuscrit de Bayeux, No. 15. 79

points of imitation are shown in measures 13-18, again in

all parts.

Antoine de Fevin's Adieu solas tout plaisir (no. 31)

joins an imitative melodic voice with a two-part homorhythmic

accompaniment. Brown states that "presumably, then, [the]

top voice is a pre-existing melody, although the tenor might

just as well be, for when it is not imitating the superius it

is moving in parallel sixths with it." 3 8 He further points

out that the initial triadic progression of I-vi-V, the following "three quarter note anacruses," the shape of the melody, and the light imitation are all reminiscent of

Claudin1 s chansons.3

The two-part musical form mirrors the rhyme-scheme of this chanson with refrain. The two-line stanza, which forms a paired rhyme, is set to identical phrases within the larger first section (m. 1-6; 7-12). The two-line refrain forms a different paired rhyme and is placed to another, shorter musical section (m. 13-18). Siena given at the beginning

(m. 13) and end (m. 18) of this second part may indicate a repetition of this refrain section as found in London,

British Museum, MS Harley 5242, f. 20'-21. In its use of the

Lydian mode with B flat in the signature and cadences on g, g, and f, the piece approaches a more tonal design.40

38 Brown, "The Genesis of a Style," p. 26. 3 9 Ibid. 4 OIbid. 80

Mouton's James naymeray (no. 32) is similar to Adieu

solas tout plaisir (no. 31) in the following ways: the

initial chord progression of I-vi-V; the Lydian mode with B

flat in the signature; the three minim anacruses (m. 3, 15);

the repetition of phrases; and the lightly imitative cantus

prius factus in the superius accompanied homorhythmically by

the two lower voices. The overall form is AABA; however,

signa appear above the beginning (m. 17) and end (m. 20) of

the second half of the last A section. This rather common procedure of repeating the last phrase and line of text is

confirmed in two early printed collections, which contain the work (see Concordance).

There are two free songs in our manuscript with Italian

texts: Fortuna desperata (no. 9) by Antoine Busnois and Con-

summo la mia vita (no. 17) by Johannes Prioris. These pieces have several features in common: a simple, straightforward melody; through-composed form; tentative use of imitation; and long note values, mainly semibreves and breves.

Busnois' three-voice Fortuna desperata (no. 9) was one of the most celebrated chansons of the fifteenth century.

This setting was enlarged to a four- or five-part work by the addition of an altus, or a bassus, or both. The Concordance shows five such arrangements. The Paris, Bibliotheque

Nationale, Nouv. acq. fr. 4379 and Seville, Biblioteca

Colombina, Cod. 5-1-43 contain one of the more popular four- voice settings, which is also found in several other 81 manuscripts, early printed collections, and modern editions

(related composition no. 1). Another four-part work, whose

altus differs from the preceding one, is located in Bologna,

Civico Museo Bibliografico Musicale, MS Q16 (related composi-

tion no. 3). Still a third setting includes a different

altus and the text of a lauda, "Poi ch te hebi," given in

Florence, Biblioteca Nazionale Centrale, MS Panciatichi 27

(related composition no. 4). The London, British Museum,

MS Add. 31922 shows yet another setting with a divergent

altus (related composition no. 5). A five-voice setting,

which draws four voices from the Paris 4379, Seville 5-1-43

piece, is taken from Rome, Vatican City, Biblioteca Ap.

Vaticana, Cappella Giulia, Cod. XIII.27 (related composition

no. 2).

A group of other multi-voice chansons and motets are

based on the tenor as a cantus firmus (related composition

nos. 17-27), whereas others employ our superius (related

composition nos. 8-16). Heinrich Isaac utilizes both melo-

dies: he sets our superius into a framework of three four-

and five-voice works (related composition nos. 10-12) and

places our tenor in the superius of a three-voice piece

(related composition no. 17). Two important mass settings

by Josquin and Jacob Obrecht are also based on the tenor

(see Concordance). 82

Burney thinks an ancient ballad, "Titus Andronicus's

Complaint," was the original text for our tenor. It is certain, however, that for some time the melody in the tenor had been the vehicle for the Italian text before composers of the fifteenth century employed it in their polyphonic works.42 The goddess "Fortuna," to whom the text is directed, captivated the Renaissance mind. Not only through the many chanson, motet, and mass settings was she glorified, but in all the other arts as well. Painters, poets, philosophers, and sculptors all courted "Fortuna" through their respective skills.43

According to Lowinsky, it is not surprising to find our song set to music in the Lydian mode (with B flat in the signature). This mode is associated with the planet, Jupiter, the stronger "Fortuna." The piece begins in a homophonic style and shows only a few traces of imitation. These exist between the superius and tenor only (m. 4ff., for example).

The contra is the most disjunct voice with a wide range and several leaps, indicative of its supporting role. Overall, the music and text of this work are striking in their

4 lCharles Burney, A General Histor of Music, edited by Frank Mercer, 2 volumes (New York, 1935 , II, 77. 42 Yvonne Rokseth, editor, Treize motets et un prelude pour orgue chez Pierre Attaingnant en 1531 (Paris, 1930), p. xxiii.

43Edward E. Lowinsky, "The Goddess Fortuna in Music," The Musical Quarterly, XXIX (January, 1943), 65.

44 Ibid., pp. 72-73. 83

simplicity and present a great contrast to some of the re-

fined French chansons by the same master. Busnois, the con-

temporary of Hayne and Ockeghem, was the acknowledged leader among the second generation of Burgundian composers.

Consummo la mia vita (no. 17) was composed by Johannes

Prioris, a contemporary of Josquin, around 1500. The work

is set for three voices in three other manuscripts and is

given a four-part setting with added altus in three more manu-

scripts (see Concordance). The compositional style of the

piece resembles that of the earlier Burgundian song: upper voice duet with little imitation over a free, supporting

contra.

According to Bukofzer, "the most remarkable musical fea-

ture of the setting is the gymel structure of soprano and

tenor. These voices move almost constantly in similar rhythm

in thirds and sixths; they are patently the two essential voices on which the structure of the whole depends."45 The

tenor may be the cantus Arius factus, but this cannot be de-

termined since the source is unknown.46 Fermatas figure prominently in breaking up the chordal structure; in the

short span of 25 measures (the length of the work), coronas

occur above all voices in four places: m. 3, 8, 17, and 25.

A basse dance, Consumo la vita mia a XVI [notes], is quoted

45Nanfred F. Bukofzer, Studies in Medieval and Renais- sance Music (New York, 1950), p. 211.

4 6 Ibid. 84

in a treatise, Ad suos compagnones studiantes (c. 1519), by

Antonius de Arena. Bukofzer explains that since the music

of this work has not survived in written form, it is impos-

sible to determine the relationship, if any, between our

chanson and the dance.4 8

The work's two-line text is located in only two of the

seven manuscript sources: Cambridge, Magdalene College, MS

Pepys 1760, which attributes the composition to Prioris, and

London Add. 35087. The word, audar, is substituted in the

Cambridge manuscript for our word, ardisco, in the second

line of text. The absence of text in the other manuscripts

has led Rokseth to believe that the work was intended for

instrumental performance.4 Bukofzer has already pointed

out that our two lines of text agree with the first two lines

of a strambotto by Alessandro Mantovano, found in the Antico

collection.5 0 It seems possible that our text is therefore

the surviving remnant of a strambotto.

4TDaniel Heartz, "The Basse Dance, Its Evolution circa 1450 to 1550," Annales musicolo gques myen-age et renaissance, VI (1958-1963), 298, 336.

48Bukofzer, Studies in Medieval and Renaissance Music, p. 211.

49Rokseth, Treize motets et un prelude, p. xxiii.

5 0 Alfred Einstein, editor, Canzoni sonetti strambotti et frottole, libro tertio (Andrea Antico, 1517), Vol. IV of Smith College Music Archives, edited by R. L. Finney, 12 volumes (Northampton, Massachusetts, 1935-1954), No. 17. 85

Motet-Chanson

Plaine dennuy / Anima mea liquefacta est (no. 46) by

Compere is the only piece combining French and Latin texts:

the two upper voices show a rondeau-quatrain refrain, and

the contra contains a Latin passage from the Song of Solo- mon V:6 and 8. Stylistically, this work resembles the late

Burgundian chanson with its superius-tenor duet over a supporting contra. Picker discusses the piece as follows:

The contra is virtually identical with the opening and closing phrases of the tenor of Gaspar van Weer- becke's four-part motet, "Anima mea liquefacta est," composed to the same Latin text. A Gregorian source for the melody has not been found. The identity of rhythm between Comp'ere's contra and Gaspar's tenor, with but a few ornamental notes and expanded pauses between the phrases of Compere's version, strongly suggests that Comp'ere borrowed the melody directly from Gaspar. The melody in both works is unified by a clear relationship between the first and last phrases (Com- p'ere's setting, m. 5-11, 31-36). Compare increases the formal coherence by repeating the penultimate phrase (m. 20-23, 24-28), producing the form ABCCA'.51

The superius and tenor show anticipatory imitations of the contra (Cf. tenor, m. 1ff. with superius, m. 3ff. and contra, m. 5ff.). In general, however, the superius is the predominant voice in the texture because of its high position and more melodic style. At the end, the composer writes a superius-tenor melisma over a dominant pedal-point in the contra.

5 1 Martin Picker, "The Chanson Albums of Marguerite of Austria: Manuscripts 228 and 11239 of the Biblioth'eque Royale de Belgique, Bruxelles," unpublished doctoral dissertation, School of Music, University of California, Berkeley, Cali- fornia, 1960, p. 24. Gaspar van Weerbecke's motet, which is quoted above, is found in Brussels 228, f. 47t-48. 86

Song Motets

"Song motets are small works for three voices which hold a place midway between the large, festive tenor motet (four or more voices) and the chanson."52 Stephan points out that pieces in this genre, like motet-chansons, are composed in the style of the Burgundian song: upper voice duo over supporting contra.53 The principal difference between the two types appears to be the text: the motet-chanson unites a

French text in the two upper voices with Latin in the contra; whereas the song motet contains the Latin text in all voices.

Song motets are most often found in the chansonniers around

1500 and not in motet-collections.5 4 This is a clear indication of their close stylistic association with chanson repertoire. Because of the presence of contrafacta for many of these works, the same musical composition may be considered a motet-chanson in some sources and a song motet in others.

London Add. 35087 includes nine song motets: nos. 1, 2,

3, 4, 8, 11, 23, 26, and 34. Pre-existing melodies placed in the contra have been found for two works, whereas others appear to be freely composed. Compere's 0 vos omnes (no. 1) has been wrongly attributed to Jacob Obrecht in several

5 2Edgar H. Sparks, Cantus Firmus in Mass and Motet, 1420- 1520 (Berkeley, 1963), p. 463.

5 3 Wolfgang Stephan, "Die burgundisch-niederltndische Motette zur Zeit Ockeghems," Heidelberger Studien zur Musik- wissenschaft, edited by Heinrich Besseler (Kassel, 1937), p. 52. 5 4 Ibid., p. 51. 87

modern editions, possibly on the strength of one source--

St. Gall, Stiftsbibliothek, Cod. 463, No. 19--which names

Obrecht. It is ascribed to Compere in Bologna, Civico Museo

Bibliografico Musicale, MS Q17, f. 11'-12 and in Rhau 15428,

No. 15. Two diverse contrafacta have already been discussed

in the preceding chapter.

Reese comments that "this little work, for all its seri-

ousness, is a fine example of the airy lyricism that charac-

terizes Compere." 55 Both Rokseth and Stephan note that the

contra resembles plainsong in the first half of the work.5 6

Picker has identified the cantus firmus as a paraphrase of

the recitation-tone of Lectio III of Tenebrae (Lesson III of

Maundy Thursday), which "after measure 33 . . . ceases to draw on the Gregorian melody and its motion is accommodated to that of the other voices." 57

Like Comp'ere's rondeaux (Sourdes regretz, no. 37, for example), imitation is restricted to phrase beginnings and remains subordinate to the melodic design. Note the brief imitation between tenor and superius in measures 15ff. and again in measures 33ff. All three voices join, near the end, in imitating the head motive of the last phrase. At the

5 Reese, Music in the Renaissance, p. 225.

56 Rokseth, Treize motets et un prelude, p. xvi; Stephan, "Die burgundisch-niederlndische Motette," p. 58.

5 7 Picker, "The Chanson Albums of Marguerite of Austria," p. 256. 88

beginning the tenor and the superius precede the contra in

rhythmic diminution of the cantus firmus. All the melodic

phrases begin syllabically in long note values before changing

to melismas near the cadences. After measure 33 the contra

drops its cantus firmus role to become the supporting bass

for the upper voices.

Parce Domine (no. 4) is a work of Obrecht's maturity,

written probably just before 1500.58 Glarean uses the piece

in his Dodecachordon as an illustration of the Aeolian mode.5 9

He further explains that our three-voice work is the original

setting to which a fourth voice was added later.6 The

contra presents the cantus firmus in long note values (longas, breves, and semibreves), which declaim the text syllabically.

The cantus firmus is probably based on plainsong which has not been found. In direct contrast to the lowest voice, the two upper parts unite in a melismatic style which produces parallel thirds and sixths, and they often cadence together.

Only suggestions of imitation are observed at certain phrase beginnings in the superius and tenor.

58H. Ellis Wooldridge, editor, The Polyphonic Period, Part II, Method of Musical Art (1400-c.1600, Vol. II of The Oxford History of Music, edited by Sir Henry Hadow, 7 volumes (London, 1929-1934)7, p76.

59 Heinrich Glarean, Dodecachordon, translation, transcription, and commentary by Clement A. Miller (Rome, 1965), II, 327. 6 OIbid., p. 252. 89

Tristis est anima mea (no. 8) is an interesting composi-

tion, exhibiting more imitation than normally found in the

other song motets. The contra again provides the long-note

cantus firmus in short phrases interspersed with periods of

rest. In contrast, the superius and tenor contain rounded,

more melodic phrases with melismas and few rests. Imitations

between the two upper voices are quite frequent: Cf. tenor,

m. 1ff. with superius, m. 3ff.; superius, m. 18ff. with

tenor, m. 20ff.; tenor, m. 25ff. with superius, m. 26ff.

Only at one point, however, is the contra brought into the

imitative scheme: Cf. tenor, m. 38ff. with contra, m. 40ff.

Josquin's Pauper sum ego (no. 11) is characterized by a

melismatic duet between superius and tenor and a slow-moving

contra punctuated by rests. The most fascinating aspect of

the piece is the structure of the contra, which repeats the

cadence-formula of Psalm tone VIII as a transposing ostinato.

The pattern begins on a and descends to e stepwise (m. 4-8);

it then is employed sequentially so that the starting note

of each succeeding pattern is the next lower pitch of the

original ostinato: E to d, m. 11-15; f to c, m. 18-22; e to

B, m. 25-29; d to A, m. 32 to 36. The final pattern is a

repetition of the original a to e ostinato (m. 39-43).

Picker notes that "the final melodic phrase exhibits Josquin's acute sense of climax; it insistently repeats the tones of

the descending tetrachord c"-g' in the superius, increasing 90

tension by constantly shifting accents, and unexpectedly

descends to e', then skips upward to c" (m. 40) to reach a

climax on d" (m. 42)."61 Overall, the work employs sporadic

imitation and an abstract melodic style not conducive to

good text declamation.6 2

Dulcis amica dei (no. 34), like Parce Domine (no. 4),

exists in an original three-voice setting as well as later

four-part versions with added alti. Our three-voice setting, a favorite in its day, is found in five other manuscripts of

which Cambridge 1760 attributes the piece to Prioris. Each

of three diverse four-part settings includes our three voices with a different altus (see Concordance). The four- voice work in Cambrai, Bibliotheque de la Ville, MS 124

(125-128), f. 133', is one measure longer than our piece: at the end of the first text line a ligature of breve and longa is given in Cambrai 124, whereas London Add. 35087 has breve, breve.

Unlike the foregoing works in this genre, Dulcis amica dei places the cantus firmus in the superius.6 3 Rokseth thinks that this melody may have been a hymn tune which has disappeared from the Catholic liturgy.64 Its simple,

6 lPicker, "The Chanson Albums of Marguerite of Austria," p. 263. 6 2Ibid., p. 262.

6Rokseth, Treize motets et un prelude, p. ix.

64 Ibid., p. xiv. 91

straightforward style within a narrow range lends itself well

to a note-against-note accompaniment in the two lower voices.

In many respects the work resembles Prioris' secular Consummo

la mia vita (no. 17): it is in chordal, syllabic style with

little imitation; there is a preponderance of long note

values (breves and semibreves); and the end of each line of

text is made very clear by a corona marking the cadence.

Rokseth further opines that in spite of its simple style our

song motet was a late work, composed between 1470 and the end

of the century for the following reasons: the brief outline

of imitation in all voices at the beginning; the dissonance made through retardation of the tenor in measures 20-21; and the shape of the final cadence in the Lydian mode with B flat

in the signature.65

Latin Motets

Our manuscript also includes five extended motets in which the cantus firmus is more fully developed in all voices through imitation (nos. 12, 38, 39, 44, and 53). Sancta

Maria piarum piisima (no. 39) is the longest work in London

Add. 35087 (109 measures). Imitation abounds throughout.

At the beginning the cantus firmus appears in the contra

(m. 1ff.), followed by tenor (m. 3ff.) and superius (m. 7ff.) in imitation. The long notes of the initial phrase (breves and semibreves) are in direct contrast to the more florid

65Ibid., p. xv. 92

lines in minims and semiminims observed further on in the

piece (m. 15ff.). Other phrase beginnings contain imitation:

Cf. tenor, m. 23f. with contra, m. 23ff. and superius,

m. 24ff.; contra, m. 30ff. with superius, m. 31ff.; contra,

m. 34ff. with tenor, m. 35ff. and superius, m. 36ff.; superius,

m. 46ff. with tenor, m. 48ff. and contra, m. 50ff. Often

parallel tenths occur within the imitative framework between

superius and contra: Cf. 13ff., 40f., 72ff., and 83ff. Thus,

there appears to be an alternation between a well organized

imitative structure and a simple harmonic style. A cross-

rhythm is formed between the tenor and the outer voices in measures 57-58 through the combination of duple and triple meters.

The four-voice Salve mater Salvatoris (no. 44) by Mouton

employs canon by inversion between the bassus and altus. A

signum over the fourth note in the contra along with the in-

struction "Canon Qui se exaltat humiliabit(ur)" signals the

entrance of the altus. Glarean includes the work in his

Dodecachordon; he discusses it as follows:

He [Mouton) has arranged the bass . . . so that one may sing the alto no less from the bass voice, if one takes a position on the opposite side, and also uses the same notes, but as they face one. Thus, from one melody two may sing each his own melody. And in this way they accompany themselves at the distance of an octave and of two tempora, so that the bass may begin on large D [d, the alto on small d [d'J after two temporal, and moreover

66 Glarean, Dodecachordon, II, 538. 93 so that the alto may descend as much as the bass ascends 67

1b id.,II, 281. CHAPTER V

LIST OF SOURCES

The following list of sources includes manuscripts, early printed collections, and modern editions. The abbreviations in the left column are used in the Concordance as references to these works. Numbers given below the sources indicate the compositions in London Add. 35087 found in common with these manuscripts and early printed collections; underlined numbers refer to related compositions.

Manuscripts

Augsburg 14 2a Augsburg, Staats- Kreis- und, Stadtbibliothek, MS 14 2a

Basel F. X. 1-4 Basel, Universituts-Bibliothek, MSS F.X.1-4.

Berlin 78. B. 17 Berlin, Kupferstichkabinett, (poetry only) MS 78.B.17 ("Rohan Chansonnier") . 42

Bologna Q 16 Bologna, Civico Museo Bibliografico Musicale, MS Q16. 2 Bologna Q 17 Bologna, Civico Museo Bibliografico Musicale, MS Q17. 1, 4, 10, 18, 19, 24, 2, 4, 46

94 95

Bologna Q 18 Bologna, Civico Museo Bibliografico Musicale, MS Q18.

1, 4, 24, 26

Bologna Q 19 Bologna, Civico Museo Bibliografico Musicale, MS Q19 ("Diane de Poitiers Codex").

18, 26., 42 Brussels IV. 90 Brussels, Bibliotheque Royale de Belgique, MS IV.90 (Superius Tournai 94 part-book) ; Tournai, Biblio- thlque de la Ville, MS 94 (Tenor part-book).

1, 4, 10, 13, 37, 42 Brussels 228 Brussels, Biblioth'eque Royale de Belgique, MS 228 ("Album de Marguerite dfAutriche") . 1, 1, 11, 37, 42, 46, 46 Brussels 11239 Brussels, Bibliotheque Royale de Belgique, MS 11239 ("Chansons de Marguerite").

46, _4 Cambrai 124 Cambrai, Biblioth'eque de la Ville, MS 124 (125-128).

Cambridge 1760 Cambridge, Magdalene College, MS Pepys 1760.

4, f1 , 18, _28, 22_, 31, 3_-2, 34, _2,~7, 51, 52 Copenhagen 1848 Copenhagen, Det Kongelige Bibliotek, MS Ny. Kgl. S.20.1848.

1, 4, 18, 19, 25, 26, 28, 34, 42 96

Cortona 95-96 Cortona, Biblioteca Comunale, MSS 95-96 (Discant and Altus Paris 1817 part-books) ; Paris, Bibliotheque Nationale, Nouv. acq. fr. 1817 (Tenor part-book).

Dijon 517 Dijon, Bibliotheque Publique de Dijon, MS 517. $, 42, 47 Florence II I 232 Florence, Biblioteca Nazionale Centrale, MS II.I.232. 44

Florence 1 0 7bis Florence, Biblioteca Nazionale Centrale, MS Magl. XIX.10 7 bis. 1, 45 Florence 117 Florence, Biblioteca Nazionale Centrale, MS Magl. XIX.117.

16, 17, 12, 31, '', 37, 52 Florence 121 Florence, Biblioteca Nazionale Centrale, MS Magl. XIX.121. 9

Florence 164-167 Florence, Biblioteca Nazionale Centrale, MSS Magl. XIX.164-167.

9, 42 Florence 178 Florence, Biblioteca Nazionale Centrale, MS Magl. XIX.178.

18, 19, 24, 25, 25, 46 Florence 229 Florence, Biblioteca Nazionale Centrale, MS Banco Rani 229

j, 19, 25, ..

Florence 2356 Florence, Biblioteca Riccardiana, MS 2356. 18 97

Florence 2439 Florence, Biblioteca del Conser- vatorio "L. Cherubini , " MS 2439. 2, 11, 26, 37, 46, 4 Florence 2442 Florence, Biblioteca del Conser- vatorio "L. Cherubini," MS 2442 (three part-books only; Bassus wanting).

10, 33

Florence 2794 Florence, Biblioteca Riccardiana, MS 2794.

Florence Pan. 27 Florence, Biblioteca Nazionale Centrale, MS Panciatichi 27. 2, 26 Heilbronn X. 2 Heilbronn, Gymnasialbibliothek, MS X.2 (Bassus part-book only). 43, 45

London Add. 29381 London, British Museum, MS Add. 29381. 43

London Add. 31922 London, British Museum, MS Add. 31922.

2, 34, 42 London Harley 5242 London, British Museum, MS Harley 5242.

16, 12, 31, E , 45,9.4.5,1.', 52 London Royal 8 G VII London, British Museum, MS Royal 8.G.VII. 46

London Royal 20 A XVI London, British Museum, MS Royal 20.A.XVI.

18, 25 98

Modena ax I II Modena, Biblioteca Estense, Cod. a.X.I.II.

S , 26, 44 Montecassino 871 N Montecassino, Archivo della Badia, Cod. 871N.

Munich 328-331 Munich, Universitgts-Bibliothek, MSS 328-331.

_r, 9,_10

Munich 1516 Munich, Bayerische Staatsbibliothek, Mus. MS 1516. 5, 2, 10, 26, 42, 43, 47,

Munich 3154 Munich, Bayerische Staatsbibliothek, Mus. MS 3154.

New Haven, Mellon New Haven, Connecticut, Yale University, Library of the School of Music, Mellon Chansonnier.

Paris 1597 Paris, Bibliotheque Nationale, Fonds fr. 1597.

1, 10, 1 , 17, 18, 26, 26, 3'_, ~71, _24 Paris 1719 (poetry only) Paris, Bibliothque Nationale, Fonds fr. 1719.

25, 42

Paris 1817 Paris, Biblioth'eque Nationale, Nouv. acq. fr. 1817; see Cortona 95-96.

Paris 2245 Paris, Biblioth'eque Nationale, Fonds fr. 2245.

10, 18, 34, 42 99

Paris 4 3 7 9 Paris, Bibliotheque Nationale, Nouv. acq. fr. 4379; Seville, Seville 5-I-43 Biblioteca Colombina, Cod. 5-I-43 (manuscripts are numbered together).

1, 2, 10, 25

Paris 9346 Paris, Bibliotheque Nationale, Fonds fr. 9346.

Paris 12744 Paris, Bibliotheque Nationale, Fonds fr. 12744.

10, 'I, 16, _4, 5 2

Paris 15123 Paris, Bibliotheque Nationale, Fonds fr. 15123 ("Pixerecourt Chansonnier").

7 Paris Vm 676 Paris, Bibliotheque Nationale, De artment de Musique, Res. Vm/ 676.

Paris, Chausse'e Paris, Bibliotheque G. Thibault, Nivelle de la Chaussee Chansonnier. 47z Perugia 431 Perugia, Biblioteca Comunale, Cod. 431.

9, 2

Regensburg C 120 Regensburg, Proske-Bibliothek, Cod. C 120 ("Codex Pernner").

1, 2, 42, 45

Rome 2856 Rome, Biblioteca Casanatense, Cod. 2856.

2, 10, 18, 19, 25 100

Rome C. G. XIII 27 Rome, Vatican City, Biblioteca Ap. Vaticana, Cappella Giulia, Cod. XIII.27.

2, 18, 19, 24., 42 Rome Vat. 11953 Rome, Vatican City, Biblioteca Ap. Vaticana, Codicetto Vat. lat. 11953 (Bassus part-book only).

St. Gall 461 St. Gall, Stiftsbibliothek, Cod. 461 ("Sicher Liederbuch") . 10, 42, 45, .4

St. Gall 462 St. Gall, Stiftsbibliothek, Cod. 462 ("Heer Liederbuch").

2, 16, 17, .31 , St. Gall 463 St. Gall, Stiftsbibliothek, Cod. 463 ("Tschudi Liederbuch") (Superius and Altus part-books only).

1, 4, 4, 2, 1 , 26, 28, 3;, j, 42, 44, 4_, 52

St. Gall 464 St. Gall, Stiftsbibliothek, Cod. 464 ("Tschudi Liederbuch") (a duplicate of the Superius of St. Gall 463 and Bassi of five- and six-part works only) .

2, 42 Segovia Segovia, Catedral, Codex (without number).

9, 2, 18, 42

Seville 5-1-43 Seville, Biblioteca Colombina, Cod. 5-1-43; see Paris 4379.

Seville 7-I-28 Seville, Biblioteca Colombina, Cod.. 7-I-28. .LZ 101

T ournai 94 Tournai, Bibliotheque de la Ville, MS 94; see Brussels IV. 90.

Turin I 27 Turin, Biblioteca Nazionale, Riserva Musicale 1.27 (MS qm.III.59).

23 34

Ulm 23 7 abcd Ulm, Bibliothek des Monsters, MS 23 7abcd (four part-books).

5, 34., 43, 45, 52 Verona DCCLVII Verona, Biblioteca Capitolare, Cod. DCCLVII.

Vienna 18746 Vienna, Nationalbibliothek, Cod. 18746 (five part-books)

Vienna 18810 Vienna, Nationalbibliothek, Cod. 18810 (five part-books). 2 Washington, Laborde Washington, D.C., Library of Congress, MS M.2.I.L25 Case ( "Laborde Chansonnier") .

1, 18, 19, 34, 42

Wolfenbttttel 287 Wolfenbtttel, Herzog August Bibliothek, Cod. Guelf. 287 extravag.

42, 47 Zwickau 78.3 Zwickau, Ratsschulbibliothek, MS 78.3. 2 102

Early Printed Collections'

Antico 15203 Motetti novi e chanzoni franciose a guatro sopra doi, Venice, Andrea Antico, L. A. Giunta, 1520.

_1_0, 13v, 6,2_, _4

Antico 15206 Chansons a troys, Venice, Andrea Antico, L. A. Giunta, 1520 (Superius and Bassus part-books only).

19, 28, 32, 42, 42, 52

Antico 15361 La Courone et fleur des chansons a trysVenice, Andrea Antico, 1536.

10, 10

Berg and Neuber 15602 Variarum linguarum tricinia, a praestantissimis musicis, ad voices fere aeguales composita Tomi secundi, Nuremberg, J. von Berg and U. Neuber, 1560.

Egenolff [c. 1535]14 [Lieder zu 3 & 4 Stimmen], Frankfurt on the Main, Christian Egenolff, n.d. 2 (Superius part- books only, three volumes).

10, 24, 2_ 42, 45

Formschneider 15389 Trium vocum carmina a diversis musicis composita, Nuremberg, Hieronymus Formschneider, 1538.

5, 9, 10, 42, 42, 43, 45, 47

The dates with superscript numbers following publishers' names correspond to the index given in Repertoire international des sources musicales: Recueils imprimes XVIe-XVIIe siecles (Munich-Duisburg, 1960).

2 Date and title in brackets indicate no date given. 103

Kriesstein 15407 Selectissimae necnon familiarissimae cantiones, ultra centum vario idiomate vocum, tam multiplicium quam etiam paucar. Fugae quoque, et vocantur. Besonder ausserlessner kunstlicher lustiger - sanng mancherlay Sprachen . . von acht Stymmen an bis auf zwo: . sinngen und auf Instrument zubrauchen, Augsburg, Melchoir Kriesstein, 1540. 10, 42, 4Z Petrucci 1501 Harmonice musices Odhecaton A, Venice, Ottaviano Petrucci, 1501.

18, 19, 25

Petrucci 15022 Canti B. numero cinguanta B, Venice, Ottaviano Petrucci, 1502. 13, 24, 42 Petrucci 15041 Motetti C, Venice, Ottaviano Petrucci, 1504.

Petrucci 15043 Anti C. NO cento cinguanta, Venice, Ottaviano Petrucci, 1504.

2, 10, 13, 45, 47 Rhau 15428 Tricinia. Tum veterum tum recentiorum in arte musica symphonistarum, latina, germanica, brabantica & gallica, ante hac typis nunquam excusa, observato in disponendo tonorum ordine, quo utentibus sint accomodatiora, Wittenberg, Georg Rhau, 1542. 1, 6, 26, 32, 8 104

Verard, La Chasse La Chasse et le depart d'amours (poetry only) faict et compose par reverend pere en dieu messire Octovien de Sainct Gelaiz evesque d'Angoulesme et par noble homme Blaise d'Auriol bachelier en chascum droit demourant a Thoulouzecum privilegio, Paris, Antoine Verard, 1509. 25

Verard, Le Jardin de Le Jardin de plaisance et fleur laisance (poetry de rethoricque, Paris, Antoine only) Verard, n.d. Facsimile edition: I, Reproduction en fac-simile de l'edition publieepar Antoine Verard vers 1501, Paris, ie Librairie de Firmin-Didot et C 1910; II, Introduction et notes, edited by Eugenie Droz and Arthur Piaget, Paris, Librairie Edouard Champion, 1925.

1, 5, 18, 19, 42

Modern Editions

Albrecht, Rhau Musikdrucke

Albrecht, Hans, editor, Georg Rhau Musikdrucke aus den Jahren 1538 bis 1549 in praktischer Neuausgabe (7 volumes to date), Kassel, Bgrenreiter-Verlag, 1955- 1964.

Ambros, Geschichte der Musik

Ambros, August Wilhelm, Geschichte der Musik, 3rd ed. (5 volumes), Leipzig, F. E. C. Leuckart, 1887-1911. Antiphonale

Antiphonale sacrosanctae Romanae ecclesiae pro diurnis horis, Paris, Tournai, Rome, Desclee & Socii, 1949. Antiphonale Monasticum

Antiphonale Monasticum pro diurnis horis, Paris, Tournai, Rome, Descl e & Socii, 1934. 105

Barret, The Dijon Chansonnier

Barret, Edward, "The Dijon Chansonnier: Contents, Forms, Transcriptions," unpublished master's thesis, De- partment of Music History, Graduate School, Univer- sity of Louisville, Louisville, Kentucky, 1963.

Bernoulli, Aus Liederbttchern der Humanistenzeit

Bernoulli, Eduard, Aus Liederblchern der Humanistenzeit: Eine bibliographische und notentypographische Studie, Leipzig, Breitkopf & H~rtel, 1910.

Besseler, Altniederl ndische Motetten

Besseler, Heinrich, editor, Altniederlandische Motetten von Johannes Ockeghem, Loyset Comp re und Josquin des Prez, Kassel, B ,renreiter-Verlag, 1961.

Besseler, Capella Meisterwerke

Besseler, Heinrich, editor, Capella. Meisterwerke mittelalterlicher Musik, I, Kassel, B renreiter- Verlag, 1959.

Besseler, Die Musik des Mittelalters und der Renaissance

Besseler, Heinrich, Die Musik des Mittelalters und der Renaissance, Vol. II of Handbuch der Musikwissen- schaft, edited by Ernst Blchen (10 volumes), Pots- dam, Akademische Verlagsgesellschaft Athenaion, 1931.

Birmingham, Chansonnier of the Duke of Orleans

Birmingham, Hugh M., "A Transcription into Modern Nota- tion of a Chansonnier (Fonds Fran;ais 2245) of the Duke of Orleans, with Commentary and Concordance," unpublished master's thesis, School of Music, North Texas State University, Denton, Texas, 1955.

Blume, Josquin des Pres: Das Chorwerk III

Blume, Friedrich, Josquin des Pre's und andere Meister, Weltliche Lieder zu j-5 Stimmen, Vol. III of Das Chorwerk, edited by Friedrich Blume (99 volumes), Wolfenbttttel, MWseler Verlag, 1929-1963. 106

Boer, Chansonvormen

Boer, Coenraad Lodewijk, Chansonvormen o het Einde van de XVde Eeuw: Een Studie naar Aanleiding van Petrucci's 'Harmonice musices Odhecaton', Amsterdam, H. J. Paris, 1938.

Boetticher, Orlando di Lasso: Sumtliche Werke

Lasso, Orlando di, Orlando di Lasso, Sdmtliche Werke, Neue Reihe (4 volumes to date), edited by Wolfgang Boetticher, Kassel, Bdrenreiter-Verlag, 1956-.

Bridgman, Christian Egenolff

Bridgman, Nanie, "Christian Egenolff, imprimeur de musique," Annales musicolo iques moyen-age et renaissance, ITIF(1955), 77-177.

Brown, The Parisian Chanson

Brown, Howard M., The Genesis of a Style: The Parisian Chanson, 1500-1530 in Chanson & Madrigal 1480-1530, Studies in Comparison and Contrast, edited by James Haar, Cambridge, Massachusetts, Harvard University Press, 1964.

Brown, Theatrical Chansons

Brown, Howard M., Theatrical Chansons of the Fifteenth and. Early Sixteenth Centuries, Cambridge, Massa- chusetts, Harvard University Press, 1963.

Bukofzer, Studies in Medieval and Renaissance Music

Bukofzer, Manfred F., Studies in Medieval and Renais- sance Music, New York, W.~W. Norton &~Company, 1950.

Burbure, Etude sur un manuscrit

Burbure, Leon de, Etude sur un manuscrit du XVIe si'ecle, contenant des chants a guatre et 'a trois voix, Vol. XXXIII of Memoires couronns et autres memoires publics par l'Academie Royale des Sciences, des Lettres et des Beaux-Arts de Belgique, Brussels, F. Hayez, 1882.

Casimiri, Canzoni e mottetti

Casimiri, Raffaele, Canzoni e mottetti dei secolo XV-XVI, Rome, Edizioni "Psalterium," 1938. 107

Casimiri, Le opere complete di Palestrina

Palestrina, Giovanni, Le opere complete di Giovanni Pierluigi da Palestrina (24 volumes todat ,edited by Raffaele Casimiri, Rome, Edizione Fratelli Scalera, 1939-1958.

Chaillon, Le Chansonnier de Frangoise

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Champion, Pieces joyeuses

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Davison and Apel, Historical Anthology of Music

Davison, Archibald T. and Willi Apel, Oriental, Me- dieval, and Renaissance Music, Vol. I of Histori- cal Anthology of Music, edited by Archibald T. Davison and Willi Apel (2 volumes), rev. ed., Cambridge, Massachusetts, Harvard University Press, 1962.

Droz and Piaget, Jardin, Vol. II, Introduction et notes

Le Jardin de plaisance et fleur de rethoricque, Vol. I, Reproduction en facsimile de~1'edition publiee par Antoine V rard vers 1501, edited by Euge'nie Droz and Arthur Piaget, Paris, Librairie de Firmin- Didot et Cie, 1910; Vol. II, Droz, Eugenie and Arthur Piaget, editors, Introduction et notes, Paris, Librairie Edouard Champion, 1925.

Droz, Rokseth, and Thibault, Trois chansonniers

Droz, Eugenie, Y. Rokseth, and G. Thibault, editors, Trois chansonniers fran9 ais du XVe siecle, Paris, Documents artistiques du XVesicle, 1927. 108

Einstein, Canzoni sonetti strambotti et frottole

Einstein, Alfred, editor, Canzoni sonetti strambotti et frottole, libro tertio (Andrea Antico, 1517), Vol. IV of Smith College Music Archives, edited by R. L. Finney (12 volumes), Northampton, Massachu- setts, Smith College, 1935-1954.

Forkel, Geschichte der Musik

Forkel, Johann Nikolaus, Allgemeine Geschichte der Musik (2 volumes),Leipzig, Im Schwickertschen Verlage, 1788-1801.

Frangon, Poemes de transition

Frangon, Marcel, editor, Poemes de transition (XVe-XVIe siecles), Cambridge, Massachusetts, Harvard Uni- versity Press, 1938.

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Gerold, Le Manuscrit de Bayeux

Ge'rold, Theodore, editor, Le Manuscrit de Bayeux: texte et musigue d'un recueil de chansons du XVe siecle, Strasbourg, Librairie Istra, 1921.

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Giesbert, Franz J., editor, Ein altes Spielbuch aus der Zeit um 1500 mit ,71,T und 5 Stimmen ff1r Blockflbten oder beliebige andere Instrumente: Pergament-Handschrift Liber Fridolini Sichery) der Stiftsbibliothek zu St. Gallen (2 volumes), Mainz, B. Schott's S5hne, 1936.

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Gombosi, Jacob Obrecht

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Hewitt, Canti B. numero cinquanta B

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Liber Usualis

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Lpelmann, Die Liederhandschrift des Cardinals de Rohan

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Maniates, Mannerist Composition

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Wooldridge, H. Ellis, editor, The Polyphonic Period, Part II, Method of Musical Art (1400-c.1600), Vol. II of The Oxford History of Music, edited by Sir Henry Hadow (7 volumes) , London, Oxford Uni- versity Press, 1929-1934. CHAPTER VI

CONCORDANCE

In the following Concordance the French, Italian, and

Latin compositions of London Add. 35087 are listed in the

order in which they occur in the manuscript and are numbered accordingly. Following the number and textual incipit of

each composition, the composer's name as shown in the manu-

script above the superius is indicated; if the composer is not named, the term "Anon." is inserted. Next, the folia-

tion of the composition is given in an abbreviated form;

for example, "f. 21'-22" denotes the location of a composi-

tion on folios 21 verso and 22 recto of the manuscript.

Since all the compositions are written in three voice-parts,

no indication of this fact is made. The addition of a

fourth, canonic voice to nos. 24, 33, and 44 is explained in

the concordance on each piece.

All sources containing any composition similar to any

in the manuscript are listed next alphabetically in the fol-

lowing order: Manuscripts, Early Printed Collections, Modern

Editions, Monophonic Versions, and Related Compositions.

Sources are referred to by abbreviations found in the List

of Sources.

The first line of each entry will include the abbrevia-

tion of the source, the abbreviation of the foliation or

114 115 pagination, and the composer's name; if no name is shown in

the source, then "Anon." is inserted. Next, the amount of

text is indicated along with the number of voice-parts. The

term "text" is employed to signify the presence of either

full or refrain text. If an incipit is found in a voice-part

in place of full or refrain text, it is listed in the Con-

cordance as it is shown in the manuscript. If an incipit is

found in more than one part, the best spelling is selected

to represent the multiple entries. When no text accompanies

a composition, no further information will follow the first

line entry.

Monophonic sources, which provide the cantus firmi for

many of the manuscript's compositions, are recorded next.

Compositions in the sources that contain one or more

voices related musically or textually to a London Add. 35087

composition are listed under the heading of related composi-

tions. Explanations are presented regarding the similarity

of these pieces to those of the manuscript.

Footnotes indicate the sources for Latin texts and

Gregorian melodies used as cantus firmi of the various motets.

Voice classifications found in the sources are set down

in this Concordance. Thus, superius and discant are used

interchangeably to indicate the highest voice-part. Contra,

bassus, and baricanor represent the lowest voice, and tenor,

secundus tenor, altus, and vagans indicate various inner

voices. 116

1. 0 vos omnes' Anon. f. O'-1

Manuscripts:

Bologna Q 17, f. 11'-12, Loyset Compere. Incipit "0

vos omnes" in two upper voices and text in contra.

Bologna Q 18, f. 65'-66, Anon. Incipit "Tant hai

dennuy" in each of three voices.2

Brussels IV. 90, Tournai 94, No. 7, Anon. Superius

and tenor part-books with text in each.

Brussels 228, f. 59'-60, Anon. Text "0 devotz ceurs"

in two upper voices and text "0 vos omnes" in

bassus.

Copenhagen 1848, p. 117, Anon. Text "Tant ay denny"

in superius and contra of three voices.

Florence 1 07 bis, f. 35'-36, Anon. Incipit "0 vos

omnes" in highest of three voices.

Paris 1597, f. 28'-29, Anon. Text "Tant ay dennuyt"

in two upper voices of a three-part work.

St. Gall 463, No. 19, Jacobus Obrecht. Superius

'The Latin text is taken from Threni (Lamentations of Jeremiah) I: 12; see Bibliorum Sacrorum, iuxta Vulgatam Clementinam. Breviario perpetuo et concordantiisaucta (Rome, 1946), p. 768. The contra in part paraphrases the recitation tone of Lectio III of Tenebrae (Lesson III of Maundy Thursday of Holy Week); see Benedictines of Solesmes, editors, The Liber Usualis (Tournai, 1938), p. 631; Antiphonale sacrosanctae Romanae ecclesiae pro diurnis horis (Tournai, 1949), p. 846.

2The full text of "Tant ay dennuy" is found in E. Droz and A. Piaget, editors, Introduction et notes, Vol. II of Le Jardin de plaisance et fleur de rethoricque, 2 volumes (TParis, 1925), No. 514. 117

part-book only, with text.

Early Printed Collections:

Rhau 15428 Tricinia, No. 15, Loyset Compere. Text

in each of three voices. The initial eight bars

of the contra replaces the opening rests of the

contra of London Add. 35087 1.

Modern Editions:

Besseler, Altniederlhndische Motetten, No. 2, p. 8,

Loyset Compere.

Besseler, Die Musik des Mittelalters und der

Renaissance, Example 145, p. 213, Loyset Comp'ere.

Davison and Apel, Historical Anthology of Music,

Vol. I, No. 76b, p. 80, Jacob Obrecht. (After

Wolf, Werken van Jacob Obrecht).

Maldeghem, Tresor musical, Vol. XXIII (1887), No. 9,

p. 23, Anon. (Reese, Maldeghem, No. 18). Text "0

devots ceurs" in two upper voices and text "0 vos

omnes" in bassus; work entitled "Affliction."

(After Brussels 228).

Picker, The Chanson Albums of Marguerite of Austria,

No. 52, p. 391 (Loyset Comp'ere). (After Brussels

228).

Rokseth, Treize motets et un prelude, No. 6, p. 19,

Loyset Compere.

Schering, Geschichte der Musik in Beis pielen, No. 54,

p. 49, Jakob Obrecht. (After Wolf, Werken van 118

Jacob Obrecht).

Shipp, A Chansonnier of the Dukes of Lorraine, No. 29,

p. 343 (Compere). (After Paris 1597).

Wolf, Werken van Jacob Obrecht: Motetten, Vol. 4,

No. 19, p. 173.

Related Compositions:

1. Brussels 228, f. 57'-58, Anon. Text "Mes chantz

sont" in two upper voices and text "0 vos

omnes" in baricanor. This secunda pars of

no. 50 (f. 561-58) has contra related to that

of London Add. 35087 1.

Picker, The Chanson Albums of Marguerite of

Austria, No. 50, p. 387, Anon.

2. Vienna 18746, No. 41, Anon. Text "Doleur me bat"

in four upper voices and text "0 vos omnes" in

bassus. Tenor II is related to contra of

London Add. 35087 1.

3. Regensburg C 120, pp. 10-11, Pirson. Text "Il

faut morir" of this work by Pierre de la Rue

is in each of six voices. Tenor paraphrases

the tenor of London Add. 35087 1.

2. Erubescat Judaeus Infelix Anon. f. 1'-2 Related Compositions:

1. Regensburg C 120, pp. 106-107, Anon. Text in each

of five voices. The initial phrase of the

cantus firmus fourth voice paraphrases the 119

contra of London Add. 35087 2.

3. Miserere mihi Domine Anon. f. 2'

Related Compositions:

1. Liber Usualis, p. 266. The contra of London Add.

35087 3 paraphrases the Sunday at Compline

antiphon "Miserere mihi Domine."

2. Monument monodica medii aevi: Hymnen I, No. 19,

p. 176. The contra of London Add. 3508 3

paraphrases the first seven notes of "Christe,

qui lux es et dies."

4. Parce Domine3 Anon. f. 4

Manuscripts:

Bologna Q 17, f. 2, Anon. Incipit "Parce domine

populo tuo" in tenor and text in contra; superius

is missing. Contra is transcribed for missing

voice in London Add. 35087 4.

Brussels IV. 90, Tournai 94, No. 6, Anon. Superius

and tenor part-books with text in each.

Cambridge 1760, f. 46'-47, Obrek. Text in each of

three voices.

Copenhagen 1848, p. 99, Anon. Incipit "Parce domine"

in two upper voices of a three-part work.

3 The beginning of the Latin text "Parce, Domine, populo tuo" is taken from Joel II: 17; see Bibliorum Sacrorum, p. 850. The second part "Quia pius es et misericors" is based on Ecclesiasticus II: 13; see Bibliorum Sacrorum, p. 620. The last part is an invocation which has not been found. 120

St. Gall 463, No. 128, Jacobus Obrecht. Superius

and altus part-books only, with text in each.

Modern Editions:

Besseler, Capella Meisterwerke, Vol. I, No. 3, p. 9,

Jacob Obrecht.

Forkel, Geschichte der Musik, Vol. II, p. 524, Jacob

Obrecht.

Miller, Glarean's Dodecachordon, Vol. II, p. 327,

Jacob Obrecht.

Parrish and Ohl, Masterpieces of Music, No. 18,

p. 56, Jacob Obrecht.

Rokseth, Treize motets et un prelude, No. 7, p. 24,

Jacob Obrecht.

Wooldridge, The Oxford History of Music, Vol. II,

Part II, p. 61, Jacob Obrecht.

Related Compositions:

1. Bologna Q 18, f. 84'-85, Obrecht (in a later hand).

Incipit "Parce domine" in each of four voices.

This is the same three-voice setting as in

Cambridge 1760 and Copenhagen 1848 with added

altus. Superius is transcribed to replace the

voice missing from London Add. 35087 4.

Wolf, Werken van Jacob Obrecht: Motetten,

Vol. II, No. 10, p. 95.4

4This setting is also found in the early printed collection, Motetti De passione De cruce De sacramento De beata 121

2. Munich 328-331, No. 94, Anon. Incipit "Parce

domine" in each of four part-books.

St. Gall 463, No. 129, Heinricus Isaac. Superius

and altus part-books only, with text in each.

Albrecht, Rhau Musikdrucke, Vol. III, No. 46,

p. 159, Henricus Isaac.

5. Du bon du cueur Anon. f. 4'-5

Manuscripts:

Munich 1516, No. 138, Anon. Incipit "Du bon du cuer"

in each of three voices.

Ulm 237abcd, No. 36, Anon. Incipit "Du bon cuer" in

each of three part-books.

Early Printed Collections:

Formschneider 15389 Trium vocum carmina, No. 9, Anon.

Related Compositions:

1. Dijon 517, No. 21, f. 22'-23, Anon. Text in

superius and incipit "Du bon du cueur" in

tenor of three voices.

Paris 4379, Seville 5-1-43, No. 126, f. 39'-40,

Anon. Text in superius and incipit "Du bon du

cuer" in two lower voices.

Verard, Le Jardin de plaisance (poetry only),

f. 70', Anon. Three stanzas of text used for virg~ineet huius modi. B, Venice (Ottaviano Petrucci, 1503). See Yvonne Rokseth, editor, Treize motets et un preludepour orgue parus chez Pierre Attaingnant en 1531 (Paris, 1930), p. xvii. 122

Dijon 51j and Paris 4379, Seville I5-43 set-

tings. (Published in Droz and Piaget, Jardin,

II, Introduction et notes, No. 92).

Droz, Rokseth, and Thibault, Trois chansonniers,

No. 22, Anon. (After Dijon j17).

2. Florence 229, No. 50, f. 49'-50, Anon. Text in

superius and incipit "Du bon ducuer" in two

lower voices. The two upper voices are the

same as the superius and tenor of related com-

position no. 1.

3. Fran9 on, Poemes de transition, Vol. II, No. 84,

Anon. Three stanzas of text different from

that of London Add. 35087 5 and related com-

positions.

6. Quant je vous voye Anon. f. 7'-9

Early Printed Collections:

Rhau 15428 Tricinia, No. 87, Josquin. Text in each

of three voices.

7. Adieu mamour du temps passe Anon. f. 9'-10

8. Tristis est anima mea5 Anon. f. 10'-11

Related Compositions:

1. Boetticher, Orlando di Lasso: S~,mtliche Werke,

Vol. V, No. 219, p. 48. Text in each of five

voices.

5 The first part of the Latin text is the same as that used for the response for Maundy Thursday. See Benedictines, The Liber Usualis, p. 630. 123

Parrish and Ohl, Masterpieces of Music, No. 23,

p. 80, Orlando Lassus. (After Boetticher,

Orlando di Lasso: Sumtliche Werke).

9. Fortuna desperata Anon. f. 111-1 2

Manuscripts:

Florence 121, f. 25'-26, Anon. Incipit "Fortuna

desperate" in each of three voices.

Perugia 431, No. 93, f. 83'-84, Anon. Incipit

"Fortuna desperata" in highest of three voices.

Segovia, f. CLXXIII, Anthonius Busnoys. Text in

superius and incipit "fortuna disperata" in the

two lower voices.

Modern Editions:

Rokseth, Treize motets et un prelude, No. 13, p. 55,

Anon.

Smijers, Werken van Josquin des Pres: Missen, Vol. I,

p. 105, Anon. (After London Add. 35087 9).

Wolf, Werken van Jacob Obrecht: Missen, Vol. I,

Fasc. 3, p. 170, Busnoys. (After London Add.

35087 9).

Related Compositions:

1. Paris 4379, Seville 5-1-43, No. 127, f. 40'-41,

Anon. Text in superius and incipit "Fortuna

desperata" in three lower voices. Three voices

are the same as those of London Add. 35087 9

with added altus. 124

Paris Vm7 676, No. 17, f. 24'-25, Anon. Text in

superius and incipit "Fortuna desperata" in

three lower voices.

Perugia 431, No. 94, f. 84'-85, Anon. Text in

the highest of four voices.

St. Gall 462, f. 6'-7, Anon. Text in two upper

voices of a four-part work.

St. Gall 463, No. 144, Anon. Superius and altus

part-books only, with text in each.

Zwickau 78. 3, No. 54, Anon.

Petrucci 15043 Canti C, f. 126'-127, Anon.

Incipit "Fortuna desperata" in superius and

"Fortuna" in three lower voices.

Bernoulli, Aus Liederbtchern der Humanistenzeit,

Appendix II, p. 36, Anon. (After Paris 4379,

Seville 5-I-43).

Smijers, Werken van Josquin des Pres: Missen,

Vol. I, p. 106, Anon. (After Petrucci 15043

Canti C).

Wolf, Heinrich Isaac: Weltliche Werke, DTO,

XIV/1, Vol. 28, p. 190, Anon. (After Paris

4379 , Seville 5-I-43). Wolf, Werken van Jacob Obrecht: Missen, Vol. I,

Appendix I, p. 136, Anon. (After Paris 4379,

Seville 5I-43). 125

2. Rome C. G. XIII 27, No. 57, f. 56'-57, Felice.

Incipit "Fortuna desperata" in highest of five

voices. Three voices are related to those of

London Add. 35087 9; altus is also similar to

related composition no. 1.

3. Bologna Q 16, f. CXVII'-CXVIII, Anon. Incipit

"Fortuna desperata" in each of four voices.

Three voices are related to those of London

Add. 35087 9; altus is different from that of

either of the above related compositions.

4. Florence Pan. 27, No. 32, f. 22'-23, Anon. Text

"Poi ch te hebi nel core" in superius and

incipit "Poi ch te hebi" in altus of four

voices. Three voices are related to those of

London Add. 35087 9; altus is different from

that of any of the above related compositions.

5. London Add. 31922, f. 4'-5, Anon. Incipit "For-

tune esperee" in each of four voices. Three

voices are related to London Add. 35087 9;

altus is different from that of the other re-

lated compositions.

Smijers, Werken Van Josguin des Pre's: Missen,

Vol. I, p. 107, Anon. (After London Add.

31922).

6. Augsburg 142 a, f. 46'-47, Alexander. Incipit "Fortuna desperata" in two of six voices. 126

Three voices are related to London Add. 35087 9;

the other three parts are not related to any of

the preceding related pieces.

7. Segovia, f. CLXXIII', Josquin des pres. Incipit

"fortuna disperata" in each of three voices.

The two upper voices are related to those of

London Add. 35087 9.

All of the above compositions contain the

double "Fortuna desperata" cantus firmi as found

in London Add. 35087 9 superius and tenor.

8. Rome 2856, f. 146'-149, Jo. Martini. Incipit

"Fortuna disperata" in each of four voices.

Superius is related to that of London Add. 35087 9.

9. St. Gall 463, No. 214, Robertus Fabrii. Text in

superius and incipit "Fortuna desperata" in

two other parts of three parts given; three

voices are missing. Superius is related to

that of London Add. 35087 9.

St. Gall 464, No. 214, Anon. Superius only, with

incipit "Fortuna"; this is related to superius

of London Add. 35087 9.

10. Segovia, f. CXV'-CXVI, Ysaac. Incipit "fortuna

disperata" in each of four voices. Superius

is related to that of London Add. 35087 9.

11. Vienna 18810, No. 38, Heinrich Ysaac. Incipit 127

"Fortuna - Bruder Conrat" in each of four

voices. Superius and the initial fragment of

contra are related to those parts of London

Add. 35087 9. The middle voices are based on

the German song, Bruder Conrat.

Wolf, Heinrich Isaac: Weltliche Werke, DTb,

XIV/1, Vol. 28, p. 73.

12. Segovia, CXVII T-CXVIII, Ysaac. Incipit "fortuna

disperata" in three voices, incipit "Scte

Petre" in another voice, and incipit "Ora pro

nobis" in a fifth voice. Superius is related

to that of London Add. 35087 9.

13. Cortona 95-96, Paris 1817, No. 19, Anon.

Quodlibet with text "Fortuna desperata" in

superius, text "Voi m'hauete" in tenor, and

text "Vidi la forosetta" in altus. Superius

is related to that of London Add. 35087 9.

Florence 164-167, No. 39, Anon. Quodlibet as

above with the addition of text "Fortuna

Mangio biscotti" in bassus.

Wolf, Werken van Jacob Obrecht: Missen, Vol. I,

p. 138, Anon., Zibaldone (quodlibet).

14. Munich 3154, f. 196'-197, Anon. Incipit "Patrem

omnipotentem" in three of four voices.

Superius is related to that of London Add.

35087 9. 128

15. Munich 3154, f. 1971-198, Anon. Incipit "Et

incarnatus est" in each of four voices.

Superius is related to that of London Add. 35087 9.

16. Munich 1516, No. 4, Anon. Incipit "Fortuna" in

each of four voices. Bassus is related to

superius of London Add. 35087 9.

Petrucci 15043 Canti C, f. 68'-69, Jo. Pinarol.

Incipit "Fortuna desperata" in two voices and "Fortuna" given in two others.

17. Rome C. G. XIII 27, No. 92, f. 91'-92, Ysaac.

Incipit "Fortuna desperata" in highest of

three voices. Superius is related to tenor of

London Add. 35087 9.

Wolf, Heinrich Isaac: Weltliche Werke, DTO,

XIV/1, Vol. 28, P. 74.

18. Formschneider 15389 Trium vocum carmina, No. 88,

Anon. Tenor of three voices is related to

that of London Add. 35087 9.

19. Florence 2439, No. 31, f. 33'-34, Hobrecht.

Incipit "Fortuna" in three of four voices.

Tenor is related to that of London Add. 35087 9.

20. Florence 2439, No. 32, f. 34'-35, Hobrecht.

Incipit "Fortuna" in each of four voices.

Superius is related to tenor of London Add. 129

35087 9. 21. Florence 2439, No. 33, f. 35'-36, Hobrecht.

Incipit "Fortuna" in each of four voices.

Bassus is related. to tenor of London Add.

35087 9.

22. Munich 328-331, No. 21, Anon. Incipit "Fortuna"

in each of three part-books. Tenor is re-

lated to tenor of London Add. 35087 9.

23. Munich 328-331, No. 25, Anon. Incipit "Fortuna"

in each of three part-books. Tenor is re-

lated to tenor of London Add. 35087 9.

24. Bernoulli, Aus Liederblichern der Humanistenzeit,

Appendix IIa, p. 38, Senfl. "Fortuna

desperata" melody (tenor of London Add.

35087 9) is combined with the "Pange lingua"

melody in a five-voice work.

25. Bernoulli, Aus Liederbttchern der Humanistenzeit,

Appendix II , p. 42, Senfl. "Fortuna

desperata" melody (tenor of London Add.

35087 9) in vagans and German melody "Ich stund an einem morgen" in tenor of a five-

voice work.

26. Bernoulli, Aus Liederbtlchern der Humanistenzeit,

Appendix IIc, p. 45, Senfl. "Fortuna

desperata" melody (tenor of London Add.

35087 9) is combined with a two part canonic 130

treatment of the German melody "Es taget vor

dem walde" in a five-voice composition.

27. Bernoulli, Aus Liederbttchern der Humanistenzeit,

Appendix IId, p. 49, Senfl. Incipit "Fortuna

ad voces musicales" in each of four voices.

Altus is related, to tenor of London Add.

35087 9. Miller, Glarean Ts Dodecachordon, Vol. II, p. 295.

Related pieces nos. 8-16 contain the superius

cantus firmus only; nos. 17-27 contain the tenor

cantus firmus only.

28. St. Gall 463, No. 29, Josquin. Superius only,

with text; this voice is not related to London

Add. 35087 9.

Josquin and Obrecht composed four-voice mass

settings based on the "Fortuna desperata" melody.

Josquin's Missa Fortuna Desperata is found in Smijers,

Werken van Josquin des Pres: Missen, Vol. XIII. The

Kyrie, Qui tollis, and Agnus II from Josquin's mass

are printed in Gombosi, Jacob Obrecht, Vol. II, No.

XXIX, 1, 2, and 3. The Kyrie is also printed in

Bernoulli, Aus Liederbfichern der Humanistenzeit, Ap-

pendix IIe, p. 54. Miller, Glarean's Dodecachordon,

Vol. II, p. 469 contains the Agnus Dei from this mass.

Obrecht's Missa Fortuna Desperata is found in Wolf,

Werken van Jacob Obrecht: Missen, Vol. I, Fasc. 3, 131

p. 113. The Qui tollis and Sanctus from this mass

are printed in Miller, Glarean's Dodecachordon, Vol.

II, pp. 303, 305.

10. En lombre dung buisonnet Anon. f. 12'-13

Manuscripts:

Brussels IV. 90, Tournai 94, No. 8, Anon. Superius

and tenor part-books with text in each.

Bologna Q 17, f. 45'-46, Josquin. Incipit "En lombre

dung buisonet" in each of three voices.

Early Printed Collections:6

Antico 15361 La Courone et fleur, No. 14, f. 7',

Josquin. Text in each of three voices.

Egenolff [c. 1535114 Lieder, Vol. III, No. XXVII,

Anon. Superius only, with incipit "En lombre."

Monophonic Versions:

1. Paris 9346, f. 104', Anon., "A lombre dung buis-

sonnet." Melody with text; only the first

phrase is a variant of the melody in London

Add. 35087 10. (Published in Gerold, Le

Manuscrit de Bayeux, No. 101; Gerold, Chansons

populaires, p. 43).

6 This setting is also found in Second livre de chansons a trois parties compose par plusiers autheurs (Paris, A. le Roy and R. Ballard, 1578), f. 9. See Nanie Bridgman, "Chris- tian Egenolff, imprimeur de musique," Annales musicologigues moyen-age et renaissance, III (1955), 155; Howard M. Brown, Theatrical Chansons of the Fifteenth and Early Sixteenth Cen- turies (Cambridge, Massachusetts, 1967)7 p. 212. 132

2. Paris 12744, f. 14-141, Anon. Melody with text;

this is not related to the melody of London

Add. 35087 10. (Published in Paris and Gevaert,

Chansons du xxe si'ecle, No. 18).

Related Compositions:

1. Paris 1597, f. 33'-34, Anon. Text in two upper

voices of a three-part work. Only the initial

melodic motive is related to London Add. 35087

10 and Paris 9346.

Shipp, A Chansonnier of the Dukes of Lorraine,

No. 34, p. 371 (Josquin). (After Paris 1597).

2. Formschneider 15389 Trium vocum carmina, No. 75,

Anon. Each voice of this three-voice setting

is a variant of the melody in London Add.

35087 10 and Paris 9346.

3. Paris 1597, f. 75'-76, Anon., "A lombre du buis-

sonnet." Text in each of three voices.

St. Gall 461, No. 22, Anon. Incipit "En lombre

du busonet" in two upper voices of a three-

part work.

Antico 15361 La Courone et fleur, No. 36, f. 17,

Josquin. Text in three voices.

Giesbert, Ein altes Spielbuch, Vol. II, p. 68,

Anon. (After St. Gall 461). 7

7 This setting is also found in Second livre de chansons a trois parties compose par plusiers autheurs (Paris, A. le 133

Shipp, A Chansonnier of the Dukes of Lorraine,

No. 76, p. 550, Anon. (After Paris 1597).

4. Florence 2442, f. 4, Josquin des pres. Text in

each of three voices; bassus is missing.

Munich 1516, No. 5, Anon. Incipit "En lombre"

in each of four voices.

Paris 2245, f. 25', Josquin. Two parts, both

with text, are given; two others are to be

realized in performance to form a double

canon.

Rome 2856, No. 101, Bolkun. Two parts, with in-

cipits "A lumbre de bissonet" and "A lumbre,"

are given; two others are to be realized in

performance to form a double canon.

Antico 15203 Motetti novi e chanzoni, f. 18'-19,

Anon. Two parts, both with text are given;

two others are to be realized in performance

to form a double canon.

Petrucci 15043 Canti C, f. 132', Josquin. In-

cipit "En lombre dung bissonet" in superius

and "En lombre" in lower three voices.8

Birmingham, Chansonnier of the Duke of Orleans,

Roy and R. Ballard, 1578), f. 9'. See Bridgman, "Christian Egenolff, imprimeur de musique," p. 155. 8This setting is also found in Motetti novi libro tertio (Venice, Andrea Antico, 1520). See Bridgman, "Christian Egenolff, imprimeur de musique," p. 155. 134

No. 24, p. 130, Josquin. (After Paris 2245).

5. Kriesstein 15407 Selectissimae necnon familiaris-

simae cantiones, No. 83, N. Gomberth. Three

voices, all with text, are given; three others

are to be realized in performance to form a

triple canon. The given discant and bassus

paraphrase the two given voices of related

composition no. 4.

6. Petrucci 15043 Canti C, f. 77'-78, Anon. In-

cipit "En lombre dung buissinet" in each of

four voices.

7. Munich 328-331, No. 106, Anon. Incipit "Am

lombre in re" in three part-books and incipit

"Carmen in re" in a fourth part-book.

8. St. Gall 461, No. 29, Ysaac. Incipit "En lombre"

in superius, incipit "Una musquet" in tenor,

and incipit "Sustinimus pacem" in bassus of a

four-voice work. The superius melody is a

variant of that of Paris 9346 and London Add.

3508 10. Giesbert, Emn altes Spielbuch, Vol. I, p. 50,

Ysaac. (After St. Gall 461).

9. Paris 4379, Seville 5-1-53, f. 103'-105, Busnois.

Triple chanson with texts "TL'aitr'ier la

pie9a, " "Trop suis jonette, " and "En lombre

du buissonnet" in three voices and incipit 135

"Lautrier" in a fourth voice.

Brumel's Missa A l'ombre d'un buyssonnet is

based on the melody of related composition no. 4 by

Josquin.9 Carpentras also composed a Missa A l'ombre

dung buissonet based on the monophonic melody in

Paris 9346.10

11. Pauper sum ego" Anon. f. 16'-17

Manuscripts:

Brussels 228, f. 58'-59, Anon. The two upper voices

carry the text "Ce povre mendiant," and baricanor

has incipit "Pauper sum ego."

Florence 2439, f. 89'-90, Josquin. The two upper

voices carry incipit "Fortune destrange plummaige,"

and contra has text "Pauper sum ego." (Text pub-

lished in Burbure, Etude sur un manuscrit, p. 53).

Modern Editions:

Maldeghem, Tresor musical, Vol. XXIII (1887), No. 8,

p. 21, Anon. (Reese, Maldeghem, No. 17). Piece

is entitled "Le mendiant." (After Brussels 228).

9This mass is printed in Liber guindecim missarum electarum guae per excellentissimos musicos compositae fuerunt (Rome, Andrea Antico, 1516).

10 This setting is printed by Elzear Genet, called Car- pentras, in Liber primus missarum Carpentras (Avignon, 1532).

11The Latin text is taken from Psalm LXXXVII:16; see Bibliorum Sacrorum, p. 520. The descending ostinato pattern found in the contra is based on the cadence formula of Tone 8 of Vesper Psalms; see Benedictines, The Liber Usualis, p. 133. 136

Picker, The Chanson Albums of Marguerite of Austria,

No. 51, p. 389 (Josquin des Prez). (After

Brussels 228).

12. Peccantem me quotidie12 Anon. f. 17'-19

Related Compositions:13

1. Smijers, Treize livres de motets, Vol. III,

No. 11, p. 98, Mouton. Text in each of four

voices.

2. Casimiri, Le opere complete di Palestrina,

Vol. VII, No. 16, p. 98. Text in each of five

voices.

13. Mon mary ma diffamee Anon. f. 21'-22

Manuscripts:

Brussels IV. 90, Tournai 94, No. 10, Anon. Superius

and tenor part-books with text in each.

Monophonic Versions:

Paris 12744, f. 75'-76, Anon. Melody with text;

melody is a variant of that of London Add. 35087

13. (Published in Paris and Gevaert, Chansons du

XVe siecle, No. 111).

12The Latin text is used for the response for the Office for the Dead at Matins. See Benedictines, The Liber Usualis, p. 1797.

13 Gesualdo also composed a motet on this text. See August Wilhelm Ambros, Geschichte der Musik (Leipzig, 1887- 1911), IV, 255. 137

Related Compositions:14

1. Paris 1597, f. 69'-71, Anon. Text in each of

four voices.

Shipp, A Chansonnier of the Dukes of Lorraine,

No. 70, p. 526, Anon. (After Paris 1597).

2. Petrucci 15022 Canti B, f. 15'-16, De Orto. In-

cipit "Mon mar ma deffamee" in two of four

voices.

3. Petrucci 15043 Canti C, f. 44'-45, Anon. In-

cipit "Mon maria ma defamee" in each of four

voices.

4. Antico 15203 Motetti novi e chanzoni, f. 37'-38,

Adrien. Two parts, both with text, are given;

two others are to be realized in performance

to form a double canon.

These four polyphonic works are all based

on the same melody; they are different from

London Add. 35087 13 and from each other.

14. Ma maitresse mayme Anon. f. 22'-23

15. Helas dame que jayme tant Anon. f. 23'-24

16. Si jayme mon amy Anon. f. 24'-25

Manuscripts:

14 A Missa Mon mary ma diffamee by Gascogne is found in Vatican Codex 2~7~pp. 77-90. See Franz X. Haberl, Biblio- graphischer und thematischer Musikkatalog des ptpstlichen Kapellarchives im Vatikan zu Rom (Leipzig, 1888), p. 138. 138

London Harley 5242, No. 15, f. 22', Anon. Superius

only, with full text.

Monophonic Versions:

Paris 12744, f. 80'-81, Anon. Melody with text;

melody paraphrases the superius of London Add.

35087 16. (Published in Paris and Gevaert, Chan-

sons du Xxe siecle, No. 118).

Related Compositions:

1. St. Gall 462, f. 45, Anon. Text in each of three

voices. Superius is a variant of tenor of

London Add. 35087 16; piece is not related,

however, to the melody of Paris 12744.

2. Florence 117, f. 68'-69, Anon. Text in each of

three voices. Work is not related musically

to any of the above.

17. Consummo la mia vita Anon. f. 27'-28

Manuscripts:

Florence 117, No. 36, f. 661, Anon. Incipit "Consumo

la mia vita" in two upper voices of a three-part

work.

Paris 1597, No. 78, f. 77'-78, Anon. Incipit "Con-

sumo la vita mea" in highest of three voices.

St. Gall 462, f. 48, Anon. Incipit "Consomo" in each of

three voices.

Modern Editions:

Rokseth, Treize motets et un prelude, No. 12, p. 52, 139

Anon.

Shipp, A Chansonnier of the Dukes of Lorraine,

No. 78, P. 560 (Prioris). (After Paris 1597).

Related Compositions:

1. Cambridge 1760, No. 57, f. 86', Prioris. Text

in each of four voices; three voices are the

same as those of London Add. 35087 17 with

added altus.

St. Gall 463, No. 170, Anon. Incipit "Consumo

la mia vita" in superius and altus part-books.

Washington, Laborde, No. 97, f. 136'-137, Anon.

Incipit "Consumo la vita mya" in each of four

voices.

Bukofzer, Studies in Medieval and Renaissance

Music, p. 211, Prioris.

2. Einstein, Canzoni sonetti strambotti et frottole,

No. 17, p. 33, Alessandro Mantovano. Text in

superius and incipit "Consumo la mia vita" in

two lower voices. This piece is not related

musically to London Add. 35087 17.

18. Mon souuenir Anon. f. 281-29

Manuscripts:

Bologna Q 17, f. 32'-33, Hayne. Incipit "Mon souuenir"

in each of three voices.

Copenhagen 1848, p. 122, Anon. Text in superius and

incipit "Mon souuenir" in two lower voices. 140

Copenhagen 1848, pp. 364-365, Anon. Incipit "Mon

souuenir my fait morir" in superius and contra of

three voices.

Florence 178, f. 27'-28, Ayne. Incipit "Mon souenir"

in highest of three voices.

Florence 2356, f. 8'-9, Anon. Incipit "Mon souvenir"

in each of three voices.

London Royal 20 A XVI, f. 271-28, Heyne. Text in

each of three voices.

Paris 1597, f. 26'-27, Anon. Text in each of three

voices.

Paris 2245, f. 1'-2, Hayne. Text in each of three

voices.

Rome 2856, f. 124'-125, Haine. Incipit in each of

three voices.

Rome C. G. XIII 27, f. 52'-53, Anon. Incipit "Mon

souenir" in highest of three voices.

Segovia, f. CLXIIII, Groen Heyne. Incipit "Mon

souuenir" in each of three voices.

Washington, Laborde, No. 90, f. 1101-111, Anon. Text

in highest of three voices.

Early Printed Collections:

Petrucci 1501 Odhecaton, No. 83, f. 90', Anon. In-

cipit "Mon souenir" in highest of three voices.

Verard, Le Jardin de plaisance (poetry only), f. 117,

Anon, Autre Rondel. Three stanzas of text. 141

(Published in Droz and Piaget, Jardin, Vol. II,

Introduction et notes, No. 521; Pugh, An Edition

of Some Chansons, No. 44, p. 69).

Modern Editions:

Birmingham, Chansonnier of the Duke of Orleans,

No. 1, p. 76, Hayne. (After Paris 2245).

Goldthwaite, Rhythmic Patterns and Formal Symmetry,

p. 51 (Hayne).

Gombosi, Jacob Obrecht, Vol. II, No. 4, Hayne van

Ghizeghem.

Hewitt, Harmonice musices Odhecaton A, No. 83, p. 394 (Hayne).

Marix, Les Musiciens de la cour de Bourgogne, No. 76,

p. 120, Hayne.

Shipp, A Chansonnier of the Dukes of Lorraine, No. 27,

p. 336 (Hayne). (After Paris 1597).

Related Compositions:

1. Bologna Q 19, f. 82'-83, Richafort. Incipit "Mon

souuenir my faict morir" in superius and text

"Sufficiebat nobis paupertas" in three lower

voices. Superius is the same as tenor of

London Add. '35087 18.

Cambridge 1760, f. 36'-38, Jo. Richafort. In-

cipit "Mon souuenir my faict morir" in superius

and text "Sufficiebat nobis paupertas" in three

lower voices. 142

Maldeghem, Tresor musical, Vol. XVII (1881),

p. 33, Richafort. (Reese, Maldeghem, No. 561).

2. Bologna Q 19, f. 32'-35, Jachet. Text "Suffi-

ciebat nobis paupertas" in superius and text

"Mon souvenir mi fait mourir" in two lower

voices. Tenor in the first section is the

same as tenor of London Add.3i28 18 and

superius of related composition no. 1.

19. Mais que che fut Anon. f. 29'-30

Manuscripts:

Bologna Q 17, f. 18'-19, Pierquin. Incipit "Mes que

che fu secretement" in each of three voices.

Copenhagen 1848, p. 130, Anon.

Florence 178, f. 67'-68, Pictraquin. Incipit "Meschin

che fui secretament" in highest of three voices.

Florence 229, No. 202, f. 218'-219, Anon. Text in

each of three voices.

Rome 2856, f. 141'-142, Anon.

Washington, Laborde, No. 94, f. 114', Anon. Superius

only, with incipit "Mais que ce fust secretement.'

Early Printed Collections:

Petrucci 1501 Odhecaton, No. 87, f. 93, Compere. In-

cipit "Mais que ce fust" in highest of three voices.

Verard, Le Jardin de plaisance (poetry only), f. 119',

Autre Rondel, Anon. Three stanzas of text. (Pub-

lished in Droz and Piaget, Jardin, Vol. II, 143

Introduction et notes, No. 548; Pugh, An Edition

of Some Chansons, No. 29, p. 52).

Modern Editions:

Hewitt, Harmonice musices Odhecaton A, No. 87, p. 400, Compare.

Related Compositions:

1. Rome C. G. XIII 27, f. 53'-54, Petrequin. In-

cipit "Donzella no men cul peys" in highest of

four voices. Three voices are the same as

those of London Add. 35087 19 with added altus.

2. Paris 9346, f. 76'-77, Anon. Text "Mais que ce

fust le plaisir" with melody; this is not re-

lated to London Add. 35087 19. (Published in

Gerold, Le Manuscrit de Bayeux, No. 75).

Florence 117, f. 10'-11, Anon. Text "Mais que ce

fust le plaisir" in each of three voices.

Melody is based on the melody of Paris 9346.

London Harley 5242, f. 43'-45, Anon. Text "Mais

que ce fust le plaisir" in each of three voices.

Antico 15206 Chansons a troys, f. 19', Anon.

Superius and bassus part-books only.

20. Nest il pas bien infortune Anon. f. 30'-31

21. Nostre saison est bien fortunee Anon. f. 31'-32

22. Lessies parler Anon. f. 32'-33

23. Ut queant laxis Anon. f. 34'-35 144

Related Compositions:

1. Modena aX I II, f. XII'-XIII, Dufay. Incipit

"Nuncius celso" in each of three voices.

2. Turin I 27, f. 13, Anon. Text "Ut queant laxis"

in each of three voices.

3. Marix, Les Musiciens de la cour de Bourgogne,

No. 15, p. 226, Binchois. Two voices, the

upper with text, the lower with incipit "Ut

queant laxis," are given; the third voice is

to be realized through fauxbourdon.

Wolf, Music of Earlier Times, No. 13, p. 38,

Binchois.

4. Casimiri, Le opere complete di Palestrina,

Vol. XIV, No. 18, p. 96. Text in each of four

voices.

These four polyphonic works and London Add.

35087 23 are not based on the Hymn to St. John

the Baptist (Antiphonale, p. 733; Liber Usualis,

p. 1504). Rather, all five pieces paraphrase

the melody found with the text "Onimis felix"

(Antiphonale Monasticum, p. 926). The cantus

firmus also paraphrases the first part of a hymn "Ut queant laxis" (Monumenta monodica medii aevi:

Hymnen I, No. 79, p. 94).

24. Coment peult avoir joye Jo. de Vyzeto f. 361-37

Above the superius the direction "In dyatessaron" 145 is given; a signum in the superius marks the entrance of the fourth, canonic voice.

Related Compositions:

1. Bologna Q 17, f. 58'-59, Josquin. Incipit

"Coment peult avoir Joye" in each of three

voices. Above superius "Fuga duorum temporum

dyapason" is given.

Florence 178, f. 7'-8, Josquin. Incipit "0 men

potauer yoye" in highest of three voices. A

signum in superius marks the entry of a canonic

voice.

Rome C. G. XIII 27, f. 11'-12, Josquin despres.

Incipit "Ne come peult" in highest of three

voices; a signum in superius marks the entry

of a canonic voice.

Egenolff {c. 1535]14 Lieder, Vol. I, No. 27, Anon.

Superius only, with incipit "Coment peult haver

joye."

Petrucci 15022 Canti B, No. 19, f. 221-23,

Josquin. Incipit "Coment peult hauer joye" in

two of four voices.

Hawkins, History of Music, Vol. II, p. 467,

Iodocus Pratensis, "0 Jesu Fili David."

Miller, Glarean's Dodecachordon, Vol. II, p. 434,

Josquin Des Prez, "0 Iesu Fili David."

Osthoff, Josguin des Pres: Das Chorwerk XXX, 146

No. 1, P. 5, "0 Jesu fili David."

2. Bologna Q 18, f. 68'-69, Anon. Incipit "Coment

peult haver joye" in each of three voices.

3. Rome C. G. XIII 27, No. 111, f. 117'-118, Ysach.

Incipit "Coment poit avoir Joye" in highest

of three voices.

Wolf, Heinrich Isaac: Weltliche Werke, DTO,

XIV/1, Vol. 28, p. 66.

4. Egenolff [c. 1535]14 Lieder, Vol. III, No. 50,

Anon. Superius only, with incipit "Coment."

5. Petrucci 15022 Canti B, No. 20, f. 231-24, Anon.

Incipit "Comment peult" in two of four voices.

These five different polyphonic works and

London Add. 35087 24 are all based on the German

song "Wohlauf, gut G'sell, von hinnen."15

25. Cest mal sarchie Agrico4 ' f. 37'-38

Manuscripts:

Copenhagen 1848, p. 225, Anon. Text in superius and

incipit "Cest mal" in two lower voices.

Florence 178, f. 20'-21, Alexander. Incipit "Id est

trophis" in highest of three voices.

Florence 229, No. 64, f. 65'-66, Alexander Agricola.

'5 For a comprehensive study of the various compositions based on this melody, see Helen Hewitt, editor, Canti B. numero cinguanta B, Vol. II of Monuments of Renaissance Music, edited by Edward E. Lowinsky, 2 volumes to date (Chicago, 1967), p. 46ff. 147

Incipit "Cest mal serche" in superius and contra

of three voices.

London Royal 20 A XVI, f. 10'-11, Anon. Text in

highest of three voices.

Paris 1719 (poetry only), f. 29-29', Anon. Three

stanzas of text only.

Paris 4379, Seville 5-1-43, No. 152, f. 123'-124,

Agricola. Incipit "Cest mal cerchie" in each of

three voices.

Rome 2856, f. 19'-20, Agricola. Incipit "Cest mal

chierce" in each of three voices.

Verona DCCLVII, f. 26'-27, Anon.

Early Printed. Collections:

Verard, La Chasse (poetry only), Anon. Three stanzas

of text only.

Modern Editions:

Champion, Pieces joyeuses, No. 53, p. 190-191, Anon.

Text only. (After Verard, La Chasse (poetry only)).

Related Compositions:

1. Petrucci 1501 Odhecaton, No. 12, f. 14'-15, Anon.

Incipit "Cest mal charche" in each of four

voices. Three voices are the same as those

of London Add. 35087 25; a "si placet" altus

has been added.

Boer, Chansonvormen, No. 6, p. 63, Agricola.

Hewitt, Harmonice musices Odhecaton A, No. 12, 148

p. 244 (Agricola).

2. Bologna Q 17, f. 28'-29, A. Agricola. Incipit

"Cest mal ser" in each of three voices; this

work is not related musically to London Add..

35087 25. Florence 178, f. 24'-25, Alexander. Incipit

"Cest mal serche" in highest of three voices.

26. Da pacem domine1 6 Agrico4 9 f. 39'-40

Manuscripts:

Copenhagen 1848, p. 365, Anon. Incipit "da pacem

domine" in each of three voices.

Paris 1597, f. 3'-4, Anon. Text in each of three

voices.

Shipp, A Chansonnier of the Dukes of Lorraine,

No. 3, p. 244, Anon. (After Paris 1597).

Related Compositions:

1. St. Gall 463, No. 192, Compere. Superius and

altus part-books only, with text in each. The

cantus firmus is carried in the altus which

is related to the tenor of London Add.35087 26.

2. Rhau 15428 Tricinia, No. 30, Anon. Text in each

of three voices. The cantus firmus tenor

l6 The cantus firmus carried in the tenor paraphrases the Varia, For Peace. See Antiphonale, p. 144; Benedictines, The Liber Usualis, p. 1867. 149

paraphrases the tenor of London Add. 35087 26.

3. Bologna Q 19, f. 54'-55, Anon. Three parts, all

with text, are given; another voice is to be

realized in performance through canonic imita-

tion of the bassus. The cantus firmus bassus

paraphrases the tenor of London Add. 35087 26.

4. Paris 1597, f. 2'-3, Anon. Text in two upper

voices and incipit "Da pacem domine" in contra.

The initial melodic fragment of the superius

paraphrases the cantus firmus.

Shipp, A Chansonnier of the Dukes of Lorraine,

No. 4, p. 248, Anon. (After Paris 1597).

5. Florence Pan. 27, f. 31'-32, Anon. Text in

superius and incipit "Da pacem" in altus of

four voices. Three voices are the same as

those of related composition no. 4 with added

altus.

6. Bologna Q 18, f. 30'-31, Anon. Incipit "Da

pacem" in highest of four voices. Initial

melodic fragments of superius and tenor para-

phrase the cantus firmus.

7. Cambrai 124, f. 128', Willan (Willaert). Text in

each of four voices; superius and tenor para-

phrase the opening of the cantus firmus.

Maldeghem, Tresor musical, Vol. XVI (1880), p. 42,

Willaert (Reese, Maldeghem, No. 612). 150

8. Rhau 15428 Tricinia, No. 32, Claudin. Text in

each of three voices. These parts paraphrase

the cantus firmus only slightly.

9. Munich 1516, No. 165, Anon. Incipit "Da pacem"

in each of four voices. Initial melodic frag-

ments in three voices paraphrase the cantus

firmus briefly.

10. Florence 2439, f. 81'-82, Gislingh. Text in two

upper voices of a three-part work. Each voice

contains a brief variant of the cantus firmus.

(Text published in Burbure, Etude sur un

manuscrit, p. 51).

11. Antico 15203 Motetti novi e chanzoni, f. 11'-12,

Brumel. Two parts, both with text, are given;

two others are to be realized in performance

to form a double canon. These parts carry a

variant of the cantus firmus.

12. Antico 15203 Motetti novi e chanzoni, f. 15'-16,

Prioris. Three parts, all with text, are

given; three others are to be realized in

performance to form a triple canon. Only the

highest given voice shows a variant of the

cantus firmus.

13. Modena aLX I II, f. liii, Binchois. Text in each

of two voices; a third is to be realized in

performance through fauxbourdon. These 151

paraphrase the cantus firmus at some point

during the course of each part.

Marix, Les Musiciens de la cour de Bourgogne,

No. 4, p. 192, Binchois. (After Modena

. X I II).

A Missa Da Pacem in four parts by Josquin is

published in Smijers, Werken van Josguin des Pre's:

Missen, Vol. XXXIV; this work is based on the plain-

song cantus firmus also.

27. Qui est celuy qui dira mal Anon. f. 42'-43

28. Je voy je viens Anon. f. 43'-44

Manuscripts:

Copenhagen 1848, p. 169, Anon. Text in highest of

three voices.

St. Gall 463, No. 44, Anon. Superius part-book only,

with text.

Early Printed Collections: 6 Antico 1520 Chansons a troys, No. 5, Anon. Su-

perius and bassus part-books only, with text.

Modern Editions:

Brown, Theatrical Chansons, No. 43, p. 126, Anon.

(After London Add. 3O87 28 and Antico 15206).

Related Compositions:

1. Cambridge 1760, No. 48, f. 72'-73, M. Gascongne.

Text in each of three voices. The initial

fragment of the melody is a variant of the 152

tenor of London Add. 35087 28.

Brown, Theatrical Chansons, No. 44, p. 128,

Mathieu Gascongne. (After Cambridge 1760).

29. Jayme bien mon amy Verbonnet f. 44'-45

Monophonic Versions:

Paris 9346, f. 29'-30, Anon. Melody with text; after

the initial phrase the tenor of London Add. 35087

29 is clearly a variant of this melody. (Pub-

lished in Ge'rold, Le Manuscrit de Bayeux, No. 29).

Related Compositions:

1. Antico 15203 Motetti novi e chanzoni, f. 31'-32,

Anon. Two parts, both with text, are given;

two others are to be realized in performance

to form a double canon. Following the initial

phrase the lower given part is a variant of

the Paris 9346 melody and tenor of London Add.

35087 29.

2. Antico 15203 Motetti novi e chanzoni, f. 35',

Adrien. One part is given, with text; another

part (f. 36) is missing. This appears to be a

double canon with two parts to be realized in

performance. The one given part paraphrases

the one given part of related composition

no. 3, neither of which is related to London

Add. 35087 29 or Paris 9346.

3. Antico 15203 Motetti novi e chanzoni, f. 37, 153

Adrien (according to table of contents). One

part is given, with text; another part (f. 36')

is missing. This, too, was meant to be a

double canon with two parts realized in per-

formance.

4. Cambridge 1760, No. 41, f. 621-63, N. Lepetit.

Text in each of three voices; this piece is

not related to London Add. 350 29.

30. Tout plain dennuy Anon. f. 49'-50

Early Printed Collections:

Berg and Neuber 15602 Variarum linguarum tricinia,

No. 36, Benedictus. Incipit "Tout plain d'ennuy

et desconfort" in each of three voices.

31. Adieu solas tout plaisir Anon. f. 53'-54

Manuscripts:

Cambridge 1760, No. 42, f. 63'-64, Anth. de Fevin.

Text in each of three voices.

Florence 117, No. 14, f. 14'-15, Anon. Text in

highest of three voices.

London Harley 5242, f. 20'-21, Anon. Text in each

of three voices.

Modern Editions:

Brown, The Parisian Chanson, Example 9, p. 161,

Antoine de Fevin. (After Cambridge 1760).

Related Compositions:

1. St. Gall 462, f. 45', Anon. Text in superius and 154

incipit "Adieu solas" in two lower voices.

Superius is a variant of the superius and

tenor of London Add. 35087 31.

2. St. Gall 463, No. 200, Anon. Superius and altus

part-books only, with text in each, of a five-

voice work. This work is not related to either

London Add. 3087 31 or St. Gall 462.

32. James naymeray Jo. Mouton f. 55'-56

Early Printed Collections:

Antico 15206 Chansons a troys, No. 12, Anon. Su-

perius and contra part-books only, with text in

each; a repetition of the final phrase, not found

in London Add. 35087 32, is given here.

Rhau 15428 Tricinia, No. 86, Anon. Three voices with

text in each; a repetition of the final phrase

with slight variants, not found in London Add.

35087 32, is given here.

Related Compositions:

1. Cambrai 124, f. 145', Anon. Text in each of

four voices; the melody is a variant of the

superius and tenor of London Add. 35087 32.

Egenolff [c. 1535]14 Lieder, Vol. II, No. 48,

Anon. Superius only, with incipit "Jamais

nemerai."

33. Je le lairay Anon. f. 56'-57

A signum in the superius marks the entry of a 155

canonic altus at the fifth below.

Manuscripts:

Florence 2442, f. 85'-86, Mouton. Text in each of

three voices with bassus missing.

Modern Editions:

Brown, Theatrical Chansons, No. 36, p. 109, Jean

Mouton. (After London Add. 35087 33).

Monophonic Versions:

Paris 9346, f. 671-68, Anon. Melody with text;

melody is a variant of superius of London Add.

35087 33. (Published in Gerold, Le Manuscrit de

Bayeux, No. 66; text is published in Brown,

Theatrical Chansons, p. 108).

Related Compositions:

1. Cambridge 1760, No. 35, f. 52'-53, Anth. de

Fevin. Text in each of three voices. The

initial part of the melody paraphrases the

superius of London Add. 35087 33. (Text pub-

lished in Merritt, A Chanson Sequence by

Fevin, p. 93).

Florence 117, No. 7, f. 6'-7, Anon. Text in

each of three voices.

London Harley 5242, No. 3, f. 5'-7, Antoine

Fevin. Text in each of three voices.

Brown, Theatrical Chansons, No. 35, p. 106,

Antoine de Fevin. (After Florence 117). 156

34. Dulcis amica dei 7 Anon. f. 61'-62

Manuscripts:

Cambridge 1760, No. 4, f. 2, Prioris. Text in each

of three voices.

Copenhagen 1848, p. 413, Anon. Incipit "Dulcis amica

dei" in each of three voices.

London Add. 31922, f. 881-89, Anon. Incipit "Dulcis

amica" in highest of three voices.

Paris 2245, f. 31'-32, Anon.

Washington,Laborde, No. 100, f. 1391-140, Anon.

Modern Editions:

Birmingham, Chansonnier of the Duke of Orleans,

No. 26, p. 135, Anon. (After Paris 2245).

Rokseth, Treize motets et un prelude, No. 4, p. 15,

Anon.

Related Compositions: 18

1. Cambrai 124, f. 133', Anon. Text in each of four

voices. This is a somewhat longer version of

'7 This little hymn melody has disappeared from the Catholic liturgy; see Rokseth, Treize motets et un prelude, p. xiv. The text, in a form of two hexameters, is found in a lectionary of the hospital of Embrun, which dates from the twelfth and thirteenth centuries; see Ulysse Chevalier, editor, Repertorium hymnologicum: Catalogue des chants, hymns, proses, sequences, tropes en usage dans l'2glise latine depuis les origines jusgu'a nos ourss (Louvain, 1892- 1912), III, 117. A four voice setting of Dulcis amica dei by Gombert is found in Secundus liber cum guatuor vocibus. Motteti del fiore (Lyon, J. Moderne, 1532). See Rokseth, Treize motets et un prelude, p. xv. 157

London Add. 35087 34 with added altus.

Maldeghem, Tresor musical, Vol. XVI (1880), p. 44,

Anon. (Reese Maldeghem, No. 3) (After Cambrai

124).

2. St. Gall 462, f. 1, Anon. Text in superius,

incipit "Dulcis amica dei" in tenor of four

voices. Three voices are related to those of

London Add. 35087 34 and related composition

no. 1. Altus is a variant of that voice in

related composition no. 1.

St. Gall 463, No. 140, Anon. Superius and altus

part-books only, with text in each.

3. Paris 1597, No. 5, f. 4'-5, Anon. Text in each

of four voices. Three voices are related to

those of London Add. 35087 34 and related

composition no. 1; the added altus is dif-

ferent from that of related compositions

nos. 1 and 2.

Shipp, A Chansonnier of the Dukes of Lorraine,

No. 5, p. 251 (Prioris). (After Paris 1597).

4. Turin I 27, f. 33', Anon. Text in each of four

voices. Superius paraphrases the superius

melody of London Add. 35087 34 and related

compositions; altus is a variant of that

voice in related compositions nos. 1 and 2.

The other two voices are not related to any 158

of the above.

5. Ulm 237abcd, No. 66, Anon. Text in each of four

voices. This work is not related to the pre-

ceding compositions.

6. Jeppeson, Die mehrstimmige italienische Laude,

No. 19, p. 32, Anon. Text in highest of four

voices; this work is not related to any of

the preceding pieces.

Certon composed a Missa Dulcis amica Dei on the

popular melody found in London Add. 35087E 34; this

mass setting is found in Missarum musicalium quatuor

vocum cum suis motetis. Liber tertius, Paris,

Attaingnant, 1540.

35. Quant je vous voy parmy les rues Anon. f. 66'-68

36. Que nest il vray Anon. f. 68'-69

37. Sourdes regretz Anon. f. 711-73

Manuscripts:

Brussels IV. 90, Tournai, No. 5, Anon. Superius and

tenor part-books with text in each.

Brussels 228, No. 48, f. 54'-55, Anon. Three stanzas

of text given with superius; refrain text in each

of two lower voices.

Florence 117, No. 28, f. 37, Anon. Two voices with

text in each; superius is missing.

Florence 2439, f. 51'-52, Compere. Three voices with

text in each. (Text published in Burbure, Etude 159

sur un manuscrit, p. 26).

Modern Editions:

Maldeghem, Tre'sor musical, Vol. XXIIII (1887), P. 17,

Loyset Compere. (Reese, Maldeghem, No. 198).

Composition is entitled "Tardifs regrets."

Picker, The Chanson Albums of Marguerite of Austria,

No. 48, p. 379 (Loyset Compere). (After Brussels

228).

38. Vivo ego dicit Dominus'9 Anon. f. 75'-76

Related Compositions:

1. Rhau 15428 Tricinia, No. 1, Johannes Walther.

Text in each of three voices; this work is not

related to London Add. 08738.

2. Rhau 15428 Tricinia, No. 2, Laurentius Lemlin.

Text in each of three voices; this piece is

not related to London Add. 35087 38 but para-

phrases the cantus firmus of related composi-

tion no. 1.

39. Sancta Maria piarum piissima Anon. f. 761-78

40. Buuon ma commere Benedictus Appe~n~scelders f. 781-79

Monophonic Versions:

Paris 9346, f. 151-16, Anon. Melody with text; this

is a variant of the melody found in the tenor of

London Add. 8 40. (Published in Gerold, Le

19This piece has the text of an antiphon; see Antiphonale, p. 81. 160

Manuscrit de Bayeux, No. 15).

41. Helas pourquoy suige mariee Anon. f. 79'-80

Manuscripts:

Paris 1597, No. 40, f. 391-40, Anon. Text in each

of three voices.

Shipp, A Chansonnier of the Dukes of Lorraine, No. 40,

p. 399, Anon. (After Paris 1597).

42. Fors seulement Anon. f. 80'-81

Early Printed Collections:

Antico 15206 Chansons a troys, No. 19, Anon. Su- perius and contra part-books only, with text in

each.

Formschneider 15389 Trium vocum carmina, No. 46,

Anon. This piece is transposed a fourth higher

than London Add. 35087 42 and Antico 15206, with

one flat in the signature.

Modern Editions:

Picker, The Chanson Albums of Marguerite of Austria,

Appendix A, No. 2, p. 477, Anon. (After London

Add_. 35087).

This important setting of the "Fors seulement"

text contains two cantus firmi associated with many

other arrangements of the text. The "new" cantus

firmus enters in the tenor following the statement

of Ockeghem's contra in the superius of an opening

duo between superius and contra. This work serves 161

as an important link between those settings employing

Ockeghem's melody and those which carry the "new"

cantus firmus. "Fors seulement" texts are found in

the following:

Manuscripts:

Paris 1719 (poetry only), f. 34, Anon.

Early Printed Collections:

Berlin 78. B. 17, No. 77, Anon. (Published in

L5pelmann, Die Liederhandschrift des Cardinals

de Rohan, No. 77, p. 89).

Verard, Le Jardin de plaisance (poetry only),

f. 115, Autre Rondel, Anon. (Published in Droz

and Piaget, Jardin, Vol. II, Introduction et

notes, No. 496).

Related Compositions:

1. Basel F. X. 1-4, No. 118, Mathias Pipilari (M. P.

given in three voices). Incipit "Fors

seulement" in each of four voices.

Bologna Q 19, f. 1'-2, Piplare. Incipit "Fors

seulement" in each of four voices.

Brussels IV. 90, Tournai 94, No. 16, Anon. Su-

perius and tenor part-books with text in each.

Brussels 228, f. 17'-18, Anon. Text in each of

four voices.

Florence 164-167, No. 61, Anon. Text in each of

four voices. 162

Paris 1597, No. 61, f. 601-61, Anon. Text in

superius and incipit "Fors seullement" in two

lower voices.

Regensburg C 120, pp. 336-337, Pipelare. In-

cipit "forseulement" in two of four voices.

Segovia, f. 92, Matheus Pipelare. Text "Exortum

est in tenebris" in each of four voices.

St. Gall 461, No. 5, m. pipelare. Incipit "Fors

seulement" in altus of four voices.

Egenolff [c. 1535]11 Lieder, Vol. I, No. 31, Anon.

Superius only, with incipit "Fors seulement."

Petrucci 15022 Canti B, f. 31'-32, Pe. de la Rue.

Incipit "Fors seulement" in two of four voices.

Bernoulli, Aus Liederbttchern der Humanistenzeit,

Appendix XII, p. 98, M. Pipelare. (After St.

Gall 461).

Giesbert, Ein altes Spielbuch, Vol. I, p. 8,

M. Pipelare. (After St. Gall 461).

Maldeghem, Tresor musical, Vol. I (1865), p. 12,

Matthaeus Pipelare (Reese, Maldeghem, No. 555).

Text "Quand vers le son" in each of four

voices.

Maldeghem, Tresor musical, Vol. XXI (1885), p. 25,

Matthieu Pipelare (Reese, Maldeghem, No. 557).

Picker, The Chanson Albums of Marguerite of

Austria, No. 16, p. 233 (Mathaeus Pipelare). 163

(After Brussels 228).

Seay, Pierre Attaingnant Transcriptions, No. 10,

p. 43, Anon. (After Florence 164-167).

Shipp, A Chansonnier of the Dukes of Lorraine,

No. 61, p. 485 (Pipelare). (After Paris

1597). The "new" cantus firmus appears in the tenor

of the above work. It seems to be patterned

after the London Add. 35087 42 setting, but in a

four-voice texture with a more elaborate opening

duet.

2. Cambridge 1760, No. 39, f. 58'-60, Anth. de

Fevin. Text "Fors seullement la mort" in

each of three voices.

Copenhagen 1848, pp. 102-103, Anon. Text "Fors

seulement La tente que Je" in superius and

incipit "Fors seulement" in two lower voices.

London Add. 31922, f. 104'-105, Anon. Incipit

"Fors solemant" in lowest of three voices.

Munich 1516, No. 129, Anon. Incipit "Forseule-

ment" in each of three voices. This version

is transposed a fifth lower with one flat in

the signature.

St. Gall 463, No. 46, Anon. Text "Fors seulement

la mort" in superius part-book. 6As Antico 1520 Chansons a troys, No. 6, Anon. Superius and contra part-books with text "Fors

seullement lattente" in each.

Egenolff [c. 1535]14 Lieder, Vol. III, No. 51,

Anon. Superius only, with incipit "Fors

seulement."

Formschneider 15389 Trium vocum carmina, No. 31,

Jskin (written by hand in Jena copy). In-

cipit "Fors seulement" in highest of three

voices.

This work is a parody of the Pipelare setting

(no. 1); it freely paraphrases the cantus firmus

and the opening of the bassus of the previous

composition and also contains motives related to

London Add. 35087 42.

3. Cambrai 124, f. 144', Anon. Incipit "Forseulle-

ment" in each of four voices.

Maldeghem, Tre'sor musical, Vol. XVIII (1882),

p. 8, Anon. (Reese, Maldeghem, No. 72). Text

"0 qu'a bon droit" in each of four part-books. The "new" cantus firmus appears in the tenor

of this work. Some motives of the melody are

anticipated in one or another of the upper parts.

4. Kriesstein 15407 Selectissimae necnon familia-

rissimae cantiones, No. 43, Adrianus Willart.

Text "Fors seulement la mort" in each of five

parts. 165

The tenor of the Fevin setting (no. 2) para-

phrases the superius of this work which marks the

existence of a third cantus firmus.

5. Munich 1516, No. 131, Jrg Blankenmtiller. In-

cipit "Forseulement" in each of three voices.

This setting freely paraphrases the Fevin

composition (no. 2), but has no connection with

London Add. 3087 42.

6. Bologna Q 19, f. 3'-4, Anon. Incipit "Fors

seulement" in each of four voices.

St. Gall 463, No. 193, Anon. Incipit "Fors

seulement lattente" in superius and incipit "Fors seullement" in altus and added vagans.

St. Gall 464, No. 193, Anon. Superius with

incipit "Fors seulement que je meure" and

bassus with incipit "For seulement."

In this setting the "new" cantus firmus

found in London Add. 35087 42 is in the superius;

the altus paraphrases a part of the other cantus

firmus, Ockeghem's tenor.

7. Dijon 517, No. 25, f. 25'-26, Okeghem. Text

"Fors seulement lactente" in superius and in-

cipit "Fors seulement" in tenor of a three-

voice work.

Paris 1597, No. 37, f. 36'-37, Anon. Text in

superius and tenor; incipit "Fors seullement 166

in contra.

Rome C. G. XIII 27, f. 104'-105, Anon. Incipit

"Frayres y dexedes me" in highest of three

voices.

St. Gall 461, No. 2, Ockenhem. Incipit "Fors

seulement" in two of three voices.

Washington, Laborde, No. 80, f. 99'-100, Anon.

Text in superius and incipit "Fors seulement"

in two lower voices.

WolfenbtIttel 287, f. 43'-45, Anon. Text in su-

perius and incipit "Fors seullement" in two

lower voices.

Bernoulli, Aus Liederbllchern der Humanistenzeit,

p. 81, Ockeghem. (After St. Gall 461).

Droz, Rokseth, and Thibault, Trois chansonniers,

No. 25, p. 48, Ockeghem. (After Dijon 517).

Giesbert, Emn altes Spielbuch, Vol. I, No. 2,

p. 2, Ockenhem. (After St. Gall 461).

Gombosi, Jacob Obrecht, Vol. II, No. 9, Jan van

Ockeghem.

Shipp, A Chansonnier of the Dukes of Lorraine,

No. 37, p. 388 (Ockeghem). (After Paris 1597).

This is the original composition by Ockeghem.

His cantus firmus serves as the basis for twenty-

six other settings of "Fors seulement."

43. Cest donc par moy Anon. f. 81'-83 167

Manuscripts:

Heilbronn X. 2, No. 1, Adrianus Wilhart. Bassus only,

with incipit "Ce donc par moy."

London Add. 29381, f. 35'-40', Ninon le Petit. Text

in each of three voices.

Munich 1516, No. 133, Anon. Incipit "Cest donc par

moy" in each of three voices.

Ulm 237abcd, No. 33, Anon. Incipit "Cest donc par

moy" in each of three voices.

Early Printed Collections:

Formschneider 15389 Trium vocum carmina, No. 61.

Related Compositions:

1. Cambrai 124, f. 19, Anon. Text in each of four

voices. Three parts are the same as those of

London Add. 35087 43, with added altus.

Maldeghem, Tresor musical, Vol. XV (1879), p. 20,

Benedictus Appenzeller (Reese, Maldeghem,

No. 272). Text "Grootmachtig God!" is sub-

stituted here.

44. Salve mater Salvatoris Anon. f. 83'-84

A signum in the contra marks the entry of a fourth

voice which forms a mirror canon with the contra. The

instruction "Canon Qui se exaltat humiliabitur" is given

above the contra.

Manuscripts:

Florence II I 232, No. 48, f. 153'-154, lo. Mouton. 168

Text in each of four voices.

St. Gall 463, No. 19, Joannes Mouton. Superius and

altus part-books only, with text in each.

Modern Editions:

Hawkins, History of Music, Vol. I, p. 343, Johannes

Mouton.

Miller, Glarean's Dodecachordon, Vol. II, p. 538,

Jean Mouton.

Riemann, Handbuch der Musikgeschichte, Vol. II,

p. 250, Jean Mouton.

Schering, Geschichte der Musik in Beispielen, No. 66,

p. 65, Jean Mouton.

Smijers, Van Ockeghem tot Sweelinck, Vol. 7, No. 62,

p. 207, Joannes Mouton.

Related Compositions:

1. Smijers, Treize livres de motets, Vol. I, No. 14,

p. 115, Anon. Text in each of four voices;

this work is not related to London Add. 35087 44.

45. Vray dieu damour Anon. f. 84'-86 Manuscripts:

Florence 107bis, f. 471-48, Anon.

Heilbronn X. 2, No. 18, Anon. Bassus only, with in-

cipit "Vray dieu damours."

London Harley 5242, f. 1'-3, Anon. Text in each of

three voices. 169

St. Gall 461, No. 27, An. Brumel. Incipit "Vray

dieu damours" in two upper voices of a three-voice

composition.

Ulm 237abcd, No. 42, Anon. Incipit "Vra dieu damours"

given in superius and tenor and "Vra dieu" in con-

tra.

Early Printed Collections:

Egenolff [c. 1535]14 Lieder, Vol. III, No. 49, Anon.

Superius only, with incipit "Vray dieu damours."

Formschneider 15389 Trium vocum carmina, No. 4, Anon.

Modern Editions:

Chaillon, Le Chansonnier de Fran oise, p. 23, Anon.

(After London Harley 242).

Giesbert, Emn altes Spielbuch, Vol. II, No. 27,

p. 64, An. Brumel. (After St. Gall 461).

Monophonic Versions:

Paris 12744, f. 6'-7 and 841-85, Anon. Identical

settings of the same melody with two slightly

different texts; the tenor of London Add. 35087

45 is a variant of this melody. The text to the

first melody is used for London Add. 35087 45.

(Published in Paris and Gevaert, Chansons du XVe

si'ecle, Nos. 8 and 123).

Related Compositions:

1. Regensburg C 120, pp. 206-207, M. Pipe . In-

cipit "Vray dieu damour" in each of four voices. 170

This work is not related to London Add. 35087

45 or Paris 127'44.

Rome Vat. 11953, f. 161-17, Anon. Bassus only,

with incipit "Vray dieu damier." (Casimiri,

Canzoni e mottetti, No. 18).

St. Gall 461, No. 28, Anon. Incipit "Vray dieu

damours" in altus of four voices.

Giesbert, Ein altes Spielbuch, Vol. II, p. 66,

Anon. (After St. Gall 461).

2. Petrucci 15043 Canti C, f. 95'-96, J. Japart.

Incipit "Vray dieu damours" in superius, in-

cipit "Vray dieu" in tenor and bassus, in-

cipit "Scte iouanes" in one altus voice and

incipit "Ora pro nobis" in a fifth voice.

The superius and tenor appear to be variants

of the Pipelare melody of related composition

no. 1.

3. Florence 229, No. 92, f. 94'-95, Anon. Incipit

"Vrai dieu damour" in each of three voices.

This is not related to London Add. 35087 45

or related pieces.

Paris 15123, No. 126, f. 147'-148, Anon. Incipit

"Vray dieu damors" in superius and "Vray dieu"

in two lower voices.

Pease, An Edition of the Pixerecourt Manuscript,

No. 126, Anon. (After Paris 15123). 171

4. Bologna Q 17, f. 71'-72, Anon. Incipit "Vray

dieu" in each of four voices. This is not

related to London Add. 35087 45 or to any re-

lated composition.

46. Plaine dennuy / Anima Loyset Compere f. 86'-87

mea liquefacta est 20

Manuscripts:

Bologna Q 17, f. 6'-7, Loyset Compere. Incipit

"Playne dennu" in superius and tenor and incipit

"Anima mea liquefacta est" in contra.

Brussels 228, No. 49, f. 55'-56, Anon. Text "Plaine

d'ennuy" in two upper parts and text "Anima lique-

facta est" in bassus.

Brussels 11239, No. 19, f. 27'-28, Anon. Text

"Plaine d'ennuyt" in two upper parts and text

"Anima mea liquefacta est" in bassus.

Florence 2439, f. 50'-51, Compere. Text "Plaine

dennuy" in two upper parts and text "Anima mea

liquefacta est" in contra. (Both texts are pub-

lished in Burbure, Etude sur un manuscrit, pp. 25-

26).

Modern Editions:

Blume, Josguin des Pres: Das Chorwerk III, p. 23,

20 The Latin text is taken from Canticum canticorum Salomonis (Song of Solomon) V:6 and 8. See Bibliorum Sacrorum, pp. 597-598. 172

Piperlare. Text "Sur tous regretz" in each of

three parts. (After Maldeghem, Tresor musical).

Maldeghem, Tre'sor musical, Vol. XIII (1877), p. 37,

Pipelare (Reese, Maldeghem, No. 554). Text "Sur

tous regretz" in two upper voices and text "Anima

mea liquefacta est" in lowest part.

Maniates, Mannerist Composition, p. 26, Comp'ere.

(After London Add. 35087 46).

Picker, The Chanson Albums of Marguerite of Austria,

No. 49, p. 381 (Loyset Compere). (After Brussels

228; transcription also refers to Brussels 11239,

No. 19).

Pugh, An Edition of Some Chansons, No. 30, p. 53,

Anon. (text only).

Related Compositions:

1. Brussels 228, No. 42, f. 47t-48, Anon. Text

"Anima mea liquefacta est" in each of four

voices. The contra of London Add. 35087 46

is almost identical with the opening and

closing sections of the tenor of this composi-

tion by Gaspar van Weerbecke.

Florence 178, f. 72'-73, Gaspar. Incipit "Anima

mea liquefacta est" in highest of four voices.

St. Gall 463, No. 102, Anon. Superius and altus

part-books only, with text in each.

Maldeghem, Tre'sor musical, Vol. XVIII (1882), 173

p. 20. P. de la Rue (Reese, Maldeghem,

No. 309).

47. Petite camusette Anon. f. 87'-88

Manuscripts:

Cambridge 1760, No. 38, f. 57'-58, Anth. de Fevin.

Incipit "Petite camusette" in each of three

voices.

Munich 1516, No. 154, Anon. Incipit "Petite camusete"

in each of three voices.

Early Printed Collections:

Formschneider 15389 Trium vocum carmina, No. 79,

Anon.

Related Compositions:

1. Brussels 11239, No. 13, f. 20', Anon. Superius

and tenor voices only, with text in each; the

two succeeding leaves are missing.

Dijon 517, No. 137, f. 164'-165, Anon. Text

"Selle mamera" in superius and text "Petite

camusecte" in two lower voices. This is the

original setting by Ockeghem which serves as

the basis for later "Petite camusette" compo-

sitions. The melody paraphrased in the tenor

is the same cantus firmus used for London Add.

35087 47. (Both texts are published in

Barret, The Dijon Chansonnier, p. 128).

New Haven, Mellon, f. 4'-5, J. Okeghem. Text 174

"Petite camusette jay propose" in superius

and text "Petite camusette a la mort" in two

lower voices.

2. Florence 2439, f. 31'-32, Ockeghem. Text "Petite

camusette" in tenor and incipit "Petite camu-

sette" in three other parts. This work is

the same as related composition no. 1, but

with an added fourth voice. (Text published

in Burbure, Etude sur un manuscrit, pp. 19-20).

Montecassino 871 N, f. 160', Anon. Incipit

"Petite camusete" in highest of four voices.

Munich 1516, No. 11, Anon. Incipit "Petite camu-

sette" in each of four voices.

Paris, Chaussee, f. 55'-56, Okeghem. Text "Selle

mamera" in superius and text "Petite camusete"

in three lower voices.

Seville 7-1-28, f. 101'-102, Anon. Text "De la

momera" in superius and text "Petit le camiset"

in three lower voices.

Wolfenbttttel 287, f. 61'-62, Anon. Text "Selle

maymera" in superius and text "Petite camu-

sette" in three other voices.

Petrucci 15043 Canti C, f. 124'-125, Okenghem.

Incipit "Petite camusete" in each of four

voices.

Gombosi, Jacob Obrecht, Vol. II, No. 6, Jan van 175

Okeghem.

Picker, The Chanson Albums of Marguerite of Aus-

tria, No. 13, p. 437 (Johannes Ockeghem).

(After Brussels 11239).

3. Munich 1516, No. 134, Anon. Incipit "Petite

camusete" in each of three voices; the cantus

firmus appears in the tenor of this work.

4. Antico 15203 Motetti novi e chanzoni, f. 28'-29,

Adrian. Two parts, both with text, are given;

two others are to be realized in performance

to form a double canon. Both of the given

parts paraphrase the first phrase of the cantus

firmus.

5. Kriesstein 15407 Selectissimae necnon familia-

rissimae cantiones, No. 33, Adrianus Willart.

Text in each of six voices; three voices para-

phrase the initial part of the cantus firmus.

6. Smijers, Van Ockeghem tot Sweelinck, Vol. 5,

No. 47, p. 158, Josquin des Prez. Text in

each of six voices; all voices paraphrase the

opening of the cantus firmus.

Smijers, Werken van Josquin des Pres: Wereldlijke

Werken, Vol. II, No. 17, p. 43.

7. Antico 15203 Motetti novi e chanzoni, f. 22'-23,

Anon. Two parts, both with text, are given;

two others are to be realized in performance 176

to form a double canon. The lower given part

paraphrases the opening of the cantus firmus.

8. Munich 1516, No. 144, Anon. Incipit "Petite

camusette" in superius and incipit "Et royes"

in two lower parts; the melody of this work is

not related to the above cantus firmus.

De Orto composed a Missa Petita camuseta based

on the initial five note motive of the cantus firmus.

The Kyrie I of this mass is found in Pirro, Histoire

de la musique, p. 219; the Agnus III is printed in

Ambros, Geschichte der Musik, Vol. V, No. 28, p. 198.

Pipelare's Missa Mi mi also paraphrases the "Petite

camusette" cantus firmus in all voices. Phrases of

the same melody were used by Bourgeois for the setting

of Psalm 65 in the Genevan Psalter.21

48. Fuyes regretz Anthoine Fevin f. 88'-89

49. Amy laurez vous donc fortune Anon. f. 89'-90

50. Je my soloye aller Anon. f. 90'-91

51. Dieu gard de mal Anon. f. 91'-93

Manuscripts:

Cambridge 1760, No. 46, f. 68'-70, Jo. Mouton. Text

in each of three voices.

Monophonic Versions:

1. Paris 9346, f. 32'-33, Anon. Melody with text

21 Gustave Reese, Music in the Renaissance (New York, 1959), p. 361. 177

"Dieu gard celle de deshonneur." This melody

is a variant of the tenor of London Add. 35087

51. (Published in Gerold, Le Manuscrit de

Bayeux, No. 32). 2. Paris 12744, f. 24, Anon. Melody with text "Dieu

gard celle de deshonneur." This melody is not

related to London Add. 35087 51. (Published

in Paris and Gevaert, Chansons du XVe siecle,

No. 33).

Related Compositions:

1. London Harley 5242, No. 30, f. 45'-47, Anon.

Text "Dieu garde celle de deshonneur" in each

of three voices. The superius and tenor para-

phrase the Paris 9346 melody.

52. On a mal dit de mon amy Anon. f. 93'-94

Manuscripts:

Cambridge 1760, No. 31, f. 47'-48, Anth. de Fevin.

Text in each of three voices.

Florence 117, No. 8, f. 7'-8, Anon. Text in each of

three voices.

London Harley 5242, No. 28, f. 41'-43, Anon. Text in

each of three voices.

St. Gall 463, No. 43, Anon. Superius only, with

text.

Ulm 237abcd, No. 37, Anon. Incipit "On a mal dy de

mon amy" in each of three voices. 178

Early Printed Collections:2 2

Antico 15206 Chansons 'a troys, No. 29, Anon. Su-

perius and bassus only, with text in each.

Modern Editions:

Merrit, A Chanson Sequence y Fe'vin, p. 98. (After

Cambridge 1760).

Seay, Thirty Chansons, No. 3, p. 7 (A. Fevin).

Monophonic Versions:

1. Paris 9346, f. 75'-76, Anon. Melody with text;

this melody is almost identical to the tenor

of London Add. 35087 52. (Published in

Gerold, Le Manuscrit de Bayeux, No. 74).

2. Paris 12744, f. 46, Anon. Melody with text; the

first phrase of this melody paraphrases the

first phrase of the tenor of London Add.

35087 52, with variants. (Published in Paris

and Gevaert, Chansons du XVe siecle, No. 69).

Related Compositions:

1. Vienna 18746, No. 5, Anon. Incipit "On a mal

dit" in superius and incipit "On a mal dit

de mon amy" in four other voices. The secundus

tenor is almost identical with the cantus

firmus carried in the tenor of London Add.

22 This setting is also found in Quarante et deux chansons musicales 'a troys parties nouvellement et correctement im- primees (Paris, Pierre Attaingnant, 15297. See Brown, Theat- rical Chansons, p. 265. 179

]508Z 52 and the Paris 9346 melody.

2. Cambrai 124, f. 129, Johanes de Hollande. Text

in each of four voices. This work is not re-

lated to London Add. 35087 52.23

53. Dicant nunc Judaei Anon. f. 94'-95'

2 3 This setting is also found in Premier livre des chansons a guatre parties auguel sont contenues trente et une nouvelles chansons (Antwerp, T. Susato, 1543). See Brown, Theatrical Chansons, p. 265. CHAPTER VII

VARIANTS IN THE MUSICAL READINGS

The data compiled in this chapter comprise a list of musical variants found through the comparison of each French,

Italian, and Latin composition in London Add. 35087 with a reliable reading of the same work from another manuscript and/or early printed, collection.

The variant readings were selected either because they contained corrections of errors in London Add. 35087 or because they contained as complete a version of the text as could be found. Purely literary sources are not recorded, since it can be assumed that they carry complete texts. When a fourth voice is encountered, this part is included in its entirety.

Two readings were chosen for each composition whenever possible. One will notice that the Concordance may give only one source for a composition or perhaps none; musical variants are then taken from the one source available or none are given. An attempt has been made to utilize as many different manuscripts and early printed collections as possible.

Sources are cited by the abbreviations given in the

List of Sources. Voice classifications as shown in these manuscripts and early printed collections are referred to by

180 181 the following abbreviations:

S = Superius CT = Contratenor

D = Discantus B = Bassus

A = Altus Bar = Baricanor

C = Contra

The following abbreviations are employed for the listing of variants:

m = measure sbr = semibreve

mx = maxima min = minim

1 = longa smin = semiminim

br = breve

These abbreviations, coupled with numbers which indicate the measure and beat, designate the exact location of variants.

For example, "m5:1, A sbr, G min, F, E smin" signifies that the variant begins on the first beat of the fifth measure and continues as long as the succeeding note values indicate:

A semibreve, G minim, F and E semiminims. A variant beginning on the second half of a beat is shown in a similar manner; for example, "m5:1:2, E smin" signifies that E semiminim is given on the second half of the first beat of the fifth measure.

Ligatures and minor color are not listed except when they show some variation in pitches or note values.

1. 0 vos omnes Anon. f. 0'-1

Bologna Q 18: The incipit "Tant hai dennuy" is shown in all voices. 182

S m24:3, A br; m26:1, A 1, sbr rest, A sbr; m29:3, A dotted sbr, G min, G dotted sbr, F, E, smin; m37:3, A dotted sbr; m48:1, A 2 sbr; m49:3, C dotted sbr, B, A smin; m58:1, C br, C sbr, B br, B sbr.

T m2:1, G br; m9:1, C br, C 2 sbr; m19:1, C 2 sbr; m28:1, C 2 sbr; m35:1, D 2 sbr; m39:4, D dotted min, C smin; m43:1, E 2 sbr; m63:1, G, A min.

C m6:1, C mx; m14:1, E 2 br; m23:1, E 2 sbr, E sbr (error); m36:1, E dotted min, D smin; m45:3, A 2 sbr; m50:1, G br; m58:3, A 2 sbr; m66:1, A 1.

Florence 1 0 7 bis

S m24:3, A br; m26:1, A 1, A br; m29:3, A dotted sbr, G min; m37:3, A dotted sbr; m48:1, A 2 sbr; m49:3, C dotted sbr, B, A smin; m58:1, C br, C sbr, B br, B sbr.

T m9:1, C br, C 2 sbr; m28:1, C 2 sbr; m35:1, D 2 sbr; m39:4, D blackenedsbr, C smin; m43:1, E 2 sbr; m63:1, G, A min.

C m6:1, C mx under corona; m16:1, E 2 br; m36:1, E dotted min, D smin; m39:1, F sbr; m50:1, G br; m66:1, A 1.

4. Parce Domine Anon. f. 4

Bologna Q 17

S missing

T m18:1, A br.

C The contra of this manuscript is transcribed for the missing voice-part in London Add. 35087 4.

Bologna Q 18

S The superius of this manuscript is transcribed for the missing voice-part in London Add. 35087 4.

T m18:1, A br; m31:1, C br; m39:4, E sbr.

5. Du bon du cueur Anon. f. 4'-5

Munich 1516 183

S r16:3, F 2 sbr; m19:4, A dotted min, G smin; m22:4, B 2 min; m29:1, A dotted sbr; m38:1, B sbr.

T M7:2, D dotted min; m12:3, C sbr, C min; m15:3, C 2 sbr; m31:1, D 2 sbr.

B m12:4, G min (error); m16:3, D br.

Ulm 2 3 7 abcd

S m9:1, f dotted sbr, F min; m20:2, G sbr.

T m7:2, D dotted min; m35:1, B flat 2 min.

B m15:1, F sbr; m16:3, D br; m34:1, sbr rest.

6. Quant je vous voye Anon. f. 7'-9

Rhau 1542 8 Tricinia shows the refrain of the rondeau text under each voice-part.

D m3:2:2, A smin; m7:2, A sbr; m11:3, B dotted min, A smin; m12:4, D sbr; m17:4, E sbr; m21:2:2, A smin; m23:1, C sbr; m30:2, A sbr; m33:4:2, A smin.

T m3:4:2 D smin; m12:4, F dotted min, E smin; m14:1, C br; m16:4, G dotted min, F, E, D smin, C sbr; m18:3, E 2 min, D br; m21:4:2, D smin; m23:2, F sbr; m30:4, A, G, smin; m31:3, G br, sbr rest; m34:2:2, D smin.

B M10:3, D 2 sbr; m12:4, D, E, F, G smin, A min; m17:1, G 2 min; m20:2:2, A smin; m32:3, B sbr.

9. Fortuna desperata Anon. f. 11'-12

London Add. 31922

S m5:1, 2 A dotted br; m17:1, C dotted br; m19:1, B flat dotted sbr, C min, D dotted sbr, C, B flat smin; m24:1, E br; m29:1, A dotted sbr, G, F smin; m32:1, C br; m34:3, A dotted sbr, G, F smin; m48:3, D sbr; m55:3, F br.

A This manuscript shows the following altus not in London Add. 35087: 184

L. __... _. ' Ll SIL I 30k :

T rn7:1, D br; m23:1, E dotted sbr, F min, G dotted sbr, F, E smin; m27:1, G dotted br; m29:1, F dotted sbr, E, D smin, E min, F sbr, E min; m47:1, D br, D dotted min, C smn.

B T 5:1, C dotted sbr, B, A, G, F, E flat mi; m8:i, b flat 2 sbr; mlO:3, G dotted br; m18:1, F 2 sbr; m20:1, B flat, A sbr, F br, sbr rest, F sbr, C 1; m28:3, F dotted br; m37:1, A, G, F, E flat min, D br; m41:1, A, G min. Paris 4379, Seville 5-1-43

S m13:1, F sbr; m27:1, flat before B; m55:3, F sbr, E dotted sbr, D min.

A These manuscripts show the following altus not in London Add. 35087: 185

aI AL VI I r-3 A~

A e ()I" ~ *

T m21:1, F br, F sbr; m27:1, G dotted br; m47:1, D. br, D dotted min, C smin, B flat sbr.

B m20:1, B flat, A sbr; m37:1, A, G, F, E min; M38:1, D br; m41:1, A, G min; m55:1, no flat before E.

10. En lombre dung buisonne t Anon. f. 12'-13 Bologna Q 17

S m11:3, min rest, G 3 min; m22:3, G 2 min; m24:4, flat before E; m26:1, D br.

T m15:1, flat before E; m21:3, D dotted sbr; m30:1, C 2 sbr; m38:3, B flat, A smin; m40:2, D, E min (without flat); m42:1, B flat, C min.

C m8:1, no flat before E; m18:1, no flat before E; m25:1, D sbr, no flat before E; m28:1, flat before E; m42:1, G, C min.

Antico 15361 La Courone et fleur contains the first stanza text in each voice; each part is transposed down a fourth with no flat in the signature. 186

S m8:4, C, B smin; m11:3, min rest, D 3 min; m13:2, E dotted min, D smin; m22:3, D 2 min; m24:1, D dotted min, C smin, A min, B flat 2 min; m26:1, A br.

T m5:1, no flat before B; m23:3, A sbr; m27:3, E sbr; m40:2, A min, no flat before B; m42:1, F, G min.

C m8:1, no flat before B.

11. Pauper sum ego Anon. f. 16'-17

Brussels 228 carries the French text "Ce pouvre mendiant" in the two upper voices.

S m24:2, E sbr, D, C smin; m40:4, B min.

T m5:1, A blackened br, A, B, C, D fusa; m37:1, E dotted sbr, D, E smin.

Bar no variants with London Add. 35087 11 contra.

Florence 2439 carries the French text "Fortune destrange plummaige" in the two upper voices.

S m18:4:2, B, C fusa; m24:2, E sbr, D, C smin.

T no variants

B no variants

13. Mon mary ma diffamee Anon. f. 21'-22

Brussels IV. 90, Tournai 94 carry partial text of the chanson in each voice-part.

S m12:4, B sbr; m21:4, D, E min; m32:1, G, A, B, C, D, E smin.

T m16:4, D min, C, B, A, G smin; m30:1, G sbr, sbr rest.

16. Si jayme mon amy Anon. f. 24'-25

London Harley 5242 shows superius only, with full text.

S m5:3, E, F, G, F, G, F smin; m6:4, F sbr; m11:3, C min, F 3 min, E 2 min, D min, C, B smin, A min, D sbr, C min, D sbr, min rest, F 3 min, E 2 min, D min, C, B smin, A min, D sbr, C min, D 1. 187

17. Consummo la mia vita Anon. f. 271-28

Cambridge 1760

S m3:1, E 2 sbr; m8:1, C br under corona omitted; mll:4, D min; m15:3, C dotted sbr, B, A smin; m23:3, G, A, B, A, A, G, F, E smin, F sbr.

A This manuscript shows the following altus not in London Add.. 35087:

r- At Al C.A A A . 01a

T m3:1, no corona is shown; m4:1, C dotted sbr, D min, E sbr, F dotted sbr, E, D, C min, B br; m8:1, C br under corona omitted; m9:1, C sbr, sbr rest; m15:1, F br, C, D sbr.

B m3:1, no corona is shown; m8:1, C br under corona omitted; m9:1, C sbr, C br; m20:1, F br.

Washington, Laborde

S m3:1, E 2 sbr; m8:1, C br under corona omitted; mll:4, D min; m23:3, G, A, B, A, A, G, F, E smin, F dotted min, G smin.

A This manuscript gives the same altus as in Cam- bridge 1760; it is not found in London Add. 35087.

T m3:1, no corona is shown; m4:1, C dotted sbr, D min, E sbr, F dotted sbr, E, D, C min, B br, C sbr, sbr rest; m9:1, br rest omitted; m15:1, F, C sbr.

B m3:1, no corona is shown; m6:1, D sbr, E, F min, G br, C sbr, C br, B sbr, A br, G br under corona; m20:1, F br. 188

18. Mon souuenir Anon. f. 28'-29

Florence 2356 shows no flat in the signature of each voice; a br rest also begins each part.

S m6:3, G dotted sbr, F, E smin; m15:3, G 2 sbr; m18:1, D br; m22:1, flat before B; m34:1, no flat before F; m35:3, flat before B; m36:2, G sbr, F min.

T m16:3, D dotted, sbr, C 2 min, B min; m23:1, C dotted min, D smin; m26:2:2, D, E fusa; m26:4, flat before E.

C m13:1, flat before E; m18:1, flat before B; m22:1, G 2 sbr; m23:2:2, E, D fusa; m30:2, flat before B.

Paris 2245 shows the complete refrain text in the superius and partial text in the other voices; the full rondeau text is given below the superius, and each part begins with a br rest.

S m6:3, G dotted sbr, F, E smin; m18:1, D br; m30:1, D dotted sbr; m34:1, no flat before F; m36:2, G sbr, F min.

T m2:1, flat before E; m16:3, D dotted sbr, C, B flat smin; m24: 3, F min, D dotted min, E smin, F min, G sbr; m26:2:2, D, E fusa; m26:4, flat before E; m32:1, no flat before E.

C m4:1, flat before E; m13:1, flat before E; m22:1, G 2 sbr; m23:2:2, E, D fusa.

19. Mais que che fut Anon. f. 291-30 Rome 2856

S m29:1, G min, B flat 3 min, C, B flat, A, G smin; B flat min, A, G sbr, F min, G 1.

T m3:1, D min, G sbr; m29:1, G min, D 3 min, E, D, C, B flat smin, D min, C sbr, B flat min, A sbr, G 1.

C m13:4, flat before E; m18:1, flat before E; m29:1, min rest, G 3 min, C, D, E, F smin, G, A, F, G min, D sbr, G 1.

Petrucci 1501 Harmonice musices Odhecaton A 189

S m4:3, F dotted min, E smin; m16:3, br rest; m27:4, A dotted min, G smin.

T m3:1, D min, G sbr; m4:3, A sbr; m8:1, F br; m22:3, D br.

C m13:4, E sbr; m16:4, D dotted sbr, D 2 min.

25. Cest mal sarchie Agrico* f. 37'-38

Florence 229 shows no flat in the signature of each voice.

S m5:1, G sbr omitted; m9:1, A dotted sbr; m28:3, B br, A br; m33:1, F dotted sbr; m34:4, B blackened sbr, A smin; m38:2, B dotted min, A smin; m39:2, A dotted min, A smin.

T m1:1, G 2 sbr; m5:1, E sbr omitted; m13:2, C dotted min, B, A smin; m22:1, br rest; m26:1, A 2 sbr; m34:1, min rest, D dotted sbr, D min, D sbr; m37:1, G sbr, min rest, G dotted min, A, B, C, D, C smin.

C m1:1, G dotted sbr; m5:1, C sbr omitted; m9:1, F sbr, F min; m12:3, no flat before E; m34:2, B dotted sbr.

Verona DCCLVII

S m4:1, E 1 under corona; m6:1, G sbr (error); m33:1, F dotted sbr; m39:1:2, A smin.

T m1:1, G dotted br; m4:1, C 1 under corona; m6:1, E sbr; m9:1, C dotted sbr; m11:1, min rest, D sbr, D 2 min, D 2 sbr, C dotted min, B flat min, G min, m15:1, br rest; m34:1, min rest, D sbr, D 2 min, D sbr; m39:2, C sbr.

C m4:1, C 1 under corona; m5:1, C dotted 1; m26:1, F br.

26. Da pacem Domine Agrico f. 39'-40

Copenhagen 1848

S m13:3, D, C min.

T m20:1, B flat br omitted.

C m17:1, flat before E; m19:1, G 2 sbr; m30:1, B 190

flat 2 sbr; m33:4, flat before E; m40:1, G, D min.

Paris 1597

S m19:1, br rest.

T no variants

C m19:1, G 2 sbr.

28. Je voy je viens Anon. f. 43,-44

St. Gall 463 gives superius only, with one stanza of chanson text.

S m3:3, A dotted sbr; m11:3, B flat min, D sbr; m12:3, A br; m14:3, F dotted min, G smin; m20:3, A dotted sbr; m27:1, m17 through m26 are repeated as placed in the transcription with the exception of m20:3, A dotted sbr. 6 Antico 1520 Chansons a troys shows one stanza of chanson text under each voice-part.

S m3:3, A dotted sbr; m11:3, B flat min, D sbr; m12:3, A br; m14:3, F dotted min, G smin; m16:1, E sbr; m20:3, A dotted sbr.

T missing

B This part gives the meter signature 4 ; m4:2, G min; m9:1, sbr rest, C sbr; m11:3, B flat br; m15:2, C sbr; m21:2, G min; m25:1, B flat min, A, G smin.

31. Adieu solas tout plaisir Anon. f. 53'-54

Cambridge 1760 shows one stanza of chanson text under each voice-part.

S m6:1, G br; m11:1, G br, sbr rest; m14:3, G, A, B flat, G smin; m15:3, A min, G dotted min, F smin, F sbr; m17:1, F br, A sbr, A 2 min, A, G, F, E smin, F dotted min, F smin, F 2 min, G, A, B flat, G smin, A dotted min, G smin, A min, G dotted min, F smin, F sbr, E min, F 1.

T m4:1, D sbr, D min; m6:1, G br, C sbr; m9:3, D sbr, D min; m11:1, G br; m13:1, C, B flat, A, G smin, 191

A dotted min, G smin, A, B flat min, G 2 min, F, G, A, B flat, C, A smin, B flat dotted min, A smin, F min, G sbr, F br; m18:1, C sbr, C 2 min, m13 through m17 of transcription are repeated with above variants, F 1 in the final measure.

C m6:1, G br, F sbr; m11:1, G br; m18:1, m12 through m17 are repeated.

London Harley 5242 contains one stanza of chanson text under each voice-part.

S m4:4, A sbr; m6:1, G br, sbr rest; m10:2, A sbr; m11:1, G br, m14:3, G, A, B flat, G smin; m15:3, A min, G, F sbr; m18:1, m12 through m17 of transcription are repeated with above variants, F 1 in the final measure.

T m4:1, D sbr, D min; m6:3, sbr rest, C sbr; m9:3, D sbr, D min; m11:1, G br; m13:1, C, B flat, A, G smin, A dotted min, G smin, A, B flat min, G 2 min, F, G, A, B flat, C, A smin, B flat dotted min, A smin, F min, G 2 min, F br; m18:1, C sbr, C 2 min, m13 through m17 of transcription are repeated with above variants, F 1 in the final measure.

C m6:1, G br, F sbr; m11:1, G br; m18:1, m12 through m17 of transcription are repeated with F 1 in the final measure.

32. James naymeray Anon. f. 55'-56

Antico 15206 Chansons a troys shows one stanza of chanson text in each voice; ml through m8 of each voice are repeated twice rather than once as shown in London Add. 35087 32.

S m3:2, C min; m4:1, B flat min, A, G smin, A br; m7:2, F sbr; m15:2, C min; m16:1, B flat min, A, G smin, A br; m19:2, F sbr; m20:1, F sbr, A min, A 2 smin, B flat, A, G, F, E, A, G min, F sbr, E min, F 1. T missing

B m2:3, F dotted sbr; m3:3, A min; m4:3, F br; m9:3, B flat min; m11:3, B flat min; m14:3, F dotted sbr; m15:3, A min; m16:3, F br;:)(:given at the end. 192

Rhau 15428 Tricinia shows one stanza of chanson text in each voice.

D M3:2, C min; m4:1, B flat min, A, G smin, A br; m7:2, F sbr; m15:2, C min; m16:3, A br; m19:2, F sbr; m20:1, F sbr, A min, A 2 smin, B flat, A, G, F, E, A, G min, F sbr, E min, F 1.

T m4:3, F br; m5:3, D, C min; m7:1, B flat, A, G, F smin; m9:3, B flat min; m10:1, G min; m11:3, B flat min; m12:1, G min; m16:3, F br, C min, C 2 smin, D, C, B flat, A, G, C min, B flat, A, G, F smin; m20:1, F sbr, C min, C 2 smin, D, C, B flat, A, G, C min, B flat, A, G, F smin, G sbr, F 1.

B m3:3, A min; m4:3, F br; m9:3, B flat min; m11:3, B flat min; m15:3, A min; m16:3, F br; m20:1, C sbr, F min, F 2 smin, B flat, F, G, D, E, F, B flat, D, C min, E 1 (error).

33. Je le lairay Anon. f. 56'-57

Florence 2442 gives one stanza of chanson text in each voice.

S The tenor of this manuscript is the superius of London Add. 35087 33; m8:1, sbr rest, C 2 min.

A m8:3, sbr rest, F 2 min.

T Superius is tenor of London Add. 35087 33; m9:3, C dotted sbr.

B missing

34. Dulcis amica dei Anon. f. 61'-62

Cambrai 124 has each voice transposed down a fourth with no flat in the signature.

8 r6:1, C 2 sbr; r7:1, F br; m14:3, G dotted sbr, F, E smin; m21:1, F dotted sbr, E, D smin; m27:1, B, C min; m28:3, G min, A, B smin, C br, B sbr, C br under corona, C br; m31:1, m18 through m30 of the transcription are repeated with the above variants; C 1 under corona in the final measure.

T m4:1, C 2 sbr, A br; m25:3, G min, F sbr, E, D smin, E, F, D, C min; m28:3, C, D br, C br under corona; m31:1, m18 through m30 of the transcription 193

are repeated with the above variants and C 1 under corona in the final measure.

CT The manuscript shows the following contratenor not in London Add. 35087:

I I I I i I F AL

col

jr-I NV

r", A, AL

E3 X 161 04 V

B m5:1, D dotted sbr, E min; m7:1, D br, A sbr; m16:1, E dotted sbr, C min; m26:3, A min, G, F smin, G, A min; m28:1, C dotted sbr, B min, A sbr, G br, C 1 under corona; m31:1, m18 through m30 of the transcription are repeated with the above variants. 194

Paris 2245

S m6:1, F 2 sbr; m28:3, F br.

T M26:1, B flat min, A, G smin.

C m7:1, G 2 sbr, D, E sbr; m16:1, A sbr; m18:1, B flat dotted sbr, C min, D sbr, B flat min, B flat dotted min, A, G smin; m25:3, no flat before E; m26:3, D min, C, B flat smin.

37. Sourdes regretz Anon. f. 71'-73

Brussels 228 shows the complete rondeau text in the superius; the two lower voices have a partial text in each.

S m19:4, G sbr; m23:4, G dotted min; m29:1, min rest, D dotted min, E, F, G smin, A min, B flat sbr, A, G smin, F br under corona, sbr rest, G sbr, G blackened br, F, E smin; m35:3, D br, D 2 sbr; m48:4, A dotted min, G smin.

T m26:2, C min, C smin; m29:1, B flat br, C min, D sbr, C, B flat min, A br under corona; m47:1, B flat br.

Bar M11:3, C min, B flat, A smin; m29:1, G dotted min, F smin, D sbr, C min, B flat sbr, C min, D br under corona; m45:2, B flat dotted min.

Florence 2439 gives the refrain text of the rondeau in the two upper voices.

S m23:4, G dotted min; m29:1, min rest, D dotted min, E, F, G smin, A min, B flat sbr, A, G smin, F 1 under corona, B flat 1; m35:3, D br, D 2 sbr; m48:4, A dotted min, G smin.

T m8:1, flat before E; m27:4, C sbr; m29:1, B flat br, C min, D sbr, C, B flat min, A 1 under corona; m47:1, B flat br.

B m8:4, C dotted min, B flat smin; m23:4, flat before E; m29:1, G dotted min, F smin, D 2 smin, C min, B flat sbr, C min, D 1 under corona; m34:4, flat before E; m44:4, flat before E dotted min, D, C fusa. 195

41. Helas pourquoy me suige mariee Anon. f. 79'-80

Paris 1597 shows one stanza of chanson text in each of the two upper voice-parts.

S m4:1, B flat dotted min, A, G fusa; m11:1, D dotted sbr, C, B flat smin; m14:4, C dotted min, B flat smin; m22:4, A dotted min, G smin; m26:3, D dotted sbr; m28:4, A dotted min, G smin; m34:4, A dotted min, G smin.

T no variants

C m2:3, B flat dotted min, A, G fusa; m5:3, G br; m11:3, G sbr; m21:1, min rest, F 3 min, F sbr; m33:3, G sbr.

42. Fors seulement Anon. f. 801-81

Antico 15206 Chansons a troys gives the refrain text of the rondeau under each voice.

S m25:1, E min; m38:1, A sbr, A min; m41:2, C dotted min, D smin; m47:1, F 2 sbr; m51:1:2, D smin; m52:4, E dotted min, D smin.

T missing

B m4:4, C min; m23:1, A 2 sbr; m28:1, A dotted sbr; m30:1, A br, A 1; m34:3, no flat before B; m40:3, F dotted br; m51:1, A dotted min, G, F fusa, E sbr.

Formschneider 15389 Trium vocum carmina has each voice- part transposed up a fourth with B flat in the signature.

D m3:4, D min, A br; m13:3, B flat dotted br; m17:4, B flat dotted min, A smin; m20:1, A 1; m25:1, A min; m33:3, D br; m38:1, D dotted br; m41:2, F min, G, A smin; m42:3, B flat 2 sbr; m49:3, A br, min rest, D dotted min, E, F, G, A, B flat, C, A, B flat, A, B flat, A smin, B flat min, A dotted min, G smin, G sbr, F min, G 1.

T m16:1, F br; m22:1, D 1; m31:3, A sbr, A br; m40:1, D 1; m42:3, D sbr; m43:4, E dotted min, D smin; m46:3, D sbr, D, E, F br.

B m2:1, D 1, F, B flat br; B flat min, A, G smin; m7:4, A dotted min, G smin; m28:1, D dotted sbr; 196

mL40:3, B flat sbr; m42:1, F dotted sbr, D min; m48:1, C br; m50:1, D dotted min, C smin, D dotted sbr, C, B flat smin, A sbr; M53:1, flat before E.

43. Cest donc par moy Anon. f. 81'-83

Cambrai 124 shows one stanza of chanson text in each voice-part.

S m21:1, A br; m23:4, B sbr; m28:1, B sbr, min rest; m43:1, B, A smin; m49:1, D dotted min, B smin, C min, B, A smin; m50:4:2, F, G fusa.

T m32:2, C min, B, A smin; m34:3, E min; m49:4, E dotted min, D smin, C min.

CT This manuscript shows the following contratenor not in London Add. 35087:

I pL

rI r 197

B m19:1, D sbr; m49:3, C, ID, E, F smin.

Muni0ch 1516

S rn3:3, G 2 sbr; m16:3, C 2 sbr; in28:1, B sbr, nn rest; m50:2, A sbr, G min.

T in28:2, G 2 min; m35:3, ID 2 nin; m4I3:3, B 2 mlin.

B rnlO:1, F 2 min; m19:1, D sbr; m24:3, E 2 min; m49:3, C, D, E, F smin.

44. Salve mater Salvatoris Anon. f. 83'-84

Florence II I 232 S m2516: B flat sbr (error); m39:1, D dotted mi, C smin. A m25:1, A br, A sbr.

T m18:2, B flat dotted mi, A 2 smin, G smin; m27:1, B flat mmin, A, G smin.

B m23:1, G dotted, br; m31:4, F m.

St. Gall 463 has the superius given, only. 198

S m27:3, F dotted sbr; m28:3, B flat sbr; m39:1, D dotted min, C smin.

45. Vray dieu damour Anon. f. 84'-86

Florence 10 7 bis

S r6:3, E dotted min, D, C fusa; m7:4, C 2 min; m11:1, E dotted min, D, C fusa, D 2 min; m19:2, C dotted min, B, B, A smin; m21:4:2, B smin; m22:3, B, G smin, C dotted. min, B, B, A smin; m26:1, E dotted min, D, C fusa, D 2 min; m33:3, A 2 min; m38:1, C, B min; m40:1, C, B min, A 2 min; m45:1, E dotted min, D, C fusa, D 2 min.

T m10:1, E dotted min, D, C fusa; m11:2, C 2 min; m25:1, E dotted min, D, C fusa; m26:2, C 2 min; m27:1, C dotted min, B, A fusa, G, A, G min, A dotted min, G, A, G smin; m32:1, B sbr; m37:1, B sbr; m38:2, G 2 min; m40:2, G 2 min; m44:4, D sbr, C 2 min.

C m6:3, C dotted min, B, A fusa; m7:4, E min, D 2 min; m11:2, A min; m16:1, B min; m21:2, A dotted min, G, A, G smin; m22:4, E min; m26:2, A min; m28:4:2, E smin; m32:4:2, C smin (error); m39:1, G 2 min, C 2 min; m42:4, D smin, F min, E smin, D min, C smin, C min, B smin, C sbr, D, B min, C dotted min, B, A fusa, G, F smin, G min, C 1.

Ulm 237abcd

S Tenor part-book is superius of London Add. 35087 45; m4:1, G br, sbr rest; m6:3, E dotted min, D, C fusa; m11:1, E dotted min, D, C fusa, D 2 min; m17:1, C min, B, A smin; m22:3, B, G smin; m26:1, E dotted min, D, C fusa, D 2 min; m33:3, A 2 min; m38:1, C, B min; m40:1, C, B min, A 2 min.

T Superius part-book.is tenor of London Add. 35087 45; m22:3, E sbr is omitted; m25:1, E dotted min, D, C fusa; m27:1, C dotted min, B, A fusa, G, A, G min, A dotted min, G, A, G smin; m32:1, B sbr; M33:2, G sbr; m37:1, B sbr; m44:4, D sbr.

B m6:3, C dotted min, B, A fusa; m7:4, E min; m11:2, A min, G sbr; m16:1, B min; m20:4, A dotted min, G, A, F, A, G, A, G smin; m22:4, E min; m26:2, A min, G sbr; m28:4, D, F smin; m32:3, C 2 min; m37:3, C 2 min; m39:1, G 2 min, C 2 min; m43:2:2, 199

E smin, D min, C smin, C min, B smin, C sbr, D, B min, C dotted min, B, A fusa, G, F smin, G min, D 1 under corona (error).

46. Plaine dennuy / Anima Loyset Compere f. 86'-87 mea liquefacta est

Brussels 228 shows the complete rondeau text in the superius; the tenor has a partial text.

S B flat in the signature.

C Tenor of London Add. 35087 46; m9:2, B flat min, B flat smin; m12:3, B flat sbr; m21:3, D 2 sbr.

B no variants

Florence 2439 gives the refrain text of the rondeau in each of the two upper voices.

S B flat in the signature.

T m12:3, B flat sbr; m21:3, D 2 sbr.

B no variants

47. Petite camusette Anon. f. 87'-88

Cambridge 1760

S m14:1, E sbr; m22:1, F br, F sbr; m37:2, C dotted min, B, A fusa; m40:1:2, F 2 min, E, D fusa; m49:4, C sbr, B min; m51:3:2, D smin.

T B flat in the signature; m10:2, D sbr; m21:1, E, D smin; m37:4, E sbr; m41:1, B dotted min, A, G fusa.

C m52:1, A br.

Munich 1516

S m5:1, A 2 sbr; m14:1, E sbr; m28:1, A 1, A sbr, A dotted br; m40:1:2, F 2 smin, D, C fusa; m44:4, A dotted min, G, A smin, G, F fusa; m46:4, A 2 min; m52:2, D smin, D min, C 2 smin, B, C fusa.

T m13:4, B sbr; m21:1, E, D smin; m37:4, E sbr; m40:3, C 2 min. 200

B no variants

51. Dieu gard de mal Anon. f. 91'-93

Cambridge 1760

S Tenor in this manuscript; m26:1, A min; m42:1, F br, E sbr; m44:3, G br, G min; m69:1, A, D smin.

T Superius in this manuscript; m4:1, G sbr, G min; m20:4, D sbr; m28:1, D sbr, D min; m32:1, C sbr, C min; m33:4, D, C min; m47:1, G sbr, G min; m62:2, C 3 min.

C m1:1, C sbr, C min; m11:4, C sbr; m15:2, G sbr, G min; m17:2, G, F smin; m27:3, G sbr, G min; m31:3, F sbr, F min; m39:1, C sbr, C 2 min; m58:2, G 3 min; m60:2, G, F smin; m61:4, F 3 min; m67:2, G, F smin.

52. On a mal dit de mon amy Anon. f. 93'-94

Florence 117 shows one stanza of chanson text in each voice.

S m17:4, B flat dotted min, A smin; m35:4, A sbr; m39:1, F sbr, min rest, B flat dotted min; m41:1, A, G min.

T m6:1, B flat dotted min, A, G fusa; m36:3, A 2 min; m41:3, A 2 min.

C m4:1, G min, F, E smin; m5:3, F min, E, D smin; m10:3, G min, F, E smin; m12:1, F min, E, D smin; m16:1, F min, E, D smin; m24:3, C 2 min; m37:2, G 3 min.

London Harley 5242 shows one stanza of chanson text in each voice.

S m4:1, B flat dotted min, A, G fusa; m5:4, A dotted min, G smin; m10:3, B flat dotted min, A, G fusa; m12:2, A dotted min, G smin; m17:4, B flat dotted min, A smin; m26:4, G dotted min, F smin; m39:1, F sbr, min rest, B flat dotted min; m41:1, A, G smin.

T m31:1, C, B flat smin; m35:4, C min, C smin. 201

C m12:1, F min, E, D smin; m29:1, F min; m30:3:2, G smin, B flat min, A, G smin; m37:2, G 3 min. CHAPTER VIII

TRANSCRIPTIONS

The following pages contain the transcriptions of the fifty-three compositions of this study. Extra stanzas and footnotes, which cite emendations taken from other sources, accompany the transcriptions. The abbreviations of sources and musical variants used in the footnotes are found in the

List of Sources and Variants in the Musical Readings.

202 203 1. O vos ones

-P.o'-1 [Loysei Compere]

A- . . 5

O vos 0-

I ' 0 vos 0-

I I i - mres) Qui {rans- i- tis per-.

-1

- mnes ,_ Q ui trans - I -

v 15 k -- '

.i - - 4m At -ten -

i - L. L.

tis._per vi - At -ten - - -j ci -

vos 0 -. - -rmne_ 204

I I I I ' I I i I - - di - te) Et vi - - cLe -

-fie, [at - ten - d - te ,]Et

II1

Qu i trans - i - - t s

- - te at - ten - 1_

0 __ vi- ie - -e c.t - ten-cU - te

per vi- - arn ,t At - .am, 3 - 30

- a;i- - -te,] et vi- de- -k

te et v. - de - - ,j et vi -

ten di - te ,I Et Vi - cLe - 205

2 0--, 40

I I '-l I j-- de I

I I 0 I I I

te, Si es+ d~o - or___ Si 3

Si est ao- for_ si est

te, Si est d o -flor__ _siest cado-

,~k

I - - est -- br) [si

do - - \or-b _, o -

lor)] [s es _ _o - lor] Si 206

# # 55

es{ do - - fcr___ _ Sic - ut do I

-nor,] Sic - ut - for

I I

est.c do lor, Sic- ut_ _do - - for

i 1 IN

I1 )or I k

I K ame-

T 1 1 6ft.i mv e - _A 6 :5,E*##

I 1

- us 1 6

-w

V J w ]1

T - U5 , [me - - us.] 207

1 MS shows C b; C 2 sbr emendation after Bologna Q 17, Bologna Q 18, Brussels 228, Florence 107 s, Paris 1597, and TOurnai 91i.

2 MS shows A sbr, A min; A dotted sbr emendation after Bologna Q 17, Bologna Q 18, Brussels 228, Florence 107 1S, and Paris 1597.

3MS shows E br; E 2 sgr emendation after Bologna Q 17, Bologna Q.18, Florence 107 , Paris 1597, and Tournai 94-.

MS shows C dotted br, B dotted br- C br C sbr, B br, B sbr emendation ter Bologna Q 17, Bologna 18, Brussels 228, Florence 107 s, and Paris 1597. 2.Erubescat Jcaeus If-elix 208

.1' I- z Ahoh. i N

E -- - ru -bes-- ca{ t - dae - -

r _I

E -ru - bs -- catcJu - -

- - ru - - - 5

US) [Ju -- - -

dae - -- - - Us,) [Uu- - -de ~ ~cI -- - - - US

bes ------10

- - - dae - us] In - -, e-Iix

--- I

1 uI L In- e-liX.

U------US 209

15 r-_

[In [ - fe-x k

(In - fe - .-. .- .- ..- .- i x

&-ft.,j I In -- - -fe-lix 20

Qv. di - ,------ci. kr-- -

- 1 Qui d -

Qui CL- - ,t

<1k

chri -lst - - - um

-cit _chri- - - -- LW) ex

1 1 I chi - - - - slt-- - - -. -urm 210

! !

;-go

-- t

I T I Jo - -seph I a

- seph . I3

seph Se- - -I es- -L

I - I r--"

- -- -1

-" . I I _

4aw - - -

m- -pie

__S - -se es - - 211

- * 4o

- e Na - - uM - -

I I

V I 01 I - -- -- Na se - - - -- um, [ a -

se Na

-F LLJ-L:- - +um]

I o- I - -T

'UYY1]

-- turn. 3 .Miserere mini Domine 212 fP.2'. 5 Anon.

ml - se re - re LJt 4-:) E Q-2v-,:z

Ml 10 Se KE., r", I Pftg"

Em se-re - re ] no -

re - re 1 0-% r- I ---I

Do- mi Snee rlo

I 15

I - - I

- K 213

,20 I I

- - mi - ne,] Et ex -au - di [et

-- ne

ex -- au - - ci 0-

ex - - i 30 -il r-- -,

S- -F-T - ra- ti- - nern me -

I I

0 - ra- - - -ti- 214

35 1r

o - nem

am, me - - - - I

oe_

.m e -~ vv 4 .PArce Dormine 215

44 [Jacob Obr'ech] 1

Par - ce , Do iK

Par - - ce) Do - 2

L.~4 do - mh - -

vn1i - - he, - ml

- Ce) Do -rm 10 I I

ne po - - Pu

~110 'IQ po - pu-Io 216

15 I L

Io) [p0 - Pu4 o 1-u -0

1 , [t-u - - Oil Qu-- a P

PO - 70-c> tu -- ) Qui- K20 25

QU ' -l us es

us es _ _'_ - a

- a _p- - Us es, 30

I et mwi- se - r

- Us es)] e '- se - -

-t mi - se - -- r; - 217

I t'n.,gn.,r, 35 -1 f I

,d;f

- Cors) I k

r r I se r CorSJe - - se-h cors ,] Ex- au --

- cOrs, Ex - au - d. rL. 40

I r- ".o~ i I _ nos in

I 3

- -F I '""'

--- ,[ex - cli vos - au - c nos>]

hos in ae - +er- - -4U4 M r-k I

I , 4- a - - -- der - -- umv Do - mi - ne.

-ft I -- %mi I I 1 in - e- -lunDo ae-ter - - rmi -re.

i 218

1 Superius taken from Bologna Q 18. 2 Contra taken from Bologna Q 17. 3 MS shows E 2 min; B sbr emendation after Bologna Q 18. 219 5.D bo lu cueur.

. 4 - 5 5

I .

Du bon du cueux

Du born du cueur r m 0

bon du cueur ma ckie - re I w 1 FWAN"ftell

chie-re da - - -me, Mr _ c-ie-re

chie - - re - wt da - m~e)1 MAckie -e

i i -~ 1 r-- k I '5 3

da - ie, Vous -sup-pl. - - e

V0u5 sup - PI - - e tries kum - ble - 6,

d-a - me, Vous sup- phit tres hem --. 220

hum-- ble - meQt Que me re-cher - cez doil - ce-vnet

mentQue me re-cher - - chez doul ce - sent Pourc

bYe - menf, Que vre re-cker-cWez. doul - - ce - vnent, r

I I I i

I Pour vows ser-vir de corps et- d& -

I ---- T- Vous ser - vir de corps et U(';a

Pour vous ser - -Vir de corps. et da- t -I I 1 3

I -r

- - -. me E+ J'e voL)$ ji.- e sor-rmcn a . PO maw-

- e t t je vous ju-re sur - - mon

Ml r ." r.A .. V .tr-. 221

2 Ic

- eeCue vous ser- vi - ray seu - e -

- - me. Que vous ser-vi- ray seu - le-

l- ent. Que vous ser- - v - ray seu - eu- - -

ment, [Que vous ser- vi - ay ] seu- I - - vvenrt.

mevi , Que vous ser- vi ray 3seu - le- - - ment.j

1MS shows D min, D smin; D dotted mrn emendation after lunich 1516'. 2MS shows C br; C 2- sbr: emendation after Munich 1516.

3MS shows F br;F 2 sbr emendation after Munich 1516 and Formschneider 15389.

4 Ms shows B flat 2 min; B flat sbr emendation after Kunich 1516.. 222 0. Quant je vous Voye [JTsqw desPrez] I--

Quan je vous voy-- e, 1 it -se %a+ -

Quaht je vous voy - Iai- I II I

Quant je vous voy - e) D'i- se bran-si

5 I I I I,

Il m'est ad-vis..)ue voy ung roy, .I m'est ad- IK

se ran-s II rest ad-vis que voy d'ung roy , il

- , d --- se tra - - sI, Ii rv'est ad-VS, i L1O. L

VIS, il m'est ad-vis cge voy ung roy) Tou+

mes+ d-VIs) it m'est ad - vis cue Voy ung rcy,

-I, y % ! mnest as-VisQue voy cn rc'vy Uv roy Touhors 223

hors ce moy, tout kors c e moy Me _ rou - ve mieuLx]

Tout kors de moy, Me trou ve [eulx, A9mp~-~

4 2oy, Me rou - ve (mieulx ] utd je vous

Q0j'e e

Quant je vous voy - e , D'a-se iran-s' ) Au- sai je croy,

-T I-r

Quant je vousvoy - e) Dai - se ran-Si Au- ssi je croy

voy- e, D'ai-se ran-sK je roy Et sou-vend d.y) Que

sou-vent ay1 Que uSz. sUo-Sy ) A-voir ne day, Quait je vous voye, cuanvt

sou-vent Ly, Que nulz sou- ssy, A- voir ve coy, Quant je vous voyecjuan l' -f-I-'-- ,--

nu lz 50U-ssy, A-voir ne doy) QuaL.. je vous voye, Zant je vous voye, guant 224

je vous voye, uAnt je vous voy - e

e vous voye v t je vous voy-- e ,

e vous voye) cquanvt 3e vous voy-- e,I'-se - ran-s_ _

se -ran- s It m es+ ad- vis Que voy uv9 roy.

D'aise bran - sII( re't ad-visQue vous_uvnSMY.

Ii iuest ad - vis Que voy un roy. 7. Adieu m mour- du [emps passe 225 R 9 '- 10 nn , I ~ ~ij|1 H ------

t _

A - lieu, a-moor______du temps p pas- 1 1 1 1_

I 1

A -- lieu) a-vour di,' temips PasF-

se> C r vous vhes- k

LIII/

A- dieu, m'a -amour___d +evps pas - se Cai- vous 'es-+ez__.plus b1I

Car VoU h'es-+ez plus de sAi - so", car vous &es- r- K1 1 1 I

+ez. plus de ai- soy, Puis- re- Bre- m--vez dor-

Se ki - - stv ,

2 r -r -- f

I v Y

l...-, .i -s nu. t.. a 226

15 Tr

he1i Sans a-voir K

Pucs - qyere -gret vn-- vez don -- Sans a-voir cau - - se_

I c r1 Pufs - ce re -gret ma - vez don - eSas a-vo o

i-i

cau -- se ner_-__ son Plus re se-ray vos--ie Mig-

S l j [ - I I T--- ne ri - -- - soyl , Plus vie se-ra yvos-

cau-se ene _Purs - sons ve se-ray vos--hre v iS-ncn

E 5 d a

tnOV Te he e-ray di-

III__ _ S I . f .aa

+re ri-nor, Te he se-ray di - re le u.e. nese - ray d -

1 I I I 1 " ""gl ne se-ray di --- e. l. F - [je e.se- ry di- 227

I 30 i L i

- re le auft, D'uS aul -re a-vez. Plus

- re le

re]le Fault, Dng aul-re a-vez plus 35

gra - cd -- eux,

s Dluh aul--b-e -vez. plus a - ci -

T ra- ci - eux) D'uvg aul-tre a-vez plus 40 .s.

Se le pret-zdez ii_ one_ en ckaut.

spy

if eux Se ps: Ie pre n-c ez 'fvne en ___cha_ _t. <,

_---- r2 - ci - eux Se le pre-dez il 8.Tristi est anima mea 228

Anon . 1aIi Jr 5

17 Treis -. s est

I , I -,,c

IJQJL

Tris is est

r'k

a - hi - ma - - ma me- t

LmJ 1 ni -- - a mre - - -

Tris - ti e st

L. 15

[me - __ ~ -)Z 7] r 7Th

II ,If- ma~ -- a

I. D '.-I 229

- -V:. "

I us - - clue ad mor - - - tern [ad

- - '~

us - cue ad rnor - tern, [us -

r~H~ I . . tK'~ . . .

T tem] tris - tis est K

i l ad mor q ye - tem,] Ctris -

- hi - ma me - - 30

rrl

- ni ma me - - - a [rme

-- tis ~__ _ _ _ - hi -

us - lue aCL 230

I IT

i i j

- a,] us - clue ad

manme- - a. us - Qcue ad

mor - tem,

r-k 40 , , -

mor - tem_., mor -- - te mau- k

mor - - tem,] mor - ten tern

ad- mor - tem au - 45 I - #1

I VI V - erm cru -- cis. i11,

-r7rI -

cru - CiS. I;

t'em .I c ru - - - -Cis. 231

MS shows A mie, A smin; emendation by editor. c.or tjna Jesperata 232

.11'-12 [APtoine Buonois] rk 5

ii' H For - t- - - n, [for - U- jJH

For tou - - - S- Ma)

For - tu - naes -

ra3 des - Pe - -T a--2 k

-F Lor +u -na] des - - -ra

- - pe - - ra

- hi - -K ,_i_ - (U~4, yn-

I I _ _ . _ I

L -- - a ,__ _ - - - ni 233

Ie - - dic - - - ta che Wi k

iiLi

qua)

Ila

4!:::

- qua, - - - le - -cdi -

ma - le - - - - -ic - - - -fay

e - ec - i

-- ~- t, che cli_ taI 5o 0-

che I _al_ _ O- 234

1 r- t II 40

a s a- - ma , k_

na - lec - -t

_ _. i 1 - .~. 'i_ . a a ",,

na_ e - - lec - ta, [e - - lec

de - - ne-

I~~ - va ay de

I a ] la Pa 50

-- - i )

I +1. 31

--li- a - - - 1a, de-

de- - ne -- 235

--- - J

LI mer

Lga~i------a

1 Flats show in London Add. 31922. 2 Flat shown in Paris 4379, Seville 5-EI-43 and Paris h7i7 67E shoin in Paris Vm 676, 236 1J. Er IomTirre dJai asonnet

L osc n des pTe2]

))i

4i, f _

Ev 'om- - bre d ng bol - Son-net)

II .___.- -1

.r 5 . I r' I I En i'am - bre d'ung bu - son - n2t

K-

En Ilovn - bre d ____ u+ - son-

Toni au ong dIung ri - - Vi-

I lonT d'ung I z e_ Tout atu b , -ors - - vI - re,

be{ TOu avulog dun9 ri - vi--e - re, d un 0

. -

- e - - re ),J'ay irou-vec le -PIz Mar - cuet

4 'ay trou-ve le -P _z Mar -- qguet,

e - re, yrroVv le -PIi z _ Mar - - 237

F IL4 tjt FT-

i Qui pri- ott sa. da.- m e. a

C)., t'C".

,,.,.

s-a da - QuA ci---Oit -me chis - re, p' o +- , b -F----S-

Quet ,Qui pri-oit Is a- - me chief -

20 3 I L I

- re, Ev di- swv par tel Va- nie -re r- . 7-

I -- r-

Ern di-vsat par tel v-n- ee - re We

-r

- - - 1 re En di - sant par ted ma -- ne-re, b24. 5

We vous ae- me mon ceur douix , L

vous..--ay- me___on ceur doulx1 A dont rs-pq-dit la- her- v t

vous ay - - me rvri ceur dou[x , A dont res- 238

_ I I r k

'.'.E. k ',. . y

1,, rI -_ - _.'..'y_..- -I-r

'iT

A hon+ res-pon - dit _ ber - 3 ie-re , y(o-byf{Co-

' -,;

- - e - re: S- yr) co-men

IE-

I er - - g e -C - pon-dWt - re) 35

- ienit n- - vous

I i "wJ "..,r""'o' C7 ia - fen - dez vous_?_o-byco- - vent la '-

L.- Ro - /bye) co -- itvt- 40 I , .' LJ

Ro - byn co - ment 1a - tev - - - dez vous?

, .:

- eno-dez yvus ?[Ro-Lbyn) co-menit a--ien - dez vous?

.. .- .

11 lfl

- den - dez vous? RI- by', co>-meht a - ten - dez vous?] 239

"Je extendss bien, stil vous plaist, Belle, quo soy6s m amye: Je vous donray un bocquet De Violecto jollies; Mais d'une chose vous prie, C'est que mIaymez par amours." Ador c respond la e.g r:e v " comeont Plentoendes os?"

"Cuydez que pour ung bouquet Vous ayez m'aamour entire? II n'y a si beau varlet Que je ne getasse arrie're," "Obliez votre maniere; Faictes vous- ainsy a tous?" Adonc respont la bergere: 1 co'Tonmnt ll en tendez vous?" Robin foist tant par son plet Et par sa belle maniere Quil joua du flajollet, Et aussy foist la bergere0 - "Vous estes tresbonne ouvriere; Faictes vous ainsi a tous'?" Adonc respont -a ber0r: ~coi T~Ten t i.to dez vous? 6

Flat showa in Tournai 94. 2 _S shows D sbr, D min; D dotted sbr emendation after Bologna Q 17 and Tournai 9i. .3 shows G sbr; G 2 mmn emendation after Bologna Q 17.

Flait shown in Bologna Q 17.

MS shows D 2 sbr; D br emendation after Antico 1536'. 6, Extra text stanzas taken from Paris and Gevaert, Chansons- du XT siecle,. No. 9. 114p gr 240

VFosoi des The]

per . sum

I-- ______

Pau - per s u m-

m a +

iii

per - r-1 - 2

T " 1 LLJ

e- - --- gO) ih la - bo- -

f I t

I L I j

- - - -gole -5 o

Sme - - go et

- r- bus[(a - bo- - - bus,

HA I t *,..

I I I 1 pw Ij; e4 a 1E-bo - bps 241

- i 20_ r-, ,

Qi I ) - - venh - - iv - - to me-

I I I

a. - ju- - ven - - -4u - te e -

- ju - veh - tu- te me-

a 25

I -

- a. ex - al - %& -

l 1 1

a, ex - I - -

ex - ali- - to--tus au -

'r1 30

I I

us au- S -fer, hu - -mn

tus a___-_ - - tern

Lemn hu- rn ... 242

'_!

ii -. - tus _ sum et coyn-tur -

-i - - a- tus SUm e COK) - -

CL - bus Sum

: -T-t

i -P .m APP 11-1-- -- b - - - tus ,[ek con -

- -ba "ur-- - -bus, [e

ei Con r

F t

} 4' ii-ur- - - bus.

R" e _ L

s If - -b- -+ts.]

k, 4*L

tujr - - 1vs. 243

1MS shows C sbr, C srnin; emendation by editor.

2MS shows B sbr, B smin;- emendation by editor. l2.Peccantem m puJtice Anon.

d Pe - ca- - tem cuo- - k

Pec- ca,:n - - dew, mne

Pe - - can- - tem

1 ___ I

- dh - - e,[Quo- +i- -

_ I

"4+

.o- tiu - d - - e,

me %uO-0 - I - di - r'

e] et Vve.

et4 Y)oy me p6 - -Y -l

I I I I E- ~-fl

KI Sb C et_ _oV me pe - -' n -1 245

I k i

pe - ni - en - - +.e m ,

ten - - - +e r i - -- mor k

e~n - )rpe - vu- er1 - i :0

v~r-ris Cov-Eur - 6i_____

ror - - -Ls mPrr

- - Yn Vmor - - ______[con- 30+em,]+ -

[con -fur - - bat me,1 con - -r - -g atI I I

CO r - U -- -- fu LY12.

- fur - bad me coy - - tur - 246

';.:

-...- 1

YeY n -

U - 1 _-

~li TDr-

- - La ii~

[r' __ _in - - fer - no) nil - l

- Ter -no nul - la est -rer--. i r~l- IIA k

aInVi)- - -er- z z

- - evvp - -__ 1. 11lk

t. --*,

-- demp - E 0

+L---Z

- no hul - - !a est 247

I 55 I

- - 0, mi - se-re-

- ~se-re -- re

I -

- demp - - 0 vmi - se - re-re 60 r -k -.--

Itn

re me --

-I

rC - - - M

i i I f

-- '' o - Se--re - - -'e] mie -70

De - us ______--e - Va- -ne,

Da -- us) e4

/''T

De - uS,E.De - - US ] et sa 248

-- va -- m (e .

[ea - - - - sisHe va ------r e.

1 shows D br; emendationib editor. 13. >on my ma F3ln -imee9m-Myrn-'awlif- 4?.21 -22

Mon ma - ry r adif - ;-,- J 7 4 Pour La Ion-ge de - mou -

Mon rma-ry m'a diI - fa - me -e) Pour 1a Ion- 9e cLe - mou - re - 5

- - e, Pour ['- rvourde mor - - - e, Que .Ly aic a - vecoue ;u - K r y

- _--

'" :1 A imp- m -ry r"i de - -fa - - Pour la Ion - e de - eou - - K II

Mor rie-ry mia dot - - -me - e ) Pour Ia Lon - e de - ynou - -re rk m

m~y de y. a - D

Pour l'a-mour de Mon a Que j'ay -Paict - vecque Lo - yy

NPour ['a--our de movi a - my, Pour a'- our de Que. i'v fac+ -a - atnen lu - ie 'av a vecQ.ue 250

15 L rLz-

j i

- my) vec{jue

Lde non a - - my,- I a - - vecque Lu - y,

L mon a - - my, - L - 17y] a - - -vecque tu - - y . - C' E 1 -

pit ___H___ _ m on - vy]2 de noiman-

lift I I IHi .a my)]

E K. mon a - may v Ass-pd

- - vfy Qui me va tout jour b - tact

En ds - pit de monl ma - ry 9u vie vq -out

_,,# _ . t -. , ' - ,,; i i -

y .. K9 / T+ :a

1 i I

-ide monma- ry Qui ve va _ _-out 251

30 4j

Te fe -ray pcs ue de -vant

j aur- 4 t- AJefe- ray p isue de - van+.

jour ba-,t )Te e - ray pis e de -varnt

Aucunes gens m ont blasmee Disant que j'ay fait amy: La chose tresfort mlagree, Mon tresgracieulx soucy. He! mon s En des it de mon Mary iea.ut TT uTiT prant blanc, Je ferav ss oue davant.

Quant je suis la nuyt couchee

Entre les braz mon amy, / Je deviens presque pasmee Du plaisir que prens en luy. Se! mon am, Pleust a Dieu Lme raonmar Je ne veisse de trente ansI 11ous~nousdonrrions dubon temps, "Sy mnamye est courroucee, Pensez quo j'en suis marry; Car elle est sy mal traictee Pour Jiamour de son amy." "He! mon amy, En despitdemnonmar; Oui ne Ia , e,~anC no ant, iaant ~Nf r ay ptT h 252

Si je pers ma renomie Pour lI amour de mon amy, Point noen doy estre biasmee, Ca: iI est coincte et joly, T-e! mon amy, eJ nlay 5boio r;e demy Avrec marymeschant, e erayp cie avan-t.

MS shows G min; emendation by editor. 2 irst line of the refrain and extra stanzas taken from Paris and Gevaert Chansons du XVe siecle, No. 111, which is after Paris 1 7 ,~ L ~75~7~ 253 a

am, r 44'CAS. ; ,. e 5 S 4= I Anor.

. :..

- .

MtZ vval - +res -

i _ 's_ _ sua - rMY -

1 t

i I i

V 1 a . - re s -

Ma va'l - B-es - Ise '1 f

-U- Nov-bi-es point ce - Lu - -y,

s I 5

e) Nou-b-e poin ce - IL - -y,

_JTLJ.

my e, SovU - b i-S poin* ce - lv - y

-#,.-e I I r15 a;IL -m L_

9vi poi, 9i pDid t~fl- \OWS ou -L16h

Z7 i K

t I cpAi poiw- ne VLUs O)u - b- 2 -e.

j 6), , I _ _ i l,. } 7 -r

ui rni--. v' uoDfAt.-....e VOUS CL) - 614- - - - e. 254

.MSshows C min, C smin; emendation by editor. ~_ 255 ea k- d m e jaym'e &,y

Anon.

- 5 74 --- _r__ _ _ _ 4 J 1

is ! HS- s, da - - ~e ope Yy-m tt ti Que

I ______------7 Iiz;2 L >.-*-) _____

i '' ' i +.r 1 E ! I Hi-as, dI - - me Lu jay -v anr, >i- Vous sa-veZ ao'i i ovi tev0ps1 Quoe

He-Isd di- - e cup. lay-me +,vt Ptai- Vou s so-vaz euli a LOA+eUAps, K 5 40e

se vous pa re- ues-te CU- r VevI-liez moy u.g peu se- cou- j.2y de- sr de vous j0 u-r

v. +ru A sx a.

+-- :-cis a;lop e

S se vOus - es -e . - 1r ma ire veu yez uv peu se- cou- av cd-sir de vous ju- r -I I

se vous m Yre-cdues--Le vu - Vu -ieZ VAc.y UKS ? euse- cou- ~y de- si e V&US joy - r y.2 6

i e vous SuE- ph - e res hum- Ue - rne1t Ou du brie y

11i

Ii I I s

r!r Je vous sup- @U - e {res vhum-LWe - vnent Ou du bref mvy ______$ __ ___

ar Je vous su - pl - e +res hwim-b e - revrt, Ou a tbrier ri- 256

r-+c M

--u-dra ro-r -cri En deul, en jpei- ne) et enY tbur- AeV .

2L4~rf ~ )D H ~ 1 +:i

i $L ) ;! i 1 t

u- r - r, Ev deu, evi peine, et _ tur - myevd.

4 uI- rnc ro- r i r Ern Aeuievipe i- vee+ i evi +our - w.e nt

6 257 61 . Z71yne pm on ,Yy

A i-N" A on. tf I { Y f !a 7 i T7+ ' rP

{ ;

: 5

! .ac:

jby-m mon a- ~my, Trop plus qje ion m--r y, En -a - vez

F7Lj A

:i Si a v- re a mots - vy ~-n\ rc phis ane mi-awl wo a - ?-v a2- z p" "yY{I

& o - -- Y I Ir

Si stay-Me wuor , - y,~I1op plus pue vnit vnM- -- ry, ;la- vez =, TF>

vous er-veU-te [mer - veil - - le] Ii Y 'es+ ou-Vrier que

VoUS raer-Vei- e _mer veil - le) i nest ou-vrier Que .

voUS rier-veiI - le vne r - ve il- - -- le, i priest ou-Vrier que

.1 5 4r, I :S

y De che ies-ier o -ly Qui se c sins cai-cdet - e. (

_. ! , i i) } I I 1 \

s' ++l- - --

I -

C 4 oy De che m es- er joly, Qui se bicL sas chzn-de - -Le.

I -- p

nI 4 _! rv- . v . D e c kie v - - - -le. 258

Pon amy est gJllard E& mcn 33%ry fotard, Ev je suys jeune dame: Mon cueur seroit paLla t D ayer uln g t el vieiac r 9 Veu qu1il est tant in ame.

Quant suys avecques Thy Je nlay que tout eniuy ie chose qui me pase: Or feust ensevely Et en terre pourry1 Sy serois a mon aise0 . Et quant j'ay on amy Coucne aupres de my, Il me tient embrassoe; Aussi fais je moy Thy: D avoir un tel deduct Jamais nl en fuz lassee. Sy je fais mon desdui Soi.t de jour ou de nuyt Et le villain e ource Ne me chaL t s on ue bruyt: Je 2ery mon plaisir Sux desoens de sa source '

MhS shows .a rmL; omonda-tion by editor.

2 Extra stanzas takon lrom Paris arid Gvart, Cha.sons si.ece, No. 118, inich is after Paris 127 4 .X6Q -- 259 CLsbmmOG. r mia IvOI Laonanmes Pior'is] 6 -I

e=M _ Li. 4:

Con - Sum - mo

f2,;,-

iiy Con - sum - - rno a

3?,

b'. ... 4. p "I -

Con - Suin - - 1lo K to -

r r.. .a 0 _

vi - - a_ j poc- co a poc - Co

s 1;

.:: , ..... 1:.

-- , 0 it V - 9 _ poc-co a po - co

Vl- poc-co a poc - -- Co

__5i 1

ET' _o_ ro- - deis - CO) de1- -ma-

VIY r

- 1is - co ce~ -- -- VYf--

ro a -

- He- yln- Ft-g non ar - -aa- - - C O, 260

. 25r *t- v } I if 13 ! ! i

d - -- ____ rier - -Ck e------ie.

-r e__ et - cke- -

r ra

d a -- re____men - ee- - fie.

I MS shows a br in each voice; emendation by editor provides a better text setting. 26 1c Sb. Mon suenm

4 . a h ic [Hayne ~ JWvanh

Vton scJu - ve -nir me t

l.i '

tl Mon sou - ve - nir 2 t Lan -

',/

a #

Rr 1

sou - ve - nir

y. A

- uir Pour Ies re -

vur" (me - hit L

-- guir Pour

4 me aic& - uir) - gCUir,] 15 {V 1- . ~K

oretz e vMon ceur, [pour les re - - - gretz K

S r Ii I\'"

des re - Sret z de monc e ur,e re 2 - retz

'iz

?our- le! re -- gretfz de.. 262

_ _ _ rn nC Ur i, Don't nyuy.e

I_ Kt .. eMorn ceur ] Don nuy et

D m on ceur e o e )ceur _,D on_

iour SUS s ______- beur e

jour Suis en__-beur -

;# I.

L. niuy4 et jour dont nuyt 30 6

1- \

i- - bervr Sou bz es - - poir d.e

- - beur - Soubz

___~Ljour suis______ev eun ob 263

E 5e - cou - r [soubz es-- Po1r

e s - --- po ed

es K-po o e

de le se- - cou--- -- 'ir

Se C L Ur --- - rr.r

-- V C "-- - rIr. Si sans cesser deuoye- courir Si scauray ie par quel rigueur Mon souvenir, _e, Sa douleur me fault descouurir Et le mettre hors de langueur El luy donnant port et aueux. Sans plus dire ne sotsstenir Mon souvenir, e

1 Flat shown in Paris 2245 and Rome 28560.

2 Flat shown in Paris 1597, Paris 224-5,. and Washington, Laborde. 'YfV y . , 265 a.c efr ' [Loyset Coer]

__.. i r- -f-- I __ _ _ , r

_-4.. r n 4 E-. . .

N1: s cue cue PLY se - cre - t e- i U

r , )

MviIsue cke fu4 se - cre - --- Ce

VI tW -j Mays c~ue ce. -Fut se-cre - te - - ment

rYeYnt En aul - cuv lU je di - I t - --

S en+ 1% - lieu_ oU } I En au[ cn r-Tz 1

En aul-ucn lieu ou e al-hO- e 1 K0

roi - - - e, [ouje -d- ro-4 - e]

-r I 8 je.di- - roi -

I n 71 -1e ______., ,. _.e..._ ~zzzzz zz

Li -- -- - mes 266

rK 9. d l . " --

UTa - ries Hom - - me ies - con - ,i - -

f a - -es howm - - me o's - cori-d- }may L e1 PT

r .

r ., "

r .....

___L

I I - me Yes -con -di- 20

_ii

ro i - e Pour unl pe-tit1 pour un pe4I+)

_ Esr roi - e Pour Ung pe - t t -Pour

i - T 0 0' 1

roi - e ) Pour uy pe - - - ti< pour

(7'. Ynt. pour uV pe-t cop sen - { -

Ung e- R}pour ung pe--t cop .sen-Ie - -- entL.

t"~I': la. -! ______7--- a -- :.

pe- - 6t) cop sen - le -n en-.. 267

Qui priroit ~rop longuemen- Pour l® second Ic le feroye Mis~i que5 etc. Si en vquliez plus larigement Je cuyae que i noseroye Par dieu I icmen aduiseroie Dy trouuer bon appointemennt Mas Qe, e;+. 6

. ats s ho a . in Rom e 28 6. 2 MS shows E 2 min E sbr omendviation after Petrucci

Extra stanzas.:en from Droz and Piaget, Jardin, VoL. II ,Tntroductlon et not,- N. 5.8v. hich isitK r \Vrrarco CaJarin e -aianc (poetry only) . 192 268 20. Nest ii pas bier irPortune -13O'-31 Atiot,. # 5

I v k N'est- ipas bier_____ ;ir - for - to- o

N'est-di pas bienrin - Por-tu - he

Ii -I N'es-il pas bie_ in - for - tu-ne) uLI-

______1O..

Qui de ceur ay - me le ---le - )ment

L bp

Qua de_ ceur_ ay - mrie le - a - le - vevt fe- O -

1 r.i"

de ceur ay - me le - - - le - ment, Che r, K 15

Cke ue - 6u - per-ppe -- e- - - - - mend

Cke que per - pe - u-e - vim 4wI odo

.... qpe per-pe-u-e-- - e -- ment . ._., Es t 269

rnt) sui- -u y_-

E au.-h7uy_____ ban-d -

ruy _ - b ndo - -- mesom

-- -- _ -_

_ _ _ _ _ -dCV

-dog - - )e. I . eII ._IIlei IIn 1 MI

11seillm g 10nin1..IIIsi.I 1 II

-,.-El p milli., Iglel n~ o27t0 INIsree s son s oe trcoe

f ." I' ..-

t/" ) r

Nos - tre sai-son ____est b n

f -t '

I I1 2

- tre sa -sor est e _____or-u -

__-rrI

ii It i a i

Was - - +re sai - son_____ees eu z rI t

tee, L

Y-

i - V - e) -Por- +v ~e e _ . . SI

e - e ) quant vepar

- -______I

1 ii E -""" . V j A 1 i 1. i i '.1 - / - ne - -or - - t - - - ec

a -

I 1H -tr

l Yr ep__-______i__ '! 7 ., Pour

zL I - :"" 9

i tl[" p ____ de__ rme rA*i -S _n _ _m sr Poura -

r~ ?- ______u______c______I I I i i i

dT~

T \

er C3V - tit ch C -r c u buy-son)

- er______-b-ycson A

Pour cou - - siera u buy - son) our cou-

APro-o- - eei - - -

che___a y son, A rdu-

r +

e-e- - ~-- -

- aoa ei - - e. 272 2-b

~- rcn

Les - sies ar - er Ies - ssi __

- Les -sies pe -Jr) las - - -

4 1

as - sies par - ler _es - sies Iy ~ rI

z~~ +.; 7 ~zL_- ~-

- - re Les-SIes par -V? ^ you- -dra Au__

a ~4; cz-K

a - reess s c eui vou - daAu ds

S - re__-______Ler &V DU v - draAup de-pi-E

e-sI re-i-_s - e VayQ-mUe-ayu

Il. < I7 dej- - lo - i - e Tay -rai y c 1?~~~V~e j O - , o --- e

1- , - - -- -l - - si - e J~'y-rme-ra/ c Uiy 273

''a" "

_.t S1

i I 1,) - - ft > y - me - _.,. : y -

' z:Th j- j i

E JYy - - ray

mee raE+ I I a - m e - -a Es--- ______jay -re -ray <23

'rf '-r

-_ ray jt m'4y - roe, ra. ' -y j t

a --- *V __i

1 a

fy rvi y - - - - ra. - - me -

-g''- z . :.

-dL. r L)Ui -M e -, - - r.] 23 27

__14 ___. - _ >I__ -- N ______

.Jon

Ut ______- axt __ - re-so-

U ft sp ' b n

_____ - - s e- So -n-

tsa-a~t K -- xis H-so-y - re

- V

b - -re -i - b r mM r - - ra grs- a--_

r- -7 -r - ra ges-lo- ryma m-1

rms al--ran cs - o l -- rua - -- mvu- 7 -

~ U - - - 'Uris 5 -- V- ho - ru ------

- :411-r- io-1 \4,) C-0%I - --- I, r n -- 1 - - 275

b77 e -- - ~5 -+

ye Pc K-b-b+ r - a -~ - t

-4- C) L) z4-

P- - T - a-

c -- v --

- --K-- - - - nes

um Sec - - - l -30 -vies

CopL et text taken trom the Hyn to St0 John the .ap tist (An-inhonaIe, a . 733; Liber Usualis, p 1504)0 pes vo ye 276 ojQ. &3yzr

g v ^

/ .cY

! popr

J -r-7-

Co - en- peu\t - vo r Jo-- - .S

Co-me nt puLt a--voir jo - -ye

______K v-KK~c>7~7~-t

Co - ment peu a - vOr ;J - - -

ci k

Co-m ent peut- a - V oeo - - - yei

_ {r ,.., tM c

' b

FifN) U y. For -+ - ne Gcon - trenor

poi F 'L-+ - - a Gibc - trnt

+HL ______~~

For - -n c- - tr-t. yeK [Qv I r-

-. _ -i p

i i

Qu d or - u - nU--- conv -- - - - r ent, L'oy -seau 277

t t

- -- i I-

Lloy - e U 'u bert sa pro-- - ye -1.

- L y - seu cOw Q&Ct pr - yDe

i ;y .- - - ,_1r

t .y_-, ' .,r i __ -«- -1.C _--.-.,..,.

L'cy-seau w p -ert s proi - -

- r(U> pert P e Yec 5Z fpro ye)J

! 1 -4 -

-r sa..,.,,s s . .J.. ' ii Au De neU3 nuy sou - ve Trl

Au boys sur une iy soo- T

tsf ill,.--

)$QU - - V eA _ eUs_ Uy soU - VlV

______-itP-

sou - - - VI&VY AU 278

- ..

boys sr Ve r - - U- -re,

Ki vet- -du - -ire _

r- -a , t

- _____ 2:>--7f--4-

' i

-do - {t bois sur ver - d- rep ver - redj i

- - -- II

L1 -n r1 r

_ ver--d - - - re [Veyr-au - - -re J

N a point tout _ _soS_- sir

t 217

Nis ______a - sir

I -- N3 o t says ~ -

- -- -

de- -- s r 1 279

{ ( C T

n!a [ , De c -- ter ii Cu -

-1-

" j

e. Cran- -rS-,r 1 ya CU - -re) 47.

j- "ft 2 -i

De ka- tr il n _A cu - re ,[cL -

bz c J F

~r n t~

! 1

i Vu - - l re} en des p - Sir. :; Sm- t a . h

U _i..-. ;

is v' n des I : _i -- - plai-sr

IT -:--

S ph- - -Il des- - r

; i ;

4'' . H

fui QC des - - a- - - s r. 280 Q) cJ. . esc m.CA sarchKe Agr-Icobt 5

Ctest m J skr - ckie vos - -re a

, : , , its. Y iAl y ^_ ' i --

l 1

1 Cest m sar - chde___o__ _+vos-tre a 1

_ _ _ EEp

Csm_ a -_hie _vos- - s 0

van-- tai - e - ,D'z - e - - -sfuer

Da- - van - - ,L le I I

tre a _a_-_ta- - e , D'a - - le - guer r~i

c'nes- cur - oe

d' _

' f

guer ches-curt - se)

ches-cup a so pai - - 5e) vous monfs- 281

Et vous Mons - trez bier peu ru - se

T voUs mons- rez bien peu ru se

-- r

tErez__ bien Peu ru - - Se. Car

j + ) Cr ro____ - e-

17ASz:

Car -brop es - tez vieuw e.

roF e vieule___ I I

vieul e1 u - - Se) Pour pyar -

AC 3 ______U- -se Pour. pr-1 , de I I

u - - s2 Pour 282

'- 3 - -i~ 2 i2.) a _ __ __9_ _

- - ede - v - se s _ _ an-

3 b

I 1'

- p r-er le - - tse si____-Fi n-v

g L - c - Se.]

(s7--,

g3-1- ea (si - ru - - ge.

Ii convient donc, c 2est grant domrmaige, Qu'a vieillesse facez hommaige Sans que plus soyez abuse: C est al etc;. .IayezPlus le cueur si vollage; Vous estes dtaymer excuse Car par tout serez reff'use Veu quo portez si ris pluxaige: C1est mal etc .

"Flat sho1ri in Petrucci 1 O1

S show'F sbr, P inL; F dotted sbr emendation after 283

Florence 229, Paris Seville,379, -I-4e3, Verona DCCVLVI, and Petruccd 1 v

'" shows B ila« sbr, B Lat min; B flat cotted sbr emendation after Florence 229~. Extra stanzas taken from Champion, Pieces oyeuses, o. 53, 1I.hich is after Verard, .a Chasse 0fTf-tryonl), 2G . Da pacem Domine 284

A ac r

4 _

,i "a , s k

il- I - - cer_

; i

Da - - cev

~LI ! A

Ii n - -: 15.E o--:j - AJ J. I -

Da - - ce m___Do Yn -

- ,ie, I,

aD - - m r

re j IEi - d- e - I

L ,..aE' a d - - - - e - - - - bus _. b L

. 285

bs n o- - - stris 0 , dui - a non

- ---- ;

n -- -- IS

I __I b r- 1 1 1 1 mxz, .

e - - bus no - stst[no - - srs] UI j;5z

est. 4 - - - US) [es - - - s

Tt~-~

Inn est - 1 - uS) ot pug-nei pry'

b _ _ _-I

es -i - - Us)Lest&---

Z T

y j((

St 1 QU ub - - viet pro no -- bs)o -

''[ - . «,

no - - bis puc - neL p-__

-'--I

-- ,Pub - -n pro ho - 286

1) ir-ma- - -- lflr

h - r i

- bei5 n~ - s t___de- - - -

-h nI - ni - a ______

4A4

- '5~L~i- ____]~ JP a"Ca

Rostrn - us nO - -

. - - -

- «' .,..,------r t_

,_ _ j;

- - no -- - s i -us_ E-r.

t 7

s r ! palA I' I 1 us Cu -- ]so -- - - s4er.

1 FIats show-rn in Copenhagen 184 8. a . /aest c yqu a aVnaa 287

Qi es. ce-Vy cI dz - ra mal du ons

;I ~7H yLti 11

l est ce-y ui di - ma r du- Pons Fa1

- .I

tI I Quiest ce-ky cu; d - r r do fonsL 1 ce : H

du fons ] ce - - Iuyc uien d4t ~mLiL_ est ?ot en +N

dU Cns ce - - Luyiui en dt U t vest poi4 v e -

d u aOsOce - - loy QA e d l i n'esjotvfo ev -

- :J- I-

ho - - me Tout ien _en vievit e so-Las

- ho - me,Tout Bien a77.en vient le so -s 1L ITr

-- 'n o -- me - ~ I t b en enventd__le seV-elasiet__ 288

et le jo - - e , -Pour-tant dua deux 9e - noux

1 e+ le jo- - ye, Pour -Cant qu a deux 9e-oux

lJ- - ye 2 Poor-tant qay' deux se -rux

on Iy bal - Le sa pro - - ye.

on iuy b1- le sa pro - ye.

on Lvy Il-Le sa proo- - ye.

MS shows A 2 min; emendation by editor. 28. Je voy je viens 289

4. 4 3 - 4 4 Anon. 1 I_ I r t

T -- I I I i ' Je voy....)Je viers_ Monceur s'en vol -

..... "---a. iitI .. ___.1.,...... v I r' I I I %.,OFA e voy ,je viens mn ceur_ seen vol -

Nor Ir- "

Te voy je viens__mo cevr seen vol -

le mon ceurs erl Vc- - e Je

. ' I ' t le _ vno _ __ _ceur s e vo\ - lej Ce

IMP] 4Z:4ZZ 'Z

-- le morn ceur__sen_ vol -e Je 10-oI I I

me u-eet ve shay pour-qyoy ) Vous

--3

me +v-eet ne shay pour-buoy Vous es -"l 11

C __... -r-

me v-eet nve siy pour-quo' v Vous 290

- _.._ + I I I I esV-;i point an - si de moy ? Ner-ny) nev -hy k

-T -'I

po rt de IOy? NE'n-ny yen-ny

est-l poi at ai-s de vAncy ' Nen-ny) nenny, je ry, P y

-) ne sUis point si _Po - -- le 13e

.- je he suis ponrt -ol- - le

nee suis point si coI - le ,je

he sUis5 poi nt si_...ol - - -le.

rj. .

fy-l jl-

Dene ss point ]si -___ - - le, 2+.

.F 1._

ne suis point l sIcf - -e. 291

Respondez-moy queique parole, Retournez vos yeux levers moy; Veus auray-je point a l'essay? TTerny, J snuispas si fole.

Las s'itl venoit a vostre escolle' Queique gentil rustro escolier, Qul oust de l'ancre et du papier, Ne le voudriez-vous point aymer? Q, ouy, pour luy mon cueur s'en voile. Rossignollet qui au boys voile, Qui fais amoureux res jouyr , Sgauroys-je de m'amye jouyr? 1 Nenny, e not est paS i folle.

1 Extra stanzas taken from Brown, Theatrical Chansons, p. 127. '. dayme bien 3oVn1 y 292 .- 44-45 Ver-bonnet

Jy-rneb6 a - my, De

Jay-rme bien mon a - my, De

I IV -Pay - - me bieri mon a?- my, De

" -420L I

v ray___ -mou r____cer - -- t a'i - - ve)

Vray a - - mour cer - tai - - ne Car

I jI -

vray a --__- mour cer - - ai - ne 10

Car ,je ya hie______-

je say bien qui dl - - - e,

I I I

Car je-_ s-ay benqpui rnt - - - - me ,Et 293 15 r'1i

-y __ _-Pi - e y , e+ 0V5-

OUS- - s -'a i-- -- -eu

ELL--

- s -- ______-se- iy.

- - - e kly. I wo

1 e+ ous-sy -ai -e Y.,

Et puisquiit est ainsy Que je sqay bien qui'il m=ayme jTe seroye bien villaine D'aymer aultre que luy..

1Extra stanza taken from Ge'rold, Le Manuscrit de Ba- reux, No.. 29, vAiich is after Paris 9347- f.29,-30. . 6U. Iout lIjn dernoy 294 Beneditus A 29 r AJ L YV1d J

]out Paink d ennuy de des - - con - -

Tout paii den - nuy et de des-con - IK 19 f

Tout pIain d'en - nuy et de des-con - -Port

mow -tut p a i den-

Pory 5 et dedesn c - -r - o- n esus S ou-vevit-t byje ~s.u

et d e des - con - ort ,Sov - vent je Suis 1

295

, ,I t. 20

rIul vie conifre-dy, a mes__..Jo - leurs

1 I I 4 nul he con- re-dyi a yaescto - leurs

-I-

nul ( e con-t,-e - dy , a- leurs

true sou- ve je por- - -e) ce LJ

50.eau - ve _je por - - I P teje por-

I I sou - - - vent por - je - +e 3e poi - 30

-- e) Seul re - gre - __ant t r seul

-- be SeUI re - sre -

- - -- -e -e je, poror --Lte

- 296

I 35 ' I------I

a ------7d135

U,. 1 -460- i

- - - he gre t ]ceI - ea qua hop rt, ce - Iea

+tant ce lea dop rtcel - Iea c6

ce - Iei c Cofort ce lea

ui rP r ,y mys von ceur et a -

- o o r t y mnys hoon ceur

ay mys moh ceur e+ ul - - - 4 45

-tre en ou - UyoU- - by

e auk - - ie ee ou - - - -}

4---orUeen-- -- - bly et 297

L1~ -L----- . i

-. _ ]t a LI- - - t oe ek ov -

e+ a1 - II

--- -ire enI

- i i y

' : bLy c:. OU- ,. - - by. .

}

-ire ei _ou - - bly.

;. -. 4 :, ,

t;: Z--T

Ou - - ply. 3'. AdJ;e , SOi25 loA piisiri 298 [Avitoine de Fevih]

-11 i I rh- I I I I.

[A] - - d;eu so - las, +out pi-Si r --

I A A - dieu so - las) Fou4 plai-sir, et

I I

A- dceu so - !as tou pai-sir, et i-

. I 5- 1,.

Liii

etr _ _ - - es - -- se, Mon pou-re ceur IK

"1 - es - - -se, Mn pov-re ceur sy

- es -- set lo pou-re ceu V sy I1I

ij y' vi en rant -Wrs -- +res - - se) Sc'est du re -

vit en Srant Hris - - Lre - - - 5e, Sc'es. du re-

---F_...,

vii eh grant Lris - -ires - -se, Sclest du re - 299

1A5 3.

re de y de m-E as i a - y. j'ay Y , , a a! y. d al-y gretd e Tay de mna y s 1

Sfeaue Jay de mon a - my) El - las iI a -aJ -- -- ly.

J e meneray lassus au vert bochage Otu je fray fonder ung ermitage Pour les regretz cue j'a7 de mon amp

MS'shows G sbr; G br emendation after Cambridge 1760 nd London Harley 5212. 32. James naymeray 300 -55'-5(C To. Mouton

a-mes nay-rne-ray ma chou je suis trop bel - le Mon mary esi plus bel -li cue ag -neau beJ - le

-r"

,are

S2I - - fa-Imes n'y-me-ray ma chou je sUis trop bel- -le, I -_I

I V

UJ-mes n'ay-me-ray rna choo je sui s+rop bet - le, 5,51 -4il))

Car 11 a bar-JouiI -6 moon cou de 5a -trou - - el - le, IL e se-roit rou-ver mov\ CoU si V)a cyan - - del - le .S.~f

- __ I I

Car il a bar- bouil-L ' vmon cou de s' +rna -- eI- - - le, .!

Car it a bar- bouil - l movi CoU de sa rou - el - - -le,

I .l 10 1 ROM

Tou-+e nUit it rn'y [la W-soit cle vAa ce-ii- e 1, uy ny-soit, 3e le

Tou-+e la nui+ U v'y dJ-soi+t ue ma che-v i-se, lIy n)y-soi+ e le prins et

T I b | 1 J Tou-+e la nui+ ii Iry d- 0o qpe ma che-mi-se, Ivy vny-smolt~Je le privs et 301

prins et a ge - i s en a ru - elle)

-e- ts eniru - el - le

la e -- ts ev la ru - e - Ie,

Ms en-core de - man --d 'Ide Ia chan- del - - - le.

Mais5ev-core de - ra n-di + de la ckan-de -- - - le.

Mars en-core de- man - dit - i de la ckant-del- e 55. 3e le Iairay 302 4(a-57 [Toean OLito] .S.

e la; erypuns

-Je Je l ay puis -- - oUG;

~e l e I- a - ray Pu s - -- i

u I 'y ba+ [Vry dieu he - -las] Et fort

pns - __Im'y bat [ Vray dieu he - !as ] Et

M y bat Vray d eu he- (as Et

Ky -Vrzy____ d_ .---- s E+ ort___vi- 303

- - in m en- - gsro - ___ge

r - - a- -ro-ne

Po~t vi- i 'h - F;r cl r -h- oo - - --- J

- - 1a7 ')z ) - .- -

Qua des- -su - -- - -rou- -- - - __

Q d d- - s - s mo o r a +r-- - v

de s- sus moy a rcu - -vQ

Que5 - - - U moy..a +YOU-Yg Que

ces-sus moy a +rou- - - - ve 304

Que jes-+o;i ea 1- - l - - ea Ices - bat,

Que 'es- poi e al- - 6-- - e'es -

jes-to e aa- - - - - es - bat

Que 5es-t> e al- 1e - - el's - - bad Vra

b Z5

[Vray- dieu ti - las ]e le -ray

bat, aVy dleu he- - Jlas_,)_-_ele ai-

Vray dieu h-Ias) Je e lai-ray pus - - - - G

d_ Lieu _hg- - -las] Je le la - ray Pins - 305

puls - v0m'y bEt Vrayie - -a ~

y pu s - - u1 ry ba Vray Feud - s.]

yWay dieu -- las.

Deouis deulx ou trois m_o en }a z I~ 1Mo n marl est alle'au guet. ~eux,heiTs Il n'a pas ferme le guichet Par o& mon am v nt et va, He DTeuxheil~as!

Extra stanza taken from Gerold, Le Manuscrit de Bayeux, No. 66,. which is after Paris 96,.67-68~ 34. c i mC 30636Clei

[ohnnes Prioris1

-p '44

DLl - cis, [ u - cis ~} a - - - mi -

-r-

Dul - - cis P -- 'KI

Dul -cis [dL -- cis ] a r

-F-

ver - nans stel - V1er-vi t--

de- -_ - i RO - - sa ver - hanS s sel -

c-ae de- - - _____ Ro- - sa ver - ans, s--e - 15 4 rn .4. 2Q

la de - - co - ra , T me - mor es--+o en( .

Ia de - co -- __ra_ _ TL me - mor es - 4-o

"-'-" I

1a de -co - - )rTU me -- m or es -- + o 307

-- D25

me - - - DummorO.-tis - ve ---

me - - - iDum mor -- s;

00 5

e - - --- h -- I- - - - -r-

- --

Ve - vre - - -pt k- - -zra.

S shows a very small flat placed before this note by a later hand. 3. Qurt je vous voy parmiy les trues 308 '.(io o H A io ri.

-T----t-

1_ 'IN I 1 ) !A I I I I- Y

I r . T 9 vr je vo us voy.

R Ty _ NA.

Qu~Y je vous voy -) tan

cu~ilY1 je - Yy voUS$ .. voy 4. par

Who"

i i

0 vous voyQu t jevous VOy)]

-i j --r - 4Q

QUavrt VoU s vov. .. je r par-my les 10

I s

les ru - es, pr-my les u-es1] Je vc>uS Sou-k'a-de tc)u-te

-my fes ) - - - es vous sou-hai-de -i-u-fe m- -e

ru - - --- es Je Vous Sou4ai-de U-1e ru - 309

En -- re mes bras -. des- sus_ M04 lyt

En-re es brs des-sus mom t i

e-trees bras des-sus men y ~)LdeS-sus mov. l1

en- Ere mnes bras des -- - sus nnoh lyt des sus mnoVI t

mes bras des-sus 1mo h lyt, des - - - sus en y

2 -en e mes bras des - sus__ on 1y

Pour as - - - say-er se le ca-ly pour as-say- er

' Pour as - - say - er se le ca - - ly,

Vovr -s - -- sa - er_ se le ca - ly se le 310

- 30

ie ca-ly] En - -dv-re

P) En- - dv - re bier -N L L

ca-ly,] En - - duv- 35,

-) - b1ie-n I) [T IDyn sy re -

en - - -du- - re bienv)en - - -8du -- re

en - du -re bie

_n - - ,) Len - - d - re bn]qoo I

Sbien oupon SY re- u - - -- - v-i - e,

I QUoQ V sy - - - ' VI 311c

, ^

a - . I

1 L~~) omi Sy -,

- ire--u- - ..- --- ,

- . .- e mm 1 1 1A

6) reOA 'yCU- - v - n - e 11 V ov 5yIl e C

C Sf .' o r y312

as Ano .

W, Ir '' -

Man st -- ;yy

e n es- vra ao& est-

Qua

-- -~~~-~ -- ---

jo y E s---

y- p--

y y y

test- i vray [u s

vr'y]n iche -' SE pe -

Es -4

f ]- 1e s -< - - ) - - 313

{

LL I r

1 fuis -s 1b 1

s s

I- I- ci ~ "'

f '-,

-T- .

If If '

r' t~z A I I w

f 314

n c Y 1114.... T1 i i

r "

I I L I t2*

T -r t 54. ourdes regretz

1 71 -73 [L oyset ComAper-e] 5

Sour - des re - rei2

Sour - des gretz en -

I f .. v sour - des re - gretz, en - -v( -

I I 10 i

er - vi- - _es_ Mon1

I lw - I

Vi - - ron - - - 1 r77 nes mnoVn ______

.,r..

- ran -- - row vies P 1

ceur, Tout de sos - pirs k

ceur ? .e SOS - pirs

mo V -__r _

r0)ceu r______Tout de 316 r L-

de pei-resetife]do- leurs ,[et do- K

[e sos-pirs d e pe -nes et[de]do-

SOS - - -pirs de peJ-r ese ide cdo - eurs, K'. 2 __ 25

leurs] 'Pu'is quaI -- Sy est

se- r

eas [t o ur,

3 Puis Vain -

This au'in - sy esL [puis. cu asi- sy es 3K>

u'ay ma da-me per-du - - e, per - du-

V I I ... - 5y est quay ma dame >er - du - - e

Iu'ay ma da - - - me per-du- e 317

35b6

J"' a rmais - se mieulx,[y)ai mais- se m-ieulx

lay mis - - se mevix

J i mais - se mineu x, [jei_ is - - se ,] ja- 40

mais ne l'a - - voir - -] ja - Veu - e) Pour

i i 1J..L.J mal~o~is rne - voir veu - -- e,

mas hie 'a - voir veu - 5e, Pour 45

en es- - tre si Iong -tempsren an-guer)

______

PoUr en es - acre si Iontg - Eempsen 1Y\- k b

... .. en es--tre si ong - -r--temps ena 318

Si log - - - -epse - guer.] CDP

onouervS - +emps en an - uer.]

- - guer) [en la - - guer.]

Kais j'espoir bien que grace lon mtaporte Pour le remede qui me vauldra bon eur; Sourdes regretz, ec;.

Aujourd'Zhuy nest plaisir qui me supporte; Le coeur mestraint et me tient en rigeur, Aligioz moy et me donnez vigeur Ou je vaulx mort, a vous je m$en rapporte; Sourdes regretz, .etc5

1 Flat shown in Florence 117 and Florence 2439. 23 MS has G min, G smin- G dotted min emendation after- Brussels 228 and Florence 3439. 3 Flats shown in Florence 2439. L. 'US has B flat min, B flat smin; B flat dotted min emendation after Brussels 228, Florence 117, and Florence 2439.

Emendation in refrain and extra stanzas taken from Picker, The Chanson Albums of Larguerite of Austria,. pp., 379- 381, whicrisofTter Brussel522,f.54-- 33. Viva ego diit Dorniirws 319 - 75'- 7( Anon. 5

->"K

Vi- - - vo e- - O) di -

POO

Vi - - vo c - - O

i Ilam

VI- -v

cifDo - - - -mi - -- 1u

-U -1 c Do - -- M i -hyS Vdi- I L- -- I

15 ,

-I I I

Do- - -- - V { - - -nus d -1

'I ) - --. ynr...-- - - _ _ _ Do

T-. to >[ - S So j1- - 320

-0D]

] d - -Do

- cit 170 - M t -- VI 13 c -----

flusf nob - in r n- - "

30 -- - Io (rn -o- ) -

- o nori - em V - - -

-- - o - - 1---

em, no -- o mor - tem 321

35 40

-e - ec - --- ~~- p - c- -

e-- - s -pe - --

~ _ C_ - -3 ]eC - C- -- 45

SI S ) - r s eU -

c+- -ea -

+o - - y s[pec ]

ma - [ut ma -s5)]1con-

g sd st mut-r-a s d -

I g setM uL 322

55 4

- O -v - - ~~ ~~ - -er--o-

- - - gs con--ver - [cc ver-[-

~~ - - - - efrur V-U - -v

ver --- [- - -v ______et

Coin - ver - -- - t-a--

- -_ " - vqt Je v---vat. K1-

v -- -- - Va t i - - -- -Ua

et Vi_~- - - -vat. 39. Sancla Maria Fiarum piissi ma 323 P a'-7s Anon. r' 5 I

Srnc -ta M~a - i-

mlo ,_,__ Sanc - ta Ma - ri - a[s-anc-

Sanc - tao Ma - ;- -a Pi -

-K

sanc - ta MA- ri - I I

. . I I 1 - 1 15 L.

- rum

PI - a - rum piis -si-

P i- a - ruMFPi - rum) 324

flI Is --T------d

pi)Lu -~ - -rum p s - -

- rum ____ - ma is - St

I- -4

II L- ter-ce- -d i

a] 'n-te- ce -de pro no - bs pro no -

-i-- 100L

-Y~ in - ter-ce - )l --cde pro 30

pro no-- -.

- bis sanc-ta-

no - -bis sanc -- ta --- rum) 325

rK _-J- 25

bis sanc - t a - rum sanC - tiS- s -

_- sanc- is - - Si - m- ut

- Eis - S -- Ea U t per -te 40

I J ut per te vir - 1o -- r;- k

per te vir-o 910g - r.i- 0 -

vir - go glo - H - o - -- Sa 45

- 0 - Sa, su - i

I I I ----T

( )ro - - ri - - - 326

mad nos - tra pec - ca - _i - na, [pe_ - ca - -

Su - mat nos - tra pec- ca - mi -

Sa ] Su - vat vtos - 55

~~m -- na , pec - c a - - mi

na [pec - ca- -rn a

-bra per,-ca -w

~- na [Su - -t no s - -tra

]pec -ca-

Su - yy t \os -- tra pec - ca - rn' 327

Pec - C-mr - na ui pro no - -bis

~- ui ro no --- big

%na. 70 cu

ex tena -bus , ex te na-

pro Y0~ - bps ex te

n - -L-us na -- -us

-- tu5 reg - nt

'------

r t u -- 328

I I

I I I reg - - -nat su - - per e - - 'e-

su -per e -h-Ue - r ut sv-a h

~~ SU - per e-Ve-

ra- su- - ) _i r fEI d-- a - - eit U - - a _

au su - a chi-- - - ' C410 r-r -

i I I -- - Pe

)

C ri - - -- - ______rios-ra de-le-

-- te hos-tr _ce - 329

nos-- rae - le - an - tr[uor - tra ce

an - tu r ec- ca - myl - pa nos - tra de -

e n--- trpec -- ca - 100

e -a n - -tu r, pe-c

~~~- e c - - - c - - y -o

~~ -- [pec - c- -- 1-

-- pec - ca

~ na ec -- -- ca .M

~~~I pec - C-_- 330

Ya'

1 MS shows D min, D smin; emendation by editor. 2 MS shows- E 2 min; emendation by editor. 3 MS shows G sbr; G min emendation by editor. 40. BLLo ma commere 33 e iedictus AppeftjsceIders ail k_

-Vorns ma Cor - me- re , et --

Bu - - vons ma com -YMme - re, et

Bu - - voes ma Com - me - re,

hour ne b u - - vons point) Trots da-vmes es -toint et

ne bu - vons point, Troes da-mes es - toint

1ous ne bu - votes point, Troes da-mes es - toint eE

r I i mi i i

+out _en__ urn te - hat) Di - Sant Aa cOm- me - re)

_ tout en unr-te - nat, Di - - sant ma Cnom-e -

-Eout en un._..e - -cat,- D i - - santet a comrn-- 332

Nous nve 6u-vons poi nt b - vovs ma_

re, Nous ne 6 - vons pointbu -- - vons

me - re Nous ne by-vons po e b - - vans

com -me - re e nous ne bu -- vons ponf.

re, et noun ne bu m-~ra- vons Pont.11cowl- me -

m-4 cow, - me - re ) e+ sous ne bu - vons Pit Bevons, ma commere, etc. YV nfTung sre tout en beau Pour pourpoint, servir les dames tres bien et a point. Be s, ma commere, etc.

Bevons, ma commere, etc., Se rent les dames:~"ecy bien'a point; Faison bone chere, ne nous faignons point. Beons, ma commere, etc. Bevons, ma commere, etc, Le mignon commence, i.l ne tarda point. De servir s'avance tout a leur bon point. Be os, .ma commere,tc. 333

Bevons, ma comere, etc., Decfhnter sNavaice en doulx contrepoint, Et en grant plaisance vint fraper au point. Bevons, ma commerce etc.

evons, _a commereetc., Des maris doutance nous nzben avons point. Di eux n'airons grievance, car ils nt y sont point. Bevons,_ma comere, etc.

1 stanzas Extra: taken from Gerold, Le Manuscrit de Bayeux No. 15, which is after Paris 93+6, f. 1T'-16.T..~ 4I. Fotuoy Heas me su e mnriee 334 Anon. -A A . f i 5r

HW-1as)pour-buoy me si-e

e, -ass povr-c voy

}e-I-aspour- ooy - me sup-ge m - ri -e 10

ra- - he - e Vraisa - VMofu

-44 j I I 1 ' '-' '

me sui - - evv---gr -e

[ryM- - - e S s - mcu-reux AV

......

reux ay -es de moy pi ----

V is a - mo - reux y-es de moy

es de moy - .- . e 335

te Car ar vma -Poy {car- parma-y

to , Car Par ma 4

b b~

Car par mna -ay, car par vma 25

je sU'- e de- s a____. las - se - e, he - s pour

je sups de - sa(as- - - - - e, he - as

y,] je sis de- a Ias - - se- e he- fas he-as]pour-

uoy me So - je wra- -- - 1^i, - - e he -

-Pour-buoy me sut-ge ma- - rig - - - e

Iuoy me w-fe ma- - rid - - - - e he - las 336

s pour - cooy ] me s i--,e

-e - 9as po

he - as poour- qgoy e Ui- 3 geri

e '+ n [r- - Y ' e r,'e--- - e].j 42. F ors seudemient337

- RorS seu -Ic-

me~ntPat - fy - e rue e 338

mneu - -rep (r so

- bb2

1as cur hau es -P nr e

-re de-re c 339 35,

wee )or- e -

40cv

Qu ' Vest ou-leur due par vows je ne sen-

t-e, Maur ce cuesue e vu

IT 340

6:1

per - - de 2 bier se- - 3 - -

Vostre rigueur si tresfort me court seure Qen se party na chose qui masseure Ne bien aucun qui en riens me contente Fors seulement,Qt.

Mon desconfort toute seule ie pleure En mauldissant sur ma foy a toute heure Ma Ioyaulte qui tant me fait dolente Las ! que je suis de viure mal contente Quant de par vous nay r"ens que me sequeure Pars seulement, mac.

1MS shows E br; emendation by editor. 2 A dotted min emendation after Antico 15206 3 Flat shown in Formschneider 15389. Emendation in refrain and extra stanzas taken from Droz and Piaget, Jardin, .V',1, Introduction et notes o. 9,hich is after Verard, LeJardin de piTsance (poetry only)", f., 115 43. Ces one papr moy 341 4i81-83 rNi .~p t

C'est doic permoy, [paresyjJo

C'est doe par moy [ ]a oy c's

r - _ . _ _ C est d ovc par rody

or+ - y ) tain- syBuis Frt f-- e n - y"s _

donc ;;r m Dy -c an- y s o - - ' ee an s

ya -ys ssues n o - e rai -y Y s ,seor - t h --

lz'an-5 ui - or v-n - e ~ ne- -SYn fr-

Ia nsyts s-or-t- -... - --

n- e,] I - r-+u-ne h an. 342

he he ~ C E - Si,5

-or-4u-ne s -Fr--k-- e h -Ias suis sur ma

Bu r m-a [he,- su s sur Ma -y

sur ma -oy Esot s sur my a -Fo

3OYh- !as suts sur .maPy ]

Plus mal-heu-reuxav oi-de [est ue moy

SIus mLa-heu-reux au mon_ est uevvoy au

Plus mal-hu-reux- u Mov-deriest q)ue o 343

>]j au vmov- de L'st--Vq-ue

mroh de[fest Que rAoyu.-

v y >a 3 5 a u V10 oi de [V 'est e

moy)J Au t-ire tcue wioye

net- u oy ] Aul--ie cV,,e my au -+Ire ue

Yo -de[pest cue rvoy] Aul- 4re ctye iy) tue my ,aul- e ]45

my nest de +iel heu - - re u-reoemy

ry nest 7eI heu-re he - e de [ne e ] av -tre de

+re roe moy [n'est d e -r s--e] au -{re cuemoyr 3 4L

au--rece moy]nest de e heu - -

oy Lau-tre e moy]nest de ehu - re ne - e.

rnoy ] [ u- re ev eroy~nJest de -he( heu-re nr - - - - e. 44. Salve mzaker SaIvat-or-is 345 S 83 84 Fean MouitonI I

szFe- - ve m -a- er

s --ye _ _ra -er Ia va- 61

S a l -- va------[-----va--

-- rise [5,1 346 15

s1 ] Sa1- - ye y - - der

Sl - - ]Ve ma - - er

-- - va- o _5 S2- -

Sa - - ve m - -er Sa - S- v- - +o - -

Sal - - - Va- +D - s al- -Va -40 -

- -v,.

- - Va - o ------... r- ' va - b 347

svas}______- - - - c v- s ho- o -

vas e - e - c-rm ivas ho -- -

e - - - c UM vas o- o -

c is, vssse

-3hV - - res

~ ~ -- is) [vas

vas w -- se - r- - 348

vs m - se - r - Cor--

co- - - - - ,e - - -cIS -

Cor

Ve -~ nos -fro - al- - vo -

se - r-- cor - - -- Iaeve -

- --- Y)os-+rQ c-- - vt'- vv v - 349

- Ma - -_Po n s

Y Ca - -VD -to

c has-trn ca- va -

" e-

~~ - ~-- S.. o - - aae,

.--935--

SVe-n ae.

Ve - v1- - e[ovs v 350

MS shows G br, G sbr; G dotted br emendation after Florence II I 232. 45. ray cieu d;amor 35' -. 94 -8G [Antoine Brum3ael]

r~_E

a' Vray dieu d'a-mour coin-for-+ez moy

Vray jeu da-

Vray d eu dca- mnour con-4r- +ez r5 _

vray dieu d'a-mocr o y - - +cez moy vray dieu da- co -o

mc u y LA con- Por-{ez -oy, vray dieu da-

Vnoy) [vray dieu d -rmcur______cofl-{r - -+ez VVAyJ vray ceU du -

vmour cove - for - fe2 voy, VDUs r a-vez ays e r and e-

m tour con - 4or- rzmy

Y A 0u r cDvl---For - - Vous va-- veg z vys 352 15_ -I I

hoy vous vr' - vez Mys ev grancL._ en - -

_ 6ir r _ n .

Vcus M'-vez rmys. en gran en- -- - i

raind en-noy vous m'a-vez ms en

noy ] eh 9rand_ en - - y VOUS m- vez

VoUS va - vez vnys 1 voUs va'z-vez

1 I - I ~ r t m

g-rahd en - - - noy]) vous m'a-vez -25

V---F

mys en grnd en - - y1" . y I I1

-- r-- .... ,,,., _

6*a

mys ernd e -

-4-

"10,;L ""

noyI 353 30

PPour l be -lecue po intne voy, En ces--e o - ve t-lesay-so h

noy, Pour la be-le aue point ne voy En ceste vio-vel-le say-

nOy, Pour la be-e cue point ne voy, E ces - ce o-ve- le say- 35

2 St -la5 com-ment pase - ray tdonc-] Ce Ctempsdes- e qui est Sy

son, He - las com-mnent Pas- se - ray [done ] Ce ternPs des- to

sonH -a com-ment pas-se -ray[doic] Ce temps des-+,e aui est sy

ong [ce temps d'es-1e e i sy tongc e temps des-+e qA es+ Sy

vi es1- sy Iovg ce temps cvi es+ 5y

once temps d'es-+e cui es+ sy ovg) ce -eps ui es+ sy long ,ce. 354'

ov 6 0b est Sy on . ]

em ps eet sy 1 h ] Je me suis adventure, En noz jardrins suis entree Pou' cuillir rose on bouton En ceste nouvlle saison: Eeilas ilcom3ent passeray donc Cest mois de mayril est sion,? En noz jardrins suys entree; Trois fleurs damours y trouvay, Une en prins, deux en laissay Tce tte nouvelle season: nelas l cordrdent passeray donc Cest mois de may Qui esfTlong?

Ung chapellet fait en ay; De troys rens le comangay Et a uatr l t achevay En ceste nouvelle saison: ne as!' comment passer ay donc Ces ois de may .i .est si lon?

A troys rens le commengay, Et a quatre llachevay; A mpamye le donrav In c's e nouv e esaison: elastcomment pas s eraydonc Cest mo_.s de ay i es'ss ogy

Sy je la puis rencontror, Dtamours je la vueil prier; Aussi est ce la saison 355

ou roisctit o sd ea aoofr; Cos____ ~cowren b passera7 donc

Cest moys e ~Tyo A mamye le donray Et sgay bien que jen auray

TU bon baiser ouant Xldray 77ceste nouvelle season; Hellas I cogent pass eray done 2 Cest2^10 .s de may l. e~s tsji o a?

M shows A mL , A smin; A dotted min emendation after Florence 107bis,

Emendation in refrain and extra stanzas- taken from Paris and Gevaert, Chansons du X siecle, No. 8, which is after Paris- 12744, TT7. 4 -(o.Pine evy / e li3eea es56 .~ 8L-87 Loysei Compere

!la -- -- nYe Cd' ev - y

-Pla - ne d en - hey de

A--

deIonv- e Y - _Sum______at_-__[+____ t - -

-n - ma me- - -i-ue ac - -- - _a

- - - -Le, IDe des -l:-sirI - ree vi-

est -- 357

ou - Y'euyesI-y- - se D- p- y

vi-e )ar-you-reu - - se z- -- _a {r

Tru - s r n - _ a e - e c -

clue se - roy bev eu- reu - se [eu - - rev - - se

oy Ues e - roy been eu -- reu -- - se

[me - -- o - - 71 I jui a - m o - re _ _v - - ue - opra

see pa par ___rr__res -

]i- - - Yno- - re la - 358

307

vi- - -e____es- - -t in-

- Suge - -0 0

Ne pensez pas que le dye par fainte, Jar sans cela me tiendray maleureuse, Plaine d'2ennuy, etc.

Sans Dieu no puis venir a mon attainte, Auquel je Tais pryere doloureuse De non me voir en former rigoureuse- Se je demeure a tous jou Rs de noir tainte, Plaine d 7 ennuy, et.

1Extra stanzas of the rondeau taken from Picker, The Chanson Albums of Marguerite of Austria, p.- 383, which is after Brussels M287. .6, 47. Ped- e cz iuse{e 359

-2 8 s [Antoine de Fevi]

Pe - teeC mu - -e- __

Pe - t- te ,e--mu - se te

r I

orm'a -ves m rys a 1l

NJ r-

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tL ca - mu - set - te

y-esy R

vnV- yo Y")a -es y s Ro -

or ?a.-- yes Yys) 360

. et Ma-ri- on

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1o - 6,r, Ri efMa--r

Ro- Drn- M~- ri on

b n et on -- f. _sevon

on -- - -r - - ro is

serf Vont bras a bras

bras n ~bras seEon ras ) -ras sleh vorn bras a bras,

It s'en vort bras a bras) It 5en oSnt 361

E I ( maz, I I 9 9 i -~A ~ IZ s'en sont I

s'er sor-t en - dor - mnys ,

eh - COP - vmys [eh - dor -

r- S,1 40 _t .g

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pe- - te ca - mu - set -te

I _ ts 4L

tmam m - yes mys, a9 la- I

-he 4 la mor Y 'a -- ves..m ys

-4-:,--

mOrt df. -vs mays , 362

~ortr y.-es rmys~,

pe - t-fe ca -mu- -

S- tbe c - - set - te

Ia ______or a - ves ys.

set- - =e a a mort a vsly

;aort yva - ves Sys.

MS shows F dotted br; F br, F sbr emendation after ambridge 1760. 2 MS shows E 2 mmn; E sbr emendation after Cambridge 1760 and- Munich 1516. 48. Fuye re tr-e- z Arithoire Fev n

uy - - yes re - retz.

Fu -- - yes re~ 6e~

u-- yes re - grez a -

avaid de 11o4 s a vacue 'o

a - Vant ue )' n 5'st -- vav - ce [sa - Van -

9Re4 vak clue lDo4 spa - - -vavi- -ce

sa- van - - - ce] e vous brn-nyr car u_____tout

ce De vous ban-hyr card d -out - vo-

vows bah-vnyr [car du +ou+ je vous g~ui -- - - .. 364

je vou S -- car uot e

fet[car d u tout

25 }Cdr d tout e vous a ' -r3

VOUS U + E+ qu; Plus est

~ + - - -{ EStU" esUt P +ussi - vovss

E= s Vi 3 '.s +u-VS t

d es - - p

ou Pus est +ous Le+ vous -aiz] Je de-P - 365

r-77 E

i Puis - qua cm-n _ _e l Lcrest our -

y -

te 4 P is- oe mon deuL

tee Puis-ye mon ce _ __est__our-__ _ _e

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he en li -- ai-ce.

34 - - ne ] -ur - - ' e_____-___-en - - Ce. 49. Amy Juare- VLo 5 366 Anro-. I r

A - wmy I u- rez - vous dovic I I

A - my ;lau - - Irez-vs do ___

r'i A- v-yy L'au - rez

-r-ne_-- - ne

-I- 7T®h

6 r 4-+u a1t a- -- mYy - -

Vou _____F+r - -u - r( 15

vouscoYc _for-{u - - - he l Cel- -

vous o v-+-_____ Cep- - - e

j/--N r 4> V

t- reIC - - 1 ecuoulay chol - 367

b2 I f 4 I I t ------1 -AL i i i .

e L&Yuy Choi - _y 1a _as_ -

zI-- 3

11JH T

Chool - 5y - - m-a M2S es - - se

1 ncLrr r

sy nI as - - +ies - - se [

rs - . TmpS es+ cave

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r rig

ma s -- e- se] Tevps es ve vo - -tre rK- eu

I I ALI---4 i IAd I

vo - -tre ri - gueur Ces - - - -Se

I1r# TTIFL

gueur Ces - se e - yr ces - r-s

- CeS -- - ri- ueuy ces - - - - s e 368

J -35

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l qLzzzjpr. e-0 Car jous - ours 271 I'y trou - - v

""' - -

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t- - - iN i ~ i I T I i ;

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Anon.

wy s o-loy - - e - - er es -

s - -- r +6 ----.------o

b -}re a-Vec m e-- y e a s a - te -

my seo- oy - - a - - er es - ba - tre

- vec nes pe-+ys ee - asse-

t e sins en a -- - re

--- vec mes pe -- - ys

- nant je S_i 5_en_ _ _ _ 370

en is rna- +reA e-vlayt e suis eh a - --

ns- - - fa n s N a s ra - e - n lav t j e s s

t- v ai s 'Tli-e-pat je svgs

- - +re - __ __c____ es _ _ e -

a - ire a - - vece6 mes

la- - y a - - vec res Pe - - - -

y- en - s (a - - -- vecc

pe - - 4ys e- - - fans-

Pys es - - 15Lung sy iy Bret au -- 371

-4 ;-- . 30

rnes pe - - - +ys] e-Pans- bug sy m y

I Luag sy r y bred- au - -- ire ",y

: + 1

tre m'y cry - e .rt

-H- it i 1 II bret J)- -re my cry -e) LI'- u- - tre my c -

- -

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".ie -

cryy- e,1 hg sy ry bet "au- - +re n y Cy-- tt7Lfri 1<~~~b i1"E i f~r 40

i A ' Un Sy S y bret 1aj - - - t+re_ _

r y y 'y Lre t ; - -+e mly

_~. _

BU r y wy bret - re Vau mk y cry - e 372

VIO

cy - - e)ybre u-e ry cry - - - -e.

y y-y y y

Ir., Ci-ye I' 0 y vY be ' - e V -e

sy mly Bret tlv - Tie- m y cry - - - e.

1MS shows A br; emendation by editor. 2 1MS shows A 2 min; emendation by editor. 51. Dieu r de m 3'73 r11193I [Je z MNoL~ort]

Dieu acrdYcde vnz_____dec des - - i veur

4 .e Dieu ard de.

Dieu board Ae de des - hovx - eur ldieu

[de mai] de des - -- - ,1ov -

4p4 4'42-

wt1 de des - Vov - neur [Le ma~ dc

ark de rna e ] es -

":.: '

n Cel - ebue jay loveg fteps ay -

re de5-on -- i ear Ti'.,-...

hon ner, Cel - le ee jay gov 374

-,? 5 r -1

{--- m -J

1 - - e) ce - le ce Jay' 5 eVpS y - re-

IIII --1 ! 1- f i 1 I ,,... Cel - le -ayy lo ______- e- -

-. a

I -. ,

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cel - C c pe jry lteyps -;y - e- F 7 r

E-rr-- i I- ~ f*~ Ei-

[ce - - je cUe ay] ovig -'rev1ps

fr ,

e, ce6 - - e c e Ya y tov..te ps [jly Dot+emps -- 25

-i & -- p,

+@ps -ay- v i e-e 4

314 I i

_:-7

f r,. t

- - i1 - - - - 9'[ eBay ay/-Y

]ay - M6- - __I/ Je1 ay ay-m e de tout

Tv 375

7 77

b_ :

1 - 1 1 i wY1 1

Aout v41O cueur jeu- vesse ___-_-

-J -

NMla 'e.U-nsse est pas- s - 40 []3 (J=J.) __--

Or voye je biev due dest [ol- er) Di - iet---ire [s1 pc-

C- J e Or voye je bien cue cest (Sol-1erIi-ueh- te [sf pe-

->11iOr voye j bien 9ye CeSt [fA- 0 r] t - e (. )2 45 ej I)-r&A-trLipe-

se - - - e Carr ei-e e a _ji+ ev t py2- raAt :

_r - - e car e- le

r - lTnZ

s e - - - el Car el - le a dWt evn pLo - r vv ECare 376

,-1 .a

:2 P .-

C3r e - r1 cdi- et/ plo

ploden #- - ram-+ car e l- -le 1 jL-1--~

11-~'II i T

- e - -Ile &a. - e[B iT 4 55

-- - Vvs a?-mours ov\ 4i - i - -_ es, ra [g -

1 r Sdr p o - ra -.1 1-~ 1I

- r avt_:_ Vou5______a - vnors_

-~~~' $F F 1 i~~- _ _ _ 'I

Y - - -es [ vus a - -- moursonY i -Y - f

\ LVl 5 a-Yr sUrs SoV%+ -i - - e

v LVOUss a- vnour on_ 377

-4 (o 7 ?~C) r2

7 - 4 - es I A vous a- norss t -ne - esvus

- -A

- .. i .{ 3 a ' ?

ve -'es, Vos__ ; - - r nurs sov____1- t n-es [vus.

n n -

vos a- o4US____sowL 2 - i - -es. - -77!

pd s vct ------m 0ors__ es.II/7-" ,- - -

L JI

a -vnorsso - - - ,t i -- -_- -- - es] 378

Despencer i+a fict ion argent, Ia maison d ung tavernier, Payer Jiescot de main c e gent Don't je nlen avoys pas messier,

Chausses de verd ma fyict porter Et soldiers 'a pouhlaine, Et par devant son huys passer Mainctes foys la sepmaine.

1MS shows C dotted sbr; C sbr C mn emendation after Cambridge 1760 and London Harley 5242.

2 HS shows G dotted sbr; G sbr. G mi emendation after Cambridge 1760 and London Harley 5+2. 3 MS shows G dotted sbr; G sbr, G min emendation after Cambridge 1760.

M shows D dotted sbr; D sbr, D min emendation after Cambridge 17600.

Emendations and extra stanzas taken from Gerold. Le M.0 ns d B ay , No. 32, which is after Paris 9>36, f* mvv I . 0 n a a di e 379 4293-94 [An L Sde~ F'f

- c !', ,

I P1 I'

d mval dt_ de ov a- 1, On '/< 2vz___! r

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.;,; -

---.---

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M + rJ

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-vi-

di+ de Yon a___ - VYy~

4a'

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l 'Y

+rs-+eet______r__ ] M

n + j'y le ceur-is- et____ _e - ri______

___i rils -+e e ;,a -,rie yyrA - Mais cuen_ 380

71__ wK _

9 o9---

q -

en is ii -

( U~eV1 o1 --refl

o t I of-f - - re mis s' evi o- if a - 20

- re)] s i e ou _ s ; es i Ou t,st

- T-re)

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. ... -k ' -

. .-

Ou si[et] 6be ou s'4I [est] ad,

K ~i *''

F ' I I I J. ' L L. I Pvus-u'i1 est 1-4 Lou s' est laid 381

, ,

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r ss is

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f i R I S .S . 1

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i P 3 -,u sI4N- Cir % puis-cbJJ est+bien,

--- it- - Z" p - sr 1 puis-qyl es~tbien

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esMb on F -spI - - sirj is-cgu' i }} PU

i 4-i N

1i y, ,..__, t + ..

pUis,{j'aI est b ieLa r mon paai - -- - Sir pUis-'il es+ cbie,1

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- h -. ! ..... ,..N ... -M- ,._.

-L + 4- ,.. L~

Yf() V p i - Sir. i I , i ;

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puts- o est l Nr -c - - -s r.

i ,

: I b7~ -- t-

AA-

- >__ - - - sir pis- {J'es b5ev G vylon _ 382

l yi e ;si, .is j0 1uy, Je ne le voys pas a dGey; luy je veuil coa Ia.L

Je :iy s cr tous auItros choisy, Crje n~e veulx point d&aUlte ~aiy, A oui doit ii despaire? lz son pouriolent 2efie Dieu le veuiLle gar der drinuy.,

iF i.oV101at I o fter .London Harley 5?124.ri EDmendation in first stanza and extra stanzas taken from G-'old, Le aeusWrit ds BayeuxoNo 4sae Paris 9346, ,., 75-is. 3.: rCant nhne on e 383

JP 41 ,g 5 A-non,

- Cn UY)C_____

ID]i - cn V1LVO______o Ljta-

[_____av___ -10 dae - _ _ _

- - - - de

Q- o - do 384

H-n7

; t ;

q~7 P 385

iE1 454

pit- 386

T IT

Ii- 1S - --

- , G __.._ a --.

- . -;j '". t M -5..- ,

c(D5

75_ 1 i - r :1 . T

4L ppu -1

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.. -K,

FfLF rb _ ^I -t 387

r t -~______... ___ __--______Thmih1 a T II .. -

liei n,.., 111111mle

iII_ .a 1_. 1mism 4

mi1iil IIIe I I

e|M||_..

11 lill| 1 1

mman IIII

11 amiaom. I II1

1mil111m CHAPTER IX

INDEX OF COMPOSERS

In the following index composers' names have been ar-

ranged alphabetically, followed by the text incipits of

compositions attributed to each. Text incipits in paren-

theses represent attributions found through collation with

other sources. The symbol "/" separates the two texts of

the only motet-chanson in the manuscript. The Latin text

of this piece is found in the contra.

Composer Text Incipit Number

Agricola, 1 Alexander

Cest mal sarchie ...... "..25

Da pacem Domine ...... 26 Appenzeller, 2 Benedictus

Buuon ma commere ...... 40 (Tout plain dennuy) . . . 30 . Brumel, Antoine

(Vray dieu damour) . - . .345 ....0. Busnois, Antoine

(Fortuna desperata) . . . . .0.0.0.0. . . . . 9

1MS gives Agrico4 .

2MS gives AppeCnjscelders.

388 389

Composer Text Incipit Number

Comp'ere, Loyset

-I ...... 19 (Mais que che fut) . ,

(0 vos omnes) . . , ...... 1

Plaine dennuy / Anima mea liquefacta est . . 46 (Sourdes regretz) ...... 37 Fevin, Antoine de

(Adieu solas tout plaisir) ...... 31 Fuyes regretz ...... 48

(On a mal dit de mon amy) ...... 52

(Petite camusette) ...... 47 Ghiselin,5 Johannes

Jayme bien mon amy ...... 29

Ghizeghem, Hayne van

(Mon souuenir) ...... 18 Lepetit, Nino

(Cest donc par moy ) ...... 43 Mouton, Jean

(Dieu gard de mal) 6...... 51

James naymeray ...... 32

(Je le lairay) .. 0 . 0 ...... 0. 33

3 Bologna Q 17, Florence 178, and Rome C. G. XIII 27 give Petreguin.

St. Gall 463 gives Obrecht.

MN gives the alternate name, Verbonnet.

6Heilbronn X. 2 gives Willaert. 390

Composer Text Incipit Number

Mouton (continued)

(Salve mater Salvatoris) . . . 0 0 0 0 . . . 44

Obrecht, Jacob

(Parce Domine) . . . . .0 . . . 0. . 4

Prez, Josquin des

(En lombre dung buisonnet) 10

(Pauper sum ego) ...... 11

(Quant je vous voye) ...... s . 6

Prioris, Johannes

(Consummo la mia vita) ...... 17

(Dulcis amica dei) ...... 34 Vyzeto, Johannes de

Coment peult avoir joye ...... 0 .0 . .24 Anon.

Adieu mamour du temps passe ...... 7

Amy laurez vous donc fortune ...... 49

Dicant nunc Judaei-. . . . " ." . . 53

Du bon du cueur .-.-......

Erubescat Judaeus Infelix ...... 2

Fors seulement ...... ".42

Helas dame que jayme tant - - . - - -. . ." . 15 Je my soloye aller " -" .50

Je voy je viens ...... 28

Lessies parler ...... 22

000. 0 00 . . . 14 Ma maitresse mamye ...... 391

Composer Text Incipit Number Anon. (continued)

Miserere mihi Domine . . . . 3

Mon mary ma diffamee ...... 13

Nest it pas bien infortune ...... 20

Nostre saison est bien fortunee ...... 21

Peccantem me quotidie ...... 12

Quant je vous voy parmy les rues ...... 35

Que nest it vray ...... 36 Qui est celuy qui dira mal ...... 27

Sancta Maria piarum piissima ...... 39 Si jayme mon amy trop ...... 16

Tristis est anima mea ...... 8

Ut queant laxis ...... 23

Vivo ego dicit Dominus ...... 38 CHAPTER X

INDEX OF TEXT INCIPITS

In the following index the French, Italian, and Latin

text incipits are arranged alphabetically. Names of com-

posers enclosed in parentheses represent attributions made

through collation. The symbol "/" separates the two texts

of the only motet-chanson in the manuscript. The Latin text

of this piece is found in the contra.

Text Incipit Composer Number

Adieu mamour du temps passe Anon. 7

Adieu solas tout plaisir (Antoine de Fevin) 31 Amy laurez vous donc fortune Anon. 49 Buuon ma commere Benedictus Appenzeller' 40 Cest donc par moy (Nino Lepetit) 2 43 Cest mal sarchie Alexander Agricola3 25 Coment peult avoir joye Johannes de Vyzeto 34 Consummo la mia vita (Johannes Prioris) 17 Da pacem Domine Alexander Agricola 3 26

1MS gives Appe n3 scelders.

2 Heilbronn X. 2 gives Willaert.

3 MS gives Agrico''.

392 393

Text Incipit Composer Number

Dicant nunc Judaei Anon. 53 Dieu gard de mal (Jean Mouton) 51 Du bon du cueur Anon. 5 Dulcis amica dei (Johannes Prioris) 34

En lombre dung buisonnet (Josquin des Prez) 10

Erubescat Judaeus Infelix Anon. 2

Fors seulement Anon. 42

Fortuna desperata (Anthoine Busnois) 9 Fuyes regretz Antoine de Fevin 48

Helas dame que jayme tant Anon. 15 Helas pourquoy me suige mariee Anon. 41

James naymeray Jean Mouton 32 Jayme bien mon amy Johannes Ghiselin4 29

Je le lairay (Jean Mouton) 33 Je my soloye aller Anon. 50

Je voy je viens Anon. 28

Lessies parler Anon. 22

Ma maitresse mamye Anon. 14

Mais que che fut (Loyset Comp'ere) 5 19

Miserere mihi Domine Anon. 3 4 MS gives the alternate name, Verbonnet.

5 Bologna Q 17, Florence 178, and Rome C. G. XIII 27 give Petreguin. 394

Text Incipit Composer Number

Mon mary ma diffamee Anon. 13

Mon souuenir (Hayne van Ghizeghem) 18

Nest ii pas bien infortune Anon. 20 Nostre saison est bien fortune e Anon. 21

On a mal dit de mon amy (Antoine de Fe'vin) 52

0 vos omnes (Loyset Compere)6 1

Parce Domine (Jacob Obrecht) 4

Pauper sum ego (Josquin des Prez) 11

Peccantem me quotidie Anon. 12

Petite camusette (Antoine de Fevin) 47 Plaine dennuy / Anima mea liquefacta est Loyset Compere 46

Quant je vous voye (Josquin des Prez) 6 Quant je vous voy parmy les rues Anon. 35 Que nest it vray Anon. 36 Qui est celuy qui dira mal Anon. 27 Salve mater Salvatoris (Jean Mouton) 44 Sancta Maria piarum piissima Anon. 39 Si jayme mon amy trop Anon. 16

Sourdes regretz (Loyset Comp'ere) 37 Tout plain dennuy (Benedictus Appenzeller) 30

St.Gall 463 gives Obrecht. 395

Text Incipit Composer Number

Tristis est anima mea Anon. 8

Ut queant laxis Anon. 23

Vivo ego dicit Dominus Anon. 38 Vray dieu damour (Antoine Brumel) 45 BIBLIOGRAPHY

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396 397

Boer, Coenraad Lodewijk, Chansonvormen op het Einde van de XVde Eeuw: Een Studie naar Aanleiding van Petrucci's 'Harmonice musices Odhecaton,' Amsterdam, H. J. Paris, 1938.

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Bukofzer, Manfred F., Studies in Medieval and Renaissance Music, New York, W. W. Norton & Co., 1950.

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Dupire, Noel, Jean Molinet, la vie, les oeuvres, Paris, E. Droz, 1932. 398

Duyse, Florent van, Het eenstemmig FranschenNederlandsch Wereldlijk Lied, Vol. XLIX of Memoires couronnes et autres memoires publics par l'Academie Royale des Sciences, des Lettres et des Beaux-Arts de Belgique, Brussels, F. Hayez, 1896.

Eitner, Robert, editor, Bibliographie der Musik-Sammelwerke des XVI. und XVII. Jahrhunderts, Berlin, Leo Liep- mannssohn, 1877.

Forkel, Johann Nikolaus, Allgemeine Geschichte der Musik (2 volumes), Leipzig, Im Schwickertschen Verlage, 1788-1801.

Franjon, Marcel, editor, Po'emes de transition (XVe-XVIe siecles), Cambridge, Massachusetts, Harvard University Press, 1938.

Gaillard, J., Chez l'auteur, Vol. I of Bruges et le Franc, ou leur magistrature et leur noblesse, avec des donnees historiques et g/nalogiques sur chague famille (6 volumes),Bruges, rue de la Bride, 1857-1864.

Gaspari, Gaetano, Catalogo della Biblioteca Musicale G. B. Martini di Bologna 4 volumes Bologna, Arnaldo Forni, 1961.

Gilmore, Myron P., The World of Humanism, 14j3-1517, Series, The Rise of Modern Europe, edited by William L. Langer, New York, Harper & Bros., 1952.

Gombosi, Otto, Jacob Obrecht: Eine stilkritische Studie, Leipzig, Breitkopf & H rtel, 1925.

Graduale sacrosanctae Romanae ecclesiae de tempore et de sanctis, Paris, Desclee & Socii, 1957.

Haberl, Franz X., Bibliographischer und thematischer Musik- katalog des pdpstlichen Kapellarchives im Vatikan zu Rom, Leipzig, Breitkopf & Hdrtel, 1888.

Hawkins, Sir John, A General History of the Science and Practice of Music (2 volumes),reprint edition, New York, Dover Publications, Inc., 1963.

Heldt, Elisabeth, Die Liedformen in den 'Chansons du XVe siecle'(Ed. G. Paris), Halle, Ehrhardt Karras, 1916.

Hughes, Dom Anselm and Gerald Abraham, editors, Ars Nova and the Renaissance, 1300-1540, Vol. III of New Oxford History of Music, London, Oxford University Press, 1960. 399

Hughes-Hughes, Augustus, Catalogue of Manuscript Music in the British Museum (3 volumes), London, Printed by the Order of the Trustees of the British Museum, 1906- 1909.

Huizinga, Johan, The Waning of the Middle Ages, Garden City, New York, Doubleday & Co., 1954.

Leichtentritt, Hugo, Geschichte der Motette, Leipzig, Breit- kopf & Hurtel, 1908.

Lesure, Frangois, Musicians and Poets of the French Renais- sance, translated by Elio Gianturco and Hans Rosewald, New York, Merlin Press, 1955.

The Liber Usualis, edited by the Benedictines of Solesmes, Tournai, Desclee & Co., 1938.

Lowinsky, Edward E., Secret Chromatic Art in the Netherlands Motet, translated by Carl Buchman, New York, Columbia University Press, 1946.

, Tonality and Atonality in Sixteenth- Century Music, Los Angeles, University of California Press, 1962.

, "A Treatise on Text Underlay by a German Disciple of Francisco de Salinas," Festscrift Heinrich Besseler zum sechzigsten Geburtstag, Leipzig, Veb Deutscher Verlag ftlr Musik, 1962.

Marix, Jeanne, Histoire de la musigue et des musiciens de la cour de Bourgogne sous le r'egne de Philippe le Bon (1420-1467), Strasbourg, Heitz & Co., 1939.

, editor, Les Musiciens de la cour de Bourgogne au XVe si'ecle (1420-1467), Paris, Louise B.-M. Dyer, 1937.

Merrit, A. Tillman, "A Chanson Sequence by Fevin," Essays on Music in Honor of Archibald Thompson Davison b His Associates, Cambridge, Massachusetts, Department of Music, Harvard University, 1957.

Molinet, Jean, Chronigues de Jean Molinet (1474-1506), edited by Georges Doutrepont andOmer Jodogne (3 volumes), Brussels, Palais des Academies, 1935.

Patterson, Warner F., Three Centuries of French Poetic Theory, Ann Arbor, Michigan, The University of Michigan Press, 1935. 400

Pirro, Andre, Histoire de la musigue de la fin du XIVe siecle 'a la fin du XVIe, Paris, Librairie Renouard, 1940.

Reese, Gustave, Music in the Middle Ages, New York, W. W. Norton & Co., 1940.

, Music in the Renaissance, rev. ed., New York, W. W. Norton & Co., 1959.

Repertoire international des sources musicales: Recueils imprimds XVIe-XVIIe sEcles, Munich-Duisburg, G. Henle Verlag, 1960.

Riemann, Hugo, Das Zeitalter der Renaissance bis 1600, Vol. II, Part I of Handbuch der Musikgeschichte, edited by Hugo Riemann (2 volumes),Leipzig, Breitkopf & Hurtel, 1901-1913.

Roersch, L., "Guido Laurin," Vol. XI of Biographie Nationale de Belgique (28 volumes), Brussels, Emile Bruylant, 1866- 1944.

Sachs, Curt, Rhythm and Tempo, a Study in Music History, New York, W. W. Norton & Co., 1953.

Sartori, Claudio, Bibliografia delle opere musicali stampate da Ottaviano Petrucci, Florence, Biblioteca di Biblio- grafia Italiana, 1948.

Sparks, Edgar, Cantus Firmus in Mass and Motet, 1420-1520, Berkeley, University of California Press, 1963.

Stephan, Wolfgang, "Die burgundisch-niederlundische Motette zur Zeit Ockeghems,t" Heidelberger Studien zur Musik- wissenschaft, edited by Heinrich Besseler, Kassel, B~renreiter-Verlag, 1937.

Tiersot, Julien, Histoire de la chanson populaire en France, Paris, E. Plon, Nourrit et Cie, 1889.

Torrefranco, Fausto, I Segreto del Quattrocento, Milan, Ulrico Hoepli, 1939.

Vander Straeten, Edmond, La Musigue aux Pays-Bas avant le XIXe siecle (8 volumes), Brussels, G.-A. van Trigt, 1867-1888.

Vocht, Henry de, History of the Foundation and the Rise of the Collegium Trilingue Louvaniense, 1517-1550(4 volumes), Louvain, Publications Universitaires de Louvain, 1951-1955. 401

Wolf, Johannes, Tonschriften des Altertums und des Mittelalters Choral-und Mensuralnotation, Vol. I of Handbuch der Nota- tionskunde (2 volumes), Leipzig, Breitkopf & H rtel, 1913.

Articles

Amaury Louys, baron de la Grange, "L'Album de musique du XVfe siecle du musee de Tournai," Annales de la socie'te d'archeologie de Bruxelles, VIII7(189TT,~11-19.

Apel, Willi, "The Partial Signatures in the Sources up to 1450," Acta Musicologica, X (January, 1938), 1-13.

Baird, Margery A., "Changes in the Literary Texts of the Late Fifteenth and Early Sixteenth Centuries, as Shown in the Works of the Chanson Composers of the Pays-Bas Meridionaux," Musica Disciplina, XV (1961), 145-153.

Bartha, Denes von, "Biblographische Notizen zum Repertoire der Handschrift Cambrai 124 (125-128)," Zeitschrift fUr Musikwissenschaft, XIII (August, 1931), 564-56. ~

, "Probleme der Chansongeschichte im 16. Jahrhundert," Zeitschrift fUtr Musikwissenschaft, XIII (August, 1931), 507-530.

Borren, Charles van den, "Inventaire des manuscrits de musique polyphonique qui se trouvent en Belgique," Acta Musi- cologica, V (January, 1933), 66-71; (July, 1933), 120- 127; (October, 1933), 177-183; VI (January, 1934), 23- 29; (April, 1934), 65-73; (July, 1934), 116-121.

Brenet, Michel, "Quelques passages concernant la musique dans les posies de Jehan Molinet," Bulletin de la societe fran aise de musicologie, I (1917), 21-27.

Bridgman, Nanie, "Christian Egenolff, imprimeur de musique," Annales musicologigues moyen-age et renaissance, III (1955), 77-177.

, "Un manuscrit italien du debut de XVIe si cle a la Biblioth'eque Nationale (Department de la Musique, Res. Vm? 676)," Annales musicologigues moyen- ge et renaissance, I (1953), 177-268. 402

Brooks, Catherine V., "Antoine Busnois, Chanson Composer," Journal of the American Musicological Society, VI (Sum- mer, 1953), 111-135.

Brown, Howard M., "The Chanson Rustique: Popular Elements in the Fifteenth- and Sixteenth-Century Chanson," Journal of the American Musicological Society, XII (Spring, 1959),

Bukofzer, Manfred F., "Changing Aspects of Medieval and Renaissance Music," The Musical Quarterly, XLIV (January, 1958), 1-18.

, "An Unknown Chansonnier of the Fifteenth Century (The Mellon Chansonnier)," The Musical Quarterly, XXVIII (January, 1942), 14-49.

Bush, Helen E., "The Laborde Chansonnier," Papers Read _ Members of the American Musicological Society-(1940), pp. 57-79.

Chaillon, Paule, "Le Chansonnier de Frangoise (M.S. Harley 5242, Br. Mus.)," Revue de musicologie, XXXV (1953), 1-22.

Champion, Pierre, "Pieces joyeuses du XVe siecle," Revue de philologie frangaise et de litterature, XXI (1907), 161-196.

Clercx, Suzanne, "Introduction a l'histoire de la musique en Belgique," Revue belge de musicologie, V (1951), 9-22, 114-131.

Doorslaer, Georges van, "La Chapelle musicale de Philippe le Beau," Revue belge d'archeologie et d'histoire de fart, IV (19 3 77, 21-58, 139-166.

Finscher, Ludwig, "Loyset Compere and His Works," Musica Disciplina, XII (1958), 105-143.

Flfgel, Ewald, "Liedersammlungen des XVI. Jahrhunderts, besonders aus der Zeit Heinrich's VIII," Anglia: Zeitschrift ftir englische Philologie, XII (1889), 225- 272.

Fox, Charles W., "Non-Quartal Harmony in the Renaissance," The Musical Quarterly, XXXI (January, 1945), 33-53.

Gottwald, Clytus, "Johannes Ghiselin-Janne Verbonnet: Some Traces of His Life," Musica Disciplina, XV (1961), 105- 111. 403

Heartz, Daniel, "The Basse Dance, Its Evolution circa 1450 to 1550," Annales musicologigues moyen-age et renaissance, VI (1958-1963), 287-340.

Hertzmann, Erich, "Trends in the Development of the Chanson in the Early Sixteenth Century," Papers of the American Musicological Society for 1940 (1946), pp. 5-10.

Hoppin, Richard H., "Partial Signatures and Musica Ficta in Some Early Fifteenth-Century Sources," Journal of the American Musicological Society, VI (Fall, 1953), 197-215.

, "Conflicting Signatures Reviewed," Journal of the American Musicological Society, IX (Summer,1956)7, 97-117.

Kahmann, B., "Antoine de Fevin, a Bio-Bibliographical Contri- bution," Musical Disciplina, IV (1950), 153-162; V (1951), 143-155.

Lowinsky, Edward. E., "The Function of Conflicting Signatures in Early Polyphonic Music," The Musical Quarterly, XXXI (April, 1945), 227-260.

, "The Goddess Fortuna in Music," The Musical Quarterly, XXIX (January, 1943), 47-77.

, "A Newly Discovered Sixteenth-Century Motet Manuscript at the Biblioteca Vallicelliana in Rome," Journal of the American Musicological Society, III (Fall, 195077 173-232.

, "The Medici Codex, a Document of Music, Art, and Politics in the Renaissance," Annales musicologigues moyen-age et renaissance, V (1957), 61-178.

Maniates, Maria Rika, "Mannerist Composition in Franco- Flemish Polyphony," The Musical Quarterly, LII (January, 1966), 17-36.

Marix, Jeanne, "Hayne van Ghizeghem, Musician at the Court of the Fifteenth-Century Burgundian Dukes," The Musical Quarterly, XXVIII (July, 1942), 276-287.

Murray, Bain, "New Light on Jacob Obrecht's Development--a Biographical Study," The Musical Quarterly, XLIII (October, 1957), 500-516.

Osthoff, Helmuth, "Wohlauf, gut G'sell, von hinnen!" Jahrbuch fl.r Volksliedforschung (1951), 128-136. 404

Perle, George, "The Chansons of Antoine Busnois," The Music Review, XI (May, 1950), 89-97.

Picker, Martin, "The Chansons Albums of Marguerite of Austria: MSS 228 and 11239 of the Bibliothique Royale de Belgique, Brussels," Annales musicolo iques moyen-age et renaissance, VI (1958-1963), 145-285. Plamenac, Dragan, "A Reconstruction of the French Chansonnier in the Biblioteca Colombina, Seville," The Musical Quarterly, XXXVII (October, 1951), 501-52; XXXVIII (January, 1952), 85-117; (April, 1952), 245-277.

, "The Second Chansonnier of the Biblioteca Riccardiana (Codex 2356)," Annales musicologigues moyen- ge et renaissance, II (1954), 105-187.

Reese, Gustave, "The First Printed Collection of Part-Music: The Odhecaton," The Musical Quarterly, XX (January, 1934), 39-76.

, "Maldeghem and His Buried Treasure. A Bibliographical Study," Music Library Association Notes, 2nd Series, VI (December, 1948), 75-117.

and Theodore Karp, "Monophony in a Group of Renaissance Chansonniers," Journal of American Musicolog- ical Society, V (Spring, 1952), 4-15.

Rubsamen, Walter, "Music Research in Italian Libraries," Music Library Association Notes, VIII (December, 1950), 70-99.

Sparks, Edgar, "The Motets of Antoine Busnois," Journal of the American Musicological Society, VI (Fall, 1953), 21b-226.

Strunck, Oliver, "Some Motet-Types of the Sixteenth Century," Papers Read at the International Congress of Musicology (1939).

Tiersot, Julien, "Elzear Genet, dit Carpentras et la chanson 'A lombre dung buissonet,'" La Tribune de St. Gervais (1899), 207-214, 236-243.

Wooldridge, H. Ellis, "The Treatment of Words in Polyphonic Music," Musical Antiquary, I (October, 1909), 73-92. 405

Encyclopedia Articles

Borren, Charles van den, "Hayne van Ghizeghem," Die Musik in Geschichte und Gegenwart, edited by Friedrich Blume, Vol. V, Kassel, B renreiter-Verlag, 1956.

"Cadence," Harvard Dictionary of Music, Cambridge, Massachu- setts, Harvard University Press, 1956.

"Maximilian I," Encyclopedia Britannica, Vol. XV, Chicago, Encyclopedia Britannica, Inc., 1963.

Thibault, Genevieve, "Antoine Busnois," Die Musik in Geschichte und Gegenwart, edited by Friedrich Blume, Vol. II, Kassel, Burenreiter-Verlag, 1952.

, "Chanson," Die Musik in Geschichte und Gegenwart, edited by Friedrich Blume, Vol. II, Kassel, Burenreiter-Verlag, 1952.

Manuscripts

Augsburg, Staats-Kreis- und Stadtbibliothek, MS 14 2 a

Basel, Universituts-Bibliothek, MSS F.X.1-4.

Berlin, Kupferstichkabinett, MS 78.B.17 ("Mohan Chansonnier").

Bologna, Civico Museo Bibliografico Musicale, MS Q 16.

Bologna, Civico Museo Bibliografico Musicale, MS Q 17.

Bologna, Civico Museo Bibliografico Musicale, MS Q 18.

Bologna, Civico Museo Bibliografico Musicale, MS Q 19 ("Diane de Poitiers Codex").

Brussels, Biblioth'eque Royale de Belgique, MS IV.90; Tournai, Bibliotheque de la Ville, MS 94.

Brussels, Bibliotheque Royale de Belgique, MS 228 ("Album de Marguerite d'Autriche").

Brussels, Bibliotheque Royale de Belgique, MS 11239 ("Chansons de Marguerite").

Cambrai, Bibliotheque de la Ville, MS 124 (125-128).

Cambridge, Magdalene College, MS Pepys 1760. 406

Copenhagen, Det Kongelige Bibliotek, MS Ny. Kgl. S.2 0 .1848.

Cortona, Biblioteca Comunale, MSS 95-96; Paris, Biblioth'eque Nationale, Nouv. acq. fr. 1817.

Dijon, Biblioth'eque Publique de Dijon, MS 517.

Florence, Biblioteca Nazionale Centrale, MS 11.1.232.

Florence, Biblioteca Nazionale Centrale, M S Magl. XIX.107bis

Florence, Biblioteca Nazionale Centrale, M S Magl. XIX.117.

Florence, Biblioteca Nazionale Centrale, M S Magl. XIX.121.

Florence, Biblioteca Nazionale Centrale, M S Magl. XIX.164-167.

Florence, Biblioteca Nazionale Centrale, MS Magl. XIX.178.

Florence, Biblioteca Nazionale Centrale, MS Banco Rari 229.

Florence, Biblioteca Riccardiana, MS 2356.

Florence, Biblioteca del Conservatorio "L. Cherubini," MS 2439.

Florence, Biblioteca del Conservatorio TL. Cherubini," MS 2442.

Florence, Biblioteca Riccardiana, MS 2794.

Florence, Biblioteca Nazionale Centrale, MS Panciatichi 27.

Heilbronn, Gymnasialbibliothek, MS X.2.

London, British Museum, MS Add. 29381.

London, British Museum, MS Add. 31922.

London, British Museum, MS Harley 5242.

London, British Museum, MS Royal 8.G.VII.

London, British Museum, MS Royal 20.A.XXVI.

Modena, Biblioteca Estense, Cod. cZ.X.I.II.

Montecassino, Archivo della Badia, Cod. 871N.

Munich, Universitgts-Bibliothek, MSS 328-331.

Munich, Bayerische Staatsbibliothek, Mus. MS 1516. 407

Munich, Bayerische Staatsbibliothek, Mus. MS 3154.

New Haven, Connecticut, Yale University, Library of the School of Music, Mellon Chansonnier.

Paris, Bibliotheque Nationale, Fonds fr. 1597.

Paris, Biblioth'eque Nationale, Fonds fr. 1719.

Paris, Bibliotheque Nationale, Fonds fr. 2245.

Paris, Bibliotheque Nationale, Nouv acq. fr. 4379; Seville, Biblioteca Colombina, Cod. 5-1-43. Paris, Bibliotheque Nationale, Fonds fr. 9346.

Paris, Bibliotheque Nationale, Fonds fr. 12744.

Paris, Bibliotheque Nationale, Fonds fr. 15123 ("Pixerecourt Chansonnier").

Paris, Bibliotheque Nationale, Department de Musique, Res. Vm? 676.

Paris, Bibliotheque G. Thibault, Nivelle de la Chaussee Chansonnier.

Perugia, Biblioteca Comunale, Cod. 431.

Regensburg, Proske-Bibliothek, Cod. C 120 ("Codex Pernner").

Rome, Biblioteca Casanatense, Cod. 2856.

Rome, Vatican City, Biblioteca Ap. Vaticana, Cappella Giulia, Cod. XIII.27.

Rome, Vatican City, Biblioteca Ap. Vaticana, Codicetto Vat. lat. 11953.

St. Gall, Stiftsbibliothek, Cod. 461 ("Sicher Liederbuch").

St. Gall, Stiftsbibliothek, Cod. 462 ("Heer Liederbuchr).

St. Gall, Stiftsbibliothek, Cod. 463 ("Tschudi Liederbuch").

St. Gall, Stiftsbibliothek, Cod. 464 ("Tschudi Liederbuch").

Segovia, Catedral, Codex (without number.).

Seville, Biblioteca Colombina, Cod. 7-1-28. 408

Turin, Biblioteca Nazionale, Riserva Musicale 1.27 (MS qm.III.59).

Ulm, Bibliothek des Monsters, MS 237abcd

Verona, Biblioteca Capitolare, Cod. DCCLVII.

Vienna, Nationalbibliothek, Cod. 18746.

Vienna, Nationalbibliothek, Cod. 18810.

Washington, D. C., Library of Congress, MS M.2.I.L25 Case ("Laborde Chansonnier").

Wolfenbttel, Herzog August Bibliothek, Cod. Guelf. 287 extravag.

Zwickau, Ratsschulbibliothek, MS 78.3

Early Printed Collections

Canti B. numero cinquanta B, Venice, Ottaviano Petrucci, 1502.

Canti C. NO cento cinquanta, Venice, Ottaviano Petrucci, 1504.

Chansons a troys, Venice, Andrea Antico, L. A. Giunta, 1520.

La Chasse et le depart d'amours faict et compose par reverend pere en dieu messire Octovien de Sainct Gelaiz evesque d'Angoulesme et par noble homme Blaise d'Auriol bachelier en chascum droit demourant a Thoulouze cum privilegio, Paris, Antoine Verard, 1509.

La Courone et fleur des chansons a troys, Venice, Andrea Antico, 1536.

Harmonice musices Odhecaton A, Venice, Ottaviano Petrucci, 1501.

Le Jardin de plaisance et fleur de rethoricque, Paris, Antoine Verard, n.d. Facsimile edition: I, Reproduc- tion en fac-simile de l'edition publiee par Antoine Vecard vers 1501, Paris, Librairie de Firmin-Didot et Cle, 1910; II, Introduction et notes, edited by Eugenie Droz and Arthur Piaget, Paris, Librairie Edouard Champion, 1925.

ILieder zu 3 & 4 Stimmen], Frankfurt on the Main, Christian Egenolff, n.d. 409

Motetti C, Venice, Ottaviano Petrucci, 1504.

Motetti novi e chanzoni franciose a quatro sopra doi, Venice, Andrea Antico, L. A. Giunta, 1520.

Selectissimae necnon familiarissimae cantiones, ultra centum vario idiomate vocum, tam multiplicium quam etiam paucar. Fugae quoque, et vocantur. Besonder ausserlessner kunstlicher lustiger Gesanng mancherlay Sprachen . . . von acht Stymmen an bis auf Zwo: . . . singen und auf Instrument zubrauchen, Augsburg, Melchoir Kriesstein, 1540.

Tricinia. Tum veterum tum recentiorum in arte musica symphonistarum, latina, germanica, brabantica & allica, ante hac typis nunquam excusa, observato in disponendo tonorum ordine, quo utentibus sint accomodatiora, Wittenberg, Georg Rhau, 1542.

Trium vocum carmina a diversis musicis composita, Nuremberg, Hieronymus Formschneider, 1538.

Variarum linguarum tricinia, a praestantissimis musicis, ad voces fere aeguales composita . . . Tomi secundi, Nuremberg, J. von Berg and U. Neuber, 1560.

Modern Editions

Albrecht, Hans, editor, Georg Rhau Musikdrucke aus Jahren 1538 bis 1549 in praktischer Neuausgabe (7~volumes to date), Kassel, Brenreiter-Verlag, 1955-1964.

Besseler, Heinrich, editor, Altniederldndische Motetten von Johannes Ockeghem, Loyset Compiere und Josquin des Prz, Kassel, Bgrenreiter-Verlag, 1961.

, Capella. Meisterwerke mittelalterlicher Musik, I, Kassel, Burenreiter-Verlag, 1959.

Blume, Friedrich, editor, Josquin des Pres: Missa Da acem, Vol. XX of Das Chorwerk, edited by Friedrich Blume (99 volumes), Wolfenbflttel, Mseler Verlag, 1929-1963.

, Josquin des Pres und andere Meister, Weltliche Lieder zu 3-5 Stimmen, Vol. III of Das Chorwerk, edited by Friedrich Blume (99 volumes), Wolfenbttttel, MNseler Verlag, 1929-1963. 410

Brown, Howard M., Theatrical Chansons of the Fifteenth and Early Sixteenth Centuries, Cambridge, Massachusetts, Harvard University Press, 1963.

Casimiri, Raffaele, Canzoni e mottetti dei secolo XV-XVI, Rome, Edizioni "Psalterium," 1938.

Davison, Archibald T. and Willi Apel, Oriental, Medieval, and Renaissance Music, Vol. I of Historical Anthology of Music, edited by Archibald T. Davison and Willi Apel volumes),rev. ed., Cambridge, Massachusetts, Harvard University Press, 1962.

Droz, Eugenie, Y. Rokseth, and G. Thibault, editors, Trois chansonniers frangais du XVe si'ecle, Paris, Documents artistiques du XVe siecle, 1927.

Gerber, Rudolf, Johannes Martini: Drei geistliche Gesfnge, Vol. XLVI of Das Chorwerk, edited by Friedrich Blume 99 volumes),Wolfenblttel, Mbseler Verlag, 1929-1963.

Gerold, The'odore, editor, Chansons populaires des XVe et XVIe siecles avec leurs melodies, Strasbourg, J. H. E. Heitz, 1913.

, Le Manuscrit de Bayeux: texte et musigue d'un recueil de chansons du XVe siecle, Stras- bourg, Librairie Istra, 1921.

Giesbert, Franz J., editor, Ein altes Spielbuch aus der Zeit um 1500 mit , 4, und 5 Stimmen ffir Blockflbten oder beliebige andere Instrumente: Pergament-Handschrift (Liber Fridolini Sichery) der Stiftsbibliothek zu St. Gallen (2 volumes), Mainz, B. Schott's S5hne, 19~6.

Glarean, Heinrich, Dodecachordon, translation, transcription, and commentary by Clement A. Miller (2 volumes), Rome, American Institute of Musicology, 1965.

Hewitt, Helen, editor, Canti B. numero cinquanta B, Vol. II of Monuments of Renaissance Music, edited by Edward E. Lowinsky (2 volumes to date), Chicago, The University of Chicago Press, 1967. 411

, Harmonice musices Odhecaton A with edition of the literary texts by Isabel Pope, Cambridge, Massachusetts, The Mediaeval Academy of America, 1942.

Issac, Heinrich, Heinrich Issac: Weltliche Werke, edited by Johannes Wolf, Vol. 28 of Denkm ler der Tonkunst in Osterreich, reprint edition, edited by Guido Adler (104 volumes), Graz, Akademische Druck-U. Verlagsanstalt, 1959.

Le Jardin de plaisance et fleur de rethoricque, Vol. I, Reproduction en facsimile d~e l'edition publiee par Antoine Verard vers 1501, edited by Eugenie Droz and Arthur Piaget, Paris, Librairie de Firmin-Didot et Cie, 1910; Vol. II, Droz, Eugenie and Arthur Ijiaget, editors, Introduction et notes, Paris, Librairie Edouard Champion, 1925.

Jeppeson, Knud, editor, Die mehrstimmige italienische Laude um 1500, Leipzig, Breitkopf & Hurtel, 1935.

Josquin des Pres, Werken van Josguin des Pres: Missen, Wereldlijke Werken (53 volumes to date including Motetten), edited by Albert Smijers, Amsterdam, G. Alsbach & Co., 1925-.

Lasso, Orlando di, Orlando di Lasso, Sumtliche Werke, Neue Reihe (4 volumes to date), edited by Wolfgang Boetticher, Kassel, B renreiter-Verlag, 1956-.

Lpelmann, Martin, editor, Die Liederhandschrift des Cardinals de Rohan (XV. Jahrh.) nach der Berliner HS. Hamilton, Gottingen, Printed for Die Gesellschaft ftr romanische Literatur, 1923.

Lowinsky, Edward E., Das Antwerpener Motettenbuch Orlando di Lasso's und seine Beziehungen zum Motettenschaffen der niederl ndischen Zeitgenossen, The Hague, Martinus Nijhoff, 1937.

Maldeghem, Robert-Julien van, editor, Tresor musical: Collec- tion authentigue de musigue sacre __t profane des anciens maTres belges (58 volumes), Brussels, C. Muquardt, 1865- 1893.

Die mittelalterlicher Hymnenmelodien des Abendlandes, Vol. I of Monument monodica medii aevi, edited by Bruno Stblein (2 volumes), Kassel, B renreiter-Verlag, 1956.

Obrecht, Jacob, Werken van Jacob Obrecht: Motetten, Missen (30 volumes including Weltliche Werke), edited by Johannes Wolf, Amsterdam, G. Alsbach & Co., 1908-1921. 412

Palestrina, Giovanni, Le opere complete di Giovanni Pierluigi da Palestrina (24 volumes to date), edited by Raffaele Casimiri, Rome, Edizione Fratelli Scalera, 1939-1958.

Paris, Gaston and Frangois-Auguste Gevaert, editors. Chansons du XVe si'ecle publiees d'apr'es le manuscrit de la Biblio- thbgue Nationale de Paris, Paris, Soet des anciens textes fran9ais, 1935.

Parrish, Carl and John F. Ohl, Masterpieces of Music before 1750, New York, W. W. Norton & Co., 1951.

Picker, Martin, The Chanson Albums of Marguerite of Austria, MSS 228 and 11239 of the Biblioth}egue Royale d~eBel ique, Brussels, Berkeley, University of California Press, 1965.

Rokseth, Yvonne, editor, Treize motets et un prelude pour orgue parus chez Pierre Attaingnant en 1531, Paris, Publications de la Societe Frangaise de musicologie, Librairie E. Droz, 1930.

Schering, Albert, editor, Geschichte der Musik in Beispielen, Leipzig, Breitkopf & Htrtel, 1931.

Seay, Albert, editor, Pierre Attaingnant, Transcriptions of Chansons for Keyboard, Rome, American Institute of Musi- cology, 1961.

, Thirty Chansons for Three and Four Voices from Attaingnant's Collections, New Haven, Connecticut, Yale University Press, 1960.

Smijers, Albert, editor, Treize livres de motets parus chez Pierre Attaingnant en 4 et 1535, Paris, Louise B.-M. Dyer, 1934.

Van Ockeghem tot Sweelinck (7 volumes), Amsterdam, G. Alsbach & Co., 1939-1952.

Weckerlin, Jean B., La Chanson populaire, Paris, Librairie de Firmin-Didot et Cie,71886.

Wolf, Johannes, editor, Music of Earlier Times (13th Century to Bach), Vocal & Instrumental Examples, New York, Broude Bros., 1946. 413

,_25 driestemmige Oud-Nederlandsche Liederen uit het Einde der viftiende Eeuw naar den Codex London British Museum Additional MSS. 35087, Amsterdam, Uitgaven der Vereeniging voor Noord-Nederland. Muziek- geschiedenis, 1910.

Unpublished Materials

L4Archiviste general du Royaume, Archives generales du Royaume, Brussels, letter dated August 24, 1966.

Barret, Edward, "The Dijon Chansonnier: Contents, Forms, Transcriptions," unpublished master's thesis, Department of Music History, Graduate School, University of Louis- ville, Louisville, Kentucky, 1963.

Bethel, Walter L., "The Burgundian Chanson: A Study in Musical Style," unpublished doctoral dissertation, School of Music, University of Pennsylvania, Philadelphia, Pennsylvania, 1950.

Birmingham, Hugh M., "A Transcription into Modern Notation of a Chansonnier (Fonds Frangais 2245) of the Duke of Orleans, with Commentary and Concordance," unpublished master's thesis, School of Music, North Texas State University, Denton, Texas, 1955.

Couch, Reginald L., "A Study of the Secular Music of the Major Composers of the Court of Burgundy in the Fifteenth Century," unpublished master's thesis, School of Music, North Texas State University, Denton, Texas, 1955.

Goldthwaite, Scott, "Rhythmic Patterns and Formal Symmetry in the Fifteenth Century Chanson," unpublished doctoral dissertation, Department of Music, Harvard University, Cambridge, Massachusetts, 1955.

Hewitt, Helen, "'Fors seulement' and the Cantus Firmus Technique of the Fifteenth-Century," unpublished paper read at the annual meeting of the American Musicological Society, Berkeley, California, December, 1960.

Kottick, Edward L., "The French Songs in the Cordiforme Chan- sonnier, Bibliotheque Nationale, MS 1.5.13 (Rothschild 2973)," unpublished master's thesis, Department of Music, Tulane University, New Orleans, Louisiana, 1960.

Lawes, Robert C., "The Seville Cancionero (Biblioteca Colombina, MS 7-1-28): Transcription and Commentary," unpublished 414

doctoral dissertation, School of Music, North Texas State University, Denton, Texas, 1960.

Lee, Barbara, "Giovanni Maria Lanfranco's 'Scintille de Musica' and Its Relation to Sixteenth-Century Music Theory," unpublished doctoral dissertation, School of Music, Cornel University, Ithaca, New York, 1961.

Pattie, T. S., Assistant Keeper, Department of Manuscripts, The British Museum, London, letters dated August 27, 1965, September 14, 1966.

Pease, Edward J., "An Edition of the Pixerecourt Manuscript: Paris, Bibliotheque Nationale, 'fonds fr. 15123,'" unpublished doctoral dissertation, School of Music, Indiana University, Bloomington, Indiana, 1960.

Picker, Martin, "The Chanson Albums of Marguerite of Austria: Manuscripts 228 and 11239 of the Bibliotheque Royale de Belgique, Bruxelles," unpublished doctoral dissertation, School of Music, University of California, Berkeley, California, 1960.

Pugh, Martha Elvira, "An Edition of Some Chansons of Antoine Busnois, Loiset Compere, and Hayne de Ghizeghem," unpublished master's thesis, Department of Romance Lan- guages, University of North Carolina, Chapel Hill, North Carolina, 1950.

Robinet, Rene, Conservateur en Chef, Archives departementales du Nord, Lille, letter dated April 11, 1967.

Shipp, Clifford M., "A Chansonnier of the Dukes of Lorraine: The Paris Manuscript 'fonds fran9ais 1597,'" unpublished doctoral dissertation, School of Music, North Texas State University, Denton, Texas, 1960.