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Inhaltsverzeichnis Vorwort Und Einleitung I. Die Lehre Vom Organum Und Biskant Von Der Musica Enchiriadis Bis Zur Ars Nova Um 13

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Inhaltsverzeichnis Vorwort Und Einleitung I. Die Lehre Vom Organum Und Biskant Von Der Musica Enchiriadis Bis Zur Ars Nova Um 13 Inhaltsverzeichnis Vorwort und Einleitung 11 I. Die Lehre vom Organum und Biskant von der Musica Enchiriadis bis zur Ars nova um 1325 14 Kap. 1: Bas Alte Organum 14 Musica Enchiriadis 14 Scolica Enchiriadis 19 Bamberger Bialog über das Organum, Bialog I 23 Bialog II 25 Kölner Traktat 26 Schlettstädter Traktat 27 Pariser Traktat 27 Guido von Arezzo, Micrologus, Kap. 18 und 19 über das Organum 32 Guglielmo Roffredi, Summa musicae artis /Cap. IX, Be diaphonia7 36 Kap. 2: Bas frühe und spätere Neue Organum 37 Johannes Affligemensis (Cotto), Be musica cum tonario, Kap. 23, Be diaphonia, id est organo 37 Mailänder Traktat Ad Organum faciendum, Prosa­ teil 38 Mailänder Traktat Ad Organum faciendum, Vers- teil 40 Berliner Traktat A (Nebenfassung des Mailänder Traktats Ad Organum facien­ dum) 42 Berliner Traktat B (Nebenfassung des Mailänder Traktats Ad Organum facien­ dum) ^3 Brügger Version des Mailänder Traktats Ad Orga­ num faciendum 45 Organumtraktat von Montpellier 46 Organumtraktat von St. Martial (A. de Lafage- Traktat) 48 Liber Musicae (Londoner oder Schneider-Traktat) 49 Kap. 3: Bie Klangschrittlehre - Traktate der Gruppe A 50 Item de cursu animadvertendum est, Si discantus fuerit cum cantu et cantus remittatur (im Liber musicae, Londoner oder Schneider-Traktat) 52 Incipit titulus artis cuj non deserit vox vene- randus, Tres sunt principales consonantie 53 Omnis homo qui uult bene organi^are primitus debet 54 Incipit regula approbata. uidelicet pro tono possunus reddere semiton(i)um 56 Si cantus ascendit duas uoces, et Organum inci­ pit (Organumtraktat des Pseudo-Guido de Caroli loco) 56 http://d-nb.info/880241004 _ H. _ De concorciis, Si cantus equalis fuerit potes Organum incipere 57 Omnis cantus incipiens est cum suo cantore (Löwener Organumtraktat) 58 De regulis organi, Modo videamus de regulis quibus ars ista regulatur (im Vatikanischen Organumtraktat) 60 Per regulas infrascriptas potest cuilibet cantui: Si cantus ascenderit unam uocem et Organum incipi- at (Anonymi 2a Tractatus de discantu) 61 Qualiscumque cantor uul/£7 incipere Organum oportet ut ~ 62 Si cantus ascendit unam, pason descendat .III. pente (Venezianischer Organumtraktat) 63 De modo organi?andi: Omnis homo qui uult bene organi^are, oportet 64 Sic autem ascendere et descendere debet discan- tus (in der Discantus positio vulgaris) 66 Uidendum est quid sit discantus, Et est scien- dum, quod si cantus ascendit unam uocem 68 uando tenor ascendit et discantor est in octava ?in Nicolaus de Senis, Regule in discantu) 69 Sciendum est, quod in plana musica, uel mensura- bili: Ad unisonum incipiens in dyapason, supra uel in . (Anonymi 2c Tractatus de discantu) 70 Sciendum est quod in plana musica uel mensura- bili, Ad unisonum incipias in dyapason (Quaedam de arte discantandi) 72 Regula prima. Ad unisonum igitur existens in diapason su^ra descende (im Compendium discan­ tus Magistn Pranconis) 75 Quando due note sunt in unisono, et tercia ascendit (De arte discantandi) 77 Quiconaues veut deschanter, il doit Premiers sauvoir (Libellus in gallico de arte discantandi) 79 uicumque bene et secure discantare uoluerit ?Anonymi 3 De cantu mensurabili) 80 Quicumque vult quintare breviter et secure 82 (Fragment) quinta et descendat per vnam vocem erit in .8. 84 Kap. 4: Die Lehre der Traktate der Gruppe B) 84 Johannes de Garlandia, De mensurabili musica, zweites Viertel des 13« Jahrhunderts, Kap. 9 - 13 und nicht authentische Kap» 14 - 16 85 Anonymi 7 De musica libellus, tun 1250 94 Pranco von Köln, Ars cantus mensurabilis, um 1260?, Kap. 11 - 13 96 Anonymi 4 De mensuris et discantu, nach 1272, Kap. 4, Teil 2/3 und Kap. 5 10° - 5 - Magister Lambertus (Pseudo-Aristoteles, Pseu- do-Beda venerabilis), Cuiusdam Aristotelis tractatus de musica, um 1275 105 Anonymus St. Emmeram, 1279, Quoniam prosam artis musicae mensurabilis ab excellentibus in arte musicis compilatam, Kap. II b/c, IV, V a/b, VI Llei Dietricus, Regulae super discantum et ad dis- cernendum ipsas notas discantus, späteres 13. Jahrhundert 128 Walter Odington, Summa de speculatione musicae, gegen Ende des 13* Jahrhunderts, Teil VI, Kap. 11 - 18 129 Johannes de Grocheo, Be musica bzw. Be arte musica, um 1300 132 Biscantus positio vulgaris, nach 1223 135 Compendium discantus Magistri Franconis, Primo vero notandum XIII esse species consonantiarum et dissonantiarum musice 137 Anonymi 2a Tractatus de discantu, Sequitur de organo, Quid est Organum? 138 Anonymi 2b Tractatus de discantu, Sequitur de discantu 141 Vatikanischer Organumtraktat, Einleitung 142 II. Die Biskant- und Kontrapunktlehre seit der Ars nova um 1325 144 A. Lehren des zweistimmigen Biskants und Kontrapunkts 145 Kap. 1: Marchettus de Padua Lucidarium in arte musicae planae, Mischtext zwischen Sta­ dium II der Konsonanzenklassifikation und Contrapunctus sowie Lehren mit sechs griechisch bezeichneten Konsonanzen 150 Marchettus de Padua, Lucidarium in arte mu­ sicae planae, Traktat II, Kap. 6 und 8, Traktat V, Kap. 6 und 7, Traktat VII, Kap. 2 150 Species autem musicales trifario modo de- scribuntur 154 Petrus dictus Palma ociosa, Compendium de discantu mensurabili, 1336 154 Quilibet affectans scire contrapunctum ea diligenter scribat (Ars contrapuncti secun- dum Johannem de Muris)(Fassungen Florenz und Faenza) 163 Sex sunt species discantus scilicet uniso- nus semiditonus, 1431 165 Sex sunt species discantus per quas omnis /3is7cantus planus (Theodonus de Caprio, Següle contrapuncti, 1431; Johannis de Mu­ ris Quaestiones super partes musicae)(Be discantu et consonantiis, Fassung Rom) 165 - 6 - Sex sunt species discantus per quas omnis /3is7cantus planus (Johannes de Muris Quae- itiönes super partes musicae, De discantu et consonantiis)(Fassung St. Paul, Kärnten) 166 Notandum est quod nos possumus per unam vel duas 167 Sex sunt species principales sive concor- dantiae discantus 168 Quartum principale, secunda distinctio, Kap. 11 - 49 (in Auswahl)(Anonymi I De musica an- tiqua et nova, De discantu, Quatuor princi- palia musicae per Simonem Tunstede), 1351 168 Kap. 2: Lehren mit sieben griechisch bezeichneten Konsonanzen 189 Septem sunt consonantie per quas omnis melo- dia componitur (Anonymi XI Tractatus de mu­ sica plana et mensurabili) 189 Volentibus introduci in arte(m) contrapuncti id est nota (Ars contrapunctus secundum Phi- lippum de Vitriaco)(Fassung Einsiedeln fol. 46-50, Florenz und Rom) 189 Kap. 3s Lehren mit sieben lateinisch bezeichneten Konsonanzen 192 Quot sunt species discantus, Tredecim ut pa- tet (Ars discantus secundum Johannem de Muris) 192 Cum notum sit omnibus cantoribus mensurabilem artem musicam (Ars contrapuncti secundum Jo­ hannem de Muris)(Passungen Florenz und Paenza) 193 Sciendum est quod contrapunctus est fundamen- tum biscanti (Nicolai Capuani Compendium mu- sicale; Philipoctus de Caserta, Regulae con­ trapuncti) (Fassungen Rom und Sevilla) 195 Septem sunt species consonantiarum in biscan- tu (Ars perfecta in musica Magistri Philippo- ti de Vitriaco) 199 Notandum est quod Septem sunt species in contrapuncto 200 Item diu lo mestre nos altres avere VII species de contrapunt 200 Notandum quod Septem sunt species discantus quibus bene discantans (Henrici de Zelandia Tractatus de cantu perfecto et imperfecto) 201 Primo nota quod Septem sunt consonancie in contrapuncto 201 Septem sunt concordantie in discantu videli- cet unisonus 202 Septem sunt species discantus secundum moder- nos videlicet (Magister Johannes Torkesey) 202 Kap. 4: Sonderfälle von Lehren mit sieben lateinisch bezeichneten Konsonanzen 203 Et nota quod Septem sunt species concordan- tiarum videlicet (Philippi de Vitriaco Li­ ber musicalium) 203 - 7 - Post octavam quintam si notae tendunt in altum, 1391 (Magistri Phillipoti Andreae de contrapuncto quaedam regule utiles) 206 Kap. 5= Lehren mit neun lateinisch bezeichneten Kon­ sonanzen und ein Traktat mit Sonderstellung 207 Nota quod contrapunctus est fundamentum bis- cantus et sicut 207 Ad sciendum artem discantus primo est scien­ dum quod sunt Septem (Ars discantus secundum Johannem de Muris) 208 Volentibus introduci in arte(m) contrapuncti id est nota (Johannis de Garlandia optima introductio in contrapunctum pro rudibus) (Fassung Einsiedeln fol. 45 - 45') 209 En l'art de contrapunct tenim Villi (sie!) species 211 Pro notitia contrapunctus habenda primo sci­ endum est (Secuntur regule contrapunctus per supradictum magistrum facte siue ordinate vt sequitur /S Johannes Pipudi7) 211 Volentibus introduci in arte(m) contrapuncti id est nota (Fassung Pisa) 214 Et primo de contrapuncto piano pro cuius in- tellectu (Anonymi XI Tractatus de musica plana et mensurabili) 218 Theodonus de Caprio, Regule contrapuncti, 1431 221 Fragment Sa, . quarta quod tenore ascen- dente contrapunctans uel discantans (Magistri Marchetti de Padua Brevis compilatio in arte musicae mensuratae) 222 Volens igitur multos et diversos compescere ad fruetum 223 Est autem unisonus quando duae voces manent in uno (Anonymi 5 De discantu) 224 Kap. 6: Lehren mit Einbeziehung der Diminution sowie der Sight und des Contratenors 227 Antonius de Leno, Regulae de contrapunto 227 Unaquaeque nota uniuseuiusque tenoris tenta- bit octavam 231 Tractatus de musica figurata et de contra­ puncto ab anonymo auetore 234 Kap. 7: Lehren mit acht Konsonanzen mit und ohne Einklang 236 Lyonel Power, This Tretis is contrivid vpon the Gamme for hem 236 Species musicae generales sunt tredeeim quae habent 243 Item sciendum est quod octo sunt concordan- tiae videlicet 244 Quoniam ut ait ille venerabilis doctor Ambro­ sius 245 - 8 - Kap. 8s Lehre mit elf Konsonanzen 245 Quot sunt
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