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Apéndice - Principales Manuscritos Musicales Medievales

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Apéndice - Principales Manuscritos Musicales Medievales Rafael Fernández de Larrinoa [email protected] APÉNDICE - PRINCIPALES MANUSCRITOS MUSICALES MEDIEVALES POLIFONÍA PRIMITIVA (Tratados con ejemplos musicales) Bamberg, SB, Msc. Var. l Musica enchiriadis y Scholia enchiriadis (ca. 900). Originarios de Reims. Primera descripción de (alt HJ IV 20). la polifonía en movimiento paralelo. Con ejemplos en notación dasiana. Varios manuscritos. Micrologus , de Guido d’Arezzo (ca. 1030). Uno de los tratados musicales más influyentes y más difundidos de la Edad Media, se conserva en más de 70 manuscritos de entre los siglos XI al XV. Primera descripción del movimiento contrario para (junto con el oblicuo) cerrar las frases del organum . Con ejemplos musicales. http://www.music.indiana.edu/tml/9th-11th/GUIMIC_TEXT.html Milán, BA, M. 17 sup. Ad organum faciendum [tratado de organum de Milán] (ca. 1100). Descripción de cómo componer organa en estilo discanto. Se emplea casi exclusivamente el movimiento contrario salvo en los finales de frase, en el que se utiliza también el paralelo y el oblicuo. Con ejemplos en notación alfabética. http://www.music.indiana.edu/tml/9th-11th/ADORFA_TEXT.html http://www.musicologie.org/Biographies/a/ad_organum.html http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=926 Roma, BAV, Ottoboni lat. Ars organi [tratado de organum vaticano] (ca. 1170 -1180). Método para la composición de 3025 organa floridos. Con ejemplos en notación diastemática. http://www.music.indiana.edu/tml/12th/ARSORG_TEXT.html POLIFONÍA PRIMITIVA (Repertorios musicales) Cambridge, CCC, MS 473 ca. 1000. Contiene 150 organa a 2 voces que exhiben principalmente movimiento paralelo, (Tropario de Winchester) reservándose el contrario y el oblicuo para los finales de frase. La notación es no diastemática, con lo cual no es posible una trascripción completamente veraz. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=208 Chartres, Bibliothéque Contiene 5 Aleluyas polifónicos, con exhibición de movimiento contrario y un mayor uso de las i Rafael Fernández de Larrinoa [email protected] Municipale 4, 109 y 130 terceras. La notación es no diastemática, pero es posible realizar transcripciones veraces partiendo de fuentes diastemáticas para el CF y reconstruyendo la voz organal según la reglas del discanto. Fueron destruidos en 1944 cuando la abadía fue bombardeada por aviones estadounidenses al final de la II Guerra Mundial. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=664 Cambridge, UL, Ff.i.17 s.XII Contiene tropos y conductus a 2 voces y u no a 3 voces en el estilo de Saint Martial de Limoges. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=334 Paris, BN, Latin 1139 ca. 1200 . 9 manuscritos agrupados en 4 códices. Contienen lo que se ha dado en llamar la Paris, BN, Latin 3719 polifonía de la Escuela de Saint Martial de Limoges. Fueron recopilados por Bernard Itier (bibliotecario de la abadía durante el siglo XIII), de modo que no son realmente representativos Paris, BN, Latin 3549 de una tradición originada en la misma abadía, sino de unos usos que pudieron extenderse por London, BL, Additional el sur de Francia y el norte de Italia y España (ruta jacobea). 36881 http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=898 http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=901 http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=900 http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=919 Santiago de Compostela – ca. 1140 -60. De origen si mi lar a los manuscritos de Saint M artial de Limoges, contiene un rico Biblioteca de la Catedral repertorio de himnos, conductus polifónicos y tropos del Benedicamus Domino polifónicos. (Codex Calixtinus) Incluye el conductus a 3 voces Congaudeant Catholici , la primera obra polifónica a 3 voces de la música occidental conservada. http://www.nd.edu/~medvllib/musnot/calix.html ESCUELA DE NOTRE-DAME (Magnus Liber Organi) http://www.goldbergweb.com/es/magazine/essays/2003/09/16245_print.php Wolfenbüttel HAB, 677 ca. 1240 -1245. De origen escocés (monasterio de St. Andrew). Contiene organa a 2, 3 y 4 (olim Helmstad 628) (W1) voces, conductus a 2 y 3 voces y tropos de la misa monódicos y polifónicos. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=870 Wolfenbüttel HAB 1099 ca. 1250 -1260. De origen parisino. Importante fuente de motetes. (olim Helmsatd 1206) (W2) http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=854 Florence, ML, Pl uteus 29.1 ca. 1245 -1255. De origen parisino. El manuscrito más completo de entre los 4 principales que (Notre-Dame F) contienen el repertorio de la Escuela de Notre-Dame. Contiene organa, conductus, motetes, y piezas de otros repertorios monódicos. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=924 Madrid, BN, 20486 (Ma) ca. 1260. De origen probablemente español, este manuscrito permaneci ó en Toledo hasta el siglo XIX. Es la fuente que contiene menos fragmentos de Notre Dame, pero contiene algunas piezas únicas, especialmente conductus y motetes. Inclute tambien las 3 piezas a 4 voces del repertorio, los quadrupla Sederunt Principes y Viderunt omnes de Perotin y la cláusula Mors . Contiene obras que también aparecen en el manuscrito de Las Huelgas. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=879 MONODIA LATINA Cambridge, UL, Gg.5.35 ca. 1050 Contiene canciones en latín de los siglos X y XI de origen alemán, francés e italiano. (Carmina Cantabrigiensia) Munich, BS, Clm 4660 ca. 1230 Colección de más de 2 40 poemas en varios idiomas (principalmente latín y alemán) (Carmina Burana) con notación musical neumática (no diastemática). http://www.athenapub.com/14carmina.htm TROVADORES Paris, BN, Francés 20050 ca. 1240. Manuscrito con 352 canciones sin atribución, principalmente de repertorio trovero (en (Trovador X -Trovero U – francés) pero que incluye 21 melodías de trovadores, de las cuales sólo son únicas 5. Chansonnier St.-Germain- Constituye, con los 3 manuscritos que enumeramos después, una de las 4 únicas fuentes que des-Prés) tenemos de melodías de trovadores. Paris, BN, Francés 844 ca. 1280 -1300. Manuscrito con repertorio trovero y trovador en notación franconiana (4 28 (Trovador W - Trovero M - composiciones incluyendo motetes a 2 y 3 voces) que incluye 51 melodías trovadorescas, de Chansonnier du Roi) las que son únicas 32. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=890 Milán, BA, S.P.4 olim R71 ca. 1300. Manuscrito con repertorio trovador exclusivamente. Contiene 81 melodías, de las ii Rafael Fernández de Larrinoa [email protected] sup (Trovador G) cuales 39 son únicas. Paris, BN, Francés 22543 ca. 1300. El manuscrito trovador más importante, no sólo por la cantidad de melodías que (Trovador R – conserva, sino porque es el que abarca un repertorio más amplio, tanto cronológicamente Chansonnier d’Urfe) (incluye melodías de los trovadores más antiguos) como geográficamente. Contiene 160 melodías trovadorescas, de las cuales 119 son únicas. TROVEROS Paris, BN, Francés 844 ca. 1280 -1300. Manuscrito con repertorio trovero (428 composiciones incluyendo motetes a 2 y (Trovador W - Trovero M - 3 voces). Incluye un apéndice, el Chansonnier du Roy, que contiene 11 danzas monódicas Chansonnier du Roi) instrumentales. http://www.diamm.ac.uk/apps/Source.jsp?navToggle=2&sourceKey=890 Paris, BN, Francés 25566 ca.1280 Contiene la obra completa conservada de Adam de la Halle, incluyendo 16 rondeaux (Ha – Adam de la Halle – polifónicos y 5 motetes. Manuscrito La Valliere) http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=896 París, BN, Francés 12615 ca. 1300. Contiene 481 canciones de troveros, y un fascículo dedicado a polifonía profana, con (Trovero N - Chansonnier motetes y rondeaux a 2, 3 y 4 voces. Contiene la obra completa de Adam de la Halle salvo una Noailles) canción. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=893 Otros manuscrit os Paris, BN, Francés 20050 (u), ca. 1250. troveros Londres, BL, Egerton 274, ca.1260. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=916 Paris, BN, Francés 24406 (v), ca.1266. Paris, BA, 5198, ca.1270. Arras, BM 657 (Chansonnier d'Arras), ca. 1278. Paris, BN, Francés 845, ca.1280. Paris, BN, Francés 847, ca.1280. Paris, BN, Francés 1050 (x), ca.1280. (Manuscrito Clairmbault) Paris, BN, Francés 12615 (T), ca.1280. http://www.diamm.ac.uk/apps/Source.jsp?navToggle=2&sourceKey=893 Paris, BN, Francés 846, ca.1290. (Chansonnier Cangé), http://www.diamm.ac.uk/apps/Source.jsp?navToggle=2&sourceKey=891 Paris, BN, Francés 765, ca.1300. Paris, BN, Francés 1591 (RSR), ca.1300. Roma, BAV, Reg.1490, ca. 1300. Siena, BC, H.X.36, ca.1300. Berna, SB, 231, ca. 1300. París, BN, Francés 1109, ca.1310. Paris, BN, Francés 22543 (PCR) Rome, BAV, Reg.1725 (u) Milán, BA, R71 sup. Oxford, BL, Douce 308 MINNESÄNGER Códices con música. Jena, UB, E1.f.101 (Manuscrito de Jena), ca.1350, contiene 91 melod ías de Minnesänger. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=1221 Munich, SB, Cod. germ. monac. 4997 (manuscrito de Kolmar), s.XV, contiene 109 melodías de Minnesänger. http://cgi-host.uni-marburg.de/%7Emrep/beschreibung.php?id=5342 Viena, ONB, 2701 (Manuscrito de Viena), ca.1340-1360, contiene canciones de Frauenlob y Reinmar von Zweter. http://cgi-host.uni-marburg.de/%7Emrep/beschreibung.php?id=7032 Viena, ONB, 2856 (Manuscrito Mondsee), ca.1400, contiene 57 canciones más 12 Meisterlieder. http://puffin.cch.kcl.ac.uk:8080/diamm/Source.jsp?navToggle=1&sourceKey=843 Donaueschingen, FF, 120, s.XV, contiene 21 melodías.
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