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Download PDF: Corrigan-Thesis.Pdf The Music Manuscript 2216 in the Bologna University library: The copying and context of a fifteenth-century choirbook. A thesis submitted to The University of Manchester for the degree of PhD in the Faculty of Humanities 2011 Ralph Patrick Corrigan School of Arts, Histories and Cultures Contents List of Tables ................................................................................................... 4 List of abbreviations ......................................................................................... 6 Abstract ........................................................................................................... 8 Declaration ...................................................................................................... 9 Copyright Statement ........................................................................................ 9 Acknowledgements........................................................................................ 10 Prefatory remarks .......................................................................................... 12 Viva, viva San Marcho glorioso ..................................................................... 14 Part 1: The making of BU ............................................................................... 22 Chapter 1: BU: History, literature and inventories .......................................... 22 The Martini inventory .................................................................................. 23 BU in ‘modern’ literature ............................................................................. 26 Chapter 2: The manuscript’s construction ..................................................... 65 An overview of the manuscript ................................................................... 65 Watermarks ................................................................................................ 72 The scribes of BU ....................................................................................... 81 Chapter 3: The Copying of BU ....................................................................... 86 The original plan ......................................................................................... 88 Fascicle manuscript compilation and the Reson fascicle ........................... 91 Defining the additional works .................................................................... 103 Besseler’s additional works ...................................................................... 108 Further works that fit Besseler and Gallo’s criteria for being additional works ................................................................................................................. 118 Other ‘additional’ works (Besseler’s stage iii supplemental works) ........... 121 Chapter 4: The copying layers of BU ........................................................... 125 Gatherings I-V .......................................................................................... 125 Gathering VI ............................................................................................. 134 The remaining additional works ................................................................ 139 Other features of the copying ................................................................... 140 Gathering VIIa-c ....................................................................................... 141 Chapter 5: Notational use in the manuscript ................................................ 153 Void notation ............................................................................................ 153 2 Dragme ..................................................................................................... 160 Semibreves with oblique stems ................................................................ 168 Chapter 6: The provenance of BU ............................................................... 174 The date of BU’s compilation .................................................................... 174 The location of copying ............................................................................ 181 Part II: The transmission of music into BU ................................................. 188 Chapter 7: The scribe as editor ................................................................... 189 Works with alternative voices in other sources ......................................... 189 A performing manuscript? ........................................................................ 197 The Reson Mass ...................................................................................... 202 Texted lower voices .................................................................................. 209 Fermata .................................................................................................... 211 Chapter 8: The concordances ..................................................................... 214 The relationship between BU, Ox & Q15 .................................................. 215 The works of Arnold de Lantins ................................................................ 219 O pulcherrima mulierum ........................................................................... 220 Tota pulchra es ......................................................................................... 227 Chapter 9: Arnold de Lantins – Missa Verbum incarnatum .......................... 230 A cyclic Mass? .......................................................................................... 230 Transmission through the sources ........................................................... 242 Conclusions ................................................................................................. 263 Bibliography ................................................................................................. 266 Final word count: 73,355. 3 List of Tables Table 1: Manuscripts concordant with BU ......................................................... 31 Table 2: Inventory of BU ................................................................................... 35 Table 3: Gathering structure ............................................................................. 61 Table 4: Copying layers in BU......................................................................... 148 Table 5: Use of semibreves with oblique stems in BU .................................... 169 Table 6: Two voice works unique to BU .......................................................... 197 Table 7: Works concordant with Ox and Q15.................................................. 217 Table 8: The differences between the concordant versions of O pulcherrima mulierum ......................................................................................................... 223 Table 9: Differences between the concordant versions of Tota pulchra es ..... 227 Table 10: Musical differences found between BU and Q15/Ox in the Gloria .. 260 List of examples Ex. 1: Viva, viva San Marcho glorioso ............................................................... 15 Ex. 2: Laudamus te from the Contratenor of the Gloria by Nicolaus da Capoa, p. 17 lines 1-2, showing the double ruling of the rastrum. ..................................... 67 Ex. 3: Watermark-A, GalloBU ii, Figura I .......................................................... 73 Ex. 4: Watermark-B, GalloBU ii, Figuara II ....................................................... 74 Ex. 5: Briquet watermark 14871. ...................................................................... 75 Ex. 6: Piccard watermarks 65942 (left) and 66314 .......................................... 77 Ex. 7: Additional attributions to Do Vala compared to those of the main scribe .......................................................................................................................... 84 Ex. 8: Agnus dei from the Reson mass with Ave verum corpus copied below . 95 Ex. 9: Reson's Salve regina , p. 80. .................................................................. 98 Ex. 10: P. 7. The Tenor residuum of the Gloria (marked with a hand) is copied immediately below the Contratenor allowing space for the Kyrie to be copied. ........................................................................................................................ 106 Ex. 11: Gloria , p. 27. The Tenor residuum (bottom) prevents the insertion of any further music. ........................................................................................... 107 Ex. 12: Changes of style in the main hand ..................................................... 126 Ex. 14: Reson Salve regina , corresponding passage from Q15..................... 154 Ex. 13: Reson’s Salve regina p. 80, line 3. The sequential passage under the proportion sign is in void notation. Following this are two further examples of void notation as standard coloration. .............................................................. 154 Ex. 15: In natali domini, p. 114 lines 7-8 (Cantus). Note the void divisi passage at the end of line 8. ......................................................................................... 156 Ex. 16: Ave preciosa gemma, p. 41 lines 9-10 (Tenor). Note the void divisi additions near the beginning of line 10. .......................................................... 156 Ex. 17: Zacar Gloria , p. 8. Note the void divisi passages in lines 2, 3-4, and 5. The void passage at the end appears to be a later addition. .........................
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