T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources. O#r )ie4 " the tre$ent is trans" r!ed by ! )in' the !ar'ins int the $enter0 Many $ities e!er'e as pr d#$ers " ?hi'h6art@ p %yph ny0 Fren$h6te2ted !#si$ ab #nds in the "ra'!ents <at %east "i"teen s #r$es !in'%e 5ta%ian and Fren$h repert ries=0 The Fran$ 6 phi%ia " the ne2t $ent#ry has % n' been )ie4 ed as a dis$ ntin#ity 4 ith the past+ b#t it sh #%d i) n 4 be $ nsidered an e2tensi n " tre$ent pra$ti$e0 The spa$e " r sa$red !#si$ in the tre6 $ent a%s in$reases dra!ati$a%%y0 The dissertati n rep rts the dis$ )ery " a ne4 Pad#an "ra'!ent+ a% n' 4 ith a radi$a% reassess!ent " the Pad#an s #r$es0 5t in$%#des A7 trans$ripti ns+ near%y a%% " #np#b%ished 4 r3s pre)i #s%y $ nsidered t "ra'!entary r di""i$#%t t trans$ribe0 T4 e%)e ne4 identi"i6 $ati ns " pie$es are !ade+ in$%#din' ne4 s #r$es " r Esperance, Je voy mon cuer, Fuyés de moy+ and Mass ! )e!ents by En'ard#s+ B a$hara+ and Ci$ nia0 M ine w as a poor harvest, but I spent a w hole day reaping it, as i rom those disiecta membra o the library a message might reach me! Some ragments o parchment had aded, others permitted the glimpse o an image"s shadow , or the ghost o one or more w ords! At times I ound pages w here w hole sentences w ere legible!!! sometimes a hal page had been saved, an incipit w as discernable, a title! I collected every relic I could ind!!!! At the end o my patient reconstruction, I had be ore me a #ind o lesser library, a symbol o the greater, vanished one$ a library made up o ragments, %uotations, un inished sentences, amputated stumps o boo#s! — * MBERTO ECO TH E NAME OF TH E ROSE Contents A$3n 4 %ed'e!ents i2 S #r$es+ si'%a+ and abbre)iati ns 2iii Secondary literature &iii M anuscripts 'and primary sources( &v )everse*inde& o composite manuscripts and o sigla w hich do not begin w ith the name o the city &&&i Trans$ripti n n r!s 222i) 70 REC R5T5NG TH E H 5STOR5CAL TRECENTO 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 7 N ne4 "ra'!ents re$ent%y dis$ )ered in 5ta%ian ar$hi)esD A re"%e$ti n n 4 hat 4 e a%ready ha)e A +uilding on our #now ledge! , hat is already #now n- . Typ % 'y " sty%es+ n tati ns+ and s #r$es ,E /ariety in sacred w or#s0 variety in sacred sources 1. Independence o notation and style 22 +eginning anew $ classi ication o manuscript and ragment types 23 Flyleaves and dismembered manuscripts 41 C #ntin' #r % ssesD the !issin' p %yph ni$ 4 r3s " the tre$ent :: 5opularity and transmission 64 Appendi2 t Chapter 7D s !e pr babi%ity basi$s and deri)ed ! de%s FF ,0 FRAGMENTS 5N PAD* A AND C5G 5DALED M* S5C 5N TC O 5MPORTANT CENTERS OF TH E NORTH EAST 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 HF Pr )enan$eD "indin' n rthern s #r$es HH P %yph ny in tre$ent and ear%y &#attr $ent Pad#a E, Inventory .6 Pad AD O2" rd ,,E+ Pad#a 7:FA+ and Pad#a .H: 77, 7 & ord 11. and its , or#s 889 , or#s in 5adua 843: 829 , or#s in 5adua 694 Pad DD Pad#a .FA+ Pad#a 77-.+ Pad#a 7,,A+ and Pad#a 7,H8 7.: 5adua 8192 86: 5adua 811: 86. 5adua 63: 'and 7 & ord :6( 831 5adua 88;6 8.; Pad#a 7: 7E: Pad#a 777A <Pad B= 7E. )ii Pad#a 7-,F and the S0 Gi#stina Pr (e$t ,-A Bey nd the S0 Gi#stina Pr (e$tD ther s #r$es and an )er)ie4 " !#si$ in Pad#a ,,7 Ci)ida%e and p %yph ny in the Fri#%i ,8- Three Ci)ida%ese s #r$esD Ci)ida%e EH+ .8+ and * dine ,, ,8: Cividale .9 12: < dine 11 1:; Cividale 62 1:4 Cividale A as a w hole 131 Other !an#s$ripts in Ci)ida%e ,F: 80 OTH ER SELECTED MAN* SCR5PT FRAGMENTS 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ,FF G ati$an 7E.E ,FH G ati$an 7F7 ,H: G ati$an 7FE- ,EF R !e 7-.F 8-. Fr sin ne ,.. and ,.F 87E :0 TH E POLYPH ONY OF L5T* RG5CAL MAN* SCR5PTS 0 0 0 0 0 0 0 0 0 0 0 0 0 0 88- N tati n and the idea " repert ryD r 4 as p %yph ny spe$ia%I 887 Separation and continuity betw een polyphonic and monophonic repertories and practices 224 = he special role o rhythm in liturgical polyphony 22: = he rhythm o polyphony and the rhythmici>ation o monophony 24; ? otational adaptation in the trecento 242 Simpli ied or seemingly incomplete rhythmic systems in the trecento 24: = he trecento as a continuation o a tradition$ the history o adding polyphonic music to liturgical and paraliturgical monophony 2:; Italian #now ledge o oreign thirteenth*century polyphony 2:1 5ndi)id#a% %it#r'i$a% !an#s$ripts $ ntainin' !ens#ra% p %yph ny 8AA F% ren$e EEE 8AE Ga#dea!#s !nes and compositions w ith e%ual*note tenors 26: Contrasting polyphonic styles$ G erb#! $ar 292 Par!a 8AEF 8E: Later additi nsD Messina 7. <and "#rther n e&#a%6n te ten rs= 8EE < sing the @Flos iliusA +enedicamus as an e%ual*note tenor 4;; E%ual*note tenors and #eyboard diminutions 4;3 Further on +enedicamus settings ca! 84;;$ )avenna 4:2 48; Re''i E!i%ia :-H :7H A0 MENS* RAL P5ECES 5N OTH ER MAN* SCR5PT TYPES 0 0 0 0 0 0 0 0 0 0 0 0 0 :,E Man#s$ripts 4 ith n ther $ ntents re%atin' t !#si$ :87 /atican 848. 428 )iii /atican 81. 441 5adua 6:6 446 Assisi 893 4:8 P %yph ni$ 4 r3s in !an#s$ripts re%atin' t !#si$ the ry :AA Seville 1: 4:3 Mis$e%%ane #s and #n$%ear re%ati nships :F.