WHERE SIGHT MEETS SOUND
The Poetics of Late-Medieval
Music Writing
Emily Zazulia
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Library of Congress Cataloging-in-Publication Data
Names: Zazulia, Emily, author.
Title: Where sight meets sound : the poetics of late-medieval music writing / Emily Zazulia. Description: New York : Oxford University Press, 2021. | Series: AMS studies in music series | Includes bibliographical references and index. Identifiers: LCCN 2021012729 | ISBN 9780197551912 (hardback) | ISBN 9780197551936 (epub)
Subjects: LCSH: Musical notation—History—To 1400. | Musical notation—History—15th century. Classification: LCC ML174 .Z39 2021 | DDC 780.14809/02—dc23 LC record available at https://lccn.loc.gov/2021012729
DOI: 10.1093/oso/9780197551912.001.0001
1 3 5 7 9 8 6 4 2
Printed by Integrated Books International, United States of America
For Max
I.1 Josquin, Missa L’homme armé super voces musicales, Agnus Dei III, superius (Cappella Sistina 197, fol. 10v) 2
I.2 Josquin, Missa L’homme armé super voces musicales, Agnus Dei III, superius (Misse Josquin I, superius partbook, fol. 5v) 2
1.1 Vitry, Colla/Bona, tenor 25
a. Trémoille, fol. 1v
b. As it might have been written in the mid-fifteenth century (minimal intervention)
c. As it might have been written in the mid-fifteenth century (significant intervention)
1.2 Egidius de Pusieux (attr.), Portio nature/Ida capillorum, tenor as it probably appeared in Trémoille 25
1.3 Vitry, Cum statua/Hugo, tenor 26
a. As it probably appeared in Trémoille
b. As it might have been written in the mid-fifteenth century
1.4 Amer/Durement, tenor 27
a. As it probably appeared in Trémoille
b. As it might have been written in the fifteenth century
1.5 Clausula on “In odorem” (F, fol. 45r) 31
1.6 Encontre le tens/Mens fidem/IN ODOREM, tenor (La Clayette, fol. 385v)
1.7 A dieu commant/Por moi deduire/Et non dieu/OMNES (Montpellier, fols. 36v–37r)
1.8 Pour renvoisier/Mulier omnis/OMNES, tenor (La Clayette, fol. 380r)
1.9 On parole/A Paris/Frese nouvele (Montpellier, fols. 368v–369r)
1.10 Machaut, Qui/Ha! Fortune (Motet 8), tenor
a. Trémoille, surviving fol. 3r
b. Machaut A, fol. 422r
1.11 Lés l’ormel/Main se leva/Je ne chaindrai, tenor 39
a. Ivrea, fol. 22r
b. Cambrai 1328, fol. 3r
1.12 Machaut, Martyrum/Diligenter (Motet 19), tenor (Machaut E, fol. 144r)
1.13 “Nusmido” clausula (F, fol. 150v) 41
1.14 Machaut, Ma fin est mon commencement (Machaut E, fol. 136r) 42
1.15 Vitry, O canenda/Rex, tenor (Ivrea, fol. 55r) 47
2.1 Egidius de Pusieux (attr.), Portio nature/Ida capillorum, tenor (Ivrea, fol. 6v) 62
2.2 Durations of the Portio/Ida tenor talea in its four mensural dispositions 63
2.3 Alpha vibrans/Coetus venit/Amicum querit, tenor (Chantilly, fol. 64v) 72
2.4 Ciconia, Petrum Marcello/O Petre, tenor (Bologna Q15, fol. 277v) 74
2.5 Sarto (attr.), Romanorum rex, tenor (Aosta, fol. 269v) 75
2.6 Anonymous V, Example from Ars cantus mensurabilis mensurata modo iuris (Plut. 29.48, fol. 82r) 77
2.7 Tenor repetitions of Portio/Ida as presented in Strohm, The Rise of European Music (40–41) 79
3.1 Du Fay, Salve flos Tuscae, tenors (Modena B, fol. 68r) 84
3.2 Du Fay, Nuper rosarum flores, tenors (Modena B, fol. 71r–v) 85
3.3 Proportions of Santa Maria del Fiore according to Warren 86
3.4 Reconstruction of Solomon’s Temple with measurements referred to by Wright 87
3.5 Dimensions of Santa Maria del Fiore according to Trachtenberg 88
3.6 Structure of Nuper rosarum flores, from Warren, “Brunelleschi’s Dome,” 96 91
3.7 Table 1 from Wright, “Dufay’s Nuper rosarum flores,” 398 93
3.8 Four upper-voice sections superimposed over the unchanging tenors 94
3.9 The proportional consequences of minim equivalence versus breve equivalence in Nuper rosarum flores 97
4.1 Okeghem, Missa Cuiusvis toni, Kyrie, superius opening 116
4.2 Eloy d’Amerval, Missa Dixerunt discipuli, Crucifixus, tenor, annotated 118
4.3 Mensural values in the Missa Dixerunt discipuli, Crucifixus, tenor, first statement 119
4.4 Inter densas, tenor (Chantilly, fols. 68v–69r) 122
4.5 Alanus, Sub Arturo/Fons/In omnem, tenor (Chantilly, fol. 71r) 125
4.6 Alanus, Sub Arturo/Fons/In omnem, tenor (Bologna Q15, fol. 255r) 125
4.7 Okeghem, Prenez sur moy, incipit (Copenhagen, fol. 39v) 133
4.8 De Orto, Missa L’homme armé, Sanctus, tenor (Cappella Sistina 64, fol. 9v) 135
5.1 Du Fay, Missa Se la face ay pale, all tenor statements (after Cappella Sistina 14, fols. 27v–38r) 137
5.2 Du Fay, Se la face ay pale, tenor (Oxford 213, fols. 53v–54r) 138
5.3 Tinctoris, Tractatus de notis et pausis, I.xv.ex1–2
141
5.4 Hayne, Allez regretz, beginning of the tenor (Paris 2245, fol. 18r) 144
5.5 Compère, Missa Allez regretz, Et in terra, beginning of the tenor (after Jena 3, fol. 76v) 144
5.6 Compère, Missa Allez regretz, Et in terra, beginning of the tenor, hypothetical resolution into C 144
5.7 Josquin’s version of the L’homme armé melody (Cappella Sistina 197, fol. 6v) 156
5.8 Josquin, Missa L’homme armé super voces musicales, Kyrie I, superius–tenor mensuration canon 159
5.9 Josquin, Missa L’homme armé super voces musicales, Agnus Dei III (Cappella Sistina 197, fols. 10v–11r) 166
6.1 Josquin (attr.), Missa Di dadi, Crucifixus, tenor (Missarum Josquin III, tenor partbook, fol. 7r) 194
6.2 Missa Gross senen, Qui tollis, tenor (Trent 89, fol. 30r) 195
6.3 Missa Gross senen, cantus-firmus segments (Trent 89, fol. 28r) 199
6.4 The relationship between ç and C in the Missa Gross senen 205
7.1 Josquin, Missa Malheur me bat, Agnus Dei I, tenor (Missarum Josquin II, tenor partbook, fol. 6r) 209
7.2 Josquin, Missa Malheur me bat, tenor, indicating omitted notes 210
7.3 Obrecht, Missa L’homme armé, Credo, tenor (Vienna 11883, fol. 56v) 214
7.4 Busnoys, Missa L’homme armé, Kyrie, tenor (Cappella Sistina 14, fol. 106v) 218
7.5 Obrecht, Missa L’homme armé, Kyrie, tenor (Vienna 11883, fol. 52v) 218
7.6 Retrograde in Obrecht’s Missa L’homme armé, Agnus Dei
7.7 Obrecht, Missa L’homme armé, Agnus Dei I, written and sung versions of the tenor
7.8 Busnoys’s and Obrecht’s axes of inversion 224
7.9 Missa L’ardant desir, reconstructed tenor archetype 225
7.10 The interpretation of ligatures undergoing graphic transformations 227
Musical Examples
A note about musical examples: With the exception of example 3.1, the examples in this book have been drawn directly from original sources. I have rendered these examples according to two different paradigms depending on their function in the text. I use modern editorial conventions for the examples in chapters 3–5, where the focus is counterpoint and cantus-firmus treatment. But in chapter 6, which focuses on the particulars of notation, I retain the original figures of mensural notation, though aligned in score and barred according to the breve of the prevailing mensuration. Vertical alignment clarifies notational devices, such as alteration and perfection, which do not exist in modern notation, and demonstrates how note types of different voices relate to one another in the presence of conflicting mensurations, augmentation, or diminution.
Example 3.1 Du Fay, Nuper rosarum flores, tenor [primus], as transcribed in Du Fay, Opera omnia, vo1. 1, CMM 1, ed. Heinrich Besseler 96
Example 4.1 Barbingant/Okeghem, Au travail suis (mm. 1–5) 130
Example 4.2 Okeghem, Missa Au travail suis, Kyrie I 130
Example 5.1 Du Fay, Missa Se la face ay pale, Crucifixus (mm. 82–118) 150
Example 5.2 Du Fay, Missa Se la face ay pale, Confiteor (mm. 237–76) 152
Example 5.3 Josquin, Missa L’homme armé super voces musicales, Christe (mm. 19–40) 161
Example 5.4 Hypothetical mensuration canon beginning with one semibreve rest 163
Example 5.5 Hypothetical mensuration canon beginning with one breve rest 163
Example 6.1 De Domarto, Missa Spiritus almus, Et in terra (mm. 57–68) 177
Example 6.2 Du Fay, Missa Se la face ay pale, Kyrie (mm. 1–7) 181
Example 6.3 Tinctoris, Proportionale musices, example 32 182
Example 6.4 Obrecht, Missa Je ne demande, Qui tollis (mm. 91–103) 186
Example 6.5 Vincenet, Missa Entrepris suis, Et in terra (mm. 18–28) 189
Example 6.6 Martini, Missa La martinella, Sanctus (mm. 13–18) 192
Example 6.7 Missa Nos amis, beginning of the Qui tollis 203
1.1 The visual presentation of repeated tenor material in motets and mass movements, ca. 1300–1400
1.2 The visual presentation of tenors subject to diminution in motets and mass movements, ca. 1300–1425 45
3.1 Mensural usage in Du Fay’s motet tenors
4.1 Mensuration of each cantus-firmus statement in Eloy d’Amerval, Missa Dixerunt discipuli
4.2 Inter densas, mensural disposition of each cantus-firmus statement
5.1 Mensuration and cantus-firmus treatment in Josquin’s Missa L’homme armé super voces musicales
6.1 Mensuration and cantus-firmus treatment in Heyns’s Missa Quelque paine
6.2 Mensuration and cantus-firmus treatment in the Missa Gross senen
6.3 Mensural vs. proportional augmentation in the Missa Gross senen
7.1 Mensuration and cantus-firmus treatment in Busnoys’s Missa
7.2 Mensuration and cantus-firmus treatment in Obrecht’s Missa L’homme armé
7.3 Mensuration and cantus-firmus treatment in the Missa L’ardant desir
ACKNOWLEDGMENTS
Over this book’s long road to completion, many friends and colleagues have given liberally of their time, skills, and expertise. It would be impossible to give a tidy account for all the debts I have accrued, but I hope to repay them in time.
Without a bit of serendipity, this book would not exist. Sean Gallagher took a chance on an undergraduate with a vague interest in old music. He is responsible for my enduring fascination with the mensural system. Jesse Rodin has read more words I have written than anyone else, and has also made more of them better. He has helped me refine my thinking on every aspect of latemedieval music, and is always ready with a pheasant, a o2 joke, and new ideas for a Belgian travel agency. The other members of the early music corps, Anna Zayaruznaya, Evan MacCarthy, Michael Scott Cuthbert, Carolann Buff, and Thomas Forrest Kelly, taught me the value of long hours spent in the library and how much more enjoyable those hours are when passed in good company. Also: how to most efficiently use a microfilm reader.
Early music attracts particularly generous scholars. I have benefitted—well beyond the confines of this book—from conversations with colleagues and friends, including Jane Alden, Margaret Bent, Jaap van Benthem, Anna Maria Busse Berger, Bonnie Blackburn, Clare Bokulich, David Burn, Karen Cook, Julie Cumming, Sean Curran, Jeffrey Dean, Ruth DeFord, Karen Desmond, Daniel DiCenso, Fabrice Fitch, Richard Freedman, Barbara Haggh-Huglo, Elina Hamilton, Jared Hartt, Andrew Hicks, Kenneth Kreitner, Lori Kruckenberg, Karl Kügle, Elizabeth Eva Leach, the late Alejandro Enrique Planchart, Jamie Reuland, Joshua Rifkin, David Rothenberg, Jennifer Saltzstein, Katelijne Schiltz, Jason Stoessel, Anne Stone, and Rob Wegman. I particularly thank Jeffrey Dean for graciously allowing me use of his elegant mensuration font for the musical symbols in this book. I also thank Claire Healy, Andrew Hicks, Leofranc Holford-Strevens, and Duncan MacRae for sharing their Latin expertise.
Nobody makes it through graduate school without a supportive cohort, but I feel especially lucky to have shared my time at the University of Pennsylvania with such incredible individuals. Fortune must have been smiling when she gave me Emma Dillon as an advisor. Emma’s mentorship went beyond important lessons in musicology and medieval studies to include guidance on the
messy human side of becoming a scholar, sustainably, and with a warm heart. Lawrence Bernstein has been a model for combining exacting scholarship with a fundamental decency and generosity. Kevin Brownlee’s inexhaustible enthusiasm remains a lodestar. For enduring insights—and indelible memories—I thank Emily Dolan, Jeffrey Kallberg, Anna Grau Schmidt, Lauren Jennings, Claire Taylor Jones, Ian MacMillen, Elizabeth Mellon, Dayna Mondelli, Peter Mondelli,Thomas Patteson, and Gavin Steingo. Deirdre Loughridge and Roger Mathew Grant have continued their generosity by reading and commenting on portions of this book. Suzanne Bratt expertly indexed it.
Getting my feet under me, with this project and post-graduate life more generally, was made infinitely smoother by a warm welcome from colleagues and students at the University of Pittsburgh, especially Deane Root, James Cassaro, Rachel Mundy, Anna Nisnevich, Adriana Helbig, Andrew Weintraub, Jennifer Waldron, and Renate Blumenfeld-Kosinski. Christopher Nygren has remained a trusted comrade in Renaissance studies.
As soon as I arrived at Berkeley, I was embraced by an inspiring, invigorating community of scholars. I could not wish for better colleagues. All have left their mark on this book in one way or another. If I have assimilated even a fraction of James Davies’s refusal to take the easy way out, Nicholas Mathew’s ability to keep the stakes of our work front of mind, or Mary Ann Smart’s talent for challenging received wisdom, I am the better for it. In addition to incredible erudition, Delia Casadei and Maria Sonevytsky have offered cherished friendship and necessary escapes. On walks by the Bay, Richard Taruskin shared his perspective on the history of the field. Conversations with Benjamin Brinner, Edmund Campion, Cindy Cox, Jocelyne Guilbault, Lester Hu, David Milnes, Davitt Moroney, John Roberts, Ken Ueno, Bonnie Wade, and Gavin Williams have pushed my thinking forward. I am also grateful for the brilliant students, past and present, who have acted as incisive interlocutors, particularly James Apgar, Susan Bay, Melanie Gudesblatt, Alessandra Jones, Margaret Jones, Gabrielle Lochard, Kirsten Paige, Kim Sauberlich, Parkorn Wangpaiboonkit, Rosie Ward, and Martyna Włodarczyk. Special thanks to Virginia Georgallas for casting her discerning eyes on the proofs. Maureen Miller invited me to share Chapter 2 as part of the program in medieval studies colloquium.The Townsend Faculty working group headed by Timothy Hampton graciously read the introduction. I thank Rachel Stern for her advice, equanimity, and good humor.
Librarians are the unsung heroes that have made this project possible. Any early music we know is thanks to the efforts of generations of librarians and archivists. I am particularly indebted to my “home” librarians, Kathryn Bosi, James Cassaro, Richard Griscom, and John Shepard. I also thank the staffs of the many libraries who have made materials available to me for this project, including the Biblioteca del Seminario Maggiore in Aosta, the Museo Internazionale e Biblioteca della Musica di Bologna, Le Labo in Cambrai, the
Bibliothèque et Archives du Château de Chantilly, the Danish Royal Library, the Biblioteca Laurenziana, the Biblioteca Capitolare of Ivrea, the Biblioteca Estense, the Bibliothèque Interuniversitaire of Montpellier, Oxford’s Bodleian Library, the Bibliothèque nationale de France, the Castello del Buonconsiglio, the Vatican Library, the Österreichische Nationalbibliothek, and the Herzog August Bibliothek.
Everyone should be so lucky to have a publication team as efficient and professional as I have had at Oxford University Press. I particularly thank Norm Hirschy, Sean Decker, Suzanne Ryan Melamed, Sindhuja Vijayabaskaran, the AMS publications committee, and above all my series editor W. Anthony Sheppard. Bonnie Blackburn both reviewed the manuscript and copyedited it, which, given her expertise, was a rare blessing. Deeply thoughtful comments from the other two reviewers helped hone every part of this study.
Normal demands on one’s time make it difficult to push a project forward. Fellowships from the National Endowment for the Humanities and the American Council of Learned Societies gave me necessary time for research and writing. Special acknowledgment is due to Susan McClary and Robert Walser, whose generosity in establishing an ACLS fellowship in music studies will benefit scholars for years to come. A subvention from the Renaissance Society of America allowed this book to be so richly illustrated. A fellowship from the Hellman Foundation supported the recording of two anonymous masses: the Missa Gross senen and Missa L’ardant desir (forthcoming with Musique en Wallonie). It was so gratifying to work with the members of Cut Circle (Sonja DuToit Tengblad, Jonas Budris, Bradford Gleim, Paul Max Tipton, and Jesse Rodin) to bring this music to life.
Zoom is no substitute for real life, but it has allowed my Berkeley “writing jail” compatriots to continue to gather. Danika Cooper, Julia Fawcett, Joshua Gang, Andrew Leong, Duncan MacRae, and Kristin Primus have been the best companions for celebrations and commiserations alike, and have truly seen this book through its final stages. Farther afield, I am lucky that my oldest friend in musicology is also one of the best: Emily Richmond Pollock continues to share her wisdom on every topic that matters—and happily some that don’t. And closer to home, I gratefully acknowledge those whose care for my children made this work possible, particularly Dorothy Rios, Sainey Kah Dieye, Gemma Goodyear, and Tina and Reagan Tierney. For years my in-laws, Ann and Steve Merkow, have strategically timed their visits to allow me to travel, and have always been ready with encouragement when ever we are together.
My family—biological, by marriage, and chosen—feels especially important in this moment marked by the pandemic that has forced us apart. I can’t wait to hug you all and thank you in person. Now that I have my own children, I recognize anew just how patient, loving, and supportive my own mother has been, encouraging my study of whatever interested me for as long as I can remember.
I don’t know what my dad would have thought of this book, but I thought of him often while writing it. My sons Owen and Galen have only ever known a mother who was deep in work on this project. Owen is excited that mom’s book has so many pictures, though he is dismayed at the paucity of sharks. Galen still hopes to sink his teeth into a board book edition.This leaves me only to thank the hardest-working person I know and the biggest believer in this work and in me: my husband Max, to whom this book is dedicated.
Sigla of Manuscripts
and Early Printed Music
MANUSCRIPTS
All Souls 56 Oxford, All Souls College, MS 56 binding strips
Aosta Aosta, Biblioteca del Seminario Maggiore, MS 15 (olim A1, D19)
Apt 16bis Apt, Cathedrale Sainte-Anne, Bibliotheque du chapitre, Tresor MS 16bis
Arras 983 Arras, Bibliothèque municipale, MS 983 (olim 766)
Barcelona 454 Barcelona, Biblioteca Nacional de Catalunya/ Biblioteca Central, MS 454
Barcelona 853 Barcelona, Biblioteca Nacional de Catalunya/ Biblioteca Central, MS 853
Barcelona 971 Barcelona, Biblioteca Nacional de Catalunya/ Biblioteca Central, MS 971 (olim 946)
Basel F.IX.25 Basel, Universitätsbibliothek, MS F. IX.25 (I–IV; 1–3)
Berkeley Castle55 Berkeley, Castle Archives, Select Roll 55
Berlin 40021 Berlin, Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, MS Mus. 40021 (olim Z 21)
Berlin 40091 Berlin, Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, MS Mus. 40091
Berlin 40634 Berlin, Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, MS Mus. 40634 (now at Kraków, Biblioteka Jagiellońska)
Bern 421 Bern, Burgerbibliothek, Cod. A. 421
Bologna A.XXIX Bologna, Archivio Musicale di S Petronio, MS A.XXIX
Bologna Q15 Bologna, Museo Internazionale e Biblioteca della Musica di Bologna, MS Q15 (olim 37)
Bologna Q16 Bologna, Museo Internazionale e Biblioteca della Musica di Bologna, MS Q16 (olim 109)
Bologna 31
British Lib. 1210
British Lib. 41667
Brussels 5170
Brussels 5557
Brussels 9126
Brussels IV.922
Brussels rotulus
Bologna, Archivio Musicale della Fabbriceria di San Petronio, MS A.XXXI (olim D)
London, British Library, MS Sloane 1210
London, British Library, Additional MS 41667 I (McVeagh)
Brussels, Algemeen Rijksarchief/Archives générales du Royaume, Archief Sint-Goedele 5170
Brussels, KBR (Koninklijke Bibliotheek/ Bibliothèque Royale), MS 5557
Brussels, KBR (Koninklijke Bibliotheek/ Bibliothèque Royale), MS 9126
Brussels, KBR (Koninklijke Bibliotheek/ Bibliothèque Royale), MS IV.922 (Occo Codex)
Brussels, KBR (Koninklijke Bibliotheek/ Bibliothèque Royale), MS 19606
Buxheim Munich, Bayerische Staatsbibliothek, Mus. MS 3725 (Buxheimer Orgelbuch)
Cambrai 4
Cambrai 18
Cambrai 165
Cambrai 647
Cambrai 1328
Cambridge Nn.6.46
Cappella Sistina 14
Cappella Sistina 16
Cappella Sistina 35
Cappella Sistina 36
Cappella Sistina 41
Cappella Sistina 49
Cappella Sistina 51
Cambrai, Le Labo (olim Bibliothèque municipale), MS 4
Cambrai, Le Labo (olim Bibliothèque municipale), MS 18 (20)
Cambrai, Le Labo (olim Bibliothèque municipale), MS Inc. B 165
Cambrai, Le Labo (olim Bibliothèque municipale), MS C 647
Cambrai, Le Labo (olim Bibliothèque municipale), MS B 1328 (olim 1176)
Cambridge, University Library, MS Nn.6.46
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 14
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 16
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 35
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 36
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 41
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 49
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 51
Cappella Sistina 63
Cappella Sistina 64
Cappella Sistina 160
Cappella Sistina 197
CGC 512/543
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 63
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 64
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 160
Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 197
Cambridge, Gonville and Caius College, MS 512/543
Chantilly Chantilly, Bibliothèque et Archives du Château de Chantilly, MS 564 (olim 1047)
Chigi Vatican City, Biblioteca Apostolica Vaticana, MS Chigi C VIII 234 (Chigi Codex)
Christ Church D. 6
Cividale LIX
Oxford, Christ Church Library, MS. D. D. Ch. Ch. c. 34/D. 6
Cividale del Friuli, Museo Archeologicao Nazionale, Cod. LIX
Copenhagen Copenhagen, Det Kongelige Bibliotek, MS Thott 291 8o (Copenhagen Chansonnier)
Cortona 1 Cortona, Archivio Storico del Comune, Fragment without shelfmark [fragment 1]
Dijon Dijon, Bibliothèque municipale, MS 517 (Dijon Chansonnier)
Douai
Douai, Bibliothèque Marceline DesbordesValmore, MS 1105/3 fragment 74.4
Dresden 1/D/505 Dresden, Sächsische Landesbibliothek, MS Mus. 1/D/505 (Annaberger Chorbuch I)
Dresden 1/D/506 Dresden, Sächsische Landesbibliothek, MS Mus. 1/D/506 (Annaberger Chorbuch II)
Durham Durham, Cathedral Library, MS C.I.20
Escorial A
Escorial B
Escorial, Real Monasterio de San Lorenzo del Escorial, Biblioteca y Archivo de Música, MS V.III.24
Escorial, Real Monasterio del Escorial, Biblioteca y Archivo de Música, MS IV.a.24
F Florence, Biblioteca Medicea Laurenziana, MS Pluteus 29.1
Fauvel Paris, Bibliothèque nationale de France, fonds français 146 (Roman de Fauvel)
Fitzwilliam Cambridge, Fitzwilliam Museum, MS 47-1980
Florence 178 Florence, Biblioteca Nazionale Centrale, MS Magliabechi XIX.178
Fountains
Fribourg
London, British Library, Additional MS 40011B
Fribourg, Bibliothèque Cantonale et Universitaire, Z260
Ivrea Ivrea, Biblioteca Capitolare, MS 115
Glogauer Kraków, Biblioteka Jagiellońska, Berlin MS Mus. 40098 (Glogauer Liederbuch)
Jena 2
Jena 3
Jena 22
Jena 31
Jena 32
La Clayette
Leiden 342a
Leiden 2515
Leipzig 51
Leipzig 223
Leipzig 431
London Arch. 24
London Arch. 2/261
Lucca 238
Machaut A
Machaut B
Machaut C
Machaut E
Machaut F–G
Machaut Vg
Mechelen
Jena, Universitätsbibliothek, MS 2
Jena, Universitätsbibliothek, MS 3
Jena, Universitätsbibliothek, MS 22
Jena, Universitätsbibliothek, MS 31
Jena, Universitätsbibliothek, MS 32
Paris, Bibliothèque nationale de France, nouvelles acquisitions françaises 13521
Leiden, Bibliotheek der Rijksuniversiteit, Fragment L.T.K. 342a
Leiden, Bibliotheek der Rijksuniversiteit, Fragment B.P.L 2515(1)
Leipzig, Universitätsbibliothek, MS Thomaskirche 51 (1–2) (olim III.A. α 22–23)
Leipzig, Universitätsbibliothek, Fragm. lat. 223
Leipzig, Universitätsbibliothek, Fragm. lat. 431
London, The National Archives (formerly: Public Records Office), MS E 163/ 22/1/24
London, The National Archives (formerly: Public Records Office), LR 2/261
Lucca, Archivio di Stato, Biblioteca
Manoscritti, MS 238
Paris, Bibliothèque nationale de France, fonds français 1584
Paris, Bibliothèque nationale de France, fonds français 1585
Paris, Bibliothèque nationale de France, fonds français 1586
Paris, Bibliothèque nationale de France, fonds français 9221
Paris, Bibliothèque nationale de France, fonds français 22545–6
Kansas City, Private collection of James E. and Elizabeth J. Ferrell
Mechelen, Stadsarchief van Mechelen, s.s.
Milan 2267
Modena A
Modena B
Modena M.1.13
Modena M.1.2
Modena IV
Modena X
Montpellier
Montserrat 766
Montserrat 773
Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione Musicale, MS 2267 (Librone 3)
Modena, Biblioteca Estense e Universitaria, MS α.M.5.24 (Lat. 568; olim IV.D.5; ModA)
Modena, Biblioteca Estense, MS α.X.1.11 (Lat. 471; olim VI.H.15; ModB)
Modena, Biblioteca Estense, MS α.M.1.13
Modena, Biblioteca Estense, MS α.M.1.2 (Lat. 457)
Modena, Duomo, Biblioteca e Archivio Capitolare, MS Mus. IV
Modena, Duomo, Biblioteca e Archivio Capitolare, MS Mus. X
Montpellier, Bibliothèque interuniversitaire, Section de médecine, H. 196
Montserrat, Biblioteca de Montserrat, MS 766
Montserrat, Biblioteca de Montserrat, MS 773
Munich C Munich, Bayerische Staatsbibliothek, Mus. MS C
Munich 510 Munich, Bayerische Staatsbibliothek, Mus. MS 510
Munich 3154
Munich 5362
Naples VI.E.40
New College 362
Newberry
Nivelle
Norwich T6
Nuremberg 9
Old Hall
Oxford 7
Oxford 112
Oxford 143
Oxford 213
Oxford 271
Oxford 594
Ox Hatton 81
Padua C
Paris 571
Munich, Bayerische Staatsbibliothek, Mus. MS 3154 (Chorbuch des Nikolaus Leopold)
Munich, Bayerische Staatsbibliothek, Clm. 5362, Kasten D IV and [31]
Naples, Biblioteca Nazionale Vittorio
Emanuele III, MS VI E 40
Oxford, New College Library, MS 362
Chicago, Newberry Library, MS 54.1
Paris, Bibliothèque nationale de France, Rés.
Vmc. MS 57 (Chansonnier Nivelle de la Chaussée)
Norwich, Cathedral Library, T6
Nuremberg, Stadtbibliothek, fragment lat. 9
London, British Library, Additional MS 57950
Oxford, Bodleian Library, MS e Mus 7
Oxford, Bodleian Library, MS Canon. class. lat. 112
Oxford, Bodleian Library, MS Mus. d. 143
Oxford, Bodleian Library, MS Canon. misc. 213
Oxford, Bodleian Library, MS Bodl. 271
Oxford, Bodleian Library, MS Laud Misc. 594
Oxford, Bodleian Library, MS Hatton 81
Padua, Biblioteca Universitaria, 658
Paris, Bibliothèque nationale de France, fonds français 571
