Hostname: page-component-78c5997874-8bhkd Total loading time: 0 Render date: 2024-11-10T07:08:32.785Z Has data issue: false hasContentIssue false
  • English
  • Français

Editing Twelfth-Century Music

Published online by Cambridge University Press:  01 January 2020

John Caldwell
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Review Articles
Information
Journal of the Royal Musical Association , Volume 131 , Issue 1 , 2006 , pp. 151 - 159
Copyright
Copyright © 2006 Royal Musical Association

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 In the Magnus liber edition, introductory matter is given in both French and English, end matter ('apparatus criticus') in English only. In what follows I have not footnoted references to standard literature. The following abbreviations are used below:Google Scholar

MLO Magnus liber organi (edition)Google Scholar

F Florence, Biblioteca Medicea-Laurenziana, MS Plut. 29.1Google Scholar

W1 Wolfenbüttel, Herzog August-Bibliothek, MS Helmstedt 628Google Scholar

W2 Wolfenbüttel, Herzog August-Bibliothek, MS Helmstedt 1099.Google Scholar

2 Otto Schumann, ‘Die jüngere Cambridger Lieder-sammlung’, Studi medievali, new series, 16 (1943–50), 48–85.Google Scholar

3 Cambridge, University Library, MS Ff.1.17 (1).Google Scholar

4 A. Hamilton Thompson, The Abbey of St Mary of the Meadows Leicester (Leicester, 1949), 2.Google Scholar

5 See his Words and Music in the Middle Ages (Cambridge, 1986), esp. pp. 492–504, summarizing the argument of the book as a whole.Google Scholar

6 None has gone as far as Theodore Karp in The Polyphony of Saint Martial and Santiago de Compostela, 2 vols. (Oxford, 1992), whose hypothesis of total metricalization entails too many internal contradictions to be plausible.Google Scholar

7 Even to the extent of reproducing the meaningless repetitions of the interval D–A in the first system. What the scribe seems to have done was to repeat the first note (D) more or less at random across the stave; then, realizing that A should supervene about halfway along, he entered several notes at that pitch (beginning with a D–A ligature) without deleting the Ds that remain.Google Scholar

8 Tischler's transcription (The Earliest Motets, New Haven and London, 1982, i, 15), is in this respect preferable, but it does not restore the missing music of the upper voice.Google Scholar

9 Heinrich Husmann, ‘The Enlargement of the Magnus liber organi and the Paris Churches St Germain l'Auxerrois and Ste Geneviève-du-Mont’, Journal of the American Musicological Society, 16 (1963), 176–203; idem, ‘The Origin and Destination of the Magnus liber organi’, Musical Quarterly, 49 (1963), 311–30.Google Scholar