Mnemotechnics and Notre dame polyphony

Journal of Musicology

Volumn 14, Issue 3, 1996, Pages 263-297

  Maria, Anna ^a   Berger, Busse ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 63149126792     PISSN: 02779269     EISSN: None     Source Type: Journal    
DOI: 10.1525/jm.1996.14.3.03a00020     Document Type: Article

References (83)

1. The Singer of Tales (Cambridge, Mass., 1960)
2. The Art of Memory (London, 1966)
3. The Book of Memory (Cambridge, 1990)
4. See in particular Leo Treitler, "Homer and Gregory: The Transmission of Epic Poetry and Plainchant," The Musical Quarterly LX (1974), 333-72
5. "Oral, Written, and Literate Process in the Transmission of Medieval Music," Speculum LVI (1981), 471-91
6. "The Early History of Music Writing in the West," Journal of the American Musicological Society XXXV (1982), 237-79
7. and Helmut Hucke, "Towards a New Historical View of Gregorian Chant," Journal of the American Musicological Society XXXIII (1980), 437-67
8. For a notable exception involving an attempt to distinguish between oral and written elements in Aquitanian polyphony, see James Grier, "Scribal Practices in the Aquitanian Versaria of the Twelfth Century: Towards a Typology of Error and Variant," Journal of the American Musicological Society XLV (1992), 373-427
9. Imogene Horsley, "Improvisation," The New Grove Dictionary of Music and Musicians IX (1980), 32-33
10. E. T. Ferand, Die Improvisation in der Musik (Zürich, 1938)
11. See Craig Wright, Music and Ceremony at Notre Dame of Paris, 500-1550 (Cambridge, 1989), 281-88
12. "Zur Geschichte von Notre Dame," Acta musicologica IV (1932), 6-14
13. See also Craig Wright, Music and Ceremony at Notre Dame, App. A and Edward Roesner, ed., Le Magnus Liber Organi de Notre Dame de Paris, vol. 1, Les Quadrupla et Tripla de Paris (Monaco, 1994), lxiii
14. Mark Everist, "From Paris to St. Andrews: The Origins of W1," Journal of the American Musicological Society XLIII (1990), 1-42
15. Rebecca A. Baltzer, "Thirteenth-Century Illuminated Miniatures and the Date of the Florence Manuscript," Journal of the American Musicological Society XXV (1972), 1-18
16. Edward H. Roesner, "The Origins of W1," Journal of the American Musicological Society XXIX (1976), 337-80
17. Rebecca A. Baltzer, "Notre Dame Manuscripts and Their Owners: Lost and Found," Journal of Musicology V (1987), 380-99
18. See Wright, Music and Ceremony, 333-34
19. See especially Edward Roesner, "The Problem of Chronology in the Transmission of Organum Duplum," in Music in Medieval and Early Modern Europe, ed. Iain Fenlon (Cambridge, 1981), 398
20. For an excellent summary of these problems see Ruth Finnegan, Oral Poetry (Cambridge, 1977), 52-86
21. See Ritva Jacobsson, Leo Treitler, "Sketching Liturgical Archetypes: Hodie surrexit leo fortis," in De musica et cantu, Studien zur Geschichte der Kirchenmusik und der Oper, Helmut Hucke zum 60. Geburtstag, eds. Peter Cahn and Ann-Katrin Heimer (Hildesheim, 1993), 192
22. Edward H. Roesner, "The problem of chronology in the transmission of or-ganum duplum," 382-83
23. See also Rudolf Flotzinger, Der Discantussatz im Magnus Liber und seiner Nachfolge mit Beiträgen zur Frage der sogenannten Notre-Dame-Handschriften (Wien, 1969)
24. See Jeremy Yudkin, "The Copula According to Johannes de Garlandia," Musica disciplina XXXIV (1980), 67
25. See in particular Fritz Reckow, Der Musiktraktat des Anonymus 4, II, Beihefte zum Archiv für Musikwissenschaft, 4-5 (Wiesbaden, 1967), 45
26. "Johannes de Garlandia on organum in speciali," Early Music History II (1982), 129-60
27. For dating see Janet Knapp, "Polyphony at Notre Dame of Paris," in The New Oxford History of Music, 567
28. trans. Janet Knapp in "Two Thirteenth-Century Treatises on Modal Rhythm and the Discant," Journal of Music Theory VI (1962), 200-15
29. Amerus, Practica artis musicae (1271), ed. Cesarino Ruini, Corpus scriptorum de musica, 25 (Rome, 1977)
30. trans. by Jeremy Yudkin, The Music Treatise of Anonymous IV: A New Translation, Musicological Studies and Documents, 61 (Neuhausen-Stuttgart, 1985)
31. trans. Oliver Strunk in Source Readings in Music History (New York, 1950), 139-59
32. Anonymous VII, De musica libellus (postdates Franco), ed. E. de Coussemaker, Scriptorum de musica medii aevi nova series, I, 378-83
33. see also Sandra Pinegar's recent "Exploring the Margins: A Second Source for Anonymous 7," Journal of Musicological Research XII (1993), 213-43, where she describes a second source for Anon. VII which she dates in the third decade of the thirteenth century (222)
34. trans. Jay A. Huff, Musicological Studies and Documents 31 ([Rome], 1973)
35. Johannes de Grocheio, De musica, (ca. 1275), Die Quellenhandschriften zum Musiktraktat des Johannes de Grocheio, ed. Ernst Rohloff (Leipzig, 1972)
36. See in particular Edward Roesner, "The Emergence of Musica mensurabilis," in Studies in Musical Sources and Style, Festschrift for Jan LaRue, ed. Edward R. Roesner (Madison, 1990), 41-74
37. From Max Haas, "Die Musiklehre im 13. Jahrhundert von Johannes de Gar-Iandia bis Franco," Die mittelalterliche Lehre von der Mehrstimmigkeil, Geschichte der Musik-theorie V, ed. Frieder Zaminer (Darmstadt, 1984), 138
38. Roesner, "The Emergence of Musica mensurabilis," 56ff
39. See also Wolf Frobenius, "Perfectio," in Handwörterbuch der musikalischen Terminologie
40. "Eine derartige Mehrdeutigkeit führt häufig auch zu einer entsprechenden Unsicherheit der Übertragung." Heinrich Husmann, Die drei- und vierstimmigen Notre-Dame-Organa (Leipzig, 1940), XIX
41. trans. by Jeremy Yudkin, The Music Treatise of Anonymous IV; A New Translation, 23-24
42. See Willi Apel, The Notation of Polyphonic Music, 900-1600 (5th ed., Cambridge, Mass., 1953), 240-44
43. The Notation of Polyphonic Music, 235-36
44. De mensurabile musica, ed. Erich Reimer, I, 45 ff
45. Erich Reimer, Johannes de Garlandia II, 53
46. Sandra Pinegar, "A 'New Philology' for Medieval Theory," Paper read at the American Musicological Society, Chicago, October, 1991
47. See Johannes de Garlandia, De mensurabili musica II, 55-66
48. See, for example, Johannes de Garlandia, De mensurabili musica I, 35-36
49. Lambertus, Tractatus de musica, 279
50. See in particular Paul Klopsch, Einführung in die Dichtungslehren des lateinischen Mittelalters (Darmstadt, 1980), 74-86
51. J. de Ghellinck, L'essor de la Littérature Latine I (Brussels, 1946), 235-43
52. R. R. Bolgar, The Classical Heritage and Its Beneficiaries (Cambridge, 1954), 208-11
53. and Jan Ziolkowski, Alan of Lille's Grammar of Sex: The Meaning of Grammar to a Twelfth-Century Intellectual, Speculum Anniversary Monographs X (Cambridge, Mass., 1985), 71-72
54. See also Jeremy Yudkin, De musica mensurata, The Anonymous of St. Emmeram, 4-5
55. Craig Wright, "Leoninus, Poet and Musician," Journal of the American Musico-logical Society XXXIX (1986), 1-35, see in particular 16-31
56. See J. W. Thompson et al., The Medieval Library, University of Chicago Studies in Library Science (Chicago, 1939), 613
57. Max Manitius, Geschichte der lateinischen Literatur des Mittelalters, vol. 3, Vom Ausbruch des Kirchenstreites bis zum Ende des zwölften Jahrhunderts in Handbuch der Altertumswissenschaft, ed. W. Otto (Munich, 1931), 739
58. See Max Manitius, Geschichte der lateinischen Literatur des Mittelalters, 762-94
59. L'essor de la littérature latine au XIIe siècle I, 8
60. The Rhythm of Twelfth-Century Polyphony (New Haven, CT, 1954), see in particular 29-37
61. and Rudolf Flotzinger, "Zur Frage der Modalrhythmik als Antike-Rezeption," Archiv für Musikwissenschaft XXIX (1972), 203-68
62. "La notation franconienne: Antécédents et devenir," Cahiers de civilisation médiévale III (1988), 123-32, especially 127-28
63. B. Munk Olsen, L'Étude des auleurs classiques latins aux XIe et XIIe siècles, vol. 1, Catalogue des manuscrits classiques latins copiés du IXe au XIIe siècle (Paris, 1982)
64. See Caroline D. Eckhardt, "The Medieval Prosimetrum Genre (from Boethius to Boèce), Genre XVI (1983), 21-38
65. and Karsten Friis-Jensen, Saxo Grammaticus as Latin Poet, Analecta Romana Instituti Danici, Suppl. 14 (Rome, 1987), 29-38
66. See also Peter Dronke, Verse with Prose from Petronius to Dante: the Art and Scope of the Mixed Form (Cambridge, Mass., 1994)
67. Karsten Friis-Jensen, op. cit., 33
68. For an edition see John F. Benton, Self and Society in Medieval France: the Memoirs of Guibert of Nogent, trans. by C. C. Swinton Bland, revised by the editor (New York & Evanstown, 1970)
69. See, in particular, Craig Wright, "Leoninus, Poet and Musician," 29-31
70. See Leo Treitler, "Regarding Meter and Rhythm in the Ars Antiqua, 545
71. Mary Carruthers, The Book of Memory: A Study of Memory in Medieval Culture, 80-121
72. Walter J. Ong. Orality and Literacy (Methuen, 1982), 34
73. Rudolf Flotzinger, Der Discantussatz im Magnus Liber und seiner Nachfolge (Wien, 1969), 169
74. See, for example, Anon. IV, op. cit., 22
75. Anon. St. Emmeram, op. cit., 197, 273
76. See also Edward H. Roesner, "'Comment' on Hendrik van der Werf, 'Anonymous IV as Chronicler,' " Musicology Australia XV (1992), 13
77. See also Hendrik van der Werf, "Anonymous IV as Chronicler," Musicology Australia XV (1992), 3-13, who doubts whether Leonin ever existed
78. For an edition see Frieder Zaminer, Der vatikanische Organumtraktat, (Ottob. lat. 3025), Münchner Veröffentlichungen zur Musikgeschichte II (Tutzing, 1959)
79. For a facsimile color reproduction, edition, and translation see Irving Godt and Benito Rivera, "The Vatican Organum Treatise - A Colour Reproduction, Transcription, and Translation," in Gordon Athol Anderson, In memoriam II (Henryville, Penn.), 264-345
80. For two important papers which discuss the treatise see Leo Treitler, "Der vatikanische Organumtraktat und das Organum von Notre Dame de Paris: Perspektiven der Emt-wicklung einer schriftlichen Musikkulttur in Europa," Basler Jahrbuch für historische Musikpraxis VII (1983), 23-31
81. and Stephen C. Immel, "The Vatican Organum Treatise Re-examined," Paper read at the 50th Annual Meeting of the American Musicological Society, Philadelphia, 1984.I would like to thank Mr. Immel for having sent me a copy of his paper prior to publication
82. Mary Carruthers, The Book of Memory, 48-49
83. "Erat memoria summa, nulla meditationis suspicio." M. Tullius Cicero, Brutus, ed. and trans. G. L. Hendrickson and H. M. Hubbell, Loeb Classical Library (London, 1939). 139