12/25/2023 0 Comments Ars nova practica musica 6![]() Oxford: Oxford University Press, 2005.īor, Joep, Nalini Delvoye, and Jane Harvey, eds. Ottaviano Petrucci: A Catalogue Raisonné. Oxford: Oxford University Press, 2001.īoorman, Stanley. Print Culture and Music in Sixteenth-Century Venice. Lucca: Libreria Musicale Italiana, 2008.īernstein, Jane. Bologna Q15: The Making and Remaking of a Musical Manuscript. Comment regarder les symboles et les allégories. New York: Oxford University Press, 2010.īattistini, Matilde. Songs, Scribes, and Society: The History and Reception of the Loire Valley Chansonniers. International Inventory of Musical Sources B: IX.1. Hebrew Notated Manuscript Sources up to circa 1840: A Descriptive and Thematic Catalogue with a Checklist of Printed Sources. Introduction aux sources de l’histoire médiévale: Typologie. Typologie des sources du Moyen Age occidental. “Story-Telling in the Vatican Archives.” Fontes Artis Musicae, 62/2 (July–Sept 2015): 203–11. Cambridge: Cambridge University Press, 2015. Edited by Anna Maria Busse Berger and Jesse Rodin, 463–75. “The Beneficial System.” Cambridge History of Fifteenth Century Music. “Archival Research: Necessity and Opportunity.” In Perspectives in Musicology. International Association of Music Libraries, Archives and Documentation Centres (IAML). Brussels: Bibliothèque Royale Albert Ier, 1994. Musicology and Archival Research: Proceedings of the Colloquium held at the Algemeen Rijksarchief, Brussel, 22–23 April 1993. “Foundations or Institutions? On Bringing the Middle Ages into the History of Medieval Music.” Acta Musicologica, 68/2 (1996): 87–128. Mémoires et Documents de l’Ecole des Chartes, 39. Guyotjeannin, Olivier, Laurent Morelle, and Michel Parisse, eds., Les cartulaires. Guides to French and other European archives. Toronto: Pontifical Institute of Mediaeval Studies, 1972. A Survey of the Vatican Archives and of its Medieval Holdings. Numerous pertinent volumes.īoyle, Leonard. Rather, it delineates the general contours of our study group and provides a snapshot of the skills and resources we endeavor to broaden and develop. This redating, in turn, invites broad reconsideration of the transition between ars antiqua and ars nova.This bibliography is by no means exhaustive. In light of this, I suggest that the Speculum musice could have been finished as late as the 1350s by an author in his mid- to late seventies. 1320, but the latest notational developments he mentions include semiminims, dragmas, and even note shapes otherwise associated with the so-called ars subtilior. His notational proclivities are those of a musician who came of age in a post-Franconian idiom prevalent until ca. It is clear that Jacobus was older than the moderni and finished his treatise as an old man, but he also reveals that he wrote over a long span of time and revised his work repeatedly. This study reconsiders the date of completion for the last, seventh book of the Speculum musice. ![]() Since the Speculum cites a range of ars nova treatises that in turn cite a repertoire of motets, Jacobus's comments serve as a terminus ante quem for the ars nova writ large. ![]() ![]() And yet the earliest ars nova theory dates from 1319, while the completion of the Speculum musice is often placed in the mid-1320s or ca. This passage and several others suggest that Jacobus was writing at a time when the ars nova was hardly new. In chapter 27 of the last book of his Speculum musice, Jacobus faults an unnamed theorist for misattributing some ars nova doctrine to the ars antiqua he then excuses the offense by explaining that the oldest ars nova theory might already seem old to current practitioners.
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