Sources of Thirteenth-Century English Polyphony. Catalogue With Descriptions - LEFFERTS, Peter M.

University of Nebraska - LincolnDigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 9-1-2012 Sources of Thirteenth-Century English Polyphony: Catalogue with Descriptions Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Lefferts, Peter M., "Sources of Thirteenth-Century English Polyphony: Catalogue with Descriptions" (2012). Faculty Publications: School of Music. Paper 45. http://digitalcommons.unl.edu/musicfacpub/45 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Version of 09/04/2012 This document is a work in progress. It was uploaded for the first time in September 2012, and the present version is the first. The author welcomes comments, additions, and corrections ([email protected]). -------SOURCES OF THIRTEENTH-CENTURY ENGLISH POLYPHONY: CATALOGUE WITH DESCRIPTIONS Peter M. Lefferts ----Contents: Introduction Table Bibliography The Catalogue ----INTRODUCTION The intent of this document is to describe the sources of thirteenth-century English polyphonic music that are of thirteenth-century English origin. The few major exceptions will be detailed below. Given the paucity of written sources of any kind of polyphony from before ca. 1200, and the few examples of thirteenth-century English polyphony in manuscripts of non-insular origin or in sources from after ca. 1300, this is close to being a record of all the known English polyphony composed before ca. 1300. I am indebted to Profesor William J. Summers of Dartmouth College for many of the particulars of the descriptions to follow. As an area of scholarly research, thirteenth-century English music, whether sacred or secular, monophonic or polyphonic, has long languished in the shadow of the admirable achievements of musicians in thirteenth-century France. Yet it was precisely in this century that the homogeneity of Anglo-French intellectual and high art culture across northern France and England most decisively began to fragment in a process of "subregional differentiation."1 This process is much better understood in respect to manuscript illumination, sculpture, stained glass, architecture or the academic 1See Thomson (1983), 4. For more detailed discussion of the relationship of French and English repertoires, see especially Everist (1992) and Losseff (1994). achievements of the nascent English universities, for instance, than in respect to music. In the thirteenth century, particularly in the realm of sacred polyphony, the music of English high culture achieved its autonomy, developing into a polyphonic corpus of brilliant diversity and singular musical value as it diverged from the common international (i.e., Anglo-French) repertoire in respect to most features of this art form: texture, melody, harmony, counterpoint, rhythm, constructive devices, form, genre, and notation.2 Neglect of the thirteenth-century polyphonic English repertoire in favor of the French has many causes, including the anonymity of its insular composers, its religious subject matter and performance milieu, and the vagaries of academic fashion in the twentieth century. Above all, however, has loomed the problem of sources of English music, which are large in number but extremely fragmentary as a rule. They yield few clues about size, ordering of contents, provenance, or age. Moreover, only a small fraction of the musical compositions they document are integral works or damaged but restorable; the great majority are represented by isolated pages or smaller strips and patches containing tantalizing but unperformable portions of single voices or irregular segments of works in score. Fortunately, reproductions of most of these sources are now available as highly detailed color digital images stored in the Digital Image Archive of Medieval Music (DIAMM) at Oxford University, accessible on the internet, as of this writing, at www.diamm.ac.uk. One caution, though. The DIAMM identifications of individual leaves, where it differs from those used here, have yet to be entered into this document’s manuscript descriptions. Manuscript descriptions are for the most part presented below in order by library and shelf mark, as in RISM or DIAMM, with bibliographic references mostly to material that post-dates the relevant RISM entry. The descriptions aim to make more emphatic than heretofore those instances when two or more distinct medieval sources are housed under a single modern shelf mark (as for example, in London, British Library, Harley 5958 or Princeton, University Library, Garrett 119). Further, re-analysis 2Recent broader overviews of English musical developments in this period include Crocker (1990), Caldwell (1991), and Lefferts (1991). More specialized studies include Wibberley (1976), Lefferts (1986), Malyshko (1989), and Losseff (1994). PMFC XIV (1979) is a recent edition of the restorable pieces and major fragments. For a succinct typology of polyphonic genres, see Sanders (2001d). Lefferts (1986) has lists of thirteenth-century polyphonic motets, conductus-rondellus, voice-exchange pieces, and troped chant settings. Losseff (1994) has tables and appendices cataloguing sources, pieces, and concordances. pl. University Library. Frere (1894). II. Ff. facs. Oxford. b. Rankin (2007).19. and III) in order to re-associate leaves or even to reconstruct a dismembered or disordered original as best as possible. D-Göttingen Theol. XXV-XXX. 5RISM B/IV/1. 532-33. The most significant are some Notre-Dame notation. EBM III. Bodleian Library. but whose most recent editor (Stevens 2005) decided in favor of English origin. 3RISM B/IV/1. facs. facs. 510. the famous “Notre Dame” manuscript W1 (Wolfenbüttel. Cathedral Library128/8 + 128/71. Stevens (2005) is an edition and commentary with full facsimile. pl. XVI and EEH. We occasionally reverse recto and verso.6 See also Hartzell (2006). and Reconstruction III) or conflate leaves from different locations or hosts (as in Canterbury. 400* + Lat.7 Nor will further mention be made of two significant British manuscripts of conductus and motet texts. pl. 892). PMMM 17. Passed over silently are some Notre Dame ghosts. At the same time. and also EEH. LXIV. Corpus Christi College. EEH. namely. Bodley 572)4. Additional A 44 and Rawlinson C. a late eleventh-century discant setting from Canterbury (Oxford. EXCLUSIONS Omitted here by definition are all English sources of polyphony from before the thirteenth century. 473)3. pl. i. re-arrange folios (as in F-Tours 925. 7For Notre Dame ghosts of probable English origin or ownership. which are books now lost but for which documentary evidence exists. Herzog August Bibliothek. in the Bodleian Library at Oxford. and Reconstructions I. 40-44 and Stevens (1986). I. 485-86. 573. Guelf. 17 (1)). . Bodleian Library. 453-64. Cod.5 Also not described is the 'Younger' or 'Later' Cambridge Songbook (Cambridge. EBM III. both without musical notation. II-VI. 1:46-77 and note the remarks by John Stevens in Fenlon (1982). liturg. 514. a source of ca. 1180-1230 the question of whose provenance has been controversial. pl. This will always be signalled explicitly. 220. above all. see Baltzer (1987) and Wathey (1988). facs. 6RISM B/IV/1. See also Lütolf (1970). a catalogue of manuscripts written or owned in England up to 1200 containing music. 4RISM B/IV/1. and a twelfthcentury discant setting from Winchester in the Downpatrick gradual (Oxford. Bodleian Library.of the sources has sometimes necessitated amendments to previous inventories and descriptions. Sources of the thirteenth century that are excluded are more diverse. Rawlinson C. These are indeed few in number: the late tenth-century organa of the Winchester Troper (Cambridge. Rawlinson C. 9On the voice-exchange hymn Nunc sancte nobis in general. particularly in respect to the characteristically English three-voice rondellus Ave mater domini (fol. PMMM 4. now in 8On Bridport. and Oxford.9 And also omitted are two sources of mass ordinary settings generally regarded as continental. from St. H196). No more will be said about the Bridport ghost (which may have been in any event a fourteenth-century source). London. XXII. fol. Bibliothèque Nationale de France. 182.. 73-73v.27). XXXI-XXXII. lat. Thus if a piece has hallmarks of an English origin but does not survive in any English source. and see also Lütolf. On these sources individually. in a fifteenth-century copy of Walter Odington's De speculacione musice. Royal 2. 141. Lütolf. For a description of Csjc 102. While that does not affect too many possible candidates among motets surviving solely in non-insular sources. RISM suppl. 11For thirteenth-century polyphony surviving into the fifteenth century. 10For Pn 11411. the impact is significant for the conductus. For a facs. and 580-81 (Occ 134).10 Another category of sources not further identified or described here is those sources of similar age but foreign provenance that contain relevant English polyphony. 508 (Lbl 4664). London. Paris. On this . 21-22.. pages 482 (Csjc 102). 11411 and lat. 15129. 34v-36 of Cambridge.and fourteencentury polyphonic settings of the hymn Nunc sancte nobis in English sources: Cambridge. 134. For Pn 15129. Lütolf. 109. see Wathey (1988) and Wathey. fol. 25-26. fol. D. 34v).628 Helmst. 182. and will not be further developed here. 418-19. fol. namely. see the music examples on fols. Bibliothèque Interuniversitaire. with facs. Corpus Christi College. see the same volume.or fifteenth-century sources transmitting later copies of thirteenth-century music. 81-84. see also Fenlon (1982).11 One lesser known example is a fragment. and facs. fol. British Library. see RISM B/IV/I. Finally. 414-16. pl. see RISM B/IV/1. on 82. St. British Library.). 1:248-54. but that Luther Dittmer or Max Lütolf have suggested may be English. 102 (D. 1:244-47. of Lbl 4664. see EEH. we do not enter it here. so suffice it to say that there may be 13th-century English conductus surviving only abroad that are not to be found below. The issue of how many conductus surviving exclusively in non-English sources may be of insular origin rapidly gets very contentious. Harley 4664. 511 (Lbl XXII). pl.8 Also set aside are the four thirteenth. Corpus Christi College. 410. John’s College. which is the only almost-integral British music codex to survive from the century. such as the Montpellier Codex (Montpellier. facs. Section Médecine. see RISM B/IV/I. we omit fourteenth. Andrews. is included below only in a kind of “stub“ entry. XXXIX. For the sake of the comprehensiveness in the descriptions. Burney 357. Westminster Abbey. Tours. Dublin. for fols. 3---are inventoried below. Fenlon (1982). 35v-36. Rawlinson liturg. which contains an English motet on Becket that. British Library. and motet typology. Bodleian Library. see Fenlon (1982). Mus. for fols. 34v. Dorset Record Office. Also at the later boundary. There are no firm guidelines representing a scholarly consensus on how to draw the line ca. they include fourteenth-century music when it is directly associated as a later addition to relevant material in an earlier source. and Wolfenbüttel---some relatively recently uncovered---that are complementary to the earliest sources of fourteenth-century polyphony reproduced in facsimile in EECM 26. Harley 524. For a facs. judging by its notation. of similar age. such as the later pieces in London.12 INCLUSIONS At the earlier boundary. see Hammond (1970). All are primarily sources of motets or motet-like troped chant settings. Bodleian Library.13 For inclusiveness. PE/NBY/MI 1---although the Younger Cambridge Songbook. The continuous numeration of pieces followed in the pioneering edition of most of this material by Luther Dittmer14 tends inadvertently to disguise the number and variety of sources represented in these sadly fragmentary remains. 12For the Cortona fragment. two manuscripts of the late thirteenth or early fourteenth century (precise dates controversial) which were reproduced in EECM 26 as fourteenth century sources---London. Oxford.Cortona. Ziino (1985). and Dorchester. see Lefferts (1986) regarding chronology and style. 1300. and Di Bacco and Nádas (1998). and Reconstruction III. is not included here (as noted above). which consist of the remains of nine or more codices. Harley 3132. British Library. between 146 and 147. 13For more on this boundary. 108. that is likely of fourteenth-century continental origin. of fol. British Library. described here are a major sources of the turn into the fourteenth century surviving in Canterbury. we include three sources of the late twelfth or earliest thirteenth century---London. pl. notation. d. . see EEH. 107-110 and RISM B/III/4. and the complexity of the situation has source. London. may have been composed in the late thirteenth century. 33327 and Oxford. see Ziino (1981). XLI. Wisbech. A separate comment is in order here regarding the so-called Worcester fragments. 34v-35. C 60. see Hammond (1970). its exceptional status must be understood in respect to professionally manufactured and. by genre and 14 Luther Dittmer. and Q. as they have been called since the earlier part of the twentieth century. most reveal traces of quite systematic organization and contain a fairly narrow set of musical genres. ad hoc approach by the copyist to the entering of repertoire. II. comprising the small-format or motet book. F. Three of the new fragments. Compositions might be entered liturgically. 120. and one solution is offered here.. come from Reconstruction I. 175. the large-format volume. These. xli. F. Additional 68 and have been given a new "Fragment" number (Frags. that W1 is the only British source of polyphony to survive (nearly) complete from the 1200s. xl." Although some of the fragments of purpose-copied rotuli and books of polyphony testify to an eclectic. ed. 19 flyleaf. When it is said. with the exception of the Q. 1957). Commonplace collections and isolated entries may indeed survive "complete. carefully ruled and ordered codices of mensural music. 44.not been ameliorated by its confusing presentation in RISM B/IV/1. F. 19. . and the conductus book. Most of the fragmentary codices are separately treated in order by their call numbers at Worcester Cathedral Library. This treatment of Worcester material accounts for five new relevant fragments that were uncovered in the late 1990s in Worcester Cathedral Library codices F. The Worcester Fragments. have been removed to Worcester Cathedral Library. xlii). These nine or more sources need disentangling. SOURCE TYPES The largest division that one can make among source types represented in this document is threefold. for example. 2 (Rome: American Institute of Musicology. two of which still bear original folio numbers. and need to be kept distinct. respectively. distinguishing purpose-copied rotuli and books of polyphony from music fascicles in commonplace books or miscellanies.15 These three categories distinguish sources of very different origin and purpose. Musicological Studies and Documents. in general. 45. and from isolated music entries on blank pages or flyeaves of otherwise unrelated material. as Reconstructions I. xxxix. while the more substantial remains of three manuscripts that can be partially reassembled from leaves at Worcester and elsewhere are presented immediately following. and III. number of voices, or alphabetically. Extant foliations, or the projection of implicit manuscript organization to naturally suggested limits, sometimes reveal codices of substantial length. Reconstruction I has foliations up to cxxxix, for example, and Cambridge, Corpus Christi College, 8 has paginations up to 558. It appears that purpose-copied sources were mainly corporately owned, and often, when they had become musically outdated, they soon were thereafter turned over to the book binder to serve as scrap. However, a thorough reconsideration of Worcester bindings during the 1990s recataloguing of the cathedral library has yielded the important result that Reconstruction II only went under the binder's knife in the mid 1400s, and that Reconstruction I and Reconstruction III were only broken up in the later 1520s by Worcester monk-binder John Musard.16 Another exception to a story of quick destruction and re-use is represented by those few chant manuscripts where polyphony was directly entered in the main hand (e.g., Oxford, Bodleian Library, Rawl. liturg. d. 3, or London, British Library, Additional 28598); these tended to be longer-lived books. Commonplace books are private compilations of material, assembled for entertainment, study or devotion out of public sight. Here the owner might include independent fascicles of music and might deliberately leave space at the ends of extracts of all kinds for later additions, related or unrelated, which might include monophonic or polyphonic music. Understanding this, we recognize that many of the extant miscellanies survive complete as such, including, for example, London, British Library, Harley 978 and Arundel 248, or Paris, Bibliothèque National de France, fr. 25408. These sources tend to be more informally copied and more diverse than any book of polyphony (except for the similarly eclectic Cambridge, Corpus Christi College, 8), mixing monophony and polyphony, works in English, French, and Latin, sacred and secular song, and instrumental music. The same informality and diversity, including examples of musical settings of English texts, exists in the more isolated entries opportunistically set down on a blank page or flyleaf amidst unrelated material, such as those in Oxford, Bodleian Library, Douce 139, Oxford, Bodleian Library, Rawlinson G. 18, or Oxford, Corpus Christi 15For greater detail, see Losseff (1994), esp. 25-51 and 144-46, from which the following two paragraphs are principally drawn. 16 See Thomson (2001). At a roughly similar date, an English choirbook comparable to Old Hall was dismantled by an early sixteenth-century Cambridge stationer, Nicholas Spierinck. See Bent (1984). College, 59. The line between these entries and those of a commonplace book can be easily drawn on the basis of the contrast between isolated compositions and small collections. When the principal codex is apparently not a private book but rather a communal volume like a collection of documents (Oxford, Bodleian Library, Douce 139) or a library book, the random music entries would be of our third type. The distinction is less clear when the host may have been a book for private use, like a diminutive psalter for private devotions (Oxford, Bodleian Library, Rawlinson G 18), or perhaps a textbook from the personal library of the master of a grammar school (Oxford, Corpus Christi College, 59). It is impossible to gauge the loss of music that was copied into commonplace books and more isolated leaves, but at least what has disappeared of these kinds of sources will have suffered the usual depredations that befell medieval books in later centuries, rather than the indignity of quick obsolescence that befell most purpose-copied polyphony. MANUSCRIPT FORMATS Textual descriptions inevitably minimize physical differences between the sources in respect to size, ink color, density and texture of parchment, and the like. As one acknowledgement of the rotulus or book as physical object, and of the activity of the scribe in laying out and executing its design, some figures for the size of page and written area of sources are given in the Table that follows this essay, adding the dimensions of some other well-known codices for comparative purposes. All dimensions reported there are given in millimeters (mm). In this table the sources are ordered from large to small, reporting first width, then height (w x h) for the written space and the entire page. Staff gauge data is for five lines in most cases. Tabulated order is governed by the width of the written space because this measurement is by far and away the most significant dimension governing book production and comparison. Some of these measurement are speculative estimates, and some are exact, at least to within 2-3 mm or so. Of course, writing blocks may vary even in an apparently consistently ruled manuscript. Further, in the case of overall dimensions, figures may only be reliable to within a few centimeters, since we may report the current dimensions of manuscripts that have obviously been trimmed, and other times we report estimates based on, for example, a trimmed upper margin but intact lower margin, where we project the latter dimension back onto the former. Thus all of these numbers are "circa," and details should be sought in the manuscript descriptions and in the facsimile images themselves, most of which have been photographed with a ruler. In any event, it will be apparent from the data that variability to within a few millimeters has virtually no impact, except very locally, on the relative order of manuscripts by size. The data on formats provides only the broadest of overviews. It mixes purposecopied rotuli and books of music, whose dimensions were dictated by standard formats for polyphonic music, with manuscripts in which music was an addition within already fixed boundaries. It also mixes pages of different formats (nine or twelve independent staves, three or four three-staff systems, etc.). Two reliable and unsurprising tendencies emerge. First, purpose-copied rotuli and books of polyphony tend to be larger than either commonplace books or those with more isolated music entries. And second, purpose-copied rotuli and books tend to increase in size over the course of the century. Organizing the data around the width of written space generates a series that appears to be in the large chronological, as it corroborates chronologies based on other, independent criteria, such as changes in handwriting, musical notation, counterpoint, genre, and constructivist devices. Books of the generation of W1, of ca. 1240, are of the first generation of purpose copied books of polyphony in Western Europe. They tend to be small volumes, on the order of about 6" x 4" (160 x 110 mm) or just slightly larger. By the end of the thirteenth century, within the span of only some fifty to sixty years, music codices had steadily increased to two and three times the previously normative height and width of written space, and thus of overall dimensions. One of the very largest, London, Westminster Abbey, 33327 had exterior dimensions of at least 490 x 345 mm (or about 19" x 13"), for example, making it a bigger book than Old Hall. The surviving rotuli seem to have been about thirty inches long, and dimensionally, the younger rotuli are simply wider, with taller staves. PROVENANCE This document describes over sixty sources, representing at least that many medieval rotuli and books and perhaps up to a dozen more on account of those instances where a modern source may preserve leaves from more than a single manuscript. For only about half of the total is there any information at all concerning provenance. As a rule that information pertains to the host manuscript rather than to its 17 If we generously allow binding fragments in a given locale to count for that location.18 In the face of not only external evidence for provenance. CAc 128/8 with 128/71. and Worcester. Ob 400* with Ob 19. but also internal textual evidence. . at least nine sources. -------- 17The inclusion of fourteenth-century sources only strengthens this picture. and may on occasion signal local ownership only. Christopher Hohler's contrarian argument for London and the court as centers of polyphonic composition. but this does not topple the entire edifice. and from Worcester Cathedral. Cjec 5 and Lbl Cotton xxix. with Oxford as the center of dissemination to the rest of England. 9-10. from Canterbury Cathedral.19 has not yet found acceptance. CAc 128/62. Canterbury. 19Hohler (1978). with the same information consolidated in Lefferts (1992). 155-85. and other major abbeys and churches. Lbl Harley 978. from Reading Abbey. Nonetheless a fairly consistent picture emerges in which sacred polyphony is associated primarily with the larger Benedictine monasteries and monastic cathedrals. CAc 128/2. and Cul 29. Close scrutiny of the evidence in any individual case reveals how shaky some of these ascriptions of provenance are. Ob 257. Ob 271. and Owc 213*. from Westminster Abbey. Csjc 138. then---to cite some of the better represented institutions---from Bury St Edmunds Abbey there survive Cjec 1. 53-93. 18Losseff (1994). and Wisbech. See Lefferts (1986). for example).musical binding material. Thus at best what we know about provenance is circumstantial. Lwa 3 and Lwa 33327. rather than a local point of origin. even if they can no longer be identified with specific books in the library (a situation we find at Westminster Abbey. from Durham Cathedral. Lesser establishments are more often represented by a commonplace book or isolated entry than by a purpose-copied book of polyphony. especially derived from motets. 5 13-14 18 11-13 16 15-16 12.5 17 13 13.5-17 9-10 13 14 11 --15. xii US-PRu 119/B Recon II Cjec 5 CAc 128/62 DRu 13 Lbl 3132 Cjec 1/B WOc frag.5-15 19-24 13 14-17 13-15 18. staff gauge is for a five-line staff Rotulus US-PRu 119/A Ob 400*/C Ob 400*/B Codex Cgc 820 Lwa 33327 D-W3 Aberystwyth Ccl WOc frag.5-14 Gauge 14 20 22 15-19 21-24 16 18.5 10-11 7-17 12 12-13 . in mm. xx CAc 128/8 Recon III Recon I Ob 60 A Ob 139 Ob 25 CAc 128/2 Cjec 1/A Ob 343 US-Cu 654 Occc 497 Ob 257 Lbl 5958/A F-Tours Ob 400*A Ob 60/B Ob 60/C Lbl 5393 Lbl 5958/B WOc frag.5 17 13. xviii Lwa frag. xxix/b Written space 295 x 620 165 x 630 134 x 775 Written space 260 x 333 250-55 x 365-400 215 x 317 215 x 290 200 x 350 193 x 306 185 x 370 180 x 315 180 x 270 173-5 x 260-70 172 x 360 170-80 x 267 170 x 260 164 x 300 162 x 268 160 x 300 160 x 260 156 x 220-60 155 x 244 155 x 220 155 x 205 154 x 240 151 x 225 150 x 306 150 x 245 150 x 205-15 147-54 x 232 145-50 x 235 143 x 178 142 x 225 140 x 268 140 x 200 140 x 200 135 x 200 134 x 175 130-55 x 179 125 x 210-15 125 x 210 Overall page size 330 x 750 200 x 700 155 x 775 Overall page size 300 x 400 345 x 490 280 x 360 250 x 360 290 x 430 260 x 380 260 x 430 240 x 350 265 x 340 230 x 350 210 x 400 223 x 330 230 x 340 190-200 x 325-60 200 x 300 180 x 330 230 x 300 212 x 288 200 x 300 203 x 277 200 x 280 190 x 280 178 x 243 180 x 350 180 x 280 227 x 295 200 x 308 200 x 300 220 x 290 215 x 320 240 x 370 185 x 250 180 x 240 180 x 250 170 x 300 180 x 250 160 x 250 170 x 240 Gauge 17-18 11-13 13.TABLE of MS dimensions w x h. 3 Csjc 138 Ccc 8 WOc frag.5 13 14-15.5 14 7-9 13. xxix/a Occ 489 Ob D. 7-7.5 8 8 9 7 9 Written space 345 x 500 235 x 345 136-160 x 189-212 130-32 x 153-235 92 x 149 92 x 149 90 x 122 77-81 x 127-131 75 x 107 73-74 x 104-122 Overall page size 425 x 595 276 x 416 186 x 263 180 x 260 157 x 232 139 x 220 115 x 166 130 x 192 105 x 155 130 x 180 .5-10.5 9 8 6.D-Gu Lbl xviii WOc frag.5-11 7-10 8 8-9 7-8 12 10-13 8 10 10-12 11-12.19 COMPARISONS: Codex Eton Choirbook Old Hall Ba Hu FL LoA (Lbl 2615) Ma F-MO Lbl 30091 W2 125 x 190 125 x 179 122-27 x 171 122 x 187 122 x 167-86 121-22 x 172-79 115-25 x 180-90 115-20 x 185 115 x 178 115 x 148 114 x 162 112 x 150 109 x ---105 x 130 104 x 131 104 x 120 103-7 x 180 102-7 x 160-72 102 x 163 102 x 158 102 x 155 100 x 120 93 x 143 92 x 155 80-85-90 x 155-160 80-88 x 126-30 80 x 120 160 x 230 160 x 215 170 x 240 150 x 243 166 x 251 200 x 290 150 x 207 175 x 213 160 x 235 150 x 207 135 x 199 142 x 190 160 x ---168 x 235 134 x 190 135 x 180 115 x 200 133 x 195 130 x 190 165 x 225 158 x 225 140 x 160 112 x 163 162 x 221 150 x 210 114 x 167 110 x 164 10 9 9 9.5 10.5 9 8.5-9 9.3 Cul 29 Lbl 248 Owc 213 Lbl xxi Lbl 524 Occc 59 WOc frag. xxx Aberdeen Ob 1225 Llp 752 F-Pn 25408 Lbl 357 Llp 457 Lbl 978 Ctc Cgc 803/807 DORcro Ob Rawl 18 Ob 591 W1 Lbl 1580 WOc Q. 1979. ed. 1929-1981: in memoriam von seinen Studenten. 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NY: Published on Behalf of the Dean and Chapter of Worcester Cathedral by D.Thomson (1983) Thomson (2000) Thomson." Past and Present 101 (1983): 3-21. Linda L. Roger. ed. Rome: American Institute of Musicology. 1954. S. Rodney M. "English Polyphonic Music of the Late Thirteenth and Early Fourteenth Centuries: A Reconstruction. "Celum Mercatur Hodie: mottetto in onore di Thomas Becket da un codice bolognese. Brownrigg and Margaret M." 2 vols. 2. Andrew. ed. "England and the Twelfth-Century Renaissance. Smith. A Descriptive Catalogue of the Medieval Manuscripts in Worcester Cathedral Library. NY: Pendragon. Hans. Oxford. Waite. "Newly Discovered Fragments of Music at Worcester Cathedral: A Preliminary Account. Andrew. "Another English Motet of the Thirteenth Century. The Worcester Fragments. The Parisian Two-Part Organa: The Complete Comparative Edition. ed. Pp. 2001. The Rhythm of Twelfth-Century Polyphony. 2000. Wathey. Transcription and Commentary. Los Altos Hills. Manuscripts of Polyphonic Music: Supplement 1 to Rism B/IV/1-2. CA: Anderson-Lovelace. Suffolk. Wathey." Quadrivium 12 (1971): 6570. RISM Suppl. Woodbridge. Luther. 143-61. 1993. 1976. ed. 1957. with a contribution on the bindings by Michael Gullick." in Interpreting and Collecting Fragments of Medieval Books: Proceedings of The Seminar in the History of the Book to 1500. Brewer. Rodney M." Journal of the American Musicological Society 20 (1967): 274-79. "The Production of Books of Liturgical Polyphony. Tischler. Rodney M. University of Oxford. Thomson. Tischler. The British Isles. Andrew. New Haven: Yale University Press. William. Vecchi. "Lost Books of Polyphony in England: A List to 1500. Wibberley. and London: The Red Gull Press. Thomson (2001) Tischler (1967) Tischler (1988) Vecchi (1971) Waite (1954) Wathey (1988) Wathey (1989) Wathey. Hans. WF Dittmer. Munich: Henle. Stuyvesant. Thomson. 1998. Pp. Wibberley (1976) . 2 vols. Jeremy Griffiths and Derek Pearsall." Research Chronicle 21 (1988): 1-19." In Book Production and Publishing in Britain 13751475. Cambridge: Cambridge University Press. DPhil thesis. Giuseppe. Wathey. 8995. Musicological Studies and Documents. ed. 1988. 1989. 1100-1400. Wibberley (2000) Wilkins (1983) Wibberley. "Ave virgo mater dei: towards a reconstruction." Universitá e tutela dei beni culturali: Il contributo degli studi medievali e umanistici. Handbuch der Notationskunde. 1981. 1985. I Deug-Su and Enrico Menestò. Wulstan. Leipzig: Breitkopf und Härtel." In English Court Culture in the Later Middle Ages. Wilkins. 2 vols. 1913-1919. NY: Schirmer. Roger. Wolf. 5. 257-70. Wilson. Ziino." L'Ars Nova italiana del Trecento. Wilson (1990) WMH Wolf. Florence: "La Nova Italia" Editrice. David. Palermo: Enchiridion. Hughes. Pp. Music of the Middle Ages: An Anthology for Performance and Study. Scattergood and James W. Vincent J. Nigel. Agostino. Johannes. Dom Anselm." Plainsong and Medieval Music 9 (2000): 41-49. "Precisazioni su un frammento di musica francese trecentesca conservato nell'Archivio Comunale di Cortona. ed. Sherborne. Agostino. Pp. 1928. David F. "'Sumer is icumen in'---a perpetual puzzle-canon?" Plainsong and Medieval Music 9 (2000): 1-17. "Una sequenza mensurale per San fortunato ed un Amen a tre voci nella Biblioteca Comunale di Todi (con un'appendice sul frammento di Cortona). Ziino. 1983. London. "Music and Poetry at Court: England and France in the Late Middle Ages. ed. Worcester Mediaeval Harmony of the Thirteenth and Fourteenth Centuries. HNK Wulstan (2000) Ziino (1981) Ziino (1985) . ed. 183-204. Burnham: Plainsong and Mediaeval Music Society. 1990. Chew (1978) s. Kyrie plainchant. Chew (1978). xiii med. 1484-98 3. . organum duplum from the Magnus Liber Organi [M53 in Ludwig's numeration]. fol. RISM Suppl. Now the first item in a folder compiled from binding fragments and other materials in that library. frag. Quem ventre beato maria . frag. The visible portion of fol. II. . III. 336 2.CATALOGUE AND DESCRIPTIONS Aberdeen University Library. ed. . on this frag. HISTORY No info. Alleluia [V. 109 mm. width of original page ca. width of written space ca. 2379/1 I. Losseff (1994). . [Te]nor. CONTENTS 1. Tischler (1988). Chew (1978). ii. perhaps once the outer bifolium of a gathering. . Chew (1978).. facs. Apparently once used as a strip to protect the end quire in an unidentified book. Text hand is gothica textualis semiquadrata and musical notation is of Notre-Dame type. possibly one in the Aberdeen University Library. ed. . or perhaps the tenor of discant setting a2. 41-42 and F. 53-55 IV. concordance to W1. [Rex virginum amator] . Freelyruled red five-line staves of gauge 7-8 mm. . frag.-tus maria matre eleison. . Extensive later pen trials. b). PHYSICAL DESCRIPTION A fragmentary parchment rectangle forming a horizontal strip cut from the bottom of a bifolium (folios a. fol. Christe eleison. facs. BIBLIOGRAPHY Wathey. a. facs. Waite (1954). b verso is ruled for music but not notated. 333-36. fol. fol. 240-45. b. motet tenor. 140v-141. Iustus germinabit] fol. Chew (1978). a verso. 3-4. 160 mm. Chew (1978). Now about 53 x 260 mm. . CONTENTS 1. . ruled in a single column of ten (recto) or eleven (verso) freely-ruled red five-line staves of gauge 15-19 mm. with a written space of 290 x 215 mm. concordance preserving triplum and tenor in Oxford. Both text hands are in gothica textualis quadrata. now 360 x 250 mm. III. s. . 1300. 1 is EMN with paired rhomboid breves. frag. ed. Rex excellentissime/Rex regnorum omnium fol. the first pair responsible for no. pl. xiii. RISM Suppl. . . II. New College. The notation of no. 2 and 3. on music leaf. ms. Regem hodie collaudet gloria/T. fol. duplum and tenor of troped chant setting a4 of Gloria trope Regnum tuum solidum with prosula O rex glorie. frag. 2 and 3 is later and essentially Franconian. 87579] 3. . . with declamation on long and breve. Given to the National Library of Wales in November 1991. troped chant setting a3 of Gloria trope Regnum tuum solidum with prosula O rex glorie. Major initials in blue and red with blue and red flourishing. 93. Single parchment leaf housed in a modern guardbook and foliated 4. Later it was the wrapper for some slim document and then used in the stuffing of the cushion of a 16th-century chair in Machynlleth. Two text and music hands. deum patrem adorate/T.. 82v [EECM 26. Lefferts (1983). 1 suggests a date in the third quarter of the 13th century. HISTORY No info. resurgentem regem hodie . musical notation of nos. RISM Suppl. 22857E. Regnum tuum [solidum] fol. 4v. troped chant setting of part of the verse Crucifixum in carne of the Eastertide processional antiphon Stetit angelus 2. with subsequent musical additions ca.] adorate fol. 1 and the other for nos. BIBLIOGRAPHY Wathey. 4. Possibly from an alphabetical grouping in the letter R. 3/4. PHYSICAL DESCRIPTION s. National Library of Wales. Musical notation of no. missing chant tenor was middle voice by range . see Wathey. 4. Resurgentemque de morte [. 362. fol. For pen trials and other scribbles on the verso.xiv in. 6-8 IV. 4 I.Aberystwyth. no. egregia que candoris/Lux et gloria regis celici/T. frag. K[yrie] recto-verso. ed. 1988/17 I. written space now 260 x 160 mm. O paraclite regens corpus recto. App. bottom. Archives Acc. perhaps originally 350 x 200 mm. facs.xiii/xiv Single parchment leaf with no foliations. 2. III. Text script is gothica textualis quadrata. Lefferts and Bent. troped chant setting a3 of Kyrie Lux et origo. trimmed on top. musical notation is Franconian. HISTORY No info. BIBLIOGRAPHY Wathey. 21 . and outer edge with loss of one bottom staff. Clare College. originally nine (now eight) red five-line staves freely ruled in a single column. PMFC XIV IV. One-staff capitals in red and blue. . [Lux polis refulgens] . 277-281. RISM Suppl. Formerly the rear pastedown in an unidentified binding probably from the Clare College Fellow's Library. 279-80. with frame rules and text guides on verso. CONTENTS 1. II. perhaps originally 430 x 290 mm. Lefferts and Bent. PMFC XIV. flourished in red and blue. no. voice of troped chant setting a3 of Kyrie Rex virginum amator.Cambridge.. on music leaf. . concordance to Recon I. facs. now 305 x 215 mm. Lefferts and Bent . Staff gauge of 21-24 mm. frag. 10-11. Removed in the 20th century and preserved in a guard book in the Fellow's Library. PHYSICAL DESCRIPTION s. transferred to the College Archives in 1988. 279 2. PHYSICAL DESCRIPTION s. fragmentary single lower texted voice. Secundus li puis dy p. The four pages are paginated 547. single-texted conductus-like setting a3 of an Anglo-Norman text. Wilkins (1983). 547 (fol. facs. PMFC XVII IV. Wilkins (1983). pl. Fenlon (1982). no. Texts in English and Anglo-Norman. on music leaves. no. books 1-14. 17. setting a2 in score (unique instance with English text). Fenlon (1982). 53 3. which judging from their pagination came from a very large ms of diverse contents. presumably for a motet on the missing (facing) recto. of Vincent of Beauvais. Page (1976). CONTENTS 1. Fenlon (1982). original written space of ca. plus additional stubs and strips. pl.p. and inserted sideways to serve as a rear flyleaf. Everist (1986). . no. ed.Cambridge. 5. PMFC XVII. facs. perhaps belongs with no. ed. while the second page has been cut away along the outer margin to a width of 159 mm. Fenlon (1982).f. now trimmed in height to 305 mm. Additional small fragments presumably from the same music manuscript are used as binding material in the present host.5 mm. III. with staff gauge 14-15. 548 (fol. 61. 61 -------- . facs. ligatures. Primus p. Notation is a square mensural notation of the second half of the 13th century with paired semibreves and c. Fenlon (1982). facs. trimmed at the bottom and on the right. 270v). Red and blue initials. 557. 548 (fol. 270). 548 (fol. 16. Each folio originally measured perhaps ca. no. Wilkins (1983). presumably for motet on missing (facing) recto. MES. Worldes blisce have god day/T. Everist (1986). [Benedicamus Domino] p. NOHM III (1960). Corpus Christi College. motet. 270v). 558. frag. . MES. perhaps belongs with no. 270v). 4. 451-53. fragmentary tenor-like supporting voice. PMFC XVII. 16. indicating two interior bifolio are missing from the original gathering structure. 270 x 180 mm ruled in twelve red five-line staves. 59-62.o. The host ms of 270 folios is an early 14th-century copy of the Speculum historiale. Bukofzer. . HISTORY No info. 270). facs. 547 (fol. 64. ed. 60. II. 3 4. 548. Fenlon (1982). 60. Volez oyer le castoy cum Gynot p.xiii end Parchment bifolium opened flat. BIBLIOGRAPHY RISM B/IV/1. in lyde ioye and blisce bringet me to bride p. c. 8 I. perhaps complete a2. 61 5. 111 2. 340 x 265 mm. 6. . cele freche de colur de grant lynage queyte sage mut de grant valur. triplum of textless hocket clausula a3 in parts 8. textless hocket clausula a3 in parts 9. frag. 270). [Notum] fecit do[minus] p. tenor of a textless hocket clausula a3 in parts -------PLUS very fragmentary strips (binding stubs). 558 (fol. [In odorem] suavitatis p. 557 (fol. . A nobis p. ce nest mie de quer pur moy deporter kant lesser mestut mamie e hors du pais aler ci ad . . 262: . 256: a small strip of the tenor of F-MO 32 (Rok. with texted music in parts: after fol. . 558 (fol. . ne qui de luy partis after fol. 270). 270v). Tenor de iue pens . frag. 27: . Domino after fol. [Notum] fecit do[minus]/[Notum] fecit do[minus]/T. frag. 270v). 40): Mellis stilla maris stella/T. Ne dampnemur p. . . . 557 (fol. . [A nobis]/A nobis/T. frag. textless hocket clausula a3 in parts 7. . Fenlon (1982).Cambridge. 410 I. pl. p. English 15th century copies.xv The last four pages of a 15th-century copy of Walter Odington's De speculacione musice. rondellus a3. 110 . EEH. III. containing the music examples.. Hammond ed. Fenlon (1982). facs. Included here because one music example is a 13th-century rondellus. CONTENTS 1. Ave mater domini fol. II. EEH. BIBLIOGRAPHY RISM theory vol. 34v. Fenlon (1982). PHYSICAL DESCRIPTION s. Corpus Christi College. 108. 107-110 IV. XLI. HISTORY NOT a 13th-century source. Two mss of music theory bound together. ed. CSM 14. PMFC XIV IV. 1:234-236. 155 x 102 mm. pl. 225 x 158 mm with written space of ca. PMFC XIV. ruled in six systems of two red five-line staves each with staff gauge 8.xiii med. ed. James cat. XXVII. Lütolf. Lütolf. Anh. ed. XXVIXXVII. Lütolf. O felix mortale recto-verso (fol. de Groete's ms.5-9 mm. Agnus trope a2. pl. a 14th-century ms of 98 fols. 32 verso). Agnus trope a2. no. Rex eterne glorie verso (fol. ed. facs. Gonville and Caius College. III. Lütolf. 1-1v. on music leaf. 14 . containing mainly medical treatises. HISTORY No info. BIBLIOGRAPHY RISM B/IV/1. Lütolf. alternating bluered initials. 471-72. now removed. 72. 7 3. PHYSICAL DESCRIPTION s. 1. Music has Notre-Dame style notation with no particular English traits. I. 388-90 and Suppl. frag. Mundum salvificans recto (fol. XXVI. 803/807 [frag. frag. Agnus trope a2. no. II. 43. from Cgc 345/620. 32 recto).Cambridge. PMFC XIV. Lütolf (1970). no. CONTENTS 1. frag.. facs. 71.. no. once a flyleaf. facs. 32] I. Preserved in a collection of fragments. no. 1v. pl. 13 2. Lütolf. Single parchment leaf ca. 32 verso-recto). no. PHYSICAL DESCRIPTION s. ed. HISTORY No info. of which eight and a fraction are visible while at least eleven were originally drawn. Equitas in curia subrogatur fol. written space originally ca.. Incomplete notation includes text and music on recto of fol. and text only on recto of fol. I. BIBLIOGRAPHY RISM B/IV/1. O43 2. on music leaves.Cambridge. of which texts of Triplum and Motetus are mostly preserved . vol. conductus a3 written in parts. 215 x 290 mm but cut down from an original of ca. Anderson edn. 333 x 125 mm and staff gauge 14 mm. The versos were ruled for music but lack text or notation. Musical notation not Petronian. App. Gonville and Caius College. 1. PMFC XIV. 369-70. II. but a mixture of sections with square breve in long-breve motion and English paired rhomboid breves in long-breve-breve motion.xiii med. 333 x 260 mm. Fulget ecclesia prelatis singulis fol. III. Formerly front and rear flyleaves of the first item in Cgc 327/527. Anderson edn. 2. James cat. possibly from a rotulus. 820/810 (frag. as stated in RISM. 2. PMFC XIV. Two parchment folios. staves drawn and text underlaid for a single-texted work a3 written in parts. IV. CONTENTS 1. 400 x 300 mm. no. now ca. with each column ca. 1. 9.. L) I. an early 13th-century copy of the Summa Ottonis Papiensis de edendo (incomplete) and the Summa Brocardi. each side ruled for music in two columns of red fiveline staves. 472-73. 10. From Bury St. Fenlon (1982). 14 mm. QB 1 I.5-15 mm. Jesus College. HISTORY No info. with red-blue initials. The musical materials were first reassembled by Manfred Bukofzer. 6-7). Fragment B Recto ruled in four three-stave systems of red five-line staves. Notre-Dame style music notation. Fragment A Overall dimensions ca.. Fol. 295 x 227 mm. 16-19. 1-5. originally the back flyleaf. 8-9).Cambridge. and eight for two voices (nos. 26). PMFC XVII. Items 1-9 are ruled in four systems of three red five-line staves per page. are continuous. and will be identified here as fragment B. II. Anderson edn. 215 x 150 mm for the polyphony a3 and 205 x 150 mm for the polyphony a2. 12. staff gauge ca. Freely drawn staves of gauge ca. 56-58 IV. James catalogue. Edmunds? They were front and rear flyleaves and binding strips removed in 1955 from Cjec 1. Edmunds. and the strips. appear to be from different gatherings of the same manuscript and will be identified here as fragment A. predominantly in long-breve motion. on music leaves. 10-17) on the strips. 51). 1a-1c). BIBLIOGRAPHY RISM B/IV/1. 2. items 10-17 are ruled in five systems of two red five-line staves per page. Losseff (1994). C-H. PMFC XIV. 472-76. CONTENTS Fragment A . may be from a different source than the others (Losseff (1994). PHYSICAL DESCRIPTION s. 47-51. with conductus a2. with conductus a3. Only six folios. Musical notation is English mensural notation with rhomboid breves. This repertoire is primarily international in circulation. verso ruled in five similar three-stave systems. III. plus staves and text but no musical notation for two others on the flyleaves (nos. It contains distinctively insular genres and notation. Written space of the recto is 220 x 160 mm (extended to 190 mm in the bottom system). The front flyleaves (now fols. a 15th-century paper manuscript of 273 folios containing a miscellany of letters and documents from Bury St. with written space of ca. and of the verso is 260 x 160 mm.xiii med. Best available description of the music leaves is in Fenlon (1982). 26-27. Four flyleaves and 33 strips comprising all or part of twelve folios and including all or part of seven conductus for three voices (nos. although evidence of sewing holes may indicate that it comes from a later layer of the same ms as the conductus (Fenlon (1982). [O crux ave spes unica signum] . . E3 9. conductus a3 (Anderson cat. frag. . staves and unidentifed frag. Szöverffy. E3. ed. [Fulget Nicholaus gemma pontificum] . . 286-87). vol. 3. Falck no. 274.. vol.. ed. Anderson edn. vol.. vol. ed. no. Szöverffy.. vol.. Falck no. vol. A deserto veniens gravis fol. viciis sit labile ne cordum . . [Premii dilatio . 187). no. Falck no. Anderson edn. 6. 195. staves and text only for setting a3 of a Communion 7. Ve[ra] fides geniti fol. no. Szöverffy. 270. . Fas et nephas ambulant fere passu pari fol. .. . no. E2 ---------------------------5. frag. no. 143). Szöverffy. 1. H4. Anderson edn. 1b-1b verso. 214). ed. Falck no. text only for setting a3 ---------------------------8. Anderson edn. Falck no. Anderson edn. frag.. Anderson edn. 96). 230. J3.. H4 ----------------------------11. vol... Leniter ex merito ferendum quod patimur fol. 119. conductus a3 (Anderson cat. 133). Falck no. B-Bv. 1. vol. Anderson edn. Anderson edn. 246-47). . 43). Szöverffy.. Si mundus viveret mundus pecunia fol. De pia virgo . Szöverffy. 1a verso. 24849). [con]trarium ab hoste nescio fol. no. F7. 1a. E10. 5. Crucifigat omnes domini crux altera fol. no. A-Av. no. 1. conductus a2 (Anderson cat. Anderson edn. 70. ed. conductus a2 (Anderson cat. [ponti]fex egregie decus fol.. Szöverffy. 1b. F7 4. 1. no. stella per equor fol. ed. frag. 1. E10 3.1.. 2.. E9 2. 135. D3 ----------------------------10. 1a verso.. no. 1a. . ed. conductus a3 (Anderson cat. no. conductus a3 (Anderson cat. demon cedat numini fol. 1. [Procurans odium effectu proprio] . no. no. E2. 1b verso. 7. Szöverffy. conductus a3 (Anderson cat. 327. no.. vol. 1c-1c verso. Falck no. 1. J3 . RISM no. Falck no.. E7. Qui suspendunt pre]mium fol. . ed. RISM no.. frag. no. E7 6. D3. E9. no. conductus a3 (Anderson cat. Falck no. no. 1c. . ed. no. Szöverffy. conductus a3 (Anderson cat. . 107). no. H1 14. no. 48 (H verso). . 10. end of duplum and tenor of frag.. 58-59).. with no. 3. conductus a2 (Anderson cat. Gloria in excelsis deo redemptori meo fol. ed. Anni favor iubelei pe[narum] laxat fol.. ed. 69 . facs. Bv. Dv-F. Szöverffy.12. ed. . troped chant setting a3. Anderson edn. ed. Anderson edn. ed. 52).. Fv-H. 2. 3. PMFC XIV. RISM no. Falck no. Anderson edn. no. 9. H31. Anderson edn.. coronata . G8. ed. vol. no. Ave maris stella dei mater/Stella maris parens paris/T. no. in score (RISM no. 2-2v. Alleluia V. 16. 11. 15.. I25. no. [Alleluya] V. A laudanda legione/ A laudanda legione/ T. facs. 64 2. no. Szöverffy. Falck no. no. 2. Anderson edn. Szöverffy. no. Novi sideris lumen resplenduit fol. troped chant setting a3 in parts. Szöverffy. no. Fenlon. conductus a2 (Anderson cat. agmine sanctorum regnat/T. conductus a2 (Anderson cat. Ave Maria gracia plena fol.. Hodie Maria virgo fol. no. vol. ed. 5. Szöverffy. conductus a2 (Anderson cat.. no. conductus a2 (Anderson cat.. 145. Genitus diuinitus idem quod a genitus fol. [A]ge peni[tentiam m]emor unde cecideris fol F-Fv. 149). no. no. H31 16. Alleluya fol. D[e]duc Syon ube[rrimas velut torrent]em fol. Fenlon. P1 Fragment B 1. frag. PMFC XIV. I25 ----------------------------13. 1. ed. PMFC XVII. 48. 8. vol. P1). G8 15. Falck no. RISM no. J25 17.. 1a below as concluding Alleluya 1a. vol. 144. vol. H1.. C-D. Falck no. 8a). 85. . 3. no. . 149). concluding Alleluya to no. conductus a2 (Anderson cat. Falck no. H-Hv.. J25. 4. vol. Anderson edn. fol. . . overall unfolded dimensions ca 292 x 170 mm. frag. 3. et dileccio Iam . . ./Tenor d[e] . 221/237 mm. 138). . [ar]changelorum quam pie caterue fol b verso (fol. a quo fecundata/ . 4. and with the first (left) folio trimmed vertically down to a stub. upper voice of motet on St. 138v). calbaccio O grauis fol. 138 [a. upper voice and tenor of motet to the BVM . Written for Durham? Host manuscript of 139 fols. parts of eight pages survive. 5. Maria fol. Lefferts (1981). but they have been cut across the middle with the loss of the top half. If the original was ruled for nine staves. . Tenor . now unfolded and used as rear flyleaves (fols. 2. QB 5 I. HISTORY No info on music leaves. CONTENTS 1. a recto (fol. celi agmina laudes fol. . . . Katherine 5. b recto (fol. 1300 to ca. manet lux celica . . 138). width of original folio ca. BIBLIOGRAPHY RISM B/IV/1. . upper and a lower voice of motet 2. . 2 -----------------4. Jesus College. . frag. 4/4 Two parchment bifolia. James cat. all ruled in single columns of staff gauge 16/18/21 mm. 138v). 8. . II. frag. . RISM no. d]). . Lefferts (1983) IV. . .. . the height of the page would have been originally ca. . motet tenor 3. RISM no. 139v). Source consisted of motets and motet-like troped chant settings in parts. . whole-chant tenor of motet-like tropedchant setting for St. . Thus. a verso (fol. PHYSICAL DESCRIPTION s. no. RISM no. Tenor text in red. 476-78. c recto (fol. 260 mm. III. 340 mm and the height of the written space ca. Cooper (1981). .prudencie . T. frag. . . RISM no.Cambridge. with width of written space ca. . a recto (fol. . 1500. V[irgo flagellatur] . 1. b] and 139 [c. . RISM no. 167/175 mm. upper voices of motet to BVM ---------------6. . .gina . gloria Amen/Tenor . frag. frag. 138v). ria misera . 23-24. not apparently continguous or forming the center of a gathering. concordance in D-Gu 220. . gracie don . . Only four-and-a-half red five-line staves per page survive. some in single column format and some laid out in double-column format. RISM no. frag.xiii. is a noted Gradual (cantatorium) of Durham Cathedral variously dated from ca. . fol. Thomas of Canterbury. . pes motet a3 on Simon de Montfort. transcribed Lefferts (1981). 139v). frag. d verso (fol. . . RISM no. ctoris virgi . Nicholas. .7. as canon a2 over pes in Cooper (1981). in terris extiteris/Tenor de Salue Symonis quia hic fol. RISM no. . . 86 9. ed. d recto (fol. . . [Sospitati dedit egros] . 7. prostratu gentis anglie . . 139). fol c verso (fol. 139). . . frag. 224-25. sospes regreditur fol. . nobi . staves ruled and one text entered for motet in double-column layout on St. [Salve Symonis quia hic]/S[alve Symon Montisfortis]. 6. upper voice of motet ----------------8. . . unnumbered in RISM. text is the well known prose for this saint . James catalogue. RISM no. III. En averil al tens/O Christi clemencie/T. is laid out in double cursus and has internal double versicle 4. pes motet a3. The recto is finished with blue and red initials. frag. no. verso. 3. in Lefferts (1981). the written space for 16 staves was originally ca. /T. 1. overall dimensions are now 310 x 210 mm. BIBLIOGRAPHY RISM B/IV/1. contrapuntally a middle voice. PMFC XIV. in its original binding. HISTORY No info. voices of a chant setting. 4. in a brown manila folder. 174-75. probably a page from a rotulus. RISM no. partial ed. 480-81.1) I. 127-128) but now housed separately. 315 x 180 mm inside overall dimensions of ca. The recto is ruled in two columns. with a Bury St.xiii med. ed. Losseff (1994). each of width 85 mm and staff gauge 13 mm with fifteen fully visible red five-line staves. O sancte Bartholomee plebs fidelis/O sancte Bartholomee plebs deuota/ T. is a 13th-century copy of William Peraldus. Single leaf. incompletely notated motet a3. 99-100 IV. Written for Bury St. unfolded and flattened. two frag. RISM no. pes motet a3 for Symon de Montfort. . Summa de vitiis. 138 (F. Edmunds? Former host manuscript of 125 fols. 350 x 240 mm. tenor begins at left hand margin of second staff from bottom . RISM no. II. Lefferts (1981). the small amount surviving from its first item indicates that there was at least one preceding leaf to the rotulus. . frag. a partially visible sixteenth staff mostly trimmed from the top completes the upper two voices. Edmunds pressmark. PHYSICAL DESCRIPTION s. CONTENTS 1. [Benedica]mus domino verso. 2. once folded to form two rear musical flyeaves (fols. Miles Christi gloriose Symon/Plorate ciues anglie recto.Cambridge. St. on music leaves. The verso has fifteen complete staves with another partially trimmed away. John's College. On both sides. unidentified cf.. while the verso is unfinished: the second item lacks initials and notation for the French-texted triplum. 219-20 3. Notation is EMN. A seventeenth staff is partially visible below the left hand column only and has no notation. O Bartholomee miseris recto. 45 2. . 44-47. evidently from the same source but with no continuity from one to the next. Notation is EMN in virga-rhomb patterns. . III.f. conductus motet a3 3. 215-215v [229-229v]. mundo profuit/T1. conductus motet a3.xiii med. page dimensions 225 x 165 mm. 2. The music leaves serve as flyleaves before and after the first of these volumes and evidently served previously as flyleaves and pastedowns when it was independent. 5]. conductus motet a3 . Iv. 46. fol. 3]. . . frag. bound together. O. /T. conductus motet a3. 6]. . the present binding is of the 17th or 18th century. II. 1 I. unique for having two supporting voices. II. and one free. when they received a continuous foliation which does not include the preceding calendar. Trinity College. on music leaves. lix vita salus hominum . [RISM no. virtutum spolia . RISM counts this piece as two items [nos. [Et confitebor]/T2. . PMFC XIV. 482-85. 215v [229v]. Fenlon (1982). . . the Liber Eliensis and the Inquisicio Eliensis. ed. 44. BIBLIOGRAPHY RISM B/IV/1. foliated I-II. Fenlon (1982). PMFC XIV. no. fol. Sanders (2001b) IV. 25 4. frag. 4]. Stilla mellis vellus rorifluum/T. Best available description in Fenlon (1982). I-Iv. 1-2] 2. ed. . App. fol. Two parchment bifolia. 215-216 [229-230]. Regina clemencie mater et filia/T. Fenlon (1982). no. which survive intact. conductus motet a4. conductus motet a3. II-IIv. 75 6. frag. Salve sancta parens christi fol. frag. [RISM no. Probably from Ely Cathedral Priory. neither the center of a gathering. [RISM no. [RISM no. . facs. fol. 7]. [RISM no. . 46 -------5. . one c.Cambridge. O Maria singularis stella/T. frag. CONTENTS 1. Host manuscript of 256 fols. David arreptus solvitur . with written space of 158 x 102 mm ruled in six systems per page of two red five-line staves with staff gauge 9 mm and red-blue initials. PHYSICAL DESCRIPTION s. HISTORY No info. The two books were probably joined by the 15th century. consists of a calendar and two late 12th-century volumes from Ely. fol. facs. . PMFC XIV. 8. [Veritatem] fol. 216v [230v]. totum orbem inficit . . App. [Alleluya] fol. Virgo decus castitatis/T. . frag. Agmina milicie celestis omnia/T. 835. 216 [230]. . etc. no. 9]. frag. [RISM no.7. 24 9. conductus motet a3. 10]. but this insular conductus-motet version and triplum not otherwise known. etc. [In veritate comperi quod sceleri] . ed. 216v [230v]. variant continental concordances in F-MO. continental concordances in F-MO 48 (Rok 57). [RISM no. . /T. continental concordances in I-FL 29. no. PMFC XIV. conductus motet a3. 49 (Rok 58). [Agmina] fol. frag. [RISM no. . etc. conductus motet a3. 8]. . ii. V. From Bury? Lütolf argues for French provenance. Notre Dame style musical notation. ed. 38 3. 39. Part I. Ff. CONTENTS 1. XXXVIIXXXVIII. i-i verso. green. 55-57 IV. acc. Two parchment front flyleaves. pl. ed. Lütolf. running from Richard II to Henry VI.Cambridge. Notre Dame concordances for one clausula -------2. II. HISTORY No info. EEH. and violet. Ludwig) ruled in twelve red five-line staves of staff gauge 8 mm. the Red Vestry Register. ii. 486-88. PMFC XIV. PHYSICAL DESCRIPTION s. Dies sanctificatus illuxit no[bis] fol. ii-ii verso. Cui dulci iubilo fol. chant setting a3 of Sanctus Sar 5 and trope. EEH. facs. Lütolf (1970).xiii med. no. is a 15th-century collection of documents from Bury St. EEH. PMFC XIV. Initials in red. Alleluia. frag. chant setting a3 of Sanctus Sar 3 and trope. University Library. no. XXXVII. blue. Losseff (1994). III. facs. BIBLIOGRAPHY RISM B/IV/1. honor. from the same ms but not originally continguous. 1:213-18. Edmunds. no. frag. Lütolf. Host manuscript of 96 fols. 29 I. 65 . chant setting a3. on music leaves. pl. [Sanctorum exultacio] . . overall dimensions 290 x 205 mm with written space of 179 x 121 mm (172 x 122. Sancte ingenite genitor fol. designations of untexted voices in red. Text script is gothica textualis quadrata. Lefferts (1986). Additional 128/2 I. 534. motet a4. frag. 534-38 3. notation is Franconian. [Q]Uid rimari cogitas/[Ten]or primus recto. 534. Notation in black. 21-23 and pl. 2: 326. II. written space arr. 39-41 (identified as CANT 2). 4-5. with some semiquadrata elements. PHYSICAL DESCRIPTION s. originally ca. s de primo puncto verso. III. . frag. BIBLIOGRAPHY Wathey. now 280 x 125 mm. perhaps originally 245 x 150 mm (recto). 280 x 180 mm. Lefferts (1983). 529-42. ed. Single parchment leaf with no foliation. Lefferts (1983). frag. motet a4. . [Venit sponsa de li]bano/. Sandon. probably from a codex in the Canterbury Cathedral Library or Archive. with ornamental semibreves. CONTENTS 1. staves freely ruled in red. 246-48 IV. ed. HISTORY Leaf now lost. 530-33 2. . MMBL. ed. Lefferts (1983). 328 (identified as 128/5). 542 . Lefferts (1983). Cathedral Library. with text guides.5 mm. Lefferts (1983). Ker. with three tabs extending a further 15 mm horizontally. . 539. frag. motet a4. xiv in. RISM Suppl. de secundo puncto verso. and staff gauge 13. as single column now 245 x 125 mm (recto) for twelve five-line staves and 225 x 125 mm (verso) for eleven five-line staves. motet a4.. Written for Canterbury? Used in an unidentified tall stabbed binding.Canterbury. [Det]entos a demonibus/[Sec]undo tenor recto. 539-41 4. ed. [Regi]na iam discubuit/. . 111-113 IV. the larger.. Alleluia V. first reported by Sandon. xiii med. HISTORY No info. . ruled in four three-staff systems with frame rules. Losseff (1994). stella dei cella . now 245 x 190 mm. Originally ca. ed. Sandon (1976). xiii 2/2. with written space 244 x 155 mm. 48-50. partially cut off. III. Sandon (1976). Salve virgo mater dei verso. Wathey dates s. BIBLIOGRAPHY Wathey.Canterbury. RISM Suppl. PMFC XVII. . 37-39 (where 128/8 is identified as CANT 1). Cathedral Library. and brown. PHYSICAL DESCRIPTION s. transcendens Maria recto-verso. 1260-1280. double text guides. top system of verso. Three-line initial for S [alve] of item 2 in red. placing handwriting and notation both ca. 1 not added to bottom system of recto and the badly worn. 13 mm. predate the discovery of Add. has modern foliations "Cant 1" and "10". untroped chant setting a3 in score 2. . Written for Canterbury? Fragments were formerly pastedowns in unidentified bindings probably from the Canterbury Cathedral Library or Archive. PMFC XVII. 128/71) . Two text hands. discovered at separate times in the later 20th century. Music that would have completed no. 20-21. frag. green. Alleluya V. 300 x 200 mm. together comprising one parchment leaf. red five-line staves freely ruled with gauge ca. Sandon's description reverses recto and verso. 63 (both edns. on music leaf. and ruled three-line 16 mm indentations for initials. musical notation is EMN with rhomboid breves and diagonal stems on the first rhombs of conjuncturae. no. both versions of gothica textualis semiquadrata. II. CONTENTS 1. text gaps filled by red-green ornament. Sandon dates repertoire stylistically to mid-century. Two separated fragments. Additional 128/8 + Additional 128/71 I. untroped chant setting a3 in score. Ave rosa generosa . Lefferts (1986). modern foliation "Cant 6" on verso. eleven (originally at least fourteen) five-line staves freely-ruled in a single column with frame rules. frag. RISM Suppl.. ruled indentations for initials. perhaps originally 325-360 x 190-200 mm. II. Cathedral Library. on this leaf. Additional 128/62 I. HISTORY No info.Canterbury. BIBLIOGRAPHY Wathey. Text script is gothica textualis rotunda. possibly part of a rotulus. paraphs. Staves. with at least three staves and two lines of text cut away at the top. PHYSICAL DESCRIPTION s. written space now 235 x 164 mm. perhaps originally 300 x 164 mm. III. 246 (identified as CANT 6). Virgo [dei genitrix] recto. fit innocens opprobrio/Virgo que fructifera/T. . xiii ex. Robert Ford IV. . musical notation is Franconian. troped chant setting a3 of the verse of the Gradual Benedicta et venerabilis . double text guides. the editors also gratefully acknowledge a private communication from Dr. and staff gauge of 11-13 mm. Written for Canterbury? Formerly used in an unidentified binding probably from the Canterbury Cathedral Library or Archive. now 250 x 196 mm. . CONTENTS 1. Single parchment leaf with notation only on recto (verso is blank). 23-24. and tenor text in red. between p. fol. frag. that of five-line staff is 9. each folio originally ca. . speciale gaudium . frag. . 160 x 140 mm with written space ca. gauge of 4-line staves is 6-7 mm. Text script is an English proto-gothic book hand (miniscule with certain gothic forms). parchment folios forming a bifolium not from the center of a gathering. IV. with edn. in 1964. II. 2v. Found in a cavity in the wall of the 15th-century clock chamber of Netherbury Church. III. . . [Superne matris gaudia] . . 229. 228 and p. Dorset. reverses that of Bent). CONTENTS 1. major initial in red flourished with green. fol. 1v. 1. sequence a1 4. deposited in Dorset Record Office in 1969. no surviving foliation (Wathey's foliation for RISM.5 mm. 24-25. ave [pro]lem protulisti fol. . Bent (1970). 120 x 100 mm. HISTORY No info..Dorchester. . Salve m[ater salvator]is vas e[lectum] fol. [pro] qualitate (sic) meriti fol. of no. Dorset Record Office. frag. 2. free-ruled in single columns. . [Verbum bonum et suave] . BIBLIOGRAPHY Wathey. with semi-quadratic neumes. small capitals in red and green. perhaps originally with twelve four-line staves per page on fols 1v-2v. Staves are red. PHYSICAL DESCRIPTION s. on music leaves. Bent (1970). . the first of which has one five-line staff. . xii/xiii Two frag. ed. sequence a2. sequence a1 -------3. PE/NBY/MI 1 [olim P 350/MI 1] I. frag. sequence (unidentified) a1 . and notation is of the later 12th or early 13th century. 1 and complete facs. RISM Suppl. Dei filium . 239 2. followed here. dimensions of two-page opening now 142 x 275 mm. 1 organized into six two-staff systems. . 3/4 Single leaf.f.Durham. Bamburgh Collection. perhaps once reinforcement for the spine. ruled on recto in four three-staff systems. PMFC XIV. no. 61-62 IV. BIBLIOGRAPHY RISM B/IV/1. 13 I. no. 1495). WF. II. 32. single-texted concordance (frag. frag. red. of which top staff is lost. 1545 and not London work. PMFC XIV. is ca. Hygden's Polycronycon (London: Wynkyn de Worde. some early owners lived in Norwich. Anderson edn. O46 (Sv. no. PHYSICAL DESCRIPTION s. 34. different colored inks (blue. Tu capud ecclesie/Tu es Petrus/T. Illuminated capitals in motet. II. vol. no. CONTENTS 1. Sel. 78 .) in Recon. Present binding. 253-54) 2. 69. now trimmed on three sides to 260 x 179 mm. no. University Library. of which top staff is lost. c.. PMFC XIV. Now a front flyleaf but not originally so. motet a3. 300 x 200 cm. originally ca. ruled on verso for 10 staves. 268 x 162 mm with five-line staves of gauge 16 mm. original written space ca. which has two pieces on St.. on music leaf. [Veritatem] verso. Losseff (1994). not original. double-texted conductus-rondellus a3. Binding material from a printed book. brown) for texts in rondellus segments. Anderson edn. 9. ed. Peter. III. 490-91. HISTORY No info. Provenance of music could be either city (see Losseff (1994)).xiii. ed. [Quem trina polluit] recto. tone a2 for first lesson of First Nocturne of Christmas Matins. PHYSICAL DESCRIPTION s. HISTORY Polyphony entered among plainsongs in the Temporale of this Sarum Antiphonal from ca. Polyphony on fol. 14. perhaps from York. II. 14. 515-16.London. Additional 28598 I. III. Göllner. BIBLIOGRAPHY RISM B/IV/1.xiv inf. 1300. ed. Mutilated and incomplete parchment codex now of 170 folios with dimensions of 288 x 185 mm and a written space of 240-245 x 165 mm. 11 . Göllner (1969) IV. Primo tempore alleviata fol. CONTENTS 1. Plainsong and polyphony written on 17 to 19 red four-line staves per page of gauge 8 mm. not 14 verso as described in RISM. I. British Library. fols. EEH. BIBLIOGRAPHY RISM B/IV/1.5 mm. med. Malyshko (1989: 72. 14 3. Overall dimensions of 207 x 150 mm. III. 154. devotional song a1 double-texted in Latin and English. Music. written space for music on fols. On fol. 153-155 is ca. 1-94. 95133. EEH. ed. Magdalene laudes plene vox serene fol. sequence a1 double texted in Latin and Anglo-Norman. Arundel 248 I. EEH. pl. 7 . Deeming (2006). 153v. conductus a2. Te milde lamb isprad o rode fol. XXXIV. facs. entered within an integral binio. Angelus ad virginem/Gabriel fram evene king fol. II. facs. pl. 14 6. pl. XXXIV. EEH. 1). since a later owner was of the parish of Leeds. no. ed. 491-93. no. no. plus later entries. XXXII. pl. 8. XXXIII. Malyshko (1989).xiii. Worldes blis ne last no throwe fol. MES. 1. 134-35. Anderson edn. 201v. PMFC XIV. MES. heading reads "Cantus de Domina post cantu Aaliz". 154. 217-218) 2. fols. vol. in a variety of hands and rulings with staff gauge ca. written space is 180 x 115 mm with staff gauge 6 mm (15 mm for the two-staff system). nos. CONTENTS 1.London. Everist (1986). all in the fourth discrete ms. XXXII-XXXVI. 14 4. Losseff (1994). 10. Deeming (2006) IV. facs. concordance in Ob 18.. 153.. EEH. (RISM no. XXXIV. pl. MES. facs. Deeming (2006). monophonic English devotional song. 152-55. British Library. It is a composite of four parchment mss. 15 (ii) 5. 81) suggests Leeds as a possible point of origin. 154. 153v. EEH. Gillingham edn. XXXIII. Stevens (1986). HISTORY A theological and moral miscellany variously dated late 13th century (Dobson in MES) or early 14th century (Stevens). facs. monophonic English devotional song. P29 (Sv. pl. Stevens (1981a). Page (1976). 136-201. MES. EEH. 15 (i). Flos pudicicie/Flur de virginite fol. ed. heading reads "Sequencia de Magdalena post notam Letabund". PHYSICAL DESCRIPTION s. pl. facs. O labilis o flebilis f. 180190 x 115-25 mm. ed. 38-40. Middle English dialects have both East Anglian and Northern features. melody based on the sequence Letabundus. no. 7-7. sequence a1. no. Spei vena melle plena fol. facs. Deeming (2006). no. 155. PMFC XIV. EEH. O14). musical concordance is no. no. Anglo-Norman monody. no. sequence a2. 9 above. 4). XXXVI. Alleluia V. pl. Jesu cristes milde moder fol. no. 154v. ed. 155. no. 10 below. 201v. Marian sequence a1. XXXV-VI. EEH. 21 . 19b. pl. (RISM no. Bien deust chantar ky leal amie fol. 155. 69 10. XXXV 8. ed. 2). musical concordance is no. facs. PMFC XIV. 15. pl. 3).. (RISM no. conductus a3 (Anderson cat. pl. PMFC XIV. XXXVI. 12 9. Salue virgo virginum parens fol. 154v-55. Virga ferax Aaron fol. no. XXXVI -------12. 2 11. 9. no. frag. Caldwell (1991). EEH. Risum fecit sare fol. ed. no. 5). pl. MES. Veine pleine de ducur fol. 9. vol. 200v. facs. EEH. O12. PMFC XIV. conductus a3 in Anglo-Norman.. (RISM no. ed. Gillingham. facs. Anderson edn. chant setting a2 -------13. facs. Everist (1986). 6). 1. (RISM no. facs. (RISM no. no.7. 19a. double-texted sequence a2 in English. EEH. BIBLIOGRAPHY RISM B/IV/1. Early 13th-century notation similar to British Library manuscripts Cotton Vesp. 1/4 Overall ms dimensions are 212 x 115 mm. II. and Harley 5393. but the gathering containing the music is shorter. pl. The two items are entered in different hands. 16. pl. EEH IV. written space of music pages is 180 x 103-107 mm. vol. Pentecost sequence a2. Benedicamus domino fol. 15v-16. CONTENTS 1. 16v has 12 lines of unrelated written text in yet another. PHYSICAL DESCRIPTION s. HISTORY MS of 24 folios is a 12th-13th century collection of short theological works that originally belonged to Cistercian abbey of Thame. at 200 x 115 mm. Amor patris et filii veri splendor fol. no.London. 10. setting a2. xiii. facs. facs. with six pairs of four-line brown staves per page of gauge 10 mm. xviii.. ed. EEH. P30 2. Music and text added on the final leaves of a gathering given over to De diluvia. 493-94. Harley 524. British Library. III. X . later hand. EEH. Burney 357 I. Anderson edn. IX-X. Oxfordshire. Fol. MES.. 196-98. pes motet a2. PHYSICAL DESCRIPTION s. no. Cotton Fragment xxix I. 17 . an early 14th-century Durham miscellany of 85 folios and dimensions 240 x 165 mm that survives in very good shape. xviii. Shrinkage and warping on account of the Cotton fire make a fair estimate of original dimensions impossible. PMFC XVII IV. III. 15 (ii) with substitute text (Gabriel Fram Heven-King). pp. no. CONTENTS 1. Page (1983). Angelus ad virginem subintrans fol. 307-8. II. 9. MES. xiii. The leaf is dated 1349 in a document added at the bottom of the recto. British Library. 18. PMFC XVII. Parchment leaf of polyphony now fol. 272-73. setting a2 with tune in top voice. Stevens (1981). not concordant to a later polyphonic setting a3 of the same text and tune in Cambridge. 36v. RISM proposes Salve mater as incipit. 126-27 in the commentary to no. [Dou way Robin] fol. HISTORY Leaf apparently was a flyleaf in Cotton Titus A. no.London. University Library. vol. Veni mater gracie stella/T. MES proposes Sancta mater. 1 . med. Additional 710 (an error in RISM repeated in Anderson edn. Page (1976). ed. 36. Heat has distorted and shrunk the parchment to current dimensions of ca. and elsewhere). ed. 190 x 135 mm. PMFC XVII. 36 in a 19th-century miscellany of fragments of burnt Cotton manuscripts. concordance in US-PRu 119 B. no. no. Notation is EMN. MES. BIBLIOGRAPHY RISM B/IV/1. 52 2. 494. leaf probably from Adel (Addle in Yorkshire). O13. Lütolf (1970). pl. Cotton Titus A. 1:199-202. Provenance might be French or English. for which space had been saved. PMFC XIV. 91. II. 1 to page 90 recto. 90v. 90v) and 170 x 125 mm (fol. Virtute numinis fol. PHYSICAL DESCRIPTION s. music added on originally blank rearmost pages. Hughes (1954).London. Lütolf. 91. 20 2. 90v. respectively. Hughes (1954) before 303. CONTENTS 1. BIBLIOGRAPHY RISM B/IV/1. 90v-91. 90v and the text and music of fol. xxi I. III. Salve virgo singularis fol. fols. of staff gauge 7-10 mm. 91) on twelve and nine freely-drawn four-line staves per page. were then added in another hand. British Library. Agnus dei trope a3. MS dimensions are 235 x 160 mm. is an English addition The same hand entered the text and lowest musical part on fol. 495. at any rate. but the present consensus is that the music. facs. EEH. no. is a parchment collection of psalm and hymn texts of the late 12th or early 13th century. EEH. HISTORY Ms of 91 fols. monophonic sequence . ed. XI. no. xiii med. RISM errs in assigning item no. in written space 178 x 115 mm (fol. 67. the upper two polyphonic voices on fol. PMFC XIV IV. British Library. motet a3 in Anglo-Norman. 3/4 MS dimensions are 215 x 160 mm. Lots of erasures. HISTORY 13th century MS of 167 folios from Ramsey Abbey. as fols. ed. Et gaudebit fol. Miscellaneous contents include chronicles and Papal bulls. BIBLIOGRAPHY RISM B/IV/1. 4 . one or two dots over some single longs) are most similar to British Library manuscripts Burney 357. xiii. and fol.London. Musical notation is EMN in longrhomb motion. CONTENTS 1.. 165. II. Everist (1986). 164 now a single leaf within it whose musical content continues onto fol. frontispiece. Amor veint tout fors/Au tens deste ke cil/T.g. 495-96. double longs divided by vertical line. Cotton Vespasian A. Everist (1986) IV. III. PHYSICAL DESCRIPTION s. etc. Some aspects of early 13th-century notation (e. 163 and 165 form a bifolio. Everist (1986). Leaves containing the music once may have been independent of the remainder. 164v (one fiveline and twelve four-line) and twelve on fol. 23). xviii I. with fol.. Decoration in red and green. 164v-165. or Harley 5393. no. with continental concordances in FMO 15 (Rok. facs. 163 recto is blank. perhaps either amending clef errors or recording the process of scribal conversion from continental notation to EMN. originally at least two separate mss now joined. 165 (ten four-line and two five-line) with staff gauge 9 mm for five lines (7 mm for four lines). Harley 524. music added on blank flyleaves at end of main corpus in written space 179 x 125 mm ruled for thirteen red staves on fol. CONTENTS 1. Harley 524 I. vol. Red decoration on initials. 1. 1/4 MS dimensions are 207 x 150 mm. Veri floris sub figura quem produxit fol. no. EEH. III. C1 . Early 13th-century notation is most similar to British Library manuscripts Burney 357. on three systems of two red four-line staves of gauge 8 mm. Anderson edn. Malyshko (1989). Losseff (1994). pl. C1. ed. 63. xviii. Anderson edn.. XXXI. conductus a2 (Anderson cat. Music entered on a ruled but blank endleaf of one of these items. Szöverffy. Falck no. ca. 505. Cotton Vespasian A. BIBLIOGRAPHY RISM B/IV/1. Notation includes an ascending binary ligature whose lower note is a wavy duplex long and a descending binary ligature whose first note is a duplex longa over which are two dots.. 1300-1320. is a miscellaneous collection of once independent libelli including sermons and other theological items. XXXI.London. 369. no. British Library. II. The last of these is a letter from the Abbot of Oseney to the Bishop of Lincoln. HISTORY MS of 147 fols. PHYSICAL DESCRIPTION s. music in top half (98 x 115 mm) of a ruled written space of 148 x 115 mm. xiii. 320). EEH. 79-80. pl. or Harley 5393.. facs. 42 IV. 127. Hohler (1978). in the later 1270s). in the 1270s and 1280s). Folio one is blank. Anderson cat.” IV. staff gauge is 11-12. has a written space of 141 x 115 mm. Notation is EMN with rhomboid breve. de Wycombe. BIBLIOGRAPHY RISM B/IV/1. The music is in the first section (fols. III. Deeming (2006). Perhaps compiled for Reading monk William of Winchester. 200 x 135 mm. 2r-13v). Taylor (2002). Item B. 11 (only ruled for 5 staves. plus polyphony (Sumer canon. de. Sanders (2001e). 160v161). British Library. and includes nine lengthy monophonic Latin songs.London.. Lefferts (1986). Sanders (2001c). McGee (1989). 14r-15r begins the second section of the book and is ruled differently for its music theory examples. II. Gillingham (2006). It records that the lost book was once owned and perhaps assembled by W. it has evidently undergone some modifications at a later time. 2-13v. PHYSICAL DESCRIPTION s. CONTENTS Item A . A smallish book of 162 folios.” “R. de Burgate. MES. fols. Page (1976). a Reading dependency. It is a portable miscellany originally in six distinct sections of widely varying content. xiii med. Taylor and Coates (1998). with a written space of 163 x 102 mm (sometimes taller) for fols. 5 lines for item no. now trimmed at the margins to 190 x 130 mm. 12). Crocker (1990). 11v (for item no. Losseff (1994). the so-called LoHa or Harleian index (fols. Everist (1986). three-voice motet as conductus.” and”W. Item C. The last item added to the manuscript is a later addition. PMFC XIV. 1268-90) and a cycle of Alleluia settings attributed to W. Harley 978 I. a single bifolium which preserves the index or table of contents to a now lost music codex of c. W. three dances a2). 5. 160v-161. Sanders (2001b). and identifies a work by R. Stevens (1986). 14r-15r). written space is 143-152 x 80-85 mm. EEH. de Wintonia (a monk at Reading and at Leominster Priory. to the end of the piece). Item A comprises the entire first section. 2r-13v have uniform ruling of nine red five-line staves per page with the exception of 9v-10 (four three-staff systems of 4. de Wycombe (a Reading monk who also worked at Leominster Priory for four years and was precentor there for part or all of that time.5 mm for five lines. 505-8. Schofield (1948). Fols. de Burgate (abbot of Reading. but with uniform size and mostly uniform written space and ruling of pages. Parrish. 82-84. 1290 that was evidently also of Reading provenance. originally ca. MGB. 9). HISTORY This is a Reading Abbey ms principally from the mid 13th century and finished not long after 1265. the appended fols. There are music theory examples at the beginning of the second section (fols. Grove 2001 entries for “Wintonia. MGB. 39 7. PMFC XIV. 13. 9. pl. 175 4. Caldwell (1991). pl. no. Deeming (partial) 10. MGB. NGD/2 24:708. no. 13. no. cover of record Medieval English Lyrics (ARGO ZRG 5443 [London. no. EEH. 40 8. 11v. 17. 28. App. where rhyme shifts from -ata to -isti. 12. ed. 66-68).. Taylor (2002). Sv. Latin lai a1. Felix sanctorum chorus fols. Sumer is icumen in/Perspice christicola fol. Dum Maria credidit fols. Cantus superior/Cantus inferior (textless) fol. 8v-9. XVII 3. Eterni numinis mater et filia fol.1. McGee. MGB. no. facs. K75. no. p. Latin lai a1. 106. Sv. Everist. EEH. EEH. no. 9v-10. Crocker (1990). Ab. Falck. Ave gloriosa virginum regina fols.. pl. bitextual rota over a two-voice pes.. facs. 9. XII-XVII 2. ed. facs. 5v-6. 66. L43. Cantus superior/Cantus inferior (textless) fol. PMFC XIV. second half of no. 11.. EEH. with same musical material. XLIII. 684-87. 18. EEH. 1982). sequence a1 11. Cantus superior/Cantus inferior (textless) fol. pl. pl. no. PMFC XIV. McGee. ed. Ab. Ab 13. XIX. partial facs. partial facs. 61 13. partial facs. Latin lai a1. McGee. A13. Primum fuit gaudium fols. facs. 7-8v. 3 is second half. 9. PMFC XIV. XX-XXI. Anderson cat. L42. Anderson cat. Latin lai a1. XVIII 6. facs. Petrus romanis reseravit fol. British Library Postcard BL/C/MSS/189 (The British Library Board. 1. vol. pl.. break point distinguished by a medium-sized initial. Ab. Ab. Anderson cat. 15. ed. sequence a1 (Anderson cat. no. MGB. 4a and b. 10v-11. vii. Ave gloriosa mater salvatoris (Duce creature) fols. 27. EEH. no. 80. transformed here into conductus and provided with alternative French text (Anderson cat. XVIII-XIX. no musical notation 12. MES. 41 9. pl. 2-4v. 12-13. motet a3. no. 23 a and b. 2. with performance instruction. no. PMFC XIV. no. 1965]). EEH. no. Parrish. 6-7. ed. no. for which see AH 31. poem on the twelve Apostles. Regina clemencie Maria vocata fols. MGB. XII. facs. 16. pl. XIX. no. no. also survives independently. EEH. Büttner (1990). Samson dux fortissime fols. pl. sequence a1 . Parrish. no. L44 5. pl. XXXII-XXXIII. 4v-5v. frontispiece to Grove's Dictionary (1954). Falck. Est tonus sic and solmization exercises. Virgo dei genitrix [Ob 25. Adorabo . Virga Iesse 6 (1. Salve virgo 8 (1.1) Spiritus et alme. Gaude Virgo 7 (1. Multiphariam 15 (2.3) Item Regnum tuum solidum [several possibilities] 4 (1. F-Pn 25408. but the running numeration given below is modern.2) Rex omnium lucifluum. fols. 14r-15r -------Item C Index or table of contents for a lost volume of polyphony.7) All. sequence a1 16. as noted. see Lefferts (1986). Virga ferax [Lbl 248.6) All. de Winton 1 (1. Gloria et honore 14 (2.14.4) All. 13v. 161-65. fols. a number of the textual incipits can be associated with possible concordances. Ante thronum regentis/Organizat triplex ierarchia fol. incl. 13. Salve virgo domina. 67-69. there are incipts for 164 items.6) All Gaude mundi domina. Gaude salutata virgo fecundata fol.9) Item All. 12?.2) All. including what are called in the index the conductus. Three pages of music theory materials. R.i. 4?] Postea Responsoria W. Hic est discipulus 12 (2. A collect for the Five Joys fol. the layout in sections with headings is original.8) All. Adorabo 17 (2. possibles tend to group in certain of the sections. Te martirum 13 (2. while other sections. sequence a1 15. 160v-161.8) All.4) Virgo decora. Losseff. 1?] 5 (1. 3?] 3 (1.5) All. 4?] 2 (1.5) All. Dies sanctificatus [Ob 400* B. Ordo libri W. de Burgate [Ob 60. no musical notation -------Item B. de Wicumbe 9 (2. 13v. Sanders (2001e). apparently consist entirely or mostly of unica. 1?] 10 (2.3) All. Video celos apertos 11 (2.1) All.7) All. Virginis inviolate.Regnum tuum solidum [Ob 60. Vidimus stellam [Ob 400* B. 3?] 16 (2. 1?] 30 (2. D-W3. Ave Maria [Cjec 1 B.11) Mundo salus oritur [Anderson cat.3) Dulcis ave femina [Anderson cat.11) Item All. J41.6) Katerina progenie [Anderson cat. N21.9) Ave caro Christi [Anderson cat.32) All. E13?. Judicabunt [Recon II.28) All.20) All. Salve decus Cunductus 46 (3. Justus germinabit [D-W499.29) All. R13] 55 (3. 2?] 42 (2.16) Salvatori sit gloria [Anderson cat.18) All.27) All. N19.31) All. Non vos me elegistis 28 (2. R14] 56 (3. Virga Iesse [Recon II.10) Veni sancte spiritus [Anderson cat. O38.23) All.17) De radice sentium [Anderson cat.1) Veni creator spiritus [Anderson cat. R18] 60 (3.10) All. Hodie Maria virgo [Cjec 1 B. Benedictus es Domine 25 (2.13) Vox iocunda [Anderson cat. Pascha nostrum [Recon I. R9] 51 (3. 2?. 1?] 38 (2.25) All. Tu es Symon Bariona 27 (2. 2?] 40 (2.2) In celesti ierarchia [Anderson cat. R11] 53 (3. R8] 50 (3. 2?] 31 (2. 6?] 44 (2. Levita Laurencius 29 (2. Ascendens Christus 22 (2.4) Mater Christi quem pavisti [Anderson cat. 2?] 39 (2.19) All. R15] 57 (3.18 (2. K76?.7) Andreas celici [Anderson cat. Nativitas gloriose [Ob 400* A.5) Miles Christi qui vestisti [Anderson cat. Porta Syon [Ob 400* B.13) All. Dilexit Mariam dominus 45 (2. Q8. R5] 47 (3.14) Item Ascendens Christus 23 (2.37) All. Veni electa 35 (2. Inter natos 26 (2.22) All.26) All.12) All. Pascha nostrum 20 (2.24) All. R21] . L156. Dulce lignum 21 (2.8) Dux Andrea [Anderson cat. 10?] 33 (2. R7] 49 (3.15) Virgo pudicicie {Ob D. 39?] 19 (2. R10] 52 (3. R16] 58 (3. R20] 62 (3. 5?] 41 (2. R19] 61 (3. 3?] 32 (2.36) All.16) All. R17] 59 (3. Dilexit Andream 36 (2. Salve virgo [Cac 128/8. R12] 54 (3.35) All.12) Gaudent celi letantur populi [Anderson cat. Tumba sancti Nicholae 37 (2.21) All.14) Gaude virgo vas pudicicie [Anderson cat.17) All. Gaude virgo [Recon II. R6] 48 (3.30) All.15) All. Ora pro nobis 43 (2.3.33) All. In conspectu [Ob 400* A. Paraclitus 24 (2. Hic Martinus [Hic Franciscus Ob 400* A. 2?] [Anderson cat.34) All. 5?] 34 (2. 36) Rorant celi [Anderson cat. 8?] 98 (5. R38] 80 (3.3) Salve virgo que salvasti 87 (4. R22] 64 (3.11) Veritatis vere testis 95 (4.13) Homo quam ingratus Motetti cum duplici littera 97 (5.23) Adorna Syon thalamum [Anderson cat.35) Concipis affata [Anderson cat.31) Pastor gregis anglici [Anderson cat.9) Christi miles rex Edmundus 93 (4.28) Rex sedet in solio [Anderson cat.1) Gloriemur crucis in preconio 85 (4. R31] 73 (3.25) Felix Magdalene [Anderson cat. R27] 69 (3.2) Mundialis glorie 86 (4. R24] 66 (3.24) Letentur omnia corda [Anderson cat.8) Anima mea liquefacta est [US-PRu 119 A.38) Resurrexit Dominus [Anderson cat. R26] 68 (3.5) Radix Iesse 89 (4.63 (3.19) Salve sola solis cella [Anderson cat. R37] 79 (3.37) O castitatis lilium [Anderson cat. 68. R34] 76 (3.6) Plausit sterilis 103 (5.10) Zelo crucis innocens 94 (4. Frag. R29] 71 (3.18) Castitatis culmine [Anderson cat. R32] 74 (3.9) Descendi in ortum meum .8) Ave pater inclite 92 (4.5) De stirpe Davitica 102 (5.3) Precipue mihi dant [Precipua michi dat gaudia.26) Benedicta sit regina [Anderson cat.32) Salve Thomas flos [Anderson cat.12) Ad gloriam deice 96 (4. R42] Motetti cum una littera et duplici nota 84 (4. 2?] 105 (5.21) Ave Maria laus tibi quia [Anderson cat. R33] 75 (3. R39] 81 (3.2) Super te Ierusalem [WOc Add. 1?] 100 (5. Recon II.20) Regina misericordie [Anderson cat. R25] 67 (3. x.22) Salve decus castitatis [Anderson cat. R36] 78 (3.4) Presul ave flos presulum 101 (5. R30] 72 (3.30) Hodie leticiam [Anderson cat.29) Zacharie filius [Anderson cat.7) Sancte Dei preciose 104 (5.33) Ecce virgo iam complete [Anderson cat. R35] 77 (3. 3?] 99 (5.34) Ympni novi nunc intonent [Anderson cat.6) Nimis honorati sunt 90 (4.1) Quem non capit [Recon I.7) Omnis sexus gaudeat 91 (4. R41] 83 (3. R40] 82 (3.27) Corpora sanctorum [Anderson cat. R23] 65 (3. R28] 70 (3.4) Reges Tharsis et insule 88 (4. 1?] 108 (5.10) O felicem genitricem 107 (5.13) O Maria vas mundicie [US-Cu 654.1) In sanctis est mirabilis 118 (7.18) Gaude virgo concipiens 135 (7.17) Epulemur et letemur 114 (5.7) Regis summi glorie 124 (7. 2?] 148 (7.24) Salve stella matutina 141 (7.28) Clericorum sanctitate 145 (7.23) Ysaias ut notavit 140 (7.30) Gaude gemma virginum 147 (7. 2?.3) Salvatoris est effecta 120 (7.16) In Domino gaudeat 113 (5. 59?] 109 (5.32) In honorem summi Dei .18) Resurgente salvatore Item moteti cum duplici nota 115 (6.10) Turtur innocencie 127 (7.25) Nostris Christe melis 142 (7.2) In te martir patuit 119 (7.21) Eterne rex glorie 138 (7.27) Katerina lex divina 144 (7.11) Mira federa [Ob 400* C.15) Spiritus spirat ubi vult 132 (7. 1?] 100 (5.19) De costa dormientis 136 (7.6) Intrat Noe portat iusticiam 123 (7.17) Ave Maria gracia plena [several candidates] 134 (7.14) Mulierum flos Maria 131 (7.1) Claro paschali 116 (6.16) O Iudee nepharie 133 (7.9) O regina misericordie 126 (7.2) Mira virtus Petri Item cum duplici littera 117 (7.29) Salve gemma confessorum [Recon I.5) Quod in rubo Moyses 122 (7.15) Benedicta sis lucerna 112 (5.106 (5.22) Zacharie per helie 139 (7.12) Salve gemma virginum [Recon I.12) Veni creator spiritus 129 (7. 54?] 146 (7.11) Salve decus virginum 128 (7.8) Benedicta sit regina 125 (7.20) Benedictus sit sincerus 137 (7.26) Virgo sancta Katerina 143 (7. Ob 343.31) Salve mater salvatoris [DORcro.14) Maria laudis materia 111 (5.13) Qui mortalia 130 (7.4) Virgo Jesum preter morem 121 (7. 42) Virgo pura pariens 159 (7.38) O martir egregie 155 (7.45) Te Dominum clamat angelicus [Recon I.43) Roma felix decorata 160 (7.48) Rex omnipotens die hodierna .35) Rex auctor misericordie 152 (7.39) Gaude virgo mater Christi [Lbl 3132. 1?] 156 (7.36) Christum Dei filium 153 (7.40) Ad gracie matris obsequia 157 (7.149 (7.47) Ecclesie vox hodie 164 (7. 49?] 151 (7.41) Auctor pacis 158 (7.37) Zacheus publicanorum 154 (7.46) Sanctorum meritis 163 (7. 58?] 162 (7.44) Cives apostolici 161 (7.34) Felix illa curia [Recon I.33) O sanitas languencium 150 (7. seria ro . . III. . third and final double versicle of sequence Celum Deus inclinavit in a setting a3 with c. motet voice. on music fragments. frag. . in gremio virginis Marie pie venies . . . form a fragment ca. 1. . Summers (1983). Music notation is Franconian long-breve motion with square breves. fol. 1 is clearly a later addition of the 14th century with brown staves and a different hand and ink. 300 x 160 mm and staff gauge 15-16 mm. . 14thcentury addition. . estimating twelve red five-line staves to the page. . 62 . Summers (1983). . motet voice. . . 2. ed. 3. HISTORY No info. xiii/xiv Two groups of three small fragments each. . 1-2). 1v. PHYSICAL DESCRIPTION s. . pl. Harley 3132 I. facs. frag. dorata po . 16 2. 2v. 378-80. facs. . 3 are believed to come from the same leaf since their hands are very similar and their versos are blank. The three horizontal strips. t per horam longenam ut . fol. motet voice. verbum . Former host ms is a 15th-century paper ms (English?) of 215 x 150 mm containing the Gesta Romanorum. . . fol. . once used as binding strips but now removed and mounted between two clear plastic sheets. The remaining three small vertical strips comprising fol. . Summers (1983) IV. PMFC XVII. . pl. . motet. The verso of fol. . tenor text fully underlaid in red. Fragments were removed in a 1966 rebinding. two can be joined to form a fragment 73 x 48 mm. . . Item no. . fol. . . the later 13th-century original may have been over 330 x 180 mm with written space ca. modulami . . . fol. while the third measures 74 x 24 mm. pl. 62. no. . . frag. 3. facs. frag. 62 6. assumpta letaris . in lowest voice (perhaps the origin of this melody?). Summers (1983). . 3 is blank. . 75 mm x 225 mm from the bottom of a bifolium (fols. frag. . regnum rex glori . facs. . . . CONTENTS 1. BIBLIOGRAPHY RISM B/IV/2. patris ad te cla . motet voice 4. . British Library. 62 -------5. Gaude virgo mater Christi fol. II. suffragarix domini . pl. they appear to be from the same music source. Summers (1983).London. tis devote preces . . when joined together.ria .f. entur . /T. . now erased 3. . . . 80v. Anderson edn. of possible Lincolnshire provenance. like British Library manuscripts Burney 357. no. 250 x 180. nine red four. HISTORY Music has been added on the last page (fol.. conductus a2 (Anderson cat. D4. RISM Suppl. now 217 x 159 mm. ed. Losseff (1994). Musical notation is of the earliest 13th century.. with a written space for the music of 179 x 130-55 mm on fol. CONTENTS 1. vol. and Harley 524. no. Harley 5393 I. D4 . consists of this booklet (a glossed Gospel concordance s. in 1753. These were associated by the 15th century. Earl of Oxford. 1. xviii. xii/xiii) and an Evangelium per totum Adventum legenda.. 46-47. 1/4 Codex originally ca. 36. Cotton Vespasian A. facs. Szöverffy.. 80v) of a discrete parchment booklet (76 fols. with text guides. The MS. Falck. Anderson edn. 260-61).. British Library. 287. II.London. RISM Suppl. PHYSICAL DESCRIPTION s. no. Quid tu vides Ieremia fol. 41-42 IV. BIBLIOGRAPHY Wathey.xiii. 80v. Given to the British Museum by Edward Harley. Text script is protogothic with strong documentary influence. foliated 5-80) that is the first of two now bound together in this volume. pl. III.and five-line staves with gauge 7-17 mm roughly drawn in a single column in three systems of three staves each. 18. c. 22].London. a single parchment leaf originally ca. 20 mm.f. Nobili precinitur/Flos de virga nascitur/T. 250 x 160 mm or larger. BIBLIOGRAPHY RISM B/IV/1. Blue initials ca. now trimmed at the top and right to 305 x 190-195 mm. Fragment B Two parchment fragments now bound as fols. III. Items all begin with letter B. Fragment A Fol. Together they form top left and right parts of one folio. Overall the leaf would originally have been ca. Written space of ca. 370 x 240 mm with wide margins. the width of written space was ca. xiii. PHYSICAL DESCRIPTION s. 22. Harley 5958 I. The contents description reverses RISM's recto and verso. Loss of music and text only about the depth of an initial vertically. on music leaves. Proles Marie virginis pie [Eius] recto [fol. indented ca. with missing center. Similar size---137 x 68 mm (fol. II. suggesting alphabetical arrangement. 65)---suggests the original leaf was cut and trimmed to serve as front and rear flyleaves in the same small unidentified ms. 10 mm. 32 and 65. HISTORY No info. 3/4 and 4/4 Three parchment fragments located at different places in the same modern compilation. Fragment A is of the late 13th or early 14th century. 210215 mm tall. 32) and 138 x 73 mm (fol. Projecting from the assumption of 12 red five-line staves per page of gauge 12 mm. 508-11 IV. items 3 and 4 have original numerations X and XI. 125 mm. representing leaves from two different medieval sources. 20 mm wide set into one-staff indents of ca. CONTENTS Fragment A 1. 268 x 140 mm ruled for twelve red five-line staves of gauge 14 mm. of which eleven staves and a fraction are visible. concordance in continental notation in F-MO 58 (Rok 67) . motet a3 with texted tenor. Estimating from the tenor repetitions and upper voice gaps in item 1. Elaborately flourished and painted two. the original written space was ca. Musical notation is EMN.and four-stave initials in red and blue. identified in the following as A and B. Musical notation is EMN. Present location is a 20th-century compilation of odd parchment fragments mostly of music. Fragment B is evidently earlier. British Library. and most of the topmost staff horizontally. . 79 Fragment B 1.f. . . opening of a motet. Benedicamus tenor has not been securely identified. pl. . frag. text concordance in a motet in GB-Onc 362. up a fifth in respect to its most common pitch level 3. no. 22v]. B .es abat verso [fols. tenor is a single word. is from the Communion for BVM Assumption (GS. dat co]mpendia cuius/O homo de pulvere/T. 32 and 65]. ed. reddidit ut morte mortem solveret carne carnem redi . 9]. [In seculum] verso [fol. PMFC XV. Bis in cuius sa . . 96. . c. 17 [EECM 26. Benedic[amus domin]o verso [fols. [O homo considera . 195). probable motet voice . no. with final cadence intended for empty staves immediately below on right hand side./T. 65v and 32v]. motet a3. . pl. Virgo dei genitrix. . [Beatus] . . nobis filium carnem sumens . 4.2. 65v and 32v]. . original numeration X. the soloistic incipit of the Marian gradual Benedicta et venerabilis V. . original numeration XI. no. this motet ed. imabat/ de papille r. . conductus motet a3. 32 and 65]. chant setting a4 in score. . frag. Benedicta. quos condidit/T. c. recto [fol. . PMFC XIV. frag. Beata visce[ra marie virginis que porta] recto [fols. possible that this setting is incompletely notated. text paraphrases second stanza (Beatus auctor seculi) of Sedulius's abecedarian Annunciation hymn A solis ortus cardine 2.[ Benedicamus]/[Benedicamus]/[Benedicamus]/T.f. 156v-157v. CONTENTS 1. II.. PHYSICAL DESCRIPTION s. 143v-147v. PMFC XIV. polyphony in written block 126-130 x 80-88 mm ruled for six freely-drawn accolades of two four-line brown staves of gauge 7 mm. primarily to fols. added in various hands to empty fols. sequence a2 headed De resurreccione. British Library. HISTORY Host ms of 189 fols. BIBLIOGRAPHY RISM B/IV/1. Gillingham edn. no. Music. III. xiii in. Sloane 1580 I.London. containing principally sermons. mainly monophonic sequences. 11 . Gillingham edn. 5. Verbo celum quo firmatur fol.. IV. PMFC XIV. no. is a miscellany of the 13th century. 511-12. MS dimensions 167 x 114 mm. ed. none in same hand as Verbum celo. 12. Gillingham (1987). 217 3. 192v . 192-192v. Lütolf. 218 4. PMFC XIV. facs. no. Miro genere sol de sidere fol. no. Mater dei lumen rei fol. ruled in five freely-drawn accolades of 8-9 lines each on the recto and six accolades of 8-11 lines each on the verso. ed. Astripotens famulos audi fol. 220 5. The music was added on both pages of the final (blank) folio at the end of the second part. continuation onto 192v is illegible. Erasure of all material on the verso. 1200. CONTENTS 1. pl. 3). Mortis dira ferens ut nostra fol. Gillingham (1987). possibly all items were intended as Agnus tropes. staff gauge for 5 lines is ca. Lütolf (1970). 192. sequence-like setting a2. V. 2 and 4). RISM identifies the legible music as a sequence (no. 1). HISTORY Three manuscripts of English origin bound together (ff. a parchment ms of sermons in French and Latin dating to ca. 1:195-98. facs. and two Agnus tropes (nos. 193-254). 216 2. Gillingham (1987). no. Ms dimensions of 195 x 133 mm with written space for music on recto of 161-72 x 102-07 mm. Lütolf. II. 10. pl. Lütolf. xiii med. PHYSICAL DESCRIPTION s. 457 I. PMFC XIV. 1-132. ed. BIBLIOGRAPHY RISM B/IV/1. Illegible music a2 under palimpsest. PMFC XIV. no. Gillingham (1987). Lambeth Palace. 10-12 mm. ed. perhaps once at Westminster Abbey. Lütolf. a responsory trope (no. 192. 192. pl. 65. 11. Lütolf. Agnus trope a2. 66. 523-24. V. sequence-like double versicle with ouvert and clos. 133-192. pl. III. probably one additional piece fol. facs. no. Gillingham (1987). Agnus dei trope a2.London. V. Lütolf. facs. PMFC XIV IV. ed. V. facs. -ia serpens di. G1. (The offsets are not reproduced here. 19. 3. ed. conductus a2 (Anderson cat. 65). . No trace of ownership before ca. no. 19. 51. conductus a2. Hec est rosa Br-v. patris redit offset on front board-Br. PHYSICAL DESCRIPTION s. RISM Suppl. conductus a2. ed. conductus a2 (Anderson cat. Szöverffy. 47-49. 1694-1715) at St. Text hand is gothica textualis rotunda. Wathey. Lambeth Palace. II. Barabas dimittitur Cristus penas Av-offset on front board. 190 x 134 mm.. 3. no. CONTENTS 1. of which eight survive. ed. Anderson edn. Falck. G3. and musical notation is of Notre-Dame type. Losseff (1994). Martin's Lane. Single damaged parchment bifolium.. with written space ca. [Pa]ter noster qui [es in celis] Bv. 95-99 IV. 265. 26. with a preceding unfoliated stub.. Falck. xiii med. vol. Losseff (1994). no. frag. HISTORY No info. 131 x 104 mm (estimating twelve staves to the page) and staff gauge 10-13 mm. [Austro terris influente] . G1 4. . vol. G3 5. London. further. Falck.) Probably nine or twelve red five-line staves. BIBLIOGRAPHY Wathey. no. no. G2. 62. Losseff (1994). Szöverffy. conductus a2. De re militari. covered in what is probably the original binding of s. 10 mm for initials. on music leaf. facs. facs. G2 .. freely-ruled in two-staff systems with frame rules. no. 256. pl. second strophe of Ortu regis evanescit. Anderson edn. there are offsets on the front binding board from an additional bifolium once used as a pastedown but now lost. 752 I. now 170 x 237 mm for the double leaf but originally each folio ca. not the center of a gathering. and ruled indentations of ca. . that was bound sideways to form the rear pastedown of MS 752. 3. ed. no. Anderson edn. no. ed. Szöverffy. Host manuscript is a late 13th-century copy of Vegetius. Possibly donated by Sir Charles Cotterell in the mid 1680s to the library founded by Thomas Tenison (Archbishop of Canterbury. Wathey. pl. Wathey. 30 -------3. no. 263). pl.. vol. 236). 1700.. 28-33. 19. xiii/xiv. Red and blue plain capitals with red and blue flourishing. here as a separate piece (Anderson cat. III. . 29 2.. the surviving fragment now raised to form fol. double text guides. Christus natus de Maria Ar-v.. that originally was adjacent to and nested within the surviving bifolium.London. . 73). two voices in score followed by tenor . and red. with mix of single staves and two-staff systems. and is notated in a binary version of English mensural notation with rhomboid breves 2.. CONTENTS 1. syllabically-set text. blue. of two voices of troped Gloria trope a3.. . originally ca. concordance is US-Cu 654.London.5 mm. RISM Suppl. . III. troped Gloria trope a3. 1 I. Formerly used as flyleaves at each end of Gal. Two parchment strips forming one frag. Westminster Abbey. 1552) received by the Abbey library in 1584 as a bequest from the collection of William Latymer. Spiritus et alme orphanorum recto. xvi/xvii. G. Fragment Box 3. non-tropic. 29. rastrum-ruled in single column. has a different. 430 x 260 mm. folio. with some semi-quadrata elements. a printed book (Paris. veniam graciam et gloriam/T. No. staves in red.. now 130 x 205 mm. Cu 654 version reverses the layout of the two voices. PMFC XIV. no. frags. text of tenor in red. with frame rules and double text guides. 4. assuming twelve five-line staves to the page. present dimensions of written space 130 x 180 mm. originally ca..-tem hominum a maligno spiritu/T. 370 x 185 mm. this book is now bound in what might be a standard Westminster Abbey design of s. Spiritus et alme orphanorum verso. staff gauge 18. late ars antiqua binary mensuration. xiv in. music notation is English. BIBLIOGRAPHY Wathey. Text script is gothica textualis sine pedibus. frag. HISTORY Music written in England.. 60-62 IV. PHYSICAL DESCRIPTION s. no. II. major initials in gold. 4 ( ed. 1v. . PMMM 5. 75-76 2. PHYSICAL DESCRIPTION s. 524-526. pl. PMFC XIV. ferno cum timore more/ . cf. . text concordance only in Recon. pl. PMFC XIV. HISTORY No info. margin. 84 . 73. written space 400 x 250-55 mm for thirteen staves. ed. . or 365 x 250-55 mm for twelve red five-line staves of staff gauge 20 mm. by projection. CONTENTS 1. no. no. motet a4. respectively. 33327 I. facs. [O pastor patris] . Pro patribus fol. 3. facs. 76-77. EECM 26. O nobilis nativitas/O mira dei misericordia/O decus virgineum/Tenor. EECM 26. 2. The musical notation is Franconian. Other initials. 17-18.h. . directly adjacent. motet a4. 2. 7. PMFC XIV IV. motet a4. all items beginning on these leaves) have "cor" in the l. . This may indicate choral performance. 6. concordance is Recon. cf. the original fascicle may have consisted of eight nested bifolia and 64 or more motets. 8 (and probably originally item 5. i. 177. 71. 1r and 2r bear the heading "quadruplices" in red. 175. 1. ed. no. forming a bifolium not from the center of a gathering. BIBLIOGRAPHY RISM B/IV/1. upper parts of motets ruled in double columns. Kyrie [Conditor Kyrie] fol.London. PMMM 5. 1.. that begin one upper voice in each motet. no. pl. O mors moreris/O vita vera/Tenor. ed. frag. no. Fols. margin next to them. 27 -------4. 55. on music leaves. PMMM 5. Mors/Quartus Cantus fol. pl.e. implying that a single missing bifolium---the center of the gathering--nested between these folios. motet a4. /T. 70. facs. and further decoration of gold initials. .h. and green. 56 . . ed. I. frag. per te fides aperit/Spirans odor flos beate/Tenor. PMMM 5. II. Westminster Abbey. 72. . 78-83. Items 2 and 6 have work numbers 25 and 37 in the l. PMFC XIV. PMMM 5. Item nos. Written for Westminster Abbey? Formerly the cover for MS 33327. in red. III. blue. with tenor and quartus cantus ruled across the entire page. cf. tate quam ecclesia . ed. facs. now (and perhaps originally) 490 x 345 mm. ed. Apparuit fol. cf. which contains Abbey accounts dated from 29 September 1516 to 24 June 1517 headed by the name John Campyon. App. 175. EECM 26. PMMM 5.xiii/xiv Two parchment folios. . WF. no. Preserved with Abbey muniments since that time. or else be some kind of indication to the decorator for the gold leaf initials. PMMM 5. PMMM 5. I. 176. 71. 85 3. EECM 26. EECM 26. EECM 26.5. 2. 178. 60) . 86-87. text concordance to US-Cu 654. Ablue/Quartus Cantus fol. PMMM 5. facs. Psallat chorus in novo carmine/Eximie pater egregie rector fol. PMMM 5. frag. Doce/Quartus Cantus fol. EECM 26. motet a4. facs. PMFC XIV. motet a4. no. 74. . cf. 73. 177. 2v. 83-86. ed. no. 177. motet a3. frag. e ineffabilis potencie/Dona celi factor domine/Tenor. pl. facs. EECM 26. pl. EECM 26. 178. PMMM 5. facs. pl. concordance is FMO. Pastor cesus/Quartus Cantus de opem fol. no. PMMM 5. 51 (Rok. ed. cf. PMMM 5. no. 87 7.f. ed. ed. PMMM 5. 73. PMFC XIV. 2. frag. . 2v. ed. no. . PMFC XIV. cf. c. PMMM 5. 2 . Opem nobis o Thoma porrige/Salve Thoma virga iusticie/Tenor. Ave miles de cuius militia/Ave miles o Edwarde/Tenor. 88-89. 86 (with supplied triplum incipit Domine celestis rex) 6. 74. motet a4. 88 8. pl. no. From Reading? Host ms of 195 fols. 5. no. O34. 1b verso-1a. Gothic text hand. 2. CONTENTS 1. 9. . . 1500. BIBLIOGRAPHY RISM B/IV/1. no. conductus a3 in score (Anderson cat. semper pia vocis . frag. App.. Amen. O35 -------4. PMFC XIV. Gillingham edn. 1b-1a verso. ed. . no. ed. frag. conductus a3 in score (Anderson. . no. frag. Bodley 241. . 528-30. ed. . III. presented to the Bodleian in 1608 with a sister ms.Oxford. O32. . no. O37 . [In te concipitur ma]tris et virginis fol. Losseff (1994). no. on music leaves. ed. PHYSICAL DESCRIPTION s. . no. O33 -------2. 9. vol. with written space 225 x 142 mm and staff gauge 13 mm. PMFC XIV. ed. 9.. II. now 291 x 212 mm. O33).. 176-77). 195b-195a verso. traces of music are still visible on the boards. Anderson edn. Initials in red and blue.. no. trimmed at the top and inserted sideways. O36 -------5. 9. no. . PMFC XIV... Szöverffy. frag... App. vol. 65-66). Anderson edn. 195b verso. [Ave] substantie biformis baiula . PMFC XIV. fol. 74). App.. . Ave credens baiulo fol. HISTORY No info. Anderson edn. Anderson edn. . no. O35). 320 x 215 mm. 35 III. Anderson edn. O34. 36a -------3. Gillingham edn. fol. is a 13th-century parchment ms of Augustine's Commentary on the Psalms from Reading Abbey. layout in single columns with four groups of three brown staves each. Ms covered in a Reading binding of ca. 3/4 Two parchment flyleaves once glued to the front and rear covers. Anderson edn. 7. conductus a3 in score (Anderson cat. tuum natum nos iuvare . each a flattened bifolium not the center of a gathering.. and not contiguous. Ave confederas ymis fol. foliated 1 and 195. Musical notation of Notre Dame type. frag. Page size was originally ca. O31. vol.. . vol. 9. no. with virga and rhomboid breve to indicate long-short rhythms in no. no.xiii.. no. Amen. conductus a3 in score (Anderson cat. vol. Szöverffy. 195b. Bodleian Library. 6. Szöverffy. conductus a3 in score (Anderson cat. Bodley 257 I. O36.. 195b verso-195a. vol. frag. 145). no. no. Szöverffy. O38 . Anderson edn. Gaude per quam gaudium fol.. App. 9. no. 8. ed. conductus a3 in score (Anderson cat.6. PMFC XIV. concordance to B-Br 19606. II. motet a3. -quinario pasce peracto tempore frag. [E]t delictum ac ro. Bodleian Library. formerly used as binding material in the spine of the present host MS. . motet Fol. . frag. on music leaves. Frag. and no estimate can be made of the original size of leaf or written space. 5-7 2. RISM Suppl. -ne essent pro . 1v. Ruled in red five-line staves with gauge 12-14 mm and ruled two-stave indentations of 12 mm for initials. BIBLIOGRAPHY Wathey. A. . III. sanitis . frag. ed. . binding fragments I. frags. Given to the Bodleian Library in 1616 by Abraham. and the current binding was probably made at Canterbury between 1450 and 1480. Text script is gothica textualis semi-quadrata.C. . 4 verso have blank staves only.. B.. .[Ruina] fol. 66-68 IV. motet 3. frag. President[es in tronis]/[Super cathedram]/T. regina peteris . frag. visibus effulsit . . . dulcedine fol. using unstemmed semibreves and dots of division. . PMFC I. 2 and F-Pn 146. and Jacob Colfe. . A. No fragment is now larger than 85 x 60 mm. 5-6 form fol. Bodley 271 (S. Four further strips remain embedded and have not been removed. 7 is illegible. . . B. 4 and fol. . 4 possibly from fol. Bv and frag. no. HISTORY No info. Written in England for Canterbury Christ Church? Present host ms was at Canterbury Christ Church by the early 14th century. PHYSICAL DESCRIPTION s. Av. Isaac. hic fol. A. . frag. . 1-3 form fol. musical notation is basically Franconian. . fol. 7 illegible). -ter expers .Oxford. frag. . xiv 1/4 Seven small parchment fragments comprising parts of two or more leaves (frags. motet -------4. . Su. CONTENTS 1. 1938).. B. x verso) and at the end of the fourth (one monophonic sequence). x. II. PHYSICAL DESCRIPTION s. BIBLIOGRAPHY RISM B/IV/1. Manuscript of over 200 fols. containing homilies in Old English and Latin. 14.Oxford.. 7-10 3. Bodleian Library. Gillingham edn. no. 6. 2. Specialis graciosa virgo Maria fol. alternating red and green initials. Notation is unmeasured squareheaded longs and rounded. with later additions. Ms given to the Bodleian by Sir Robert Cotton in 1603. p. 69. x verso is written in double columns on sixteen red-four line staves. 103. Deeming. x and one polyphonic sequence on fol.. pp. . CONTENTS 1. each ending with blank space before the next begins again with a fresh quire.xiii in. Polyphony on fol. PMFC XIV. pp. 64v. Salve mater salvatoris mater/Spes Maria peccatoris virgo fol. Irvine (1993). III. Bodley 343 I. x verso. 6. monophonic Marian sequence: see AH 9. Ker (1957). monophonic sequence: see AH 40. breves. with written space 232 x 147-54 mm and staff gauge 7-9 mm. no. Deeming (2006). ed. Overall page dimensions 308 x 200 mm. 530-31. Gillingham edn. It has seven distinct sections. 4-16 IV. facs. HISTORY Host manuscript is of the second half of the 12th century. Unrelated music was later added at the end of the first section (one monophonic sequence on fol. polytextual Marian sequence a2 with voice exchange. almost rhomboid. PMFC XIV. The monophony is not reproduced here. Salve sanctarum sanctissima fol. Deeming. Douce 139 I. MES. fol. PHYSICAL DESCRIPTION s. facs. 243 [Rok. Notation is EMN in long-short rhythms of virga and rhomb. Au queer ay un maus/Ja ne mi repentiray/T. no. EEH. c. EEH. Jolietement my teent fol. of the 13th-14th century from the convent of Coventry once belonging to Sir Robert Cotton. that is a miscellaneous collection of statutes.f. XLIV.xiii. CONTENTS 1. no. 260].or five-line staves per page. ed. McGee (1989) IV. pl. letters. XXIV. Bodleian Library. Page (1976). facs. pl. no. Everist (1986). 3. 5. no. 289-91.). Parrish. MES. HISTORY Music represents separate additions on empty space in a manuscript of 203 fols. monophonic instrumental dance in double versicles with polyphonic ending. III. 8 2. 2 -------3.Oxford. Parrish. motet a3 on rondeau tenor. II. secular English love song a2. 535-37. 5v. with continental concordances (F-MO. Textless. ed. BIBLIOGRAPHY RISM B/IV/1. no. ed. McGee (1989). 3/4 Page dimensions of 241 x 175 mm. 5 . Sanders (1962). up to nine brown freely drawn four. Everist (1986). with written space for music of ca. Sanders (1962). PMFC XIV. 200 x 150 mm. 179v. here in a version in Anglo-Norman with English notation. etc. etc. Foweles in the frith the fisses fol. with staff gauge ca. 20-22 mm for five lines and 13 mm for four lines. 3/4 In an attempt to reassemble in one place as much surviving material as possible from two or more dismembered music codices. ms. Recent discoveries of additional pertinent material render this factitious assembly of material out-of-date. Sanders (2001a) . i. See Reconstructions I. ms. 541-64. II. II. Bodleian Library. f. Offsets from Bodley 862 remain in that manuscript. this source was created out of fifteen leaves removed from the bindings of three medieval manuscripts (eight from Oxford. and one from Oxford. PHYSICAL DESCRIPTION s. HISTORY Assembled in the Bodleian Library between 1925 and 1952.Oxford. Bodleian Library. Bodleian Library. Auct. ms. six from Oxford. Lat. Bodley 862. Hatton 30). Büttner (1990). III. inf. together with photographs of leaves preserved in other places. liturg. and III below. 20 I. Losseff (1994). Bodleian Library.xiii. d. BIBLIOGRAPHY RISM B/IV/1. 3. Fol. a single leaf (250 x 148 mm). and text hand differ from those of the group just described. A. 104 (designated C below). fol. HISTORY . elaborate red-blue. slightly smaller manuscript that Frag. PHYSICAL DESCRIPTION s. where they were front and rear flyleaves (fols. 84. with staff gauge of ca. 272 x 53 mm. II. 81a recto and b verso were ruled for nine (now six) independent five-line staves of staff gauge 15. Text hand is gothica textualis quadrata and music hand is English Mensural Notation with rhomboid breve expressing second mode. 130 x 135 for six visible staves. 247 x 190 mm). 81a verso has a three-staff initial indented 8. 250 x 180 and written space ca. fols. it has nine five-line staves arranged as three freely ruled three-staff systems with text underneath each. 280 x 190 mm. written space originally ca. Fragment C Fol. also apparently belonged.5 mm. 272 x 193 mm. they appear to be from two sources (designated A and B below). 79-85. 200 x 135 mm for nine staves. 245 mm in height.Oxford. they are ruled with nine freely drawn red five-line staves of gauge 18. Mus. fols. recto ruled with eight freely drawn red fiveline staves of gauge 22 mm. originally blank. written space height is 240 mm.3 mm. and a one-staff initial is indented about 6. probably the center of a gathering of a different. Fol. 80 is a single leaf.5 mm. fol. each system of staves is about in 53-56 mm in height. 83.xiii/ xiv Eight parchment leaves. Though its ruling. assuming an original with ten staves and generous margins. has been notated in a much later hand with a setting in score from the mid-14th century. 13.514. 82. The eighth is an unrelated single leaf. 81 is an unfolded fragment (252 x 135 mm overall) cut from the top of a single bifolium. Fragment A Fols.5 mm in written space of ca. now trimmed to ca. 82-85 are two nested bifolia from the center of a gathering (present dimensions: fol. 240 x 154 mm within overall page ca. c. from a polyphonic Kyriale to which fol. the similarity in content and in height of the written block suggest that this leaf may belong with them as well. fols 81a verso-b recto ruled for nine five-line staves arranged as three (now two) three-staff systems. were removed from ms Bodley 816. 104 is a single parchment leaf trimmed at the top and now 127 x 160 mm.. Fragment B Fol.5 mm. 80v. now 250 x 135 mm. one-staff initials are indented about 8. 85. Fol. Seven of these. with freely-ruled red five-line staves of gauge 10-11 mm and width 130-134 mm (two six-line staves of gauge 13 mm on fol. Bodleian Library. originally about 300 x 170 mm with a written space of 175 x 134 mm on the recto. i-iii and 197-200). 247 x 86 mm. 79. 104v).5 mm. fol. fol. with page dimensions ca. decorative style. 60 I. facs. 166-167. Present host ms is a guardbook of musical fragments. ed. 82. PMFC XIV. [Kyrie fons bonitatis] fol. 59. XXVIII-XXIX (fols. A. 11. it was owned by Dr. Summers (1983). pl. no. 85r). Lefferts and Bent. 566-70. 24. vol]untatis fols. setting a4 in score of the six Spiritus et alme tropes of the Gloria. Salve sancta parens virgo/Salve sancta parens virgo/T. 3 . Lütolf. RISM no. Rex omnium lucifluum/Rex omnium [lucifluum]/T. XXX (fol. a 14th-century English copy of the Epistolae or Dictamina of Petrus de Vineis (a volume authored in the second quarter of the 14th century that includes letters relating to Oxford). pl. troped chant setting a3 of Kyrie fons bonitatis. Fols. A and B: RISM B/IV/2. Sanders (2001b) Frag. I. 10. 83v) 4. Bodley 816. troped chant setting a3 in parts of troped Gloria trope and prosula. RISM no. no. WF. 41 . RISM no. [Spiritus et alme or]phanorum fol. 338-42 IV. RISM no. C: Wathey. 1:237-43. concordance to Recon.. 85v. no. Summers (1983). frag. pes motet a4. no. 14. free Gloria setting a3. Kyrie pater venerande rex/T. [Regnum tuum solidum o rex glorie] fol. ed. pl. on music leaves. and was bought by the Bodleian Library on 5 June 1967. Lütolf. concordance to Recon. some of which are medieval. 67 . WF. A and B) were flyleaves in Oxford. 29 2. p. no. 79. 85v. 62. Bodleian Library. 23. Campanis/T. III.[Salve sancta parens enixa] fol. concordance to Recon. 84v-85. written in England in the later 13th century. WF. 44 3. XXIX (fol. 104. frag. facs. 88. 165 (fol. single voice of motet -------7. 128-29 6. 14 . Summers (1983). Lütolf. no. no. III. PMFC XIV. 13. Summers (1983). RISM no. facs. 57b. 9. 163-165. PMFC XIV. 15 5. 83v). no. RISM no. 83r-v). no. Abingdon. troped chant setting a3 in parts of Marian introit. no. RISM no. Quatuor ex partibus mundus fol. App. 77. pl. I. no. PMFC XIV. Fol. 12. 9. 1.No info. 79-85 (frags. [Et in terra . BIBLIOGRAPHY Frags. CONTENTS Fragment A 1. pl. HAM. . Southmoor. Honoremus fol. I. pl. Campanis cum cymbalis/Honoremus dominam dignam/T. no. frag. de Burgate. frag. ed. ed. 83v-84. RISM Suppl. was formerly a flyleaf in some unknown volume. Molloy. Büttner (1990). possibly the item in the Harleian index identified with R. ed. 82v-83v. Lütolf (1970). no. Lütolf. Lütolf. . . Gloriose trinitati sit eterna fol. ha mundi gloria Maria/(another voice. 6. . . Sine macula profert pleni fol. 3 and 4. 79v.8. 5. 977-80 . voices of a ?conductus-rondellus a3 in parts Fragment C 1. RISM no. . 149) 3. partial triplum (staves 7-8) and most of duplum (staves 1-6) of troped chant setting a3 of responsory O Judea et Jerusalem including verse and Gloria patri 10. . 81b appears to be continuation across the center of the gathering. de virgo semper/O spes et salus hominum/T. Anderson edn. .. 339. . facs. 340-41. of freely composed Latin-texted Kyrie a3 in score. Summers (1983). ed. 7. 162. 161 Fragment B 1. [Gaudeamus omnes in domino] fol. pl. pl. upper voice of conductus-rondellus a3 in parts 2. RISM no. partial ed. . O42 (Sv. RISM nos. Consona constantes . frag. two frag. facs. no. 81b verso [81v]. motet a3. vol. fol. hac die nobili/T. RISM no. Summers (1983). RISM no. conductus a3 in score. 104-104v. ed. Gloria militie sanctorum preconia fol. 8. frag. . trini]tati sit eterna/O Judea et Jerusalem V. e hausit lugens mirifice fol. two voices of troped chant setting a3 of a Marian version of the well known introit -------9. 80. 2. c. facs. frag. text trimmed off) fol. . RISM no. . [O Judea . in Lefferts and Bent. Lefferts (1983). fol. 81a [81v]. . . in Lefferts and Bent. 81a verso-81b [81r].f. 80v. . 9. . . The dorse of this roll contains notes on the Tribunium of St. Anne. These are from a rotulus of original dimensions about ca. Leominster Priory. 700 x 200 mm with written space ca. bishop of Salisbury (13151330) and bequeathed to the Cathedral upon his death. the pages are variously trimmed on all margins. one in Lat. 1 occupies 15 staves. nos. comprising fragments from three distinct sources---a booklet and two rotuli---identified as A. Margaret. 165 x 96 mm. Music of item C written in England not after 1256. Bodleian Library. 1-4]) measuring 140 x 125 mm. a Gothica textualis semiquadrata. two bifolia and six scraps are in Ob 400*. C below. appear to be nearly contiguous. a draft office for St. now 192 x 150-155 mm. Fragment B Four fragments in ms C. Rawlinson C.5-14 mm. 200 x 140 mm. 19 (fol. HISTORY Former host ms is a pontifical made for Roger de Mortival. Ob 19 removed in mid-19th century and rediscovered in 1982. 400* (nos. These are all from a rotulus of original dimensions at least ca. with orig. Red five-line staves with black or red initials. Fragment A Not reproduced here. musical notation is English Mensural Notation with rhomboid breves. B. Parchment flyleaves removed from Rawlinson C. 155 x 135 mm. and documents concerning grain purchased at Reading and Wokingham. The music is from Reading Abbey or its dependency. PHYSICAL DESCRIPTION s. 240 x 180 mm. and the following voice part occupies eleven full staves. III. b. once used as front flyleaves in the host. All three sources are linked by text hands. Two of these. BIBLIOGRAPHY . with texts copied in a spacing that allowed for staves and music for six compositions. liturg. Other binding fragments removed to Ob 400* in 1952. and the latter two fragments measure 108 x 165 mm and 178 x 115 mm. Of these flyleaves. Two bifolia now housed in ms C. but the notation was never added. with a written space of ca. perhaps ca. liturg. the two voices in score of no. b. All three fragments preserve the right-hand margin of the written space. the first of these measures 306 x 170 mm. ruled in 36 freely drawn brown five-line staves of staff gauge 11-13 mm (no. 775 x 155 mm with written space 134 mm wide and at least 40 free-ruled brown five-line staves of staff gauge 13. and 140 x 92 mm. 19 I. of two pages in Dittmer (1954). 4) and two in ms C. 1-4 [DIAMM fols. 10]). 400* (frags. II.xiii med. and an additional fragment from Ob 400 is now Ob 19. Fragment C Three fragments. 630 x 165 mm. 400. 9. 5a and 6a [DIAMM fols. facs. 2 and 3. 400*. 400* + Ob Lat. followed by two empty staves). from the center of a larger gathering.Oxford. 2 occupy eight full staves grouped as four twostave systems. RISM B/IV/1, 570-73; Wathey, RISM Suppl., 73-75; Dittmer (1954); Hohler (1978); Barker-Benfield (1983); Wilson (1990); Büttner (1990), 250-54; Losseff (1994), 64-69, 12028; Sanders (2001e) III. CONTENTS Fragment A 1. Ave magnifica Maria/Ave mirifica Maria/Alleluia V. Post partum virgo p. 1-2; texts of a troped chant setting a3; probable concordance in Recon I, no. 26; facs. Dittmer (1954) following page 58; text ed. Dittmer (1954), 24-25 2. Alleluya ave Maria ave mater pia/Alleluya ave Maria ave mater pia/Alleluia V. Nativitas gloriose virginis Marie texts of a troped chant setting a3; text ed. Dittmer (1954), 25-26 3. . . . /. . . /Alleluya V. In conspectu angelorum frag. texts of a troped chant setting a3; text ed. Dittmer (1954), 26-27 4. Alleluya dulci cum harmonia/Alleluya dulci cum harmonia/Alleluya V. Fit Leo fit Leonardus texts of a troped chant setting a3; text ed. Dittmer (1954), 27 5. Alleluya musica canamus/Alleluya musica canamus/Alleluya V. Hic Franciscus p. 7-8; texts of a troped chant setting a3; facs. of p. 8 in Dittmer (1954) following page 58; text ed. Dittmer (1954), 28 6. Alleluya V. Fulget dies p. 8; frag. text of a troped chant setting a3; facs. Dittmer (1954) following page 58; text ed. Dittmer (1954), 28 Fragment B 1. [Alleluya] Christo iubilemus-Dies iste/Alleluya Christo iubilemus-Dies iste/T. Alleluya V. Dies sanctificatus recto (frags. 1a, 2a, 3a); frag. troped chant setting a3; facs. of frag. 3a in Dittmer (1954) following page 58; ed. Dittmer (1954), 46-49, Sanders, PMFC XIV, no. 70, Wilson (1990), no. 58 2. Alleluya clare decet decantare . . . recto (frag. 3a); frag. of troped chant setting a3 of Alleluia V. Porta Syon or Alleluya V. Post partum; facs. Dittmer (1954) following page 58; ed. Dittmer (1954), 50 3. Adoremus ergo natum Marie cum . . . /. . . in oriente . . . /T. [Alle]luya V. Vidimus stellam recto (frag. 4a); frag. troped chant setting a3; ed. Dittmer (1954), 50-51 4. Ave sanctitatis speculum Maria . . . recto (frag. 4a); frag. troped chant setting a3 of Marian Alleluia; ed. Dittmer (1954), 52 5. Ave Maria plena gratia/Ave Maria plena gratia verso (frags. 1b, 2b, 3b); frag. troped chant setting a3 of Alleluia V. Assumpta est Maria; facs. of frag. 1b in Dittmer (1954) following page 58; ed. Dittmer (1954), 52-55 6. . . . libata. celi ianitrix. Intercede apud . . . verso (frag. 4b); frag. troped chant setting a3 of Alleluia V. Post partum virgo Fragment C 1. Mirabilis deus invisibilis-Mira federa mitis puerpera/Ave Maria/Ave Maria recto (Lat. liturg. b. 19, fol. 4); bipartite single-texted c.f. motet a3, possibly a troped chant setting of an Alleluia V. Ave Maria with two verses; textual concordance of second part to an entry in the LoHa index; facs. Barker-Benfield (1983); ed. Losseff (1994), 121-25 2. Descendit de celis recto (Lat. liturg. b. 19, fol. 4; Rawl. C. 400*, frags. 5a and 6a); frag. troped chant setting a3 of Christmas Matins responsory Descendit de celis V. Tanquam sponsus with two untroped voices in score (lowest one is c.f.) followed by a separate voice for entire setting, with troped text for Tanquam and Gloria patri melismas; facs. of frags. 5a and 6a in Dittmer (1954) following page 58, facs. of Ob 19 in Barker-Benfield (1983); partial eds. in Dittmer (1954), 55-58, Losseff (1994), 126 Oxford, Bodleian Library, Rawlinson D. 1225 I. PHYSICAL DESCRIPTION s.xii/xiii Host ms is 235 x 168 mm; music added in double-ruled written frame of 130 x 105 mm and staff gauge 12 mm (for five lines). Polyphonic alleluia is one of three in the same hand (the other two monophonic) on fols. 131v-132, followed by other monophony. Only the contents of 131v are recorded and reproduced here. II. HISTORY 12th century parchment manuscript of 134 fols. Primary contents are a Martyrology from Lichfield diocese, perhaps St. Chad's, Shrewsbury. Entered the Bodleian in the Rawlinson bequest of 1756. Music at the beginning and end, in association with a calendar. At the front, leaves of plainsong before and after calendar; in rear leaves music, mainly monophonic, follows the calendar on fols. 127v-129v, 131v-134v. III. BIBLIOGRAPHY RISM B/IV/1, 573-74; PMFC XIV IV. CONTENTS 1. Alleluia V. Ave dei genitrix Maria fol. 131v; chant setting a2; ed. PMFC XIV, no. 62 2. Alleluia V. O vir magne pietatis fol. 131v; monophonic, with 2 verses 1265 (acc. XXIII. ed.. Rawlinson G. EEH. CONTENTS 1. MES. Parrish. XIX. frag. App. in the late 13th or early 14th century. 574-75. MES. EEH. BML. BIBLIOGRAPHY RISM B/IV/1. no. no. Music apparently added at the nunnery. BML). MS dimensions are 163 x 112 mm. monophonic English song. here presented as conductus in score with single text below staff system.. pl. and for polyphony on fol. PMFC XIV.xiii mid. c. II. that passed to the Augustinian nunnery of Burnham. Bodleian Library. 256. Losseff (1994). with written space for monophony on fol. 6 . Monophonic song and polyphony entered in same hand. tenor pitches have been divided for syllabic performance. Mellis stilla maris stella rosa fol. no. facs. Worldes blis ne last no throwe fols. ed. concordance in Lbl Arundel 248. 36-38 IV. III. HISTORY Benedictine psalter of 107 fols. in parchment of 2nd half of the 13th century. 18 I. 106v. 105v-106. etc. EBM.Oxford. MES) or early 13th century (Frere. perhaps prepared at Canterbury. Parrish. 22 . and continental concordances in F-MO 32 (Rok 40). 106v of 143 x 93 mm on five two-staff systems of red four-line staves of gauge 8 mm. 105v of 110 x 50 mm. PHYSICAL DESCRIPTION s.f. in brown ink. as an addition at the end. pl. 7 2. motet a2. English concordance in Ccc 8 after fol. Frere. PMFC XIV. ca. Bequeathed to the Bodleian in 1755. Bucks. fol. PMFC XVII. 279). sequence a3. no. CONTENTS 1. but cf for two English discant settings of Kyrie (PMFC XVI. EECM 26. no. 281 IV. Summers (1983). vol. PMFC XVII. 72-72v. facs. Bodleian Library. no. ed. 97v and is cf for a discant setting of Deo gracias (PMFC XVI. no. pl. with written space for polyphony of 167-186 x 122 mm. O39 (Szöverffy. 174 . 74. 40. pl. EECM 26. the Christe is a Benedicamus domino chant in Lbl Lansdowne 462. 153]. Anderson edn. vol. 6 4. in three systems of three freely drawn red four-line staves of gauge 9 mm. Summers (1983). no. 71-71v. d. 10 and 11). PMFC XVII. 136-37. pl. nos. pl. Summers (1983). Bodleian Library. 5 [facs. vol. ed. pl. Anderson edn. 171-172. Mater ora filium fol.. 4. EECM 26. no. pl. 171. 329). EECM 26. 68v-72v). sequence a3. facs. 76-77. Anderson edn. III. that gathering is integal to a late 13th-century Sarum Gradual of 111 fols. EECM 26. Lefferts (1986). not otherwise found in plainchant sources. O41 (Szöverffy. 196). 4a 2. ed. facs. 9.O40 (Szöverffy. 71. Summers (1983). pl. Summers (1983).Oxford. Salve virgo tonantis fol. fol. Rawlinson liturg. 77. 3 I. Anderson edn. II. ms Barlow 55. no. 9. concordance in Oxford. no. monophonic Kyrie. Virgo pudicicie fol. 72). BIBLIOGRAPHY RISM B/IV/1. 72v. 5 3. 173-174. 74-75. sequence a3. PMFC XVI. pl. Summers (1983). pl. 9. facs. Kyrie fol. 1300 MS dimensions are 251 x 166 mm. EECM 26. PMFC XVII. HISTORY The polyphony is inthe same hand as the remainder of the gathering of BVM sequences to which it belongs (fols. PHYSICAL DESCRIPTION c. Lefferts (1990). 575-76. pl. fol. . but also observes that there is a 15th century foliation indicating that this ms. III. Music notation is EMN with rhomboid breve in virga-rhomb alternation and chains of rhombs. . 1v once fastened down to the front wooden cover. Size of host ms is 227 x 168 mm. . suggesting 16 or more staves. both versions ed. frag. Virgo dei genitrix. perhaps from a rotulus. . PMFC XVII IV. homo tua per viscera/[V]irgo stillicidio fecunda/T. Salvatoris fol. . BIBLIOGRAPHY RISM B/IV/1. [Virgo decora] . 350 x 180 mm. 306 x 150 mm ruled with gauge 13 mm. 5 staves with frags.Oxford. CONTENTS 1. . inopia quid tristem occupas O mortis angust . [V]irgo fol. 1. 15b 2. 1. . Savile 25 I. 1v. . . but trimmed at the top with loss of first three staves of no. nos. now unpasted but very damaged. . Assuming 16 staves. florie ne reseras languoris pabulum . fol. PMFC XVII. of two voices of a motet-like setting . 175). PHYSICAL DESCRIPTION s. 14. . 15a. of a motet-like setting 3. Now 13 red four. Arch Selden B. with written space of ca. 577-78. Tractatus summe iudicialis de accidentibus mundi. 1. frag. /T. Bodleian Library. II. . . was once part of a larger volume. RISM further says the present binding may be original. varied concordance written as a monotextual cantilena a3 in score in Oxford. 1v. .or five-line staves per page visible. . crucis ligna carcere draco . 1 (facs. troped chant setting a3 of the verse of the Marian gradual Benedicta V. flyleaf originally ca. 7 staves with frags. pl. HISTORY Host is a 14th-century English parchment ms of 204 fols. Bodleian Library. whose principal contents are Johannes de Estemdene. 83. 3/4 Single parchment leaf inserted upside down as a front flyleaf. perpetim vultu salvatoris/T. d. of 2 voices of a troped chant setting 4. fol. RISM identifies the author as a former member of Merton College. fol. . 90. . just a little of one staff visible. in Summers (1983). a mirror image of the remains of the pastedown on the cover is preserved as Bodleian ms Fasc.xiii. fol. he may have been the one to have had this book bound. no. 100-109 IV. Ferrers is evidently a late 16th-century figure. Losseff suggests the order of the first two should be 2v-2. fol. Anderson edn. 8 mm. ii. [pr. 1v-1. O benigna preces audi fol. PHYSICAL DESCRIPTION s. no. conductus-rondellus a3 in score (Anderson cat. O21. vol. 7. 1v-1 (ii-ii verso). each to be interpreted as two five-line staves of gauge ca. each to be interpreted as a system of three red five. Ferrers.. 1-4. no. no. no. who scribbled his name all over it. 20 mm.. 1-2) were conductus a3 and rear ones (iv-iii. Bodleian Library.(or six-) line staves. O19 -------3. 108-109 2. ed. CONTENTS 1. 2v-2 (i-i verso). 1569). verging on rhomb shape in some cases. Szöverffy.. 578-79. II. concordance to Occ 489. conductus-rondellus a3 in score (Anderson cat. Now 197 x 145 mm but perhaps originally 221 x 162 mm with a written space of 155 x 92 mm. Anderson edn. no. fols. in Losseff. 9. Szöverffy. 214). fol. 2. vol. 3-4) were conductus a2. trimmed at the top with slight loss of music and used as flyleaves. Formerly the flyleaves at each end of a printed book. PMFC XIV. III.or 16-line accolades of gauge 33 mm. The Pallace of Pleasure Beautified by William Painter (London. PMFC XIV. bk. BIBLIOGRAPHY RISM B/IV/1. now fols. partial ed. 32. Musical notation is of Notre Dame type. 1 (ii verso).. and blue initials with red filigree for the others. now fols. [Sal]ve mater misericordie fol. ed. 9. O20. Anderson ed.. 3-4 have six continuous 10-line accolades of gauge ca. 218). front flyleaves (bound upside down and reversed as flyleaves i. Szöverffy. frag. 277). 1v. 27-28. O18. once apparently owned by Edw.. possibly the rondellus Salve mater gracie maria (Occ 489. leaves from rear are consecutive but ones from front are not.Oxford. judging by the many dates he added during the reign of Elizabeth I. fols. O17. Four parchment leaves. O laudanda virginitas fol. conductus a3 in score (Anderson cat. Music leaves discovered in 1954 and rebound as ff. 4. 1-2 ruled in four 15. 60-61. 1v) belongs with this item as the texted . with considerable rotation on some of the freestanding square breves or puncti.xiii 3/4 One of the most beautiful English sources. The original music manuscript was very impressive. Losseff (1994).] Wood 591 I. HISTORY Written in England. with split into five-line staves in rondellus sections. with gold initials and red-blue filigree for items 2. no. frag. H30. ed. (or short) conductus a3 in score. vol. no. Szöverffy... ed. 2 (i verso). no. Ista dies celebrari promeretur fol. 274. 328). etc. vol. Anderson edn. 9. conductus a2 (Anderson cat. no. frag. ed. no. PMFC XIV. 3. conductus a2 (Anderson cat. Virga Iesse regio flore fol. 3. no. ed.. 9. Falck no. I24.. 4. no. vol. ed. no. 181-82). no. etc. H15 6. Szöverffy. here missing. preserving one text stanza and framing caudas (Anderson cat. H15. 3-3v (iiii verso-iiii). 4v (iii). 105-107 4. 43... 33... conductus a2 (Anderson cat. Falck no. Falck no. no.. no.. no. concordance to W1.. vol. O22. concordance to W1. H30 7. Szöverffy. Anderson edn. frag. O15. no. Anderson edn. no. 189. PMFC XIV. 278). no. vol. 3v-4-4v (iiii-iii verso-iii).. 271. Salve rosa venustatis fol. O20 -------5. Anderson edn. Anderson edn. concordance to W1. App. 383. [B]eate virginis fecundat viscera fol. 9. Szöverffy. Losseff (1994). etc. I24 . 245.version of an initial cauda. 79). MES. Notation is EMN with long-short alternation of virgas and rhombs. 68. Büttner (1990). xiii. a double-texted monophonic sequence for Kyneburg. the first of eight lines and the subsequent two of six lines. CONTENTS 1. on fol. Additions to the first include Recitemus pro hec festa. 579-80. BIBLIOGRAPHY RISM B/IV/1. 3/4 Overall dimensions of hos ms are 199 x 135 mm. 113v. no. PHYSICAL DESCRIPTION s. Edi beo thu hevene quene fol. III. ed. Corpus Christi College. polyphonic devotional song a2 in Middle English. 113v-114. Marrocco and Sandon. 2. p. no. Among the additions to the second are a polyphonic devotional song in the vernacular and a monophonic Marian sequence. Marrocco and Sandon. MES. 72120). Brown (1928). monophonic double-texted Latin sequence to the BVM . 13. Büttner (1990) IV. II. Orbis honor celi schema fol. One of other the later entries is datable after 1275. a local Gloucester saint. no. Page (1976). compiled from two once-independent 13th-century manuscripts containing the Anticlaudanius of Alanus of Lille plus later entries (fols. from the Augustinian priory of Llanthony Maior in Gloucestershire. PMFC XIV. HISTORY Host is a late 13th-century codex of 120 fols. 57. 75 2. 59 I.Oxford. The polyphony is added in a written space of 162 x 114 mm on three staves. 171) and a glossed De consolatione philosophie of Boethius plus later entries (fols. and another after 1273 or perhaps 1289. PMFC XIV. Music and lyrics possibly composed or copied by the master of the priory grammar school. O14 2a. no. housed in a modern compilation of medieval fragments. PHYSICAL DESCRIPTION s. on music leaves. and brownblack text of rondellus in no. 1. no. RISM no. with written space 187 x 122 mm and staff gauge ca. RISM no. Salve mater misericordie fol. PMFC XIV. Anderson edn. Flos regalis virginalis fol. 581-82.Oxford. 30. concordance in Ob 591. RISM no. no. now 226 x 155 mm. ed. no. twelve red five-line staves per page. no. Page (1996). 3. frag. 489/9 I. Integra inviolata pia virgo fol. conductus-rondellus a3 (Anderson cat. 9. 1v. 2-2v. cauda to no. Szöverffy. O18. with no.. discussed by Page (1996). ed. conductus a3 (Anderson cat. 2v. Blue-green. 9. 1v. 4. 9.. 28. RISM does not separately identify and incorporates it into no.5 mm. Anderson edn. Virgo rosa flos radicis fol. vol. 329). 2b. but originally ca. not the center of a gathering. 2. BIBLIOGRAPHY RISM B/IV/1.5-10. III. 29 as freestanding work. no.. ed. Szöverffy. conductus-rondellus a3 (Anderson cat. PMFC XIV. this rondellus a3 is a texting of the initial. Salve mater gratie Maria fol. Notation of Notre Dame type.. 245 x 155 mm. Szöverffy. frag. O19. 3/4 Parchment bifolium. no. PMFC XIV. originally melismatic. PMFC XIV. 178). 26-33 IV. with initials in red or blue. O16 4. HISTORY No info. Anderson edn. O17 .. 1 2b. 9. RISM no.. 277). no. II. 137-38).xiii. no. Corpus Christi College.. vol. vol. ed. vol. O16. 1-1v. conductus a3 (Anderson cat.. 9 as the conclusion to no.. red. O17. no. 1. ed. 33. Anderson edn. no. text. 9. Anderson edn. O15 -----------3. no. 2a originally as opening melismatic cauda. 3 . 1. but with occasional virgas and rhombs for long-short rhythms. no. is an extract from a longer Marian poem. Szöverffy. CONTENTS 1. vol. not unlike coloring of rondellus texts in DRu 13. ed. 2-2v [RISM. PMFC XIV. of Latin-texted Kyrie a3 in score fol. on music leaves. fol. 281 x 136 mm. 1v 2. since it contains Kyrie prosula settings. Formerly flyleaves in Corpus Christi College. Adelard of Bath's De causis naturalium compositorum. II. . Sacrum flamen naturam mundans in Maria .or five-line staves. fol. . 497 I. 5. no. 12 4. hence the break between fol. notation is Notre Dame style but with the use of virga and rhomb for longshort rhythms. 1 -------3. 1. Anderson edn. Compositions a3 in score begin with red and blue three-stave initials. . 3. Frag. end of a Latin-texted Marian Kyrie a3 in score. PHYSICAL DESCRIPTION s. no. 42-46. and vice versa. . fol. a 14thcentury British ms of 239 fols. fol. pro Maria eleyson. . HISTORY No info. Virgo p . O25 . Originally ca. Corpus Christi College. 282 x 154 mm. 86. III. 13. no. of conductus a3 in score (Anderson cat. 290 x 220 mm with written space 178 x 143 mm and staff gauge 9-10 mm. Leaves 2-7 are three contiguous bifolia missing the center of the gathering. of Latin-texted Kyrie a3 in score fol. fol. BIBLIOGRAPHY RISM B/IV/1. 2 [RISM. etc. Leaf one is a narrow vertical strip whose recto is actually a verso. extensive frag. 2]. Latin-texted Marian Kyrie a3 in score. Sanders (2001b) IV. . 1:228-33. In the conductus. In the motet additions. 3]. 246). 5. 276 x 194 mm. no. Szöverffy. 582-86. fol. 283 x 211 mm. Porta salutis Maria fol. 2v-3v [RISM. 284 x 152 mm. 277 x 191 mm. fol.Oxford. notation is EMN. 4. with additions in the lower margins of fols. Kyrie rex Marie proles pie fol. . 4 and fol. four. O23. 18 5. The leaves were removed in 1938 and put into their present order in 1952. 1]. 262 x 21 mm. It apparently belongs before fol. 7. no. ed.. no. 9. . Lütolf (1970). no. . Lütolf. Losseff (1994). 2. 3/4. ed. 3v-4 and 5v-6 on brown. in four accolades of three red five-line staves per page. Marie eleyson. 2. That ms is a miscellany containing Aesop's Fables. 4/4 Seven parchment leaves trimmed to various sizes: fol. ed. . in a 16th-century binding. vol. o flos Frag. CONTENTS 1. 6. no. xiii.. Lütolf. but does not appear to immediately precede the other leaves. Anderson edn. 9. 3v-4 [RISM. O26. varied concordance in D-W2.. no. Anderson edn. 290). O24. 3v-4 [RISM. O26 7. ed. 9. O28.. no. PMFC XIV. 9]. F33. Anderson edn. I. O30. Gloriosa dei mater fol. 8]. [Gaude virgo sal]utata Gabriele nuncio . no. Add. App. no. a monophonic concordance is Cambridge. it is a monophonic sequence added in the lower margin. 11]. Anderson edn. no. whose tenor is a textless pes related to Recon. vol. O27 9. 23. Anderson edn. no. O29. 710 [Dublin Troper]. Szöverffy. 7v [RISM no. vol. conductus a3 in score (Anderson cat. 5v-6 [RISM. no. PMFC XIV. no. Szöverffy. Ave Maria gracia plena dominus fol. App. frag. Transit nature semitas fol. . . no. 7].. vol. varied concordance in F-MO 61 (Rok 70). no. O30 14... O29 12. Szöverffy. Szöverffy.. 7v [RISM no. 262. Iam vellus imbuitur fol.. 24. no. O32 16. no.. no. conductus a3 in score (Anderson cat. Szöverffy. 5]. 3. PMFC XIV. no. . Memor esto tuorum fol. no. 10]. added in lower margin. vol. Losseff. PMFC XIV. no. no. O28 11. no. no. . 149-50). ed. no. Anderson edn.. 57 13. Szöverffy. conductus a3 in score (Anderson cat. 9. 301). 9. 4v [RISM. no. O Maria stella maris medicina fol.. ed. 6]. this text is set in one voice of a motet . PMFC XIV. 9. ed. 6-7 [RISM no. 165). ed. O27. no. conductus a3 in score (Anderson cat. Quis tibi Christe meritas fol. 109v. no.. . Wilson (1990). Anderson edn. vol. 5 [no RISM entry]. in Lwa 3 and US-Cu 645. 4]. 2. fol. motet a3 (originally a4?) added in lower margin. 45. no. prole plena gaudio fol. App. In odore fragrant dulcedinis/[Gracia viam con]tinencie/[T. PMFC XIV. PMFC XIV. texts are concordant to the following two conducti below in this ms.. 12]. no. University Library. conductus a3 in score (Anderson cat. no. no. 5v-6 [RISM. no. O25). final strophe only of conductus a3 in score (Anderson cat. RISM misidentifies as a motet voice. frag. O31 15. 7-7v [RISM no. ed. O Maria stella maris/Ihesu fili summi patris/T. Ihesu fili summi patris fol. 162). 42. fol. 4 [RISM. 13]. vol. vol. 9. 44 -------10. Szöverffy. Falck. ed. F33. conductus a3 in score (Anderson cat.6. Anderson edn. 4. ed. 220). no. no. In odorem] fol. 9. no. ed. 82 8. vol. 2.. no.. 196). conductus a3 in score (Anderson cat. motet a3 in parts. Karitatis . conductus motet a3 2. Merton College. with written space 230 mm in height. . . III. judging by comparable sources. med. induit et vituit divinitas . a 14th-century note states that it was a gift of William Reed. Host is an English ms of 225 fols. conductus a2 with texted rondellus section. xiii. unnumbered. . 376 . HISTORY No info. PHYSICAL DESCRIPTION s. . . . in NOHM II. Twelve red. Single parchment leaf. in single column as six two-stave accolades with gauge 12 mm within double frame rule. now cut away by more than half vertically to 273 x 94 mm. five-line staves arr. partial ed. the first front flyleaf in the present host ms. de super lux orta/T. Text hand is anglicana and music notation is EMN. frag. recto. . 280 x 200 mm with written space ca. NOHM II III.Oxford. 248 I. II. bishop of Chichester (1368-85). on music leaf. original may have been ca. in parchment compiled by one John Sheppey. BIBLIOGRAPHY RISM B/IV/1. 587. pacis consiliarum yma regis verso. frag. CONTENTS 1. 230 x 150 mm. 1v-2. Szöverffy. Anderson edn. O21 2. Worcester College. from which these binding fragments have been removed. 75). 185 x 115-120 mm and staff gauge 10. 71). BIBLIOGRAPHY RISM B/IV/1. 9. no. vol. no.. Falck.. HISTORY No info. belonged to Reading Abbey and has dates 1264 and 1281. Anderson edn. MMBL 3:726-32. Ave Maria salus hominum cella fol. 1-1v. vol. layout in single columns with four groups of 14-16 red stave lines per page. no. ed. conductus a3 (Anderson cat. 75). 9. no. O22 3. vol. vol. since former host ms. 25. frag. 594-95. ed.. 5. 35. measuring 213 x 175 mm with written space ca. Anderson cat. Ave virga decoris incliti officina fol. PMFC XIV. 9. J49 and vol. Musical notation of Notre Dame type but with virga and rhomboid breve of EMN to indicate long-short rhythms. 2v.. perhaps adjacent leaves from an anthology since all surviving pieces begin with Ave. 3. no. conductus a3 (Szöverffy. 27. on music leaves. no. Ave tuos benedic virgo singularis fol. 85 III. no. conductus a3 (Szöverffy. CONTENTS 1. no.. Anderson edn. O23 4. the volume once belonged to Ralph. no. 68).xiii. Possibly from Reading. 731-32.. Anderson edn. PMFC XIV. ed. med. red and blue initials. esp. no. Two consecutive parchment leaves. Ave regina celorum ave decus fol. J49. ed. PMFC XIV. 26 a and b.. Worcester College. 2-2v. 9. III.16A.5-11 mm for five lines. PMFC XIV. Losseff (1994). 213* I. O24 . II. conductus a3 (Szöverffy. Earl Verney (1752-1791).Oxford. PHYSICAL DESCRIPTION s. 38. Anderson edn. v. RISM Suppl. s . end of a cantilena or discant setting a3 in score. with two hands. 24 3. single voice. motet on conversion of St. 92-93 IV. staves 1-6 (texted voice). Written for Canterbury Christ Church? Present host book was printed at Lyons in 1497 and was owned by a monk of Christ Church. 7-9 (untexted voice). with width greater than 200 mm. staves 1-8. . II. BIBLIOGRAPHY Wathey. now joined and foliated v. on music leaf. 275 mm. Rebound in the 18th and 20th centuries.bk. ca. [E]cce vir. Wisbech and Fenland Museum. v verso.. CONTENTS 1.8 I. disrupta surge Petre/[no text] fol. formerly two strips from the binding of the present host book. . v verso. pl. HISTORY No info. RISM Suppl. where they were used as guards for the first and last quires. frag. tenor to no. Town Library. . written space. de mon cr . 1660. staves 10-12. xiv in. facs. fero rubigo labitur fol. pl. facs. Wathey. staves 9-12. freely ruled in twelve red five-line staves of gauge 11. single voice of frag. musical notation is basically Franconian..] C3. ca. s voy bone fol. PHYSICAL DESCRIPTION s. [no text] fol. 3? . . Wathey. Peter. . RISM Suppl. v. Originally taller.Wisbech.5-13 mm in a single column with frame rules on recto. with unstemmed semibreves and dots of division. motet a3/a4 on St. III. Canterbury. [pr. . 24 2. . . downward stems added later to semibreves in no. 1. Given to Wisbech Town Library by ca. Paul 4. . 215 mm high. Fragmentary parchment leaf. Text script is an informal gothica textualis rotunda. now 240 x 100 mm. one for recto and the second for verso. facs. Kyrie rex genitor . 80. now mainly erased. 50. 595-97. PMFV XIV. which has materials copied in the 13th century. ed. xii I. facs. voice that is the only material visible from original layer of music. fol. Sanders (2001d). no. inside a 15th-century Worcester binding. frontispiece. WF. Lefferts (1983). PHYSICAL DESCRIPTION s. Ut recreentur celitus/Secundus tenor palimpsest. either monophonic or tenor of troped chant setting . 10 mm or more wider. fol. App. and turquoise decoration. Christe lux oriens fol. 78. 79. Music is mostly palimpsest. 4. frag. II. blue. HISTORY No info. fol. frag. Frag. motet a4. 1v. F&H. CONTENTS 1. 159. . Lefferts (1983). WF. PMMM 5. 3/4 and s. 27. Regnum tuum solidum palimpsest.f. 916-22 2. motet a4. 1. verso in different hand with red. primarily in England. frontispiece and p. troped chant setting a4. III. frag. Formerly folded horizontally and bound as front endleaves in WOc Q. PMMM 5. F & H. Thomson (2000). xiii. with written space 260 x 173 mm on recto and 270 x 175 mm on verso ruled in twelve red five-line staves of staff gauge 17 mm. c. WF. 149 IV. Thomson (2001). xiii/xiv Single parchment leaf ca. on music leaf. no. no. no. Regnum sine termino/T. 925-30 4. facs. 27. Additional 68. 1v. 350 x 230 mm. Lefferts (1983). Recto has decoration in black and red. Palimsest over earlier music. 26 3. BIBLIOGRAPHY RISM B/IV/1. frag. Inter choros paradisicolarum/Invictis pueris inter flammas palimpsest. Cathedral Library. nothing is known of the erased and overwritten original music aside from what is legible of no. PMFC XIV. 1v. . ed. ed. damaged on inner edge so perhaps originally ca. PMMM 5. MMBL 4:684.Worcester. organum mostly unique but clausula has continental concordances. ed. troped chant setting a3 in parts. no. 2. HISTORY No info. 33-34. II. PMMM 5. no. 44-46 (partial) 3. chant setting a3 in score with texted clausula. . 2-2v. Alleluia V. facs. PMMM 5. 34908). III. 1v. 32 2. with staff gauge 16 mm. 1 and five three-staff systems on fol. the middle of a gathering. Cathedral Library. [Benedicta et venerabilis] V. Additional 68. facs. on fol. PMMM 5. Frag. WF 80a]. Nativitas gloriose virgi[nis] Marie. CONTENTS 1.Worcester. WF. Sanctus fol. xviii I. 1v-2. /T. PMFC XIV. PHYSICAL DESCRIPTION s. 1 is EMN with paired rhomboid breves. Ad honorem summi regis fol. 595. written space was ca. 34 4. monophonic. Sanders (2001d) IV. 306 x 193 mm in a variety of rulings. Reaney (1977). on music leaves. including twelve five-line staves on fol. WMH. 315 x 220 mm. Single parchment bifolium. original page size ca. xiii med. PMFC XIV. . Reaney (1977). frag. 380 x 260 mm. . MMBL 4:685. Ex semine Habrahe fol. BIBLIOGRAPHY RISM B/IV/1. PMMM 5. 1v-2. Music notation on fol. Caldwell (1991). monophonic (Chev. facs. EMN in long-rhomb patterns. no. Formerly binding fragments in Worcester Book of Feofments (MMBL). 81. . now trimmed on outer and lower margins to ca. facs. [RISM. 16. 81. Virgo dei genitrix fol. PMMM 5. 1. 597. 35 . Caldwell (1991). . superioris . App. WMH. no. 3/4 Single parchment bifolium not the middle of a gathering. facs. fol. 1. a late 14th-century English copy of works of Robert Grosseteste. Bernard of Clairvaux. MMBL 4:686. fol. only eight of which are now visible. no. PMMM 5. 595. 59 (Rok. troped chant setting a4?. 2. CONTENTS 1. [Crucifixum in carne] fol. Sed fulsit virginitas/Primus tenor fol. 257 x 156 mm ruled for nine red fiveline staves. 2v. in a Worcester binding of ca.f. II. the Primus tenor is freely composed). 1v has written space ca. 2. on music leaf.Worcester. facs. 41 3. 601-2. Additional 68. missing here. frag. PHYSICAL DESCRIPTION s. 44. PMMM 5. pp. ed. is "Dominus". F&H. III. 2 has eight red five-line staves in written space 220 x 156 mm with gauge 21 mm. 94. 68). concordance a3 with many unsupported fourths (suggesting version a4 is original) in F-MO. 228 x 156 mm ruled for seven red five-line staves. Fol. and others. WF. xx I. 288 x 212 mm. Thomson (2001). HISTORY No info. no. WF. no. Cathedral Library. 45. 96 . ed. rondellus a3. PMFC XIV. c. 1527-31 that is likely by monk-binder John Musard. motet a4 (tenor. ed. PMMM 5. no. gauge for both pages is 23-24 mm. Sanders (2001d). no. xiii. 47. Former front pastedown in WOc F. 93. 1v. WF. [I]n excelsis gloria fol. PMMM 5. PMFC XIV. 46. 83 4. original page ca. 95. concordance in US-Cu 654. PMFC XIV. conductus-rondellus a3. facs. 1 recto has written space ca. WF. no. frag. no. Frag. 2v has nine red five-line staves in written space 240 x 156 mm with gauge 19 mm. no. 1 and 260 x 200 mm for fol. Gaudeat ecclesia cuncti fol. 255 x 157 mm for fol. and fol. BIBLIOGRAPHY RISM B/IV/1. frag. now trimmed at the top and outer edges to ca. PMMM 5. 152. frag. Crucifixum dominum in carne/T. PMFC XIV. 81-82. 36 2. facs. 3 . 103-104 IV. ed. 4. PMFC XIV. Additional 68. PMFC XIV. monophonic. a1-a1 verso. originally ca. 20-21. a source combining two English volumes of the late 13th century of texts of Roger Kilwardby. 7. 43. a1 verso. 210 x 125 for five three-stave systems of gauge 12-13 mm for five lines. with written space for the two-stave systems on fols. PMMM 5. BIBLIOGRAPHY RISM B/IV/1. sequence-like chant setting a3 of double-versicle rhymed offertory.. [A]ve Maria gracia plena virgo amantissima fol. 8. PMMM 5. III. 15. partially entered. facs. xxix I. monophonic. PMMM 5. no. xiii. "b". 602-603. 51-52. HISTORY No info. some under palimpsest. 3/4 Two bifolia (a. 10. frag. 5 -------5. 2. so no information on age or provenance of any former medieval binding. 595-96. facs. 9 beginning appropriately with the Marian sequence Benedicta es and ending with a page of erasure and palimpsest. App. 27-28 IV. PMMM 5. 14. b). now nested and sewn together. facs. Sanctus fol. erased sequence or conductus a3 6. eleyson palimpsest. a2 has an old foliation XIIII. a2-a2v of ca. Page (1996). Singularis et insignis mundi domina fol. 97. a1 verso. nor is either the middle of a gathering. Cathedral Library. Anderson edn. 6. 13. 53 . b1 recto. rebound at the British Museum in 1886. a1 verso. ed. PHYSICAL DESCRIPTION s. 54 4. apparently from the same volume but not consecutive. b1 recto. [Ave] virgo concipiens angelo salutatis fol. 1. monophonic. contents would then have the following order of items: nos. Thomson (2001). no. PMMM 5. Formerly rear endleaves in ms WOc F. 34. II. 171 x 122-127 mm and staff gauge 9 mm for five lines. original written space ca. Latin-texted Kyrie a3. 5. 3. fol. Virginis Marie matris . 11. WF. PMMM 5. text only. . CONTENTS 1. MMBL 4:687. now 215 x 142 mm (a) and 220 x 150 mm (b). [illegible] fol. On frag. on music leaves. 54 3. 14 2. facs. . Frag. Fol. Possibly the fragment should be reversed around the centerfold so that bifolium "b" is outermost. 12. facs. F&H.Worcester. Sanders (2001d). 240 x 170 mm. Bifolium "a" has a variety of rulings. monophonic. a2-a2 verso. no. PMMM 5. 57-58. PMMM 5. vol. conductus a3. ed. facs. b2v. . PMMM 5. 328). PMMM 5. b2-b2 verso. conductus a2. monophonic sequence. P49 14. notes not entered and text erased except in fourth system from top. mun]di pressuram fol. a2. ed. Szöverffy. O Maria virgo pia plena dei gracia fol. Anderson edn. 34. in AH 24: 162 and 32:58. facs. [Alleluia V. . 54 -------10. PMMM 5. no. notes that the text is ed. b2. b1 verso. fol. monophonic. WF. sequence or conductus a3. old foliation XIIII. Anderson edn. 1 . 99. WF. conductus-like chant setting a3 of Marian version of hymn Veni creator spiritus. fol. Sanctus palimpsest. no. O52 -------13. 55-56. monophonic. WF. b1 verso. vol. 100. b1 verso. 54 9. Page (1996). 55 11. facs. PMMM 5. 101. 57 15. PMFC XIV. fol. 9. Ave Maria gracia plena dominus palimpsest. PMFC XIV. PMMM 5. facs. no. App. conductus-like free setting a2 (Anderson cat. facs. ed. no.. WF. Virga florem germinavit . frag. Benedicta es celorum regina fol. O sponsa dei electa esto nobis via recta fol. . no. 98. . no. Sanctus fol. a2. facs. P47. 54 8. designatur cuius lilia ante partum et post partum sunt similia. ed. frag. PMFC XIV. [S]ponsa rectoris omnium summi patris fol. 64 12.. 56. no. facs. no. 57.. PMMM 5.7. no. facs. 21. 10. . facs. PMMM 5. 63 4. no. HISTORY No info. Paranimphus salutat virginem fol. and thus is mistakenly assigned two different WF numbers. 195). facs. Szöverffy. b verso [old foliation IIII]. 2. Lefferts (1990). b. m virgo mundi lilium lumen fidelium O mater pia . Et qui mente . PMMM 5. a2-a2 verso. . Cathedral Library. 560 2. F&H. 282. BIBLIOGRAPHY RISM B/IV/1. c-c verso. frag. Red four-line staves mainly in five two-staff systems per page for polyphony. Mater patris et filia mulierum letitia fol. fol. PHYSICAL DESCRIPTION s. frag. PMMM 5. frag. c) that appear to be from the same source. b. 2/4 Four small parchment fragments (a1. 63-64. 26. WF. F34. [E]rgo virgo tam beata fol. 103-104 -------3. ed. vol. 603-4. Anderson cat. 105 -------6. ed. 73-74. facs. no. b. frag. no. WF. text set in a musically unrelated polyphonic conductus in E-Hu and E-Ma (Anderson edn. sequence a2. CONTENTS 1. In WF and RISM. 61-62. Salve virgo virginum fol. sequence a2. an English volume of the late 13th or early 14th century containing works of Aquinas. sequence a2. PMMM 5. conductus a1. in a 15th-century Worcester binding. nos. [Salve virgo sacra parens] . in Sanders (2001d). 190 x 142 mm. 52.. WF. 106 . . xxx I. sequence a2. solatium. PMMM 5. ed. facs. partial ed. Thomson (2001). Frag. 102 x 142 mm (c). 102. on music leaves. frag. no. originally from pages ca. a2. 64. 2 is mis-identified as two separate works. now 87 x 84 mm (a1). II. WF. PMMM 5. 85 x 135 mm (b). no. 278. frag. 63 5. facs. PMMM 5. a1-a1 verso. De spineto nata rosa fol. . Formerly endleaves in ms WOc F.Worcester. Sanders (2001d) IV. 109.. Additional 68. . ed. . . . 596.xiii. III. . with written space ca. F34). 59-60. 150 x 112 mm and staff gauge 8-9 mm. 87 x 139 mm (a2). MMBL 4:687-88. Folio b verso has old foliation IIII. item no. facs. facs. . PMMM 5. conductus a1 (AH 45a. fol. 595. 3/4 Four small fragments. an English manuscript of the second half of the 13th century. c now 36 x 141 mm. (a. c) of plainchant sequences on four-line staves of width 130 mm and gauge 10-11 mm: frag. 1. one staff of second hocketing voice . A. but accounted for by Büttner (1990) and Thomson (2001). III. . 54 x 107 mm ruled in red five-line staves of gauge 1314 mm. BIBLIOGRAPHY RISM B/IV/1. xxviii also comes from the binding of this book. xxxiv I. . 34.xiii. fol. which has a Worcester binding of the late 15th or early 16th century. Frag. A. frag. Additional 68. PHYSICAL DESCRIPTION s. a now 212 x 33 mm. the present Frag. . [Textless]/[textless] Frag. HISTORY No info. b. A does not come from RECON I. Hand does not look like RECON I or II. b now 34 x 286 mm. . rondellus fragment? 2. Sanders (2001a). Frag. but unlike that fragment (and contrary to Thomson). Büttner (1990). Cathedral Library. Frag. 22 IV. Frag. .Worcester. CONTENTS 1. B (not reproduced) consists of three frags. . Notation is EMN with long-rhomb motion. Frag. Thomson (2001). They were removed from manuscript WOc F. 605. II. Not recorded in WF or MMBL. 1v. 17. F&H. . B). two staves of a repetitive tenor. A is a single parchment scrap of polyphony ca. Sanders (2001d). probably from two different sources (A. frag. Virgo m . pp. qua Christe exp . on music leaves. frag. HISTORY No info. . B. ca. on music leaf. BIBLIOGRAPHY F&H. and sine pedibus. Front binding fragments from WOc F. semi-quadrata. tuis in laudibus tu celicis commenda . Thomson (2001). motet 4. . fol. RISM Suppl. frag. . . Wathey. . III. . frag. if for 9 staves.Worcester.. Additional 68. xxxix/2 (not reproduced) is a parchment flyleaf with a few notes and letters of offset from Frag. if for 12 staves of music and text. A and B). 235 mm. . . was ca. an early 14th-century English copy of the Legenda aurea in a contemporary binding. . Musical notation basically Franconian (square breve). 64 x 275 mm. Frag. Freely ruled red five-line staves of gauge 16 mm. . 28-29 IV. frag. xxxix/1. 93-95. A. fol. PHYSICAL DESCRIPTION s. . . xxxix/1 I. with long-breve declamation. . fol. fol. . MMBL 4:689. II.xiii. archa panis angelici de quam . motet . . 45. Frag. 21. . Text hand mixes gothica textualis quadrata. 310 mm in height. Bv. . Av. Original written area. concipies parvulum que presens . xlvi. CONTENTS 1. 3/4 Single horizontal parchment strip. . Nunc in celis Katerina fluens deliciis . motet 3. cut from a bifolium (fols. . . Cathedral Library. motet 2. p. PHYSICAL DESCRIPTION s. textless fol. Malyshko (1998). 2/4 Single parchment leaf. Thomson (2000)." III. 118. Codex origin unknown. 19 arrived late in the history of the Cathedral library: "not at Worcester before s. but likely for a Franciscan house. trimmed to ca. frag. II. Cathedral Library. Benedicta. Red and blue initials. organum a2 on soloistic portions of Marian gradual. 160 x 105 mm. 10. and ed. xv and only attested there 1622-23" (Thomson 2000). varied concordance to Magnus Liber setting (M32). fol.] fol. 115 x 80 mm ruled for five red two-stave systems. Malyshko (1998.xiii. with staff gauge 9 mm and 7 mm. HISTORY Front flyleaf. the upper staff of five lines and the lower staff of four. n. BIBLIOGRAPHY F&H. with original written space ca. 130-131 IV. Music leaf uncovered by 1993 (Malyshko) and again in the late 1990s recataloguing of the Cathedral Library. frag.Worcester. WOc Q. Music notation of Notre Dame style. V. facs. 76) judges the polyphony to be "an English adaptation of a French work". i-iv. facs. CONTENTS 1. p. respectively. Virgo dei genitrix quem totus non creauit orbis in tua se clau[sit viscera. Malyshko (1998) 2. Book hand is a neat gothica rotunda. 19 I. 94. in a codex assembling three volumes of Franciscan sermons copied in the late 13th century. Thomson (2000) concludes it to be "a leaf from a Parisian book of sacred polyphony. i. Thomson (2001). melismatic conclusion of organum a2. Q. Malyshko (1998) . i. about which nothing is known. p. xlvi CONTENTS WOc Additional 68. On the music and text hands. 120 (now Frag. xli). Büttner (1990). and nested bifolia sometimes form blocks of continuous material from the following original folios: vi-vii. cxxxix. Frag. were found in volumes at Worcester Cathedral Library by Olga Malyshko in 1993 and again during the recataloguing of the library in the later 1990s. Bukofzer (1944). A previous attempt at reconstruction in Ob Lat. 205 x 145-155 mm for nine red fiveline staves of gauge 13-15 mm. lxxxii-lxxxiii. xxxvi. Caldwell (1991). John Musard. 1 . but appear originally to have been ca. 159-63. 148-54. lxxix. Sanders (2001d).3 and Ob Hatton 30 with photos of leaves from Lbl Additional 25031 and WOc Additional 68. Frag. lxxxxii-lxxxxiiii. Wibberley (1976). vi [Ob 20. Losseff (1994). and most of these have been removed to the fragment series in Add. Caldwell (1994). liturg. F&H. x (from WOc F. only in the 1520s. 21). 3/4 The partial remains (30 or more folios. xiii and Frag. 68. . and most surviving in Worcester Cathedral Library. Thomson (2000). and Frag. Sanders (2001a). HISTORY In the literature this book is known as "the small format volume" or "the motet book. Crocker (1990). Its pages were re-used in Worcester bindings of ca. 44 (now Frag. xxxi (from WOc Q. New fragments. 1. has a very useful diagram projecting the gathering structures that can be determined from these materials. lxxvi-lxxvii. PMMM 5. xi (from WOc F. 53-69) cannot be determined. clemens eleyson fol. lxxxviii-lxxxix. Frag. Malyshko (1998). 68. WMH. Some pages have original foliations in red. lxxiii-lxxviiii. d. no. Losseff (1994). 44 that probably also belongs in this reconstruction. facs. 175 (now Frag. F.RECONSTRUCTION I PHYSICAL DESCRIPTION s. Wibberley (1976). cxxxvi. xl). xiii-xvi. 125). Sanders (2001e). Frag. The original book of music was likely broken up by a Worcester monk-binder. esp. and these leaves. xxxi. 24. PMMM 5. MMBL 4:684-88. PMMM 6. and WOc Add. 280-283 x 200-205 mm with written space mainly ca. Dittmer (1957). xl (containing item nos. Offsets onto binding boards survive in situ for Frags." to distinguish it from RECON II and RECON III. 1]. one voice of troped chant setting a3 of Kyrie Orbis factor.xiii. some of demonstrable Worcester provenance. Frag. inf. 31). A bit of material still remains in F. WF. xlii). Thomson (2001). 149-52. lxxxxix-ci. see esp. The relative location of the seven fragmentary folios from Lbl Hatton 30. 562-64. BIBLIOGRAPHY RISM B/IV/1. 541-52. 60 or more pieces) of a substantial codex (140 or more total folios). 1527-31 for more than ten extant manuscripts. . xiii (from WOc Q. The materials in Lbl Additional 25031 are still in place. Frag. fol. The leaves are variously trimmed. and F. They include material from WOc F. bifolia. xl and xli. x 1. two with original foliations. 133). 34). xxviii (from WOc F. Christe lux mundi perpetua . ed. 20 combines surviving leaves formerly in Ob Auct F. Pes super Quem non capit fol. 8 -------WOc Additional 68. xxxvi. 7 9. ed. WF. no. 29 4. . xlii 10. WMH. fig. facs. 000 verso.2. no. O44 7. facs. 13-14. 40-41 (partial) 3. Kyrieleyson fol. troped chant setting a3 of Kyrie Lux et origo. Thomson (2000). fol. Caldwell (1991). Felix namque Maria fol. 6. 54. conductus-rondellus a3. . 4v-5]. text lost. no. . 30. pes motet a3. 2]. 000. ed. WF. no. fol. Frag. no. facs. white notation fol. Crocker (1990). 21. 9. PMMM 6. two parts in score. ed. xiii verso-xiiii [Ob 20. PMMM 6. facs. 2v]. facs. Dittmer (1957). 28-30. text lost 13. fol. Dittmer (1957). WF. Quem non capit/ . Dittmer (1957). . frag. fol. 3v-4]. ed. no. PMFC XIV. fol. facs. ed. xxxvi verso. WF. vol. fol. no. 3 and 6v]. text lost -------12. 12. 6v]. frag. WF. frag. fol. 2. fol. vi verso-vii verso [Ob 20. Anderson edn. 4 11. est ex te verbum nunc natum quo salvantur omnia . fol. PMMM 6. facs. fol. . xxxi . fol. 58-59 (partial) 8. PMMM 6. concordance in Ccl . 5v-6]. [xvi ]verso [Ob 20. PMFC XIV. one voice of troped chant setting of Offertory Felix namque es. fig. 127. facs. no. xiii [Ob 20. 4 6. Benedicta domina mundi per spacia fol. 11. 1v-2v]. pes motet a3. vii verso [Ob 20. troped chant setting a3 of Gradual Benedicta V. ed. facs. Frag. Thomson (2000). [xv] verso-[xvi] [Ob 20. Virgo dei genitrix. PMFC XIV. no.. 4 -------WOc Additional 68. xiiii verso-[xv] [Ob 20. fol. no. no.. De supernis sedibus fol. WF. text lost. PMMM 6. [Lux polis] refulgens a[urea] fit inmensis/Lux et gloria/T. 17. vii [Ob 20. Prolis eterne genitor/Psallat mater gratie/T. WF. 3 -------Lbl Additional 25301 5. 31. . . 15-16. facs. ed. App. 5. Pes super Prolis Psallat fol. fol. Caldwell (1991). 692-97. in genitrix o dulcis alitrix/T. no. Senator regis curie/Primus pes/Secundus pes fol. frag. 11. Quam admirabilis/Quam admirabilis/Pes fol. 67 WOc Additional 68. facs. no. 10. no. lxxvi [Ob 20. no. Virgo paris filium/T. no. WMH. ed. Salve sancta parens enixa fol. troped chant setting a3 of verse of gradual Benedicta V. ed. 7 . WF. lxxiiii verso [Ob 20. Virgo dei genitrix. with hocket.v. 8]. O quam glorifica luce/O quam felix femina/O quam beata domina/T. 18. no. frag. PMFC XIV. 21 21. no. Auszug. probably belonging together. lxxiiii verso [Ob 20. 17 (read as two-voice frag. no. 7]. 9]. facs. 92-93 23. 9]. Frags. PMMM 6. 13 -------19. voice-exchange pes motet a3. facs. pes motet a3. PMFC XIV. 54-55. xxxi and xxviii 15. 128-29. ed. in WMH. 63. pes motet a3. no. WF. fol. de ave parens/. frag. 232-33 (read as complete a3) -------- . facs. WF. frag. PMMM 5. troped chant setting a3. 12. 51 18.14. concordance in Ob 60. 14 20. 8v]. ed. 21.). facs. concordance in D-Gu 220. Büttner. Virgo regalis fidei/[Virgo regalis fidei]/Pes fol. fol. two frag. frag. no. ed. 8v]. facs. fol. facs. 9. ed. fol. 128-29. no. 10v]. xxviii 16. Auszug. 58 WOc Additional 68. 9v-10]. 48. 7v-8]. PMFC XIV. WF. 52 22. no. fol. WF. lxxvii verso [Ob 20. PMFC XIV. Sol in nube tegitur/Non hircorum sanguine/Pes fol. 9v-10]. fol. pes motet a4. O venie vena spes seculi/T. PMMM 6. fol. in WF. fol. ed. Büttner. 62-63. lxxiii verso-lxxiiii [Ob 20. no. WF. facs. lxxvi verso-lxxvii [Ob 20. pes motet a3 with voice exchange. [lxxiii] [Ob 20. voice-exchange pes motet a3. 2 . PMFC XIV. 15. Frag. WF. Eterne virgo memorie/Eterna virgo mater/T. fol. no. [Virgo dei] genitrix fol. lxxvi verso-lxxvii [Ob 20. no. no. fol. pes motet a3 with rondellus. Caldwell (1991). . ed. 16. fol. WF. lxxvi [Ob 20. facs. parts. 50 17. PMFC XIV. [pes] fol. WMH. Salve sancta parens virgo/[Salve sancta parens virgo]/T. no.iiii. facs. lxxiiii [Ob 20. WF. 63. 53. [pes] fol. ed. 18. WF. Illumina morti datis fol. PMFC XIV. concordances in Ob 400*. 1. PMMM 6. 49. no. PMMM 5. 21. fol. 21 34. 20. lxxvii verso-lxxix [Ob 20. facs. ed. 66] . no. P . Alle[luya] V. WF. . 12v]. . 35. 203-207 (partial). omnipotencia . facs. 60 31. 47. d. Büttner. ed. laus honor reverencia . fig. II. 22. PMMM 6. fol. 18. 16 (transposed. . ed. Loquelis archangeli/Quartus cantus fol. 22. . 20 (formerly Ob Auct. 50. 1 28. concordance is Recon. . no. pes motet a3. lxxxviii verso [Ob 20.24. 13]. 24 . Wibberley (2000). motet?. PMMM 5. conductus-rondellus a3 in parts. 10v-11]. ed. fol. xli 27. facs. 12]. Frag. O regina celestis curie flos/O regina celestis curie consolare fol. WF. fol. lxxxviii [Ob 20. Amor patris presentatur fol. . PMMM 5. frag. Büttner. 225 -------32. fol. 15th-century work a2. lxxxviii [Ob 20. fol. PMMM 6. no. facs. 701 (partial). 226-28 26. . troped chant setting a3. frag. and modified for different Alleluia). lxxix verso [Ob 20. facs. Büttner. frag. 221 30. no. WF. frag. Caldwell (1991). fol. 27 [WF. Crocker (1990). no. frag. facs. . 48-49 25. frag. frag. PMMM 6. fol. no. App. PMMM 6. WF. liturg. 13v]. facs. with tenor on verso and superius on recto. Post partum virgo fol. void notation scribble fol. ed. 11v]. Büttner (1990). lxxxiii-lxxxiii verso [Ob 20. 18a. fol. F. 42. ed. no. . PMMM 6. lxxxiii [Ob 20. PMFC XIV. . A (text only). lxxix [Ob 20. WF. no. no. 11]. voice-exchange motet a4. motet. facs. 12-12v]. 19. WF. Crocker (1990). facs. ed. Caldwell (1991). 23 33. 19-20. F-MO (contrafactum with text Alle psallete cum luya). Ave magnifica Maria/[Ave mirifica Maria]/T. fol. 48-49 -------WOc Additional 68. 13]. no. lxxxii. lxxxii verso Ob Lat. WF. void notation fol. Munda Maria mater militie fol. rota a3. 21. facs. 19. fol. Ave rex gentis anglorum (in 15th-century hand) fol. . 717-18. Sanctorum omnium virgo/T. Recon II. lxxxiii verso [Ob 20. Thomson (2000). 20. inf.3) 29. fol. A . concordance in Onc 362. WF. fol. frag. 18v-19]. fol. frag. no. Caldwell (1994). fol. WF. no. Sanders 1980c. 17]. 13v]. Beata supernorum-Virga iesse floruit/T. Alleluya-Pes (V. 28. no. liturg. 15v-16]. WMH. frag. 1 -------Ob Lat. facs. ed. no. no. no. MGG2 Sachteil 9:2061-2062. concordance in Ob 60. . no. WF. 25. void notation scribbles fol. PMMM 6. PMFC XIV. 42. lxxxxii [Ob 20. troped chant setting a3 (Gradual). 22. fig. PMMM 6. Alma iam ad gaudia-Per te dei genitrix/Alme matris dei-Per te o beata/T. 525 39. ed. PMFC XIV. polytextual rondellus a3. facs. facs. WF. fol. PMMM 6. partial ed. fol. Per te dei genitrix fol. Fons ortorum riga morum/Pes fol. [Benedicta V. pl. Frag. 95-96). facs. ed. facs. lxxxxiii verso-lxxxxiiii [Ob 20. 30 43. WF. lxxxxix [Ob 20. no. 42 45. 20 (formerly Ob Auct. 28 44. Wibberley (2000) WOc Additional 68. no. 29 -------42. facs. facs. fol. recolat ecclesia Katerine/Virgo sancta Katerina/T. 26-27. 47. frag. WF. no.35. 16 (EECM 26. 23. 26. no. Virgo] dei genitrix fol. WF. pes motet a3. troped chant setting a3 of Kyrie fons bonitatis. 17]. Ave virgo mater dei fol. 14]. 62. 72 41. AlleluyaV. pes motet a3. Kyrie fons pietatis fol. ed. 24-25. facs. no. facs. 16v]. text lost 37. frag. inf. facs.. Pascha nostrum) fol. lxxxxiiii verso [Ob 20. Thomson (2000). PMMM 6. d. no. 71 40. 32 . Wibberley (2000). ed. text lost. PMMM 6. ed. 218-220 (partial). fol. ed.3) 38. troped chant setting a3 of Marian version of Easter chant. lxxxix verso. frag. fol. 17v-18]. lxxxxix [Ob 20. WF. fol. 14v-15]. 27. Alleluya canite-Parens alma/Alleluya canite-Parens alme/T. 2061-62. [pes] fol. troped chant setting a3. 31. 1 . c verso-ci [Ob 20. xli 36. lxxxxix verso-c [Ob 20. PMMM 6. 29-30. lxxxxii verso-lxxxxiii [Ob 20. PMFC XIV. . lxxxviii verso [Ob 20. . fol. lxxxix. PMMM 6. Fulget celestis/O Petre flos/Roma gaudet de tali fol. fol. F. 1. 139. 28. Büttner (1990). WMH. ed. rondellus a3 in parts. [Agmina] fol. no. fol. 19v]. [Gaude Mar]ia plaude dulcis et amena/T. motet?. 22v].46. [cxxxix] verso [Ob 20. PMMM 6. Bukofzer (1944). 19]. Bukofzer (1944). ed. no. PMMM 6. 35 -------51. 90. 38 54. cxxxvi verso [Ob 20. facs. facs. void notation scribble fol. frag. profero in te rex glorie . in te domine in eternum/T. 21]. frag. ed. cxxxvi [Ob 20. no. . Thomson (2001). PMMM 5. -grantis fumi virgula fumus ex aromati . 31. fol. PMMM 5. no. 20 (formerly Ob Hatton 30) 53. 70] and Lwa 33327. [pes] [Ob 20. 34 49. ed. 25. no. PMMM 5. cxxxvi [Ob 20. . [Gaude] Maria virgo fol. xi 48. frag. 90. PMMM 6. WF. 22]. facs. pes motet a4. facs. facs. 4 (EECM 26. 21v]. I. 39 55. no. WF. . 36 52. pl. frag. void notation scribbles fol. . 30 47. fol. ci verso [Ob 20. motet voice. 32. no. no. facs. fol. fol. xiii . liturg. facs. . 92. WF. mundum in prospero [Ob 20. Bukofzer (1944). 26. WF. ed. Pro beati Pauli gloria/O pastor patris/T. ed. . WF. 20v]. 56 = WF. Frag. facs. pl. decus virginitatis . 33 -------WOc Additional 68. fol. frag. ed. polytextual conductus a3 in parts. fol. 17 . 37 -------Ob Lat. WF. ed. . Salve gemma confessorum Nicholae [Ob 20. 22]. frag. fol. 20]. 9 50. 9. Felix illa curia. troped chant setting a3 (Tract). with a varied textual concordance in Recon II. . no. . frag. Thomson (2001). [Salve virgo virginum M]aria virgo intercede fol. 40 -------WOc Additional 68. Frag. . . facs. ci [Ob 20. frag. on two statements of an unidentified tenor or pes. . no. ./ . fol. . 25. no. O decus predicancium/T. cf motet a3. PMMM 6. [cxxxix] [Ob 20. . pes motet a3 of tropic origin. WF. 33. pl. facs. . text concordance in following item [Recon. Salve fenestra vitrea/ . d. WF. O regina glorie Maria/T. 20]. fol. [pes] fol. troped chant setting of Marian version of Gloria trope Regnum tuum. ed. fol. 177). no. no. xl (b). frag. ed. 40]. facs. no. fol. 39v]. Frag. text concordance in preceding item [Recon. PMMM 5. 25. ed. facs. facs. Puellare gremium/Purissima mater/T. piste lumen celi prin . no. Pes de Pro beati Pauli et de O pastor patris et de O preclara patrie [Pro patribus] [Ob 20. WF. concordance in Recon II. PMMM 5. facs. fol. Frag. Te domine laudat/Te dominum clamat/T. . fol. pes motet a3. Virginis Marie laudemus/Salve gemma virginum/T. . . 29. PMFC XIV. Pes super O debilis/T. 22-23. PMMM 5. 71. WF. no. 47 59. fol. 972-76. 74. 72. no. WF. facs. facs. Pes de Fulgens stella [Ob 20. 38v-39]. 22 [WF. WF. no. ed. 36]. pes motet a3. fig. no. cf motet a3. WF. pes motet a3. ed. Dittmer (1957). 77 60. 77 -------WOc Additional 68. Sanctus [Ob 20. facs. recto 66. 3 -------- . no. fol. 22-23. PMFC XIV. 76. no. Dulcis Iesu memoria/Pes de Dulcis Iesu memoria [Ob 20. frag. troped chant setting. no. Thomson (2000). Dittmer (1957). 55 = WF. frag. 4 (EECM 26. no. Dittmer (1957). 45. 39]. Crocker (1990). 28 58. Dittmer (1957. 70. Pes super de Te domine et de Te dominum [Ob 20. . facs. [Fulgens stella] . no. 37v]. fol. 562. 36v-37]. frag. white notation [Ob 20. no. WF. fol. . xl (b). Sanctus et eternus deus/T. Lefferts (1983). 177). Sanders (2001d). no. Büttner. . Pro beati Pauli/O pastor patris/O preclara patrie/T. no. . 36v-37]. Pes super Virginis Marie et Salve gemma [Veritatem] [Ob 20. 48 -------61. pes motet a2. ed. 705-708 64. 84 57. no. 28. PMFC XIV. no. No . Primus pes super O debilis [Ob 20. 24-25. 75 63. 36]. cf motet a4. WF. pl. PMMM 5. 30. Pes super Puellare et Purissima [Ob 20. quiquid homo gescit/T.56. fol. 38]. Sanders (2001d). concordance in Lwa 33327. Malyshko (1998). 31. O debilis o flebilis/T. 562. Frag. I. 73. PMMM 5. PMFC XIV. . ed. WF. . 212-215 62. ed. 61]. verso. PMFC XIV. ed. facs. facs. fol. no. pes motet a2. xl 65. in conclave virginis .67. . verso. . 2 . . [Angelus ad virginem] . vitam que dona morte . . recto 68. textless Frag. . . . xl (a). frag. . recto. . angeli per famina intacta . xl (a). . [pa]ries intacta Frag. . Thomson (2000). xl (a). monophony?. of the well known monophonic song 69. . culorum tempore . facs. fig. Malyshko (1998). Frag. . 32. 27a recto-verso) preserve the reverse image of one surviving page (fol. ix came out of the binding of WOc Q. but by assuming that item 29 spanned an opening (verso to recto). the present nos. A previous attempt at reconstruction in Ob Lat. It was broken up in the mid 15th century at Worcester and used there to provide materials for a local rebinding campaign (see Thomson (2000) and Thomson (2001). The order of presentation here principally follows WF and RISM. 34.RECONSTRUCTION II I. there is no reason to assume that fol. both RISM B/IV/1. Bodley 862 (photographically reversed as Ob 20. 188-91. 60 into two items. combines leaves formerly in Oxford. 6 = Ob 20. fol. There are eight discrete series of pieces. PHYSICAL DESCRIPTION s. and given that fol. 552-62. Thomson (2000). 20 and 21. and decoration in red. 34 as following fol. Frag. Thomson (2001). 23-35v. Frag. but following observations in WMH and EEH. liturg. fols. BIBLIOGRAPHY RISM B/IV/1. and also RISM. Bodleian Library. 20 [Ob 20]. PMMM 6. The fragments comprise single leaves. 35 has a center gutter. we assume no continuity between Ob 20. Levy. 554 and PMFC XIV. Lefferts (1983). more than 32 pieces) of a once substantial music codex with overall dimensions of ca. At least one is of demonstrable Worcester origin and is still housed in Worcester Cathedral Library.xiii. Contradicting Dittmer in WF. fol. 31 originally preceded fol. 330 x 223 mm [330 x 220 in Dittmer and RISM]. PMFC XIV. fols. Bodleian Library. There is no surviving medieval evidence for this order aside from some local continuities between leaves that are linked physically or by content. Bodley 862 with reversed photos of the offsets on its binding boards. Sanders (2001a). and with photocopies of leaves from WOc Add. MMBL 4:683-4." to distinguish it from RECON I and RECON III. 35. d. 167-68 . and nested bifolia from the lost music codex. bifolia. Bodleian Library. fol. Frags. Sanders (2001e). 72. 110-11. xlvi). III. blue. but with the reversal of recto and verso for fol. so that the opening spans 34r and 35r (as per the photo captions in PMMM 6. 154-56. Sanders (2001d). 28 recto) and one otherwise lost page. All were probably owned by Worcester Cathedral Library. The presence of erasure and palimpsest reveals an effort to update the original music codex in the 14th century. 688-9. PMMM 5. 35. (Indeed. and green. fol. F&H. Losseff (1994). thus turning WF. 31 and Ob 20. Magdalene College 100.) Further. 541-42. 243 report Ob 20. 32. ix and xxxv. Caldwell (1990). xliv. Offsets on the inside front and rear covers of Oxford. we have instead retained fol. 43). Fragments have been discovered in three surviving codices. Büttner (1990). Wilson (1990). a written space of 267 x 170-80 mm ruled in twelve red five-line staves of gauge 13-14 mm. 68. 34 before fol. 3/4 This reconstitutes the partial remains (more than 13 folios. EEH. xxxv comes out of Oxford. an English manuscript of the middle of the 14th century. a 13th-century Worcester psalter whose flyleaves were detached and transferred back to Worcester in the 1920s. HISTORY In the literature this book is known as "the large format volume. II. 6v = Ob 20. . fol. [Frag. xxxv. WF. facs. 26v]. 913-15 -------WOc Add. 70. frag. 25v-26. fol. 23]. frag. WF. facs. fol. PMMM 5. Dulciflua tua memoria/Precipua michi da gaudia/Tenor de Dulciflua fol. d. d. 899-906 Ob Lat. text concordance in Onc 362. Lefferts (1983). 26 = Frag. liturg. ed. 64-65. 20. ed. 46. 70. frag. 68. 37. 42. 1-2v. 56 3. palimpsest. 3v-4. etc. 6r]. fol. no.20 (formerly Ob Bodley 862) and WOc Add. xxxv. pes motet a3. xxxv. Rex omnipotencie palimpsest.. fol. fol. WF. liturg. [Frag. no. PMFC XIV. Gaude per quam cornu David/T. 47. ed. WF. [Ob 20. [Ob 20. Caldwell (1990). tenor motet. WF. 99-102 WOc Add. In tuis laudibus/ . xxxv. xxxv 5. 24v]. 26 = Frag. [Ob 20. facs. no. Virga Iesse floruit. 68. . no. frag. 1. ed. Wilson (1990). facs. Lingua peregrina te laudare/T. 4v. Laqueus fol. 38. ed. 23v-24v]. 6v = Ob 20. Lefferts (1983). 34. PMMM 6. no. App.20 (formerly Ob Bodley 862) 4. Lefferts (1983). Inviolata integra et casta fol. 28 -------Ob Lat. no. in Sanders (1965). . 48. 55. no. CONTENTS Ob Lat. 44. palimsest. fol. palimpsest. facs. 3. no. WF. facs. 41. fol. tenor motet. WF. 68. . WF. no. palimpsest. 64-65. Alleluya psallat hec familia/Alleluia psallat hec familia/T. Wilson (1990). 2v. no. PMMM 5. . PMFC XIV. troped chant setting a3. [Ob 20. 4v. facs. frag. fol. no. [Ob 20. 43. PMMM 6. fol. troped chant setting. fol. facs. 907-912 8. ed. liturg. 25].IV. fol. Alleluya concinat hec familia fol.20 (formerly Ob Bodley 862) 1. frag. troped chant setting a3 of Alleluya V. fol. 45 6. WF. Alleluya V. frag. troped Spiritus et alme insertions a3. Spiritus procedens a patre fol. WF. no. 6r]. PMMM 6. 35-37. 25v-26. 59 2. ix . fol. ed. [Ob 20. 3v-4. Inviolata integra mater/Inviolata integra mater/T. ed. Gaude virgo gaude fol. PMMM 6. partial ed. xxxv 7. frag. Büttner (1990). PMFC XIV. 50-51. no. fol. 68. 26v]. tenor motet. d. fol. frag. Peregrina moror/T. facs. fol. no. . pl. fol. 60 -------WOc Add. no. 28v]. 42. 18b 17. frag. ix. PMMM 5. xxxv. no. 51 = WF. [Frag. frag. troped chant setting a3. Alleluya moduletur Syon/Alleluya moduletur Syon/T. O laus sanctorum/T. 5. 40-41. facs. 55. 27a recto. Alleluya V. ed. Alleluya V. Alme veneremur diei/Alme veneremur diei/T. pl. 27 = Frag. ed. Ave magnifica Maria/Ave mirifica Maria/Alleluya V. Fulgebunt iusti fol. 5v-6. O regina glorie/Alleluia . WF. Letabitur iustus] fol. frag. Sanders (2001a). 40-41. fol. EECM 26. troped chant setting a3. no. 68. . PMMM 5. 1r-v = Ob 20. 20-23. a varied concordance to the text of the troped verse has another musical setting in Recon I. . WF. PMFC XIV. 228. Et honore speciali/T. PMMM 6. frag. 8-8v. troped chant setting a3. 204] and New York. 27]. facs. . facs. 3v. fol. no. 29-29v].Frag. no. fol. . 3r = Ob 20. WF. 54 15. fol. ix. 67. fol. PMMM 5. 22-23. Alleluya V. fol. 27 = Frag. Gaude plaude/T. ed. 52. offset onto front binding board is Ob 20. / T. [Frag. Regis celorum . 17 13. troped chant setting a3. O laus sanctorum fol. Iusti epulentur fol. ix. 7-7v. 26 and to F-MO (contrafactum with text Alle psallete cum luya). fol. Dulcis mater fol. 1 & 2 v = Ob 20. ed.20 (formerly Ob Bodley 862) 11. WF. 66-67. 27]. . WF. 53. WF. . troped chant setting a3. fol. 49 10. xxxv. no. fol. [Ob 20. 1 & 2 r]. WF. fol. fol. PMMM 5. concordances in Cambridge. 66. facs. 192-193]. . Pierpont Morgan Library. Iudicabunt sancti fol. ed. WF. 3r-v = Ob 20. 978 [facs. fol. 6v.9. xxxv 14. frag. . pl. facs. . fol. 27a recto. [Frag. EECM 26. App. PMFC XIV. . no. no. liturg. WF. Regis celorum mater fol. fol. ix. . 27-27v-28. ed. fol. no. Alleluya V. facs. no. PMFC XIV. PMMM 6. 30-30v]. WF. 29]. [Ob 20. 20-21. 51 12. 36 . PMMM 5. [Frag. no. frag. 879. 879. 50 WOc Add. Sanders (2001a). . App. . Sanders (2001a). Pembroke College. facs. [Frag. frag. fol. xxxv. WF. frag. 1r = Ob 20. ii verso [facs. 1 & 2 r]. . beginning as transposed concordance to Recon I. . frag. App. 205. . no. ed. 57 . 7v-8. facs. 5. 56. frag. 1 & 2 v = Ob 20. fol. Alleluya V. et gloria in celestia/T. 879. refrain motet a4. . fol. [Frag. fol. PMFC XIV. troped chant setting a3. fol. PMMM 5. EECM 26. Candens crescit lilium/Candens lilium columbina/Quartus cantus palimpsest. 7. ix and Ob Lat. ed. p. [Alleluya V. Reaney (1977). fol. et tanquam scintille/ . 68. 27v-28. fol. frag. troped chant setting a3. no. [Ob 20. no. offset onto front binding board is Ob 20. 67. ed. 65. 20-21. 29v-30]. Alleluya V. PMMM 5. no. troped chant setting a3. 19 16. WF. xxxv. PMMM 6. 67. d. Veni mater gratie preces fol. xxxv. 5-6. Sursum corda fol. PMMM 5. ed.. . fol. xxxv 25. [Sanctus] . Sar 5. Benedictus/T. fol. no. 68. 10-10v. [Sanctus . Ob 20. Ob 20.f. ed. Sar 5. no. numbered III in the margin. WMH 44-47 (partial). Sanctus trope a3 on c. ed. [Frag. ed. Sanctus trope a3 on c. xxxv. WMH. 62 24. 60 -------WOc Add. fol. WMH. Sanctus Deus ens ingenitus/T. no. XL. facs. xxxv 21. 64. WF. no.-------WOc Add. xxxv. frag. fol. 9-9v. 21 below. WMH. 44 (partial). xxxv. Sar 2. no. pl. facs. WMH. . 32]. frag. 10v. facs. xxxv. frag. Unus tamen est divinus/T. PMMM 5. . [Frag. 31]. [Frag. fol. Osanna in celesti/T. frag. 55. frag. 32v]. fol. 2r = Ob 20. ed. frontispiece and front cover art on LP disc Nonesuch H-71308. 50-53. [Frag. EEH. celitus pater natus fol. concordance in Recon I. facs. Sanctus sanctus sanctus adonay genitor/ . . 10. . [Sanctus] fol. 60 22. xxxv. fol. frag. ed. 74 . frag. no. WMH. fol. no. fol. xxxv 18. PMMM 5. PMFC XIV.f. not part of no. Ob 20. Sursum corda elevate/T. ed. [Salve] sancta parens enixa puerpera fol. 58 19. Sar 3 with trope Marie filius. fol. . WF. fol. Sanctus trope a3 on c. . fol. [Sanctus] fol. 77].f. 69. 2r-v = Ob 20. . WMH. fol. facs. 48-49. 20 above. . 68. not part of no. [Frag. xxxv. WF. . 68. WF. facs. 10v. XL. WMH. WMH. frag. 64 [WF. 31v]. Salve mater redemptoris/Salve lux languentium/Salve sine spina rosa/T. in Sanders 1980c. 68. frag.f. WMH. [Frag. 11.f. 4v = Ob 20. EEH. 55. WF. Sar 2. 55. WF. WF. 4v. Unus tamen est divinus] . partial ed. 32v]. no. . Sanctus et eternus Deus/ . facs. ed. Osanna in excelsis/T. [Sanctus] . of 2 vv of Sanctus trope a3 on c. 49. 2v = Ob 20. xxxv. 68. [Sanctus] . .venit in nomine fol. fol. 31-31v]. pl. WF. 526 23. PMMM 5. [Frag. [Frag. xxxv. troped chant setting. 9v. 61. . 63 -------WOc Add. 32-32v]. 4r-v. 69. 4r.f. no. Sanctus ex quo omnia pater/T. Sanctus trope a3 on c. no. 5r = Ob 20. Sanctus trope a3 on unidentified c. . 54. . troped chant setting a4. frag. facs. 33]. Sanctus fol. fol. nomine domini fol. . fol. 59 20. 9. no. . 26. Conditio nature/T. fol. 11v; [Frag. xxxv, fol. 5v = Ob 20, fol. 33v]; frag. tenor motet a3; facs. PMMM 5, 66; text concordance in F-MO 42 (Rok. 51); ed. WF, no. 65 27. Loquelis archangeli/[Quartus cantus] fol. 11v; [Frag. xxxv, fol. 5v = Ob 20, fol. 33v] [WF, 66]; frag. voice-exchange motet a4; facs. PMMM 5, 66; concordance in Recon. I, no. 25 [WF, no. 18] ; ed. WF, no. 18, Büttner (1990), 226-228 -------Ob Lat. liturg. d.20 (formerly Ob Bodley 862) 28. small frags. of one or more pieces, probably palimpsest given the bit of visible intertwined ribboning here that is also used in nos. 13 and 29 of this source to indicate a textless section palimpsest; fol. 12; [Ob 20, fol. 34v] 29. T[homas cesus]/Thomas gemma/P[rimus Tenor]/Secundus Tenor palimpsest; fol. 12v-13; [Ob 20, fol. 34r, 35r]; frag. voice-exchange motet a4; concordances in US-PRu 119, fol. A2 and Cambridge, Gonville and Caius College, 512/543, fols. 254v-255 (EECM 26, pl. 128-129); facs. PMMM 6, 43-44, EECM 26, pl. 212; ed. Levy, 234-39, WF, no. 67, PMFC XIV, no. 61 30. . . . d]ans quod vocis primuit fol. 13-13v; [Ob 20, fol. 35-35v]; mainly erased under palimpsest; frag. conductus a3; facs. PMMM 6, 45; ed. WF, no. 68, Anderson edn., vol. 9, no. O45 (with text reading "dans quod votis premueris") 31. 15th-century void notation fol. 13v; [Ob 20, fol. 35v]; discant setting a3 in score with bottom voice cantus firmus; facs. PMMM 6, 45 32. Quem trina polluit fol. 13v; [Ob 20, fol. 35v]; frag. single-texted conductus-rondellus a3; doubletexted concordance in DRu 13, no. 1 ; facs. PMMM 6, 45; ed. WF, no. 69, PMFC XIV, no. 34, Anderson edn., vol. 9, no. O46 (Szöverffy, 253-54) --------Ob Bodley 862 33. Offset of music onto inside rear cover board preserves the reverse impression of a lost page containing parts of one or more items of music; as is also the case in Ob 20 (facs. in PMMM 6), our facsimile presents a mirror image of the board fol. 14; [Ob 20, fol. 27a verso]; facs. PMMM 6, 39 RECONSTRUCTION III I. PHYSICAL DESCRIPTION s.xiii, 3/4 This reconstruction consists of parchment fragments now housed as WOc Additional 68, Frags. xix and xxxii. The ms order and proximity of the fragments cannot be fully ascertained. Together they comprise seven folios and eighteen items from a book whose original page dimensions were ca. 277 x 203 mm with written space of 220 x 155 mm, ruled in four three-stave systems, with red five-line staves of staff gauge 14-17 mm. All pages evidently were ruled at the same time as the parchment was prepared for music a3 in score. Frag. xix, leaves a, b, and c, comprise three bifolia. This account and the inventory below, following Summers (1983-85), reverse RISM's foliation, putting the leaves in the order c, b, a. Their trimming suggests they were once part of the same gathering, but contents suggest that the order should be c, b, a, and not a, c, b. Leaves c and b are adjoining, but there is at least one bifolium missing between b and a, and another missing within a, since it is not the center of a gathering. Only half of a1, b1, and c1 remain. Frag. xxxii is a single leaf; maximum current dimensions 238 x 206 mm. II. HISTORY Referred to by Dom Anselm Hughes as "The Conductus Book" (WMH, 23). Music of the 13th century was entered first on the left hand leaves of the gathering (c2, b2, a2), leaving the remainder blank. The right hand leaves (a1, b1, c1) were later filled in with 14th-century material. Broken up by Worcester monk-binder John Musard in the later 1520s and used in three or more Worcester bindings of ca. 1527-31. Frag. xix, leaf a, came out of WOc F. 64, an English ms of the late 12th or early 13th century. Frag. xix, leaves b and c, came out of WOc F. 37, a late 13th or early 14th-century English ms. Frag. xxxii is a former front pastedown in WOc Q. 24, an English ms of the late 13th or early 14th century. III. BIBLIOGRAPHY RISM B/IV/1, 595-601, 604-605; WMH; F&H, 17, 30-31, 120-21; MMBL 4:686, 688; PMMM 5; PMMM 6; Summers (1983-85); Thomson (2000); Sanders (2001a); Sanders (2001d); Thomson (2001), xlvi, 24, 40, 133 IV. CONTENTS: WOc Add. 68, Frag. xix 1. . . . nos sceleris sic que sanctifica. . . dans regna celica. Amen. fol. 1 (Frag. xix, fol. c2) [RISM [87]]; frag. conductus a3; facs. PMMM 5, 40; ed. WF, no. 87 2. jottings in semibreves and minims fol. 1 (Frag. xix, fol. c2); facs. PMMM 5, 40; dipl. facs. and ed. in Summers (198385), 63 3. Et in terra pax fol. 1v-2 (Frag. xix, fol. c2 verso and b2) [RISM [88]]; frag. Gloria a3; facs. PMMM no. 5, 41, WMH, 38; concordance in Ob 60, no. 2 ; ed. WF, no. 88, PMFC XIV, no. 44 4. Regina regnans regis palatio fol. 2v (Frag. xix, fol. b2 verso) [RISM [89]]; frag. conductus a3; ed. WF, no. 89, PMFC XIV, no. App. 12, Anderson edn., vol. 9, no. O48 (Szöverffy, 269) -------5. . . . angelorum agmina transcendens Maria fol. 3 (Frag. xix, fol. a2) [RISM [90]]; frag. conductus a3; facs. PMMM 5, 42, Stevens (1981), cover; ed. WF, no. 90, Anderson edn., vol. 9, no. O49 6. Beata viscera Marie virginis fol. 3 (Frag. xix, fol. a2) [RISM [91]]; conductus a3; facs. PMMM 5, 42, partial facs. Stevens (1981), cover; ed. WF, no. 91, Marrocco and Sandon, no. 55, PMFC XIV, no. 43, Anderson edn., vol. 9, no. O50 (Szöverffy, 79) 7. Salve rosa florum salutis puerpera fol. 3v (Frag. xix, fol. a 2 verso) [RISM [92]]; frag. conductus a3; facs. PMMM 5, 43, WMH, p. 124; ed. WF, no. 92, PMFC XIV, no. App. 11, Anderson edn., vol. 9, no. O51 (Szöverffy, 277-78), Büttner, 80-81 -------8. . . . merenti modo scitienti . . fol. 4-4v (Frag. xix, fol. a1 recto-verso) [RISM [82]]; frag. 14th-century cantilena a3; facs. PMMM 5, 36-37; WF, no. 82, Anderson edn., vol. 9, no. O47 9. frag. of two-voice composition in score in void notation fol. 4v (Frag. xix, fol. a1 verso); facs. PMMM 5, 37; dipl. facs. and ed. in Summers, 61 10. [Gloria laus et honor] tibi sit fol. 4v (Frag. xix, fol. a1 verso) [RISM [82a]]; frag. 14th-century chant setting; facs. PMMM 5, 37; ed. in Summers (1983-85), 62 -------11. [Benedictus] fol. 5 (Frag. xix, fol. b1 recto); frag. 14th-century chant setting; facs. WMH, 60; ed. in Summers (1983-85), 58-60 12. [Sanctus] fol. 5-5v (Frag. xix, fol. b1 recto-verso) [RISM [83]]; frag. 14th-century chant setting; facs. WMH, 60; ed. WF, no. 83 13. Agnus dei fol. 5v (Frag. xix, fol. b1 verso) [RISM [84]]; frag. 14th-century chant setting; facs. WMH, 60; ed. WF, no. 84 [Anderson reads as " . 6v (Frag. PMMM 5. no. 66 18. Anderson cat. ed. 85 15. PMMM 6."]. conductus a3. 7 (Frag. ed. O48 (Szöverffy. 108. b1 verso-c1) [RISM [85]]. facs. . O54 . fol. App. O51 (Szöverffy. fol. no. chant setting a3. frag. ardire ad valoris. WF. 68. ed. Grata iuvencula decora nimium fol. fol. 7 (Frag. 115. fol. WMH. cantilena a3. 47. . . xxxii. no. frag. 269) 17. PMFC XIV. WF. 9.14.. 1v) [RISM [109]]. 47. 46. [Gloria laus et honor] tibi sit . 5v-6 (Frag. perduc ad polor nostra gaudia. 150). WF. 1) [RISM [108]]. no. xxxii. . ed. facs. facs. no. frag. 86 -------WOc Add. end of frag. 38. vol. vol. 14th-century chant setting. PMMM 5. 107. 9. xix. WF. PMMM 6. no. xix. frag. PMMM 6.. no. . . 39. 7v (Frag. Anderson edn. WF. no. 14th-century chant setting. 109. . no. fol. facs. no. Anderson edn. 1) [RISM [107]]. fol. Sanctus fol.. frag. fol. xxxii. xxxii 16. facs. PMFC XIV. ed. [Gloria laus et honor] fol. c1 verso) [RISM [86]]. 13. . now sliced in half horizontally with loss of the top part. 1v. . Acta colloqui Ratisponnensis (1541). frag. II. 2]. a primo gene[ris]/ . . no funere fol. [cal]bacio O grauis confusio . 2. III. Thomas of Canterbury. triplum text ed. . motet a3 on St. CONTENTS 1. I. Senator regis curie/T. 230 x 160 mm with written space ca. 50 2. HISTORY No info. 16 . [RISM nos. 3]. size would have been ca. PHYSICAL DESCRIPTION Two parchment flyleaves once consecutive. [RISM no. 83-84. Niedersächsische Staats. Theol. quo me vertam nescio/T. concordance with notation in square breves in Cjec 5. 11.und Universitätsbibliothek. . on music leaves. now housed in a modern collection of fragments as fols. RISM nos. 2. 5]. [O]pem [nobis] fol.D-Göttingen. 125 mm and staff gauge ca. perhaps cut from a bifolium that was the center of a gathering. [RISM no. 10 mm. 6-8 are unrelated. no. ruled in red five-line staves of width ca. . cf. 190 x 125 mm. pes motet a3. orbi ferens gaudia/ fol. concordance is Recon I. Notation is EMN with rhomboid breves. Pes fol. monophonic sequence? . WF. [O mores perditos] . . 2-3. PMFC XIV IV. If there were originally twelve staves per page. ed. no. . . PMFC XIV. since item 2 spans an opening (not recognizing this. frag. A superna paranimphus patria . and and trimmed vertically at the center fold. frag. [RISM no. frag. 220g s. 1 3. frag. Once used as flyleaves in Buterus. 4].xiii med. RISM foliation reverses rectos and versos). 1. AH 21. motet voice? 4. dimensions are now 101 x 141 mm and 106 x 140 mm. respectively. BIBLIOGRAPHY RISM B/IV/1. no. . 1-2v. . no. ij/T. 143. Item no. . 286. Herzog-August-Bibliothek. 2v. 360 x 280 mm. voices of 15th-century void-notation Gloria 5. Preece (2000) IV. Thomas Martyr in Arbroath. at the verse. troped chant setting a4 of an Alleluia. . . frag. Wolf. 205-206. with written space ca. frag. II. 5 uses superacute G. Scotland. troped chant setting a4 of an Alleluia. III. solis vel syderis cum beatis ceteris coram salvatore/Quartus/Tenor pro iii/Tenor pro iiii fol. 2. frag. . Qui s]edes ad dexteram . Quartus/Tenor pro iiii fol. HISTORY No info. not including jubilus) of Alleluia V. originally ca. 1v. troped chant setting a3 or a4 of an Alleluia. . frag. 317 x 215 mm and staff gauge 22 mm. . 2. Alleluya confessoris almi presencia fol. Franconian and Petronian musical notation. the tenor pro iii. Assumpta est Maria 4. note. Iustus germinabit. [Et in terra . now 280 x 245 mm. BIBLIOGRAPHY RISM B/IV/1. CONTENTS 1. /[T. Ludwig (1923). Host ms once belonged to the Benedictine abbey of St. two frag. Alleluya concrepando pange/Alleluya consonet presens fol. Ave Maria gracia plena 3. verse perhaps began "Veni" or "Veni nunc" . triplum of troped chant setting a3 or a4 of an Alleluia for a Confessor. 1300 Two parchment leaves once front and rear flyleaves in the host ms. red and blue initials. PHYSICAL DESCRIPTION ca. probably from a larger series of troped chant settings of Alleluias. square-b and F-clefs. HNK I.] fol. melody of Tenor pro iiii begins like respond (soloists's Alleluia only. 1. 499 I. a solus tenor in all but name. text tropic to Alleluia V. 223. tenor melody is identical to setting of first three words only of verse of Alleluia V. on music leaves. Besseler (1925). conflates the tenor pro iiii with the quartus cantus for a three-voice performance. . 192. 2. 220.D-Wolfenbüttel. originally ten red five-line staves per page. fascicles 3. 3) Lütolf. Roesner 1974. 9. 189 (fasc. 1-23 may be the work of a single scribe. 16-18. Andrews. W1. the contents are usually described as comprising 11 fascicles. 8) Lütolf. BIBLIOGRAPHY RISM B/IV/1. represent an independent manuscript of similar dimensions and probably a similar history.102 D-W 677. 8 Sanctorum exultacio Perpetuo numine Quem pium benedicit Laudes deo ore pio Sar 5= Than 32 tr. 10 and the contents of the entire eleventh fascicle. 1240 as as the most widely accepted approximate date of completion. who copied an original corpus of works and some contemporaneous additions. Consists of 26 gatherings. 1995.151 Sar 1= Than 203 tr. RISM enumerates 3228 items in W1. Its contents most likely were collected and copied in the 1230s. Most of the repertoire is an international Anglo/French corpus of organa and conductus. Brown et al. here recorded in the local “house style” of St. Gillingham 1982. Guelf. Staehelin. 1980. HISTORY Made for and probably copied at the Augustinian priory of St. Fascicle 11. gatherings 24-26. 3. gatherings nos. with organa for mass and office arranged in descending order by number of voices. PHYSICAL DESCRIPTION ca. each consisting of one or more gatherings. III. 35 D-W 677. 190 (fasc. mostly intact but a few with a couple of missing leaves. Fascicle 9. 1240 Manuscript ca. 24-26. 34 D-W 677. was once an independent manuscript. 9 mm. pp. Everist 1998. II. Roesner. The last three gatherings. CONTENTS Following Handschin. 8. with conductus arranged in descending order by number of voices from three to two to one. from four to three to two. 8) Lütolf. 19-22). 628 Helmst. 1981.171 Sar 8= Than 223 tr. Listed below are simply the troped Sanctus and Agnus of W1. Roesner. 36 . 33 D-W 677. Falk. Fascicles 1-5 form a coherently organized group. organized group. This entry is very much a “stub”. nos. 26 (fasc. NGD 2001 “Sources” entry. 191 (fasc. 8) Lütolf. 150 x 210 mm with written space mostly around 80/90 x 155/160 mm and staff gauge for five-line staff of ca. troped Sanctus. Fascicles 8-10 form a second large. 1981. Scotland. Roesner (2009) IV. is by far the largest. Cosart (2007). I. of ten gatherings. fascs. with ca. Herzog-August-Bibliothek. 97-171.199 Sar 3= Than 49 tr. 1976.D-Wolfenbüttel. and may arguably be understood as comprised of three fascicles (gatherings 1315. Andrews and using a dialect of Notre Dame-era notation with some distinctive insular characteristics. Baxter 1931. Everist 1990. All. Per precem piissimam [nine Marian Alleluias] 9. 281 (fasc. fasc.66 136 tr. Sar 3= Than tr. All. fasc. 55 Sar 2= tr. a2) (fasc. 60 Lütolf. 9 Sar 2= tr. troped Agnus. 192 D-W 677.38 209 tr. 64 W1. Kyrie virginitatis amator 7.32 D-W 677. fascs. Virga dei mater pia 10. Rex virginum amator 2. 8. Lux et gloria 4. 10 (six monophonic Agnus) Agnus Archetipi mundi Agnus Pectoris alta Agnus Qui de virgineo Agnus Lux lucis Agnus Humano generi Agnus Vulnere quorum -------The contents of Fascicle 11: [seven Marian Latin-texted Kyries] 1. Gloria in excelsis deo.55 114 tr. Creator puritatis 3.W1. 47 Sar 2= tr. 47 Sar 3= Than tr. 94 Sar 2= tr. 9. 83 Sar 2= tr. 8. 8. 193 D-W 677. a2) Lütolf. 63 Lütolf. a3) (fasc. 9 Lux lucis Mortis dira Fons indeficiens Deus deorum 267 tr. 185 Sar 3= Than tr. 10 (six monophonic Sanctus) Sanctus Christe yerarchia Sanctus Rex qui cuncta regis Sanctus Omnia qui libras Sanctus cunctorum dominans Sanctus Condita de nichilo Sanctus Sanctus ab eterno Sar 3= Than tr. 123 Sar 3= Than tr. O Marie creator pie 6. 61 Lütolf. Virga Iesse floruit Sar 2= tr. 2 W1. Kyrie virginei lux 5. 34 Sar 3= Than tr. Conditor Marie omnium regine [Gloria with Marian trope insertions] 8. 231 D-W 677. a3) (fasc. 9. 138 . Ave Maria gratia plena 16. Sanctus. Recordare virgo mater 35. Ave Maria gratia plena . Ave Maria gratia plena dominus tecum 39. All. All. Post partum 14. Sanctus. Virgo mitis vere vitis 28. Reginarum dominam laudemus 29. Virgo intermerata 17.11. Angelus domini nuntiavit [Marian Tract] 18. Virgo parens gaudeat 32. Vebum bonum et suave [eight Marian Offertory substitutes] 33. Ave celi imperatrix 30. . De virgine nato 44. Gaude Maria virgo [twice seven Marian sequences] 19. All. All. Ave regina celorum 38. Missus Gabriel de celis 27. All. O vere beata sublimis sponsa domina 36. Virgini Marie laudes 25. Preter rerum seriem 40. Laudes Christo decantemus 26. Felix namque es 37. Voce vita [Maria Agnus tropes] . Maria mater egregia 43. virgo serena 22. All. Hodierne lux diei 23. Inviolata integra et casta [Marian Sanctus tropes] 41. Virga florem germinavit 13. Salve virgo dei mater 12. Paranimphus salutat virginem 21. Sanctus. Per te dei genitrix 15. . Hac clara die 31. All. Ave mundi spes Maria 24. Mater mitis vere vitis 42. Mittit ad virginem 20. Ave Maria gratia plena viris invia 34. 45 Agnus dei. Factus homo 46. Qui de carne (text only) . Mortis dira ferens 47. Two parchment folios.Eire-Dublin. [Alleluya V. Hic Martinus] fol. 222v formerly pasted down. of two voices of a troped chant setting a3 for St. [Alleluya V. given by Charles II to Trinity College in 1661. facs Wathey. 1) and one similar setting before nos. facs. PHYSICAL DESCRIPTION s. [Alleluya V. frags. Michael (Sept. Flyleaves for a miscellany of theological and historical works copied in the mid to later 15th century. . 300 x 185-190 mm. eight) in the duplex longa. on music leaves. of three voices of a troped chant setting a3 for All Saints (Nov. 26-28 IV. pl. frags. A pressmark indicates that the volume was once owned by James Usher (Ussher). 7. 29) 2. facs. pl. [Alleluya V. Iudicabunt] fol. Andrew (Nov. three. Text hand is gothica textualis rotunda. Major initials elaborately flourished in red and blue. the front and rear flyleaves in the present host ms. xiv in. Wathey. Wathey. Psallam ergo cantica . with fol. . Hic presul insignis/ T." fol. In conspectu] fol. 6). 1r-v. frags. all in red. foliated 1 and 222. 1 headed "Martino. Dilectus dilexit/ T. Fol. III. CONTENTS 1. 3 and 4 (Nov. . Wathey. . four. . 345 x 210 mm but now ca. melismatic groups of semibreves. Sancti per subopera/Alme cohors celica . 11) 4. written space 237 x 155 mm. 29 and Nov. of two voices of a troped chant setting a3 for St. Martin (Nov. . Cecus angelorum/Almi patris in laude . Archbishop of Dublin (1581-1656). 30). 30) . 1. pl. 222v headed "In die. The contents form part of a calendrical series of troped chant settings a3 of Alleluias. 1v. . . II. HISTORY No info. ruled in a single column of nine freely ruled red fiveline staves with gauge 18-19 mm and ruled indentations of 10 mm for major initials. musical notation is essentially Franconian. 2 and 3 (for Sept. Alme morum monitum . 6. Dilexit Andream] fol. 222r-v. . BIBLIOGRAPHY Wathey. frag. penwork capitals at internal textual subdivisions splashed with red. of a troped chant setting a3 for St.. Trinity College. with long-breve declamation and very infrequent. 7. pl. ca. Quem qui munere/ T. 222r." and an "s" at the foot of these pages. Iuste diera/ T. 1) ------------------3. 11 and Nov. between the existing leaves was probably a single folio with the completions of nos. Vas sacratum consignatum . 29) I. arabic numerals are used to indicate the number of single longs (two. RISM Suppl. facs. 519 (E. 10. Richard of Fournival's Bestiary.. Tischler (1967). Anderson cat. Stillat in stellam radium fol. 15. written in England. Stevens (1986). P31 (Szöverffy. no. written space variable from ca. PHYSICAL DESCRIPTION s. 116-121.France-Paris. 119v-120. no. P31 4. no. University Library. PMFC XIV. chant setting a3.. Monophony and polyphony both use longs and rhomboid breves. PMFC XIV. One of the items. Trahis suspirium/Mordax detractio/T. music on up to 10 red. 117v-118. 7. there are unrelated nonmusical texts on fol. xiii med. no. 76 3. Bibliothèque Nationale de France. Additional 710. français 25408 I. Anderson cat.. Music copied into the first nine pages of the final item. is dated 3 September 1267 on fol. Stevens (1986). 8 mm. 120 x 104 mm to ca. IV. no. Stevens (1986). CONTENTS 1. Latin monody. L160. 144-54 2. partial ed. II. Anderson edn. 116-117. Tischler (1967). 180 x 135 mm.. 521. RISM B/IV/2. no. BIBLIOGRAPHY RISM B/IV/1. 393-95.. now trimmed at top and outer margin to 165 x 131 mm. c. averaging ca. 1 and 5) are also found near to each other in Cambridge. The mixture of Latin monodies and varied polyphonic genres is similar to Lbl Harley 978 and Lbl Arundel 248. 182 . ed. 117 and and on the final three pages that are not reproduced here. motet a3. Pages perhaps originally ca. L161 (Szöverffy. 281-82). fols. 118-119. The two well-known monodies (nos. ed. PMFC XIV. 120 x 120 mm or 144 x 108 mm. V. Anderson edn. no. 63 5. Alleluya.f. Scribere proposui de contemptu mundano fol. sequence a2 with voice exchange. Anderson cat. Anderson cat. Gillingham edn. ed. [Epiphaniam domino] fol. Latin monody. 120. Gillingham edn. III. PMFC XIV. no. a discrete ternium. 276-78. 106v.. 380. Omnis caro peccaverat (The Song of the Flood) fols. 295).. freely drawn four-line staves per page of gauge 7-9 mm. vol. Virga ferax Aaron fol. HISTORY Ms is a miscellany of 121 fols. c.f. . /T. . PMFC XVII. but they have since been lifted. Si javoie. Se iavoie a plaingant/Tenor cont. 87v (EECM 26. fols. /L-. erased c. 166. PHYSICAL DESCRIPTION s xiii/xiv Four parchment leaves used as front and rear pastedowns and flyleaves. [Ade finit perpete] . when first discovered. 166. . Suppl. four-voice hocket 3. ed. ed.f. with a thirteenth staff. Initials in red and blue. Wynter fol. fol. no. 87). possibly voices from two motets -------7. 304-7. 166 follows 165 (needs examination of fol. Anderson (1982). II. of four lines. motet a3 2. En ai ie bien trouve fol. c. were originally facing pages. celestium gemma iubar . foliated I. Or sus alouete fol. L-. Lefferts (1986).. motet a3 . regnum poli patrie/Ade finit misere/T. pl. frag. motet a3 5. c. frag. Ir and 165v were pasted down. concordance is Oxford. leaves now (and perhaps originally) 250 x 185 mm. New College. 925 I. 362. fol. frag. 665-66. I. PMFC XVII IV. c. 5 9. . HISTORY Bound into an early 15th-century paper manuscript of 164 fols. possibly fol. . c. CONTENTS 1. III. no. [Textless.France-Tours. motet a3. etc. /Syderea celi cacumina/T. . 4 8. . Suppl. Vide miser et iudica/Vide miser et cogita/T. Musical notation is Franconian. containing the works of Terence. frag.f. 166. . /[T. . 165v under uv). . 166v and IIr. 165v palimpsest with erased music.] fol. 165. ed. Iv. fol. fols. . PMFC XVII. and fols. gén. Exulta syon filia iam exultaris/Exulta syon filia suffulta/Exulta syon filia iam noli/T. . no. PMFC XV.f. Iv-165. written space 200 x 140 mm.] fol. 165. 1 4. BIBLIOGRAPHY Cat. motet a3. fol. S-. II. motet a4. Bibliothèque Municipale. pages ruled in a single column of twelve red five-line staves of gauge 11 mm. added at the bottom of Iv. motet a4 6. A definement fol. I. Iv and 165r.f.f. O crux ave spes unica spirans/O crux ave spes unica spiritum/T. . 166v-II. no. c. ed. c. T. 3 13. tenor of otherwise lost motet 12. Suppl.10. Corona virginum/Columba prudencie/T. 2 11. Cui proclamant fol. ed. Valde mane diluculo devota/Valde mane diluculo maria/T. motet a3.f. motet a3. II. In virtu. frag. ?saiur) fol. PMFC XVII.f. motet a3 . Mons olivarum ecce rumpitur/Mors amari moritur fol. IIv. Saa (?saient. no. II. Va dorenlot fol. PMFC XVII. Suppl. IIv.f. c. HISTORY III. -----/T. Celum mercatur hodie/T. Pieragostini) I. triplum is lost.----/Maiorem intelligere two complete voices of what was probably a three-voice duet motet with medius cantus. Maiori vi leticie/T. Fiori. BIBLIOGRAPHY Vecchi. PHYSICAL DESCRIPTION II. Candor vestis in hiis festis/Candet sine spina rosa/T. tenor is lost 3. In seculum/Ihesu fili virginis two complete voices (tenor and duplum) of what was probably a three-voice duet motet with medius cantus. Summers. duplum is a cantus prius factus with concordances. CONTENTS 1. . so two melodies have been joined here 2.I-Bologna photos not reproduced here (see Vecchi. complete three-voice motet on repeated and freely varied tenor 4. Fiori. duplum is lost. Cesus in gregis medio two complete voices (triplum and tenor) of what was probably a three-voice motet. Pieragostini IV. ternary ars antiqua mensural with square breve (no. PMMM 6. 1 . 86). PMMM 6. [Agmina] fol. frag. 6. all others in blue. bipartite cf. red five-line staves per page (a twelfth staff was added to 1r and 2r) with staff gauge 13. [RISM no. 1. no. 813-16. no. O Maria vas mundicie/T. with written space 235 x 145-150 mm (for eleven staves).5-17 mm and one-staff indentations of 5-7 mm for initials. Variety of notation and mensuration types: binary EMN with rhomboid breve and tailed. PMFC XIV. Sanders (2001b) IV. 56-58 2. 8). cf. that once belonged to Meaux Abbey. Creatoris gratia . I. containing the Liber de IX scientiis et sermones.United States-Chicago.1300 Four parchment folios. Voynich in 1923. motet a3. ed. University of Chicago Library. 77. 93. facs. . the MS now has a seventeenth-century English binding of brown calf. Written for Meaux Abbey? Cut down and bound as flyleaves into a parchment ms of the 13th and 14th centuries. written in England. first mode). ed. Red tenor initial for Barbara simplex. facs. rhomboid semibreve (nos. PMMM 6. 68. Alternating red and blue used for other ornamental decorations. text concordance to a different motet in Lwa 33327. WF. PHYSICAL DESCRIPTION c. [RISM no. 1-4. these fragments are now ca. no. 5 (EECM 26. facs. on music leaves. The leaves were already associated with MS 654 between 1439-1452. perhaps originally 300 x 200 mm. 1 [part 2]. [RISM nos. concordance to GB-WOc Add. III. 1. PMMM 6. Dona celi factor domine/T. In excelsis gloria fol. no. inscriptions and graffiti. ed. cut in half horizontally with loss of about one music staff and folded once vertically to form eight front and eight rear flyleaves (fols. 1-2 and 3-4 are consecutive. Y xviiiij. . of the host ms. 49-50. HISTORY No info. 48. Greene (1954). preserved in a small oblong binder. 1. 58-59 3. 1-8 and 157-64) in the binding of ms 654.. 8 appear not to be part of original decoration. For a discussion of provenance and dating. 48. PMFC XIV. Inked faces on capital "O"s at beginning of second section of bipartite motets nos. frag.. 654 Suppl. 3]. no. 175200 x 130-135 mm. ed. BIBLIOGRAPHY RISM B/IV/1. binary ars antiqua mensural with square breve (nos. CONTENTS 1. M. no. 9). 5. fols. 1v-2. 36 . 2. Purchased by alumni for the University of Chicago from W. II. conductus-rondellus a3. second mode. arr. frag. 7. 1 [part 1]. PMMM 6. now removed. pl. fol. and renumbered fols. etc. 1 and 2]. still bears its original Meaux Abbey pressmark. xx. 4. This book. see Greene (1954). 4]. motet a3. PMMM 6. in single columns of ten or eleven free-ruled. 3. facs. PMFC XIV. no. PMFC XIV. 10]. facs. ed. in triplum and free "Tenor". 52.f. rondellus a3. no. PMMM 6. . 64-67. 51. no. conductus motet a3 with rondellus. O bipertitum peccatum fol. 9]. facs. PMFC XIV. PMMM 6. Christi cara mater ave fol. 1 . PMMM 6. Stella maris nuncuparis fol. PMMM 6. conductus motet a3 with voice exchange. 40 . PMMM 6. 50. Spiritus et alme/Gaude virgo salutata/Tenor fol. no. 72-75. PMMM 6. no. 8]. 7]. PMMM 6. Pia pacis inclita fol. recto. 5]. Patris superni/Patris superni/T. facs. [RISM no. PMFC XIV. [RISM no. 4. 70-71. PMFC XIV. 3. Barbara simplex animo/Barbara simplex animo/Tenor fol. PMFC XIV. rondellus a3. 73 5. 59-61. 2v. with c. Orbis pium/[Orbis pium] . ed. no. 39 8. 54. 67-70. 62-64. PMMM 6. [RISM no. 38 7. PMMM 6. 37 -------6.4. ed. 3v-4. PMMM 6. 2. no. ed. PMMM 6. facs. PMMM 6. [RISM no. ed. troped chant setting a3. 80 9. [RISM no. -nia ovem/T. conductus motet a3. 53-54. 55. ed. facs. frag. . 6]. 4v. varied concordance to GB-Lwa 3. [RISM no. implying overall dimensions ca. Fragment B Single parchment leaf. Red ink is used for the English text of the tenor of item 1. with two or more cut off at the bottom that would have been necessary to complete upper voices and a tenor for item 5. for a total of 22 staves. the layout. this leaf may have come. and four more would be required at the top to complete item no. ten red five-line staves visible on both sides (gauge ca. about one whole staff is missing between the upper and lower portions. RISM suggests the original had 13 staves. with staff gauge 17-18 mm. and notation in EMN similar to Fragment C. mainly in double columns. 400 x 210 mm and a written space of ca. unfolded and kept separately in an envelope. B. Fragment A A page from what seems to have been a rotulus notated on both sides with music. 3 and 4) measuring 257 x 300 mm and the lower portion (once fol. 13.xiv Four sets of parchment fragments. 14. and notation in EMN are similar to Fragment B. 15. These may all have come from different sources. Width of written space is ca. verso has all or part of 19 visible red five-line staves. once folded vertically down the middle to form folios Y and Z. Recto has all or part of 18 visible red five-line staves. now in two fragments. and that the verso has no music on it (it contains 14th-century monastic granger's accounts from Revesby Abbey). Given these dimensions. the page was probably originally ruled for at least twelve staves and perhaps 15 or more. including three (A. The first three are of the later 13th century and the fourth is of the mid 14th. eleven red five-line staves of gauge ca. 315-395 mm or more). music and text hands. the upper portion (once fol. but if the damaged voice at the top was complete on this page. Musical notation is EMN on recto and Franconian (two different hands) on verso. 1 and 6. trimmed on all four sides with loss of music at the top. There are one. and some pages of erased music still in the parent manuscript (D). this page was originally at least ca. Fragment C Single narrow vertical parchment strip now 257 x 54 mm. if top voice on recto covered seven staves like the second voice (height of written spaces thus ca. 750 x 330 mm overall. like fragment A. music and text hands. with fol. 140 mm. Though dimensions are slightly different.and two-staff indentations of 16 mm for initials. . Layout. then there must have been at least 17 staves. University Library. PHYSICAL DESCRIPTION s.5 mm visible on the recto. Given that the recto is incomplete at the top and the verso is incomplete at the bottom. Overall written area for 22 staves was thus ca. 1. 2 and 5) measuring 245 x 190 mm. C) that were once musical flyleaves now removed.5 mm on the verso) but there is lost of music at the top and possible also at the bottom.United States-Princeton. recto and verso have visible left and right margins. now 257 x 190 mm . Garrett 119 I. 295 mm and of each single column is ca. 620 x 295 mm. 360 x 172 mm.xiii. from a rotulus. 2 just a stub.5 mm on the recto and ca. s. with some of its notes and text still visible. once folded vertically on the left to form fol. 3. 4v). facs. 3. indented 9 mm from frame-rule. Levy (1951) before 229. 35-35v ruled in four systems of three five-line staves with double-texting under each. [T]homas gemma cantuarie/[T]homas cesus in Doviria/[Primus Tenor]/Secundus Tenor] verso (fol.Fragment D One parchment bifolium. 4v. recto (fol. pl. iLevy (1951) after 228. in EECM 26. MES. 2). PMFC XIV. fol. no. voice-exchange motet a3. PMFC XVII. which are likely the same original dimensions as on fols. PMFC XVI. trimmed on the top and outer edges. fol. The present binding dates from the 16th century. 36. the word "tenor" is written between the bottom two staves. Franconian long-breve notation for item 1 and 3. no. fol. 2. PMFC XIV. not the center of a gathering. so there is loss of some music on fol 35-35v but the original second recto begins near the right side of fol. 35-35v. 5v). 4. Fragment B also has accounts from Revesby on the verso. recto (fol. BIBLIOGRAPHY RISM B/IV/2. on music leaves. Private comunication from Dr. concordance to Cambridge. the full height of each system is 48-50 mm. semibreves. 3v. pl. PMFC XIV. Levy. 35v-36 was rastrum ruled in 12 five-line staves (now 11. 512/543. 254v- . Levy (1951) after 228. ed. voice-exchange pes motet a4. Levy (1951). music now erased. 5 ). facs. 35-36. concordance to Lbl 24198. facs. [Regis aula]/[Regis aula]/Regis aula regentis omnia recto (fol. 232-33. II. the present center fold is not the original gutter. facs. conductus-rondellus a3 in parts. [T]ota pulchra es amica mea/[A]nima mea liquefacta est/T. 3. This manuscript is partly palimpsest over erased accounts from Revesby Abbey and polyphonic music (D). so its written space is basically intact horizontally. 100 2. the staves are rastrum ruled with a gauge of 13 mm. Gonville and Caius College. Written for Revesby Abbey? The flyleaves were once bound into a 14th-century English copy in parchment of Walter of Lille's Alexandreis. CONTENTS Fragment A 1. with the loss of the top staff) with gauge 13 mm and width 153-55 mm. Ars nova notation with breves. Andrew Wathey concerning fragment D IV. 56 4. and minims for item 2. 210-211). [Alleluia celica rite]/[A]lleluia celica rite/T. fols. 132v (EECM 26. 57 3. overwritten. with a finger gap between systems. frag. the written space was originally about 235 x 155 mm. ed. ed. no. 35v and extends into fol. 816-17. voice-exchange motet a3. HISTORY No info. the page lying across fol. 4v). III. and virtually illegible. top two visible staves (originally top three) indented for a major initial. 2v. PMFC XVI. PMFC XVII. double-texted cantilena 3. frag. 6v). 2).scit ortu solis naturalis/. one upper voice and tenor of a motet Fol. no. 6v). 67. . damaged and partially erased The verso of fragment B was never notated with music.. frag. recto (fol.libate floruit integritate/T. RISM reads incipit as "Salve mater". . no. illegible fol. 36. illegible fol.. 35.. MES. no. . Levy. verso (fol. concordance in Lbl Cotton XXIX. .255. 128-129) and Recon II. in EECM 26. illegible fol. 6 (facs. . no. pes motet a2. 18 (with incipit "Sancta mater graciae") 2. Gaude digna tam benigna/T. no. no. ed. 234-39. double-texted cantilena 2. 61 5. 1. [S]i lingua lota fuerit/[M]ors amar . PMFC XIV.. Fragment C 1. 52 (with incipit "Veni mater gracie"). motet a3. pl. 29. ed. 1. [Veni mater gracie] . 35v. three voice parts of motets verso Fragment D 1. three voice parts of motets recto 2. . 1. 36v was never notated with music. 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