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Sources of Thirteenth-Century English Polyphony: Catalogue with Descriptions
Peter M. Lefferts
University of Nebraska-Lincoln, plefferts1@unl.edu

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

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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 (plefferts1@unl.edu). -------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.

in the Bodleian Library at Oxford. 220. facs. b. This will always be signalled explicitly. but whose most recent editor (Stevens 2005) decided in favor of English origin. Cod. 4RISM B/IV/1. facs.7 Nor will further mention be made of two significant British manuscripts of conductus and motet texts. These are indeed few in number: the late tenth-century organa of the Winchester Troper (Cambridge. 573. University Library. a late eleventh-century discant setting from Canterbury (Oxford. Rankin (2007). Bodleian Library. Frere (1894). Corpus Christi College. 40-44 and Stevens (1986). 1180-1230 the question of whose provenance has been controversial. 510. namely. and Reconstruction III) or conflate leaves from different locations or hosts (as in Canterbury.19. The most significant are some Notre-Dame notation. 6RISM B/IV/1. facs. and a twelfthcentury discant setting from Winchester in the Downpatrick gradual (Oxford. pl. Rawlinson C. Sources of the thirteenth century that are excluded are more diverse. 17 (1)). 453-64. 1:46-77 and note the remarks by John Stevens in Fenlon (1982). liturg. Bodleian Library. EEH.5 Also not described is the 'Younger' or 'Later' Cambridge Songbook (Cambridge.6 See also Hartzell (2006). Rawlinson C. At the same time. Additional A 44 and Rawlinson C. Bodleian Library. XXV-XXX. EXCLUSIONS Omitted here by definition are all English sources of polyphony from before the thirteenth century. Passed over silently are some Notre Dame ghosts. and Reconstructions I. 5RISM B/IV/1. and III) in order to re-associate leaves or even to reconstruct a dismembered or disordered original as best as possible. pl. the famous “Notre Dame” manuscript W1 (Wolfenbüttel. D-Göttingen Theol. pl. Ff. Cathedral Library128/8 + 128/71. 400* + Lat. Guelf. PMMM 17. See also Lütolf (1970). . Bodley 572)4. both without musical notation. Oxford. EBM III. a source of ca. pl. re-arrange folios (as in F-Tours 925. We occasionally reverse recto and verso. II-VI. 473)3. see Baltzer (1987) and Wathey (1988). i. XVI and EEH. above all. LXIV. and also EEH. Stevens (2005) is an edition and commentary with full facsimile. facs. which are books now lost but for which documentary evidence exists. 485-86. 514. Herzog August Bibliothek. 7For Notre Dame ghosts of probable English origin or ownership. 532-33. I. EBM III.of the sources has sometimes necessitated amendments to previous inventories and descriptions. 892). II. a catalogue of manuscripts written or owned in England up to 1200 containing music. pl. 3RISM B/IV/1.

418-19. Corpus Christi College. 414-16. 508 (Lbl 4664).8 Also set aside are the four thirteenth. 134. Bibliothèque Nationale de France. so suffice it to say that there may be 13th-century English conductus surviving only abroad that are not to be found below. namely. 11For thirteenth-century polyphony surviving into the fifteenth century. XXXI-XXXII. 34v-36 of Cambridge. fol. Corpus Christi College. 102 (D.. Section Médecine.11 One lesser known example is a fragment.27). particularly in respect to the characteristically English three-voice rondellus Ave mater domini (fol. Andrews. 21-22. 34v). H196). RISM suppl. For Pn 15129. 1:248-54. and facs. While that does not affect too many possible candidates among motets surviving solely in non-insular sources. we omit fourteenth. 182. now in 8On Bridport. see RISM B/IV/I. D. but that Luther Dittmer or Max Lütolf have suggested may be English. London. 141. and 580-81 (Occ 134). 10For Pn 11411. 511 (Lbl XXII). Thus if a piece has hallmarks of an English origin but does not survive in any English source. is included below only in a kind of “stub“ entry. see RISM B/IV/I. such as the Montpellier Codex (Montpellier. 81-84. fol. on 82. The issue of how many conductus surviving exclusively in non-English sources may be of insular origin rapidly gets very contentious. see RISM B/IV/1. facs.and fourteencentury polyphonic settings of the hymn Nunc sancte nobis in English sources: Cambridge. and Oxford. On these sources individually. St. 9On the voice-exchange hymn Nunc sancte nobis in general. Lütolf. Bibliothèque Interuniversitaire. and see also Lütolf. see Wathey (1988) and Wathey. No more will be said about the Bridport ghost (which may have been in any event a fourteenth-century source). Paris. British Library.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.9 And also omitted are two sources of mass ordinary settings generally regarded as continental.. Royal 2. 182. we do not enter it here. of Lbl 4664. 11411 and lat. For a facs. with facs. British Library. 109. pl. from St. 410. For a description of Csjc 102. PMMM 4. see the same volume. Harley 4664. XXXIX. fol.or fifteenth-century sources transmitting later copies of thirteenth-century music. see the music examples on fols. fol. 15129. 1:244-47. Lütolf. lat. which is the only almost-integral British music codex to survive from the century. Finally. see EEH.628 Helmst. XXII. fol. On this . in a fifteenth-century copy of Walter Odington's De speculacione musice. the impact is significant for the conductus. see also Fenlon (1982). and will not be further developed here.). 25-26. London. 73-73v. John’s College. pages 482 (Csjc 102). pl.

Mus. and Dorchester. PE/NBY/MI 1---although the Younger Cambridge Songbook. that is likely of fourteenth-century continental origin.13 For inclusiveness.12 INCLUSIONS At the earlier boundary. which contains an English motet on Becket that. 12For the Cortona fragment. 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. d. Ziino (1985). see Fenlon (1982). 34v. Harley 524. see EEH. There are no firm guidelines representing a scholarly consensus on how to draw the line ca. Rawlinson liturg. Tours. see Ziino (1981). XLI. for fols. see Lefferts (1986) regarding chronology and style. Westminster Abbey. Dublin. between 146 and 147. and the complexity of the situation has source. and Reconstruction III. 33327 and Oxford. 35v-36. British Library. Wisbech. which consist of the remains of nine or more codices. judging by its notation. London. A separate comment is in order here regarding the so-called Worcester fragments. 107-110 and RISM B/III/4. is not included here (as noted above). Oxford. All are primarily sources of motets or motet-like troped chant settings. 13For more on this boundary.Cortona. two manuscripts of the late thirteenth or early fourteenth century (precise dates controversial) which were reproduced in EECM 26 as fourteenth century sources---London. For a facs. 3---are inventoried below. pl. 34v-35. C 60. . Harley 3132. and Wolfenbüttel---some relatively recently uncovered---that are complementary to the earliest sources of fourteenth-century polyphony reproduced in facsimile in EECM 26. they include fourteenth-century music when it is directly associated as a later addition to relevant material in an earlier source. Bodleian Library. and Di Bacco and Nádas (1998). British Library. for fols. and motet typology. For the sake of the comprehensiveness in the descriptions. Dorset Record Office. described here are a major sources of the turn into the fourteenth century surviving in Canterbury. 1300. Burney 357. Fenlon (1982). of fol. notation. Bodleian Library. see Hammond (1970). such as the later pieces in London. British Library. Also at the later boundary. of similar age. 108. may have been composed in the late thirteenth century. we include three sources of the late twelfth or earliest thirteenth century---London. see Hammond (1970).

19 flyleaf. carefully ruled and ordered codices of mensural music. These. as Reconstructions I.not been ameliorated by its confusing presentation in RISM B/IV/1. II. and Q. Compositions might be entered liturgically. 175. F. SOURCE TYPES The largest division that one can make among source types represented in this document is threefold. distinguishing purpose-copied rotuli and books of polyphony from music fascicles in commonplace books or miscellanies. while the more substantial remains of three manuscripts that can be partially reassembled from leaves at Worcester and elsewhere are presented immediately following. F. Three of the new fragments. two of which still bear original folio numbers.15 These three categories distinguish sources of very different origin and purpose. 44. These nine or more sources need disentangling. comprising the small-format or motet book. Musicological Studies and Documents. its exceptional status must be understood in respect to professionally manufactured and. xl. xli. and one solution is offered here. with the exception of the Q. and need to be kept distinct.. The Worcester Fragments. Commonplace collections and isolated entries may indeed survive "complete. When it is said." Although some of the fragments of purpose-copied rotuli and books of polyphony testify to an eclectic. and III. F. 120. 19. have been removed to Worcester Cathedral Library. by genre and 14 Luther Dittmer. xlii). respectively. ad hoc approach by the copyist to the entering of repertoire. 45. Additional 68 and have been given a new "Fragment" number (Frags. xxxix. the large-format volume. as they have been called since the earlier part of the twentieth century. 1957). most reveal traces of quite systematic organization and contain a fairly narrow set of musical genres. 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. ed. that W1 is the only British source of polyphony to survive (nearly) complete from the 1200s. and the conductus book. in general. . for example. and from isolated music entries on blank pages or flyeaves of otherwise unrelated material. 2 (Rome: American Institute of Musicology. come from Reconstruction I.

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

18Losseff (1994). and Wisbech. . even if they can no longer be identified with specific books in the library (a situation we find at Westminster Abbey. Lbl Harley 978. CAc 128/2. and Cul 29. 53-93.19 has not yet found acceptance. and from Worcester Cathedral. -------- 17The inclusion of fourteenth-century sources only strengthens this picture. Ob 400* with Ob 19. Csjc 138. but also internal textual evidence. but this does not topple the entire edifice. 19Hohler (1978).17 If we generously allow binding fragments in a given locale to count for that location. then---to cite some of the better represented institutions---from Bury St Edmunds Abbey there survive Cjec 1. at least nine sources. with the same information consolidated in Lefferts (1992). and may on occasion signal local ownership only. Cjec 5 and Lbl Cotton xxix. 9-10. CAc 128/62. Lesser establishments are more often represented by a commonplace book or isolated entry than by a purpose-copied book of polyphony. Nonetheless a fairly consistent picture emerges in which sacred polyphony is associated primarily with the larger Benedictine monasteries and monastic cathedrals. from Canterbury Cathedral. Close scrutiny of the evidence in any individual case reveals how shaky some of these ascriptions of provenance are. especially derived from motets. from Durham Cathedral. from Reading Abbey. 155-85. Lwa 3 and Lwa 33327. See Lefferts (1986). Christopher Hohler's contrarian argument for London and the court as centers of polyphonic composition. and other major abbeys and churches. for example).musical binding material. Canterbury. and Worcester. CAc 128/8 with 128/71. from Westminster Abbey. and Owc 213*. Thus at best what we know about provenance is circumstantial. rather than a local point of origin.18 In the face of not only external evidence for provenance. with Oxford as the center of dissemination to the rest of England. Ob 271. Ob 257.

5 17 13 13.5-15 19-24 13 14-17 13-15 18.5 17 13. xii US-PRu 119/B Recon II Cjec 5 CAc 128/62 DRu 13 Lbl 3132 Cjec 1/B WOc frag. in mm.TABLE of MS dimensions w x h.5 13 14-15. xviii Lwa frag. 3 Csjc 138 Ccc 8 WOc frag.5 14 7-9 13.5 10-11 7-17 12 12-13 .5-17 9-10 13 14 11 --15. 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. 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 13-14 18 11-13 16 15-16 12. 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.5-14 Gauge 14 20 22 15-19 21-24 16 18.

5-9 9. xxix/a Occ 489 Ob D.D-Gu Lbl xviii WOc frag.3 Cul 29 Lbl 248 Owc 213 Lbl xxi Lbl 524 Occc 59 WOc frag.5 9 8 6.5-11 7-10 8 8-9 7-8 12 10-13 8 10 10-12 11-12.5 9 8. 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. 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 10.19 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.

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Chew (1978). frag. Chew (1978). Chew (1978). frag. perhaps once the outer bifolium of a gathering. fol. Losseff (1994). Alleluia [V. 336 2. width of original page ca. possibly one in the Aberdeen University Library. xiii med.CATALOGUE AND DESCRIPTIONS Aberdeen University Library. b). [Rex virginum amator] . frag. . fol. Chew (1978) s. 109 mm. a. width of written space ca. on this frag. Christe eleison. ii. fol. 41-42 and F. facs. CONTENTS 1. facs. BIBLIOGRAPHY Wathey.. Waite (1954). Tischler (1988). 240-45. . Kyrie plainchant. III. . Iustus germinabit] fol. b. [Te]nor. facs. 1484-98 3. 3-4. RISM Suppl. . b verso is ruled for music but not notated. 160 mm. 140v-141. II. Chew (1978). Extensive later pen trials. ed. HISTORY No info. Freelyruled red five-line staves of gauge 7-8 mm. motet tenor. fol. organum duplum from the Magnus Liber Organi [M53 in Ludwig's numeration]. Apparently once used as a strip to protect the end quire in an unidentified book. concordance to W1. PHYSICAL DESCRIPTION A fragmentary parchment rectangle forming a horizontal strip cut from the bottom of a bifolium (folios a. Now the first item in a folder compiled from binding fragments and other materials in that library. 2379/1 I. The visible portion of fol. Chew (1978). a verso.-tus maria matre eleison. . 53-55 IV. Text hand is gothica textualis semiquadrata and musical notation is of Notre-Dame type. Now about 53 x 260 mm. or perhaps the tenor of discant setting a2. ed. . . Quem ventre beato maria . 333-36. .

see Wathey. ms. with subsequent musical additions ca. the first pair responsible for no. BIBLIOGRAPHY Wathey. resurgentem regem hodie . with declamation on long and breve. 1 is EMN with paired rhomboid breves. 2 and 3. musical notation of nos. troped chant setting a3 of Gloria trope Regnum tuum solidum with prosula O rex glorie. 1300. 2 and 3 is later and essentially Franconian. 82v [EECM 26. 1 suggests a date in the third quarter of the 13th century. frag. HISTORY No info. fol.] adorate fol. RISM Suppl. . Lefferts (1983). duplum and tenor of troped chant setting a4 of Gloria trope Regnum tuum solidum with prosula O rex glorie. fol. 1 and the other for nos. CONTENTS 1. s. Major initials in blue and red with blue and red flourishing. xiii. 22857E.. RISM Suppl. . 3/4. ruled in a single column of ten (recto) or eleven (verso) freely-ruled red five-line staves of gauge 15-19 mm.xiv in. III. concordance preserving triplum and tenor in Oxford. 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. 4. 87579] 3. . on music leaf. New College. II. frag. National Library of Wales. Single parchment leaf housed in a modern guardbook and foliated 4. ed. 362. 6-8 IV. 4. Regem hodie collaudet gloria/T. with a written space of 290 x 215 mm. troped chant setting of part of the verse Crucifixum in carne of the Eastertide processional antiphon Stetit angelus 2. Musical notation of no. Resurgentemque de morte [. deum patrem adorate/T. Both text hands are in gothica textualis quadrata. Given to the National Library of Wales in November 1991. Regnum tuum [solidum] fol. PHYSICAL DESCRIPTION s. . Rex excellentissime/Rex regnorum omnium fol.Aberystwyth. now 360 x 250 mm. . . . The notation of no. 4 I. Possibly from an alphabetical grouping in the letter R. For pen trials and other scribbles on the verso. 93. pl. 4v. Two text and music hands. missing chant tenor was middle voice by range .

1988/17 I. transferred to the College Archives in 1988. II. originally nine (now eight) red five-line staves freely ruled in a single column. egregia que candoris/Lux et gloria regis celici/T. bottom. ed. written space now 260 x 160 mm. K[yrie] recto-verso. 279-80. musical notation is Franconian. Staff gauge of 21-24 mm.xiii/xiv Single parchment leaf with no foliations. Removed in the 20th century and preserved in a guard book in the Fellow's Library. 2. . . Clare College. and outer edge with loss of one bottom staff. [Lux polis refulgens] . 277-281. frag. 21 . Lefferts and Bent. App. perhaps originally 430 x 290 mm. with frame rules and text guides on verso. Archives Acc. voice of troped chant setting a3 of Kyrie Rex virginum amator. flourished in red and blue. PMFC XIV. now 305 x 215 mm. Lefferts and Bent . CONTENTS 1. 10-11. Text script is gothica textualis quadrata. HISTORY No info. III. trimmed on top. on music leaf. One-staff capitals in red and blue. BIBLIOGRAPHY Wathey. Lefferts and Bent. O paraclite regens corpus recto. Formerly the rear pastedown in an unidentified binding probably from the Clare College Fellow's Library.Cambridge.. facs. perhaps originally 350 x 200 mm. 279 2. PHYSICAL DESCRIPTION s. no. frag. RISM Suppl. troped chant setting a3 of Kyrie Lux et origo. facs. PMFC XIV IV. no. concordance to Recon I.

ed. no. frag. 270). and inserted sideways to serve as a rear flyleaf. fragmentary tenor-like supporting voice. Secundus li puis dy p. . Page (1976). 558. Bukofzer. HISTORY No info. Fenlon (1982). facs. 270v). Notation is a square mensural notation of the second half of the 13th century with paired semibreves and c. 111 2. trimmed at the bottom and on the right. Corpus Christi College. plus additional stubs and strips. The four pages are paginated 547. 451-53. 5. 61. 53 3. III. NOHM III (1960). Everist (1986). [Benedicamus Domino] p. no. Worldes blisce have god day/T. II. 16.5 mm. Primus p. Fenlon (1982). facs. Wilkins (1983). with staff gauge 14-15. Wilkins (1983). now trimmed in height to 305 mm. perhaps belongs with no. 60. 61 -------- . 340 x 265 mm. 60. 270).o. perhaps complete a2. PMFC XVII. 548. MES. c. facs. 557. 547 (fol. of Vincent of Beauvais. Volez oyer le castoy cum Gynot p. Wilkins (1983). on music leaves. original written space of ca. 547 (fol.xiii end Parchment bifolium opened flat. Texts in English and Anglo-Norman. facs. Fenlon (1982). PMFC XVII. ligatures. presumably for motet on missing (facing) recto. 548 (fol. PHYSICAL DESCRIPTION s. 4.Cambridge. MES. 61 5. facs. 3 4. books 1-14. 64. Each folio originally measured perhaps ca. which judging from their pagination came from a very large ms of diverse contents. no. 17. . 59-62. PMFC XVII IV. The host ms of 270 folios is an early 14th-century copy of the Speculum historiale. motet. 270v). Fenlon (1982). . Fenlon (1982). pl. 548 (fol. indicating two interior bifolio are missing from the original gathering structure. setting a2 in score (unique instance with English text). single-texted conductus-like setting a3 of an Anglo-Norman text. 270 x 180 mm ruled in twelve red five-line staves. Additional small fragments presumably from the same music manuscript are used as binding material in the present host. pl. while the second page has been cut away along the outer margin to a width of 159 mm. 8 I. fragmentary single lower texted voice. 548 (fol.p. BIBLIOGRAPHY RISM B/IV/1. perhaps belongs with no.f. ed. 270v). Everist (1986). ed. in lyde ioye and blisce bringet me to bride p. CONTENTS 1. Fenlon (1982). no. presumably for a motet on the missing (facing) recto. 16. Red and blue initials.

[Notum] fecit do[minus] p. 40): Mellis stilla maris stella/T. textless hocket clausula a3 in parts 9. . . [Notum] fecit do[minus]/[Notum] fecit do[minus]/T. 270v). with texted music in parts: after fol. . 256: a small strip of the tenor of F-MO 32 (Rok. 27: . frag. tenor of a textless hocket clausula a3 in parts -------PLUS very fragmentary strips (binding stubs). cele freche de colur de grant lynage queyte sage mut de grant valur. 270). [A nobis]/A nobis/T. . . 557 (fol. . 558 (fol. textless hocket clausula a3 in parts 7. 262: . 558 (fol. ne qui de luy partis after fol. 270v). Tenor de iue pens . 557 (fol.6. frag. frag. . triplum of textless hocket clausula a3 in parts 8. ce nest mie de quer pur moy deporter kant lesser mestut mamie e hors du pais aler ci ad . A nobis p. [In odorem] suavitatis p. Ne dampnemur p. Domino after fol. 270). . frag. .

facs. p. Ave mater domini fol. 34v. 107-110 IV. EEH.. Fenlon (1982). Fenlon (1982). PHYSICAL DESCRIPTION s. 108. 110 .Cambridge. CONTENTS 1. Fenlon (1982). III. 410 I. English 15th century copies. XLI. ed.xv The last four pages of a 15th-century copy of Walter Odington's De speculacione musice. EEH. HISTORY NOT a 13th-century source. CSM 14.. Corpus Christi College. rondellus a3. pl. Included here because one music example is a 13th-century rondellus. II. containing the music examples. Two mss of music theory bound together. BIBLIOGRAPHY RISM theory vol. Hammond ed.

Single parchment leaf ca. III. I. ed. containing mainly medical treatises. CONTENTS 1. Agnus trope a2. 803/807 [frag. frag. frag. Lütolf. 1-1v. once a flyleaf. PMFC XIV. a 14th-century ms of 98 fols. pl. 1v. Lütolf (1970). no. PHYSICAL DESCRIPTION s. Music has Notre-Dame style notation with no particular English traits. 7 3. HISTORY No info. frag. 471-72. 32] I.xiii med.. Lütolf. 1. 32 recto). now removed. no. Rex eterne glorie verso (fol. PMFC XIV IV. no. 32 verso-recto). 72. Anh. pl. XXVIXXVII. James cat. facs. Lütolf. Preserved in a collection of fragments. ed. de Groete's ms.. on music leaf. 388-90 and Suppl. 13 2. Agnus trope a2. BIBLIOGRAPHY RISM B/IV/1.Cambridge. pl. Agnus trope a2. 225 x 158 mm with written space of ca. 155 x 102 mm. no. 1:234-236. from Cgc 345/620. PMFC XIV. XXVII. Lütolf. XXVI. 14 . 71. Lütolf. Gonville and Caius College. facs. II. no.5-9 mm. Lütolf. ruled in six systems of two red five-line staves each with staff gauge 8. 43. Mundum salvificans recto (fol. ed. alternating bluered initials. 32 verso). facs. O felix mortale recto-verso (fol.

no. 369-70. II. written space originally ca. but a mixture of sections with square breve in long-breve motion and English paired rhomboid breves in long-breve-breve motion. 820/810 (frag. Fulget ecclesia prelatis singulis fol. App. of which texts of Triplum and Motetus are mostly preserved ..xiii med. 472-73. I. an early 13th-century copy of the Summa Ottonis Papiensis de edendo (incomplete) and the Summa Brocardi. 400 x 300 mm. now ca. of which eight and a fraction are visible while at least eleven were originally drawn. vol. 333 x 125 mm and staff gauge 14 mm. as stated in RISM. 10. 2. 215 x 290 mm but cut down from an original of ca. no. on music leaves. with each column ca. CONTENTS 1. Incomplete notation includes text and music on recto of fol. James cat. Gonville and Caius College. each side ruled for music in two columns of red fiveline staves. Anderson edn. 1. 1. BIBLIOGRAPHY RISM B/IV/1. 2. Formerly front and rear flyleaves of the first item in Cgc 327/527. PHYSICAL DESCRIPTION s. ed. Anderson edn. conductus a3 written in parts. PMFC XIV. Two parchment folios. The versos were ruled for music but lack text or notation. 333 x 260 mm. 9. O43 2. and text only on recto of fol. III. staves drawn and text underlaid for a single-texted work a3 written in parts. Musical notation not Petronian. L) I. possibly from a rotulus. Equitas in curia subrogatur fol. IV. HISTORY No info. PMFC XIV..Cambridge.

215 x 150 mm for the polyphony a3 and 205 x 150 mm for the polyphony a2. PMFC XIV. Fragment A Overall dimensions ca. with conductus a3. QB 1 I. are continuous. Best available description of the music leaves is in Fenlon (1982). 8-9). The front flyleaves (now fols. James catalogue. appear to be from different gatherings of the same manuscript and will be identified here as fragment A. C-H. Freely drawn staves of gauge ca. 16-19. on music leaves. although evidence of sewing holes may indicate that it comes from a later layer of the same ms as the conductus (Fenlon (1982). and will be identified here as fragment B. and of the verso is 260 x 160 mm. with conductus a2. 26-27. 12. 56-58 IV. staff gauge ca. It contains distinctively insular genres and notation. Edmunds. 1-5.. 26). Fenlon (1982). Items 1-9 are ruled in four systems of three red five-line staves per page. Four flyleaves and 33 strips comprising all or part of twelve folios and including all or part of seven conductus for three voices (nos. a 15th-century paper manuscript of 273 folios containing a miscellany of letters and documents from Bury St. PMFC XVII. and the strips. predominantly in long-breve motion.5-15 mm. 1a-1c). 2. This repertoire is primarily international in circulation. Edmunds? They were front and rear flyleaves and binding strips removed in 1955 from Cjec 1. Jesus College. items 10-17 are ruled in five systems of two red five-line staves per page. Fol. originally the back flyleaf. Written space of the recto is 220 x 160 mm (extended to 190 mm in the bottom system). with written space of ca.Cambridge. 472-76.xiii med. 10-17) on the strips. CONTENTS Fragment A . 51). 295 x 227 mm. Musical notation is English mensural notation with rhomboid breves. From Bury St. 14 mm. verso ruled in five similar three-stave systems. 47-51. HISTORY No info. Losseff (1994). The musical materials were first reassembled by Manfred Bukofzer. III. Only six folios. PHYSICAL DESCRIPTION s. Fragment B Recto ruled in four three-stave systems of red five-line staves. II. Notre-Dame style music notation. may be from a different source than the others (Losseff (1994). and eight for two voices (nos. with red-blue initials. BIBLIOGRAPHY RISM B/IV/1. plus staves and text but no musical notation for two others on the flyleaves (nos. 6-7). Anderson edn.

. 5. Falck no. Leniter ex merito ferendum quod patimur fol. Falck no. 1c. Falck no. . no. D3. Ve[ra] fides geniti fol. 1. Qui suspendunt pre]mium fol. . vol. 1. 230.. Anderson edn. Anderson edn. [con]trarium ab hoste nescio fol. frag. no. 70. Anderson edn. H4. . viciis sit labile ne cordum . . Falck no. . frag. vol. conductus a3 (Anderson cat. [ponti]fex egregie decus fol.. no. vol. frag. ed. 96). 1a. 274. Szöverffy. vol. text only for setting a3 ---------------------------8. no. vol. 3. conductus a3 (Anderson cat. 1. no. vol.. J3 . conductus a3 (Anderson cat. E9.. 286-87). 1a verso. . no. no. conductus a3 (Anderson cat. no... [Fulget Nicholaus gemma pontificum] . RISM no. [O crux ave spes unica signum] . 1b-1b verso. Anderson edn. ed. no. Si mundus viveret mundus pecunia fol. .. 246-47). stella per equor fol. E2. 7. staves and unidentifed frag. 1. F7 4.. Crucifigat omnes domini crux altera fol. . no. Anderson edn. Szöverffy. no. 119. 2. ed. E9 2. Falck no. vol. Falck no. 1c-1c verso. F7. E7 6. 1a. 1. 1a verso. 187). 135. A-Av. E2 ---------------------------5. ed. no. ed. Falck no. Fas et nephas ambulant fere passu pari fol. Anderson edn. 1b. De pia virgo . staves and text only for setting a3 of a Communion 7. vol. demon cedat numini fol. 270.. Anderson edn. ed. frag. E10. Szöverffy. 214). RISM no. Anderson edn. H4 ----------------------------11. E7. 143). Falck no. 24849). ed.. 1. no. J3. Szöverffy. Szöverffy. D3 ----------------------------10. Falck no. no. . no. conductus a3 (Anderson cat. ed. 133). Szöverffy. [Procurans odium effectu proprio] . no.. 1b verso.1.. no. conductus a2 (Anderson cat.. 327. ed. Szöverffy. E3 9. 6. conductus a2 (Anderson cat... E3. no.. 43). 195. B-Bv. 1. Szöverffy.. conductus a3 (Anderson cat. vol. Anderson edn. conductus a3 (Anderson cat.. . frag. Szöverffy. [Premii dilatio . E10 3. A deserto veniens gravis fol.

vol. 149). concluding Alleluya to no. conductus a2 (Anderson cat. no. H31 16. no. 9. Falck no. ed. Falck no. frag. Anderson edn.. 3. 58-59). no.. [A]ge peni[tentiam m]emor unde cecideris fol F-Fv. 48. H1. conductus a2 (Anderson cat. troped chant setting a3. vol. C-D. I25. H31. in score (RISM no. Fv-H. facs. 8a). . end of duplum and tenor of frag... 3. no. with no. no.. 2-2v. Fenlon. Gloria in excelsis deo redemptori meo fol. PMFC XIV. vol. . D[e]duc Syon ube[rrimas velut torrent]em fol. vol. no. RISM no.. ed.12.. 48 (H verso). Falck no.. Ave Maria gracia plena fol. vol. Anderson edn. ed. conductus a2 (Anderson cat. Hodie Maria virgo fol. no. PMFC XIV. conductus a2 (Anderson cat. facs. ed. Ave maris stella dei mater/Stella maris parens paris/T. Anderson edn. Alleluya fol. Anni favor iubelei pe[narum] laxat fol. Dv-F. . ed. conductus a2 (Anderson cat. 52). Falck no. 1a below as concluding Alleluya 1a.. no. PMFC XVII. vol.. Fenlon. Szöverffy. Genitus diuinitus idem quod a genitus fol. Szöverffy. no. Anderson edn.. H1 14. conductus a2 (Anderson cat. 16. 144. 8. Falck no. no. 149). 69 . 1. 2. [Alleluya] V. Szöverffy. J25. 145. A laudanda legione/ A laudanda legione/ T. no. . 3. 64 2. J25 17. no. Szöverffy. 4. . RISM no. Anderson edn. Anderson edn.. 107). ed. Alleluia V. 10. 85. 11. ed. ed. P1). coronata . no. troped chant setting a3 in parts. 5. P1 Fragment B 1. Bv. Novi sideris lumen resplenduit fol. I25 ----------------------------13. 2. agmine sanctorum regnat/T. G8. G8 15. H-Hv. no. 15. no. Szöverffy.

138v). If the original was ruled for nine staves. whole-chant tenor of motet-like tropedchant setting for St. frag. motet tenor 3. T. Maria fol. Thus. . 5. 3. Cooper (1981). V[irgo flagellatur] . parts of eight pages survive. . a recto (fol. RISM no. upper voice and tenor of motet to the BVM . now unfolded and used as rear flyleaves (fols. 4/4 Two parchment bifolia. d]). . . no. b] and 139 [c. fol. 23-24. CONTENTS 1. . is a noted Gradual (cantatorium) of Durham Cathedral variously dated from ca. frag. frag. 340 mm and the height of the written space ca. . not apparently continguous or forming the center of a gathering. width of original folio ca. . . all ruled in single columns of staff gauge 16/18/21 mm. ria misera . 138v). a recto (fol. 1. frag. Only four-and-a-half red five-line staves per page survive. et dileccio Iam . James cat. RISM no. . RISM no. . [ar]changelorum quam pie caterue fol b verso (fol. manet lux celica . PHYSICAL DESCRIPTION s. . RISM no. 138). 138v). 476-78. the height of the page would have been originally ca. . . celi agmina laudes fol. . a quo fecundata/ . . . 167/175 mm. 138 [a. . Katherine 5. HISTORY No info on music leaves. Lefferts (1981). .gina . b recto (fol. . concordance in D-Gu 220. . 4. . 1500. frag. 138).. but they have been cut across the middle with the loss of the top half. 139v). overall unfolded dimensions ca 292 x 170 mm. Thomas of Canterbury. QB 5 I. Jesus College. 2 -----------------4. gloria Amen/Tenor . . with width of written space ca. upper voices of motet to BVM ---------------6. 260 mm.Cambridge. 1300 to ca. . calbaccio O grauis fol. frag. a verso (fol. BIBLIOGRAPHY RISM B/IV/1. upper and a lower voice of motet 2. . RISM no. 8. . ./Tenor d[e] . . . 2. . Tenor text in red. Tenor .prudencie . II. fol. . gracie don . RISM no. upper voice of motet on St. 221/237 mm. c recto (fol. . . . . frag. some in single column format and some laid out in double-column format.xiii. Lefferts (1983) IV. and with the first (left) folio trimmed vertically down to a stub. III. Written for Durham? Host manuscript of 139 fols. Source consisted of motets and motet-like troped chant settings in parts.

139). fol c verso (fol. . 6.7. Nicholas. . . d recto (fol. upper voice of motet ----------------8. text is the well known prose for this saint . in terris extiteris/Tenor de Salue Symonis quia hic fol. . . . RISM no. 139). unnumbered in RISM. . d verso (fol. 7. transcribed Lefferts (1981). sospes regreditur fol. . nobi . prostratu gentis anglie . ctoris virgi . frag. . [Sospitati dedit egros] . . 224-25. ed. [Salve Symonis quia hic]/S[alve Symon Montisfortis]. . . RISM no. frag. as canon a2 over pes in Cooper (1981). pes motet a3 on Simon de Montfort. 86 9. . staves ruled and one text entered for motet in double-column layout on St. 139v).

O Bartholomee miseris recto. A seventeenth staff is partially visible below the left hand column only and has no notation. Notation is EMN. two frag. contrapuntally a middle voice. II. Single leaf. while the verso is unfinished: the second item lacks initials and notation for the French-texted triplum. . O sancte Bartholomee plebs fidelis/O sancte Bartholomee plebs deuota/ T. on music leaves. Edmunds? Former host manuscript of 125 fols. En averil al tens/O Christi clemencie/T. RISM no. Lefferts (1981). once folded to form two rear musical flyeaves (fols. 3. The verso has fifteen complete staves with another partially trimmed away. CONTENTS 1. the small amount surviving from its first item indicates that there was at least one preceding leaf to the rotulus. . Edmunds pressmark. 350 x 240 mm. frag.xiii med. 4. 45 2. probably a page from a rotulus. with a Bury St. frag. RISM no. [Benedica]mus domino verso. pes motet a3 for Symon de Montfort. 315 x 180 mm inside overall dimensions of ca. no. 99-100 IV. incompletely notated motet a3. in its original binding. RISM no. unidentified cf. overall dimensions are now 310 x 210 mm. in Lefferts (1981). a partially visible sixteenth staff mostly trimmed from the top completes the upper two voices. voices of a chant setting. The recto is finished with blue and red initials. 127-128) but now housed separately. John's College. BIBLIOGRAPHY RISM B/IV/1. 219-20 3. each of width 85 mm and staff gauge 13 mm with fifteen fully visible red five-line staves. 174-75.. 2. 1. PHYSICAL DESCRIPTION s. HISTORY No info. Losseff (1994). unfolded and flattened. St. the written space for 16 staves was originally ca. 138 (F. The recto is ruled in two columns. RISM no. tenor begins at left hand margin of second staff from bottom . James catalogue.Cambridge.1) I. PMFC XIV. Summa de vitiis. III. On both sides. . partial ed. ed. /T. in a brown manila folder. verso. pes motet a3. Written for Bury St. is a 13th-century copy of William Peraldus. 480-81. is laid out in double cursus and has internal double versicle 4. Miles Christi gloriose Symon/Plorate ciues anglie recto.

fol. PHYSICAL DESCRIPTION s. lix vita salus hominum . frag. . unique for having two supporting voices. 2. 4]. on music leaves. 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. . RISM counts this piece as two items [nos. 6]. Regina clemencie mater et filia/T. The two books were probably joined by the 15th century. 46 -------5. PMFC XIV. conductus motet a3. Trinity College. frag. Probably from Ely Cathedral Priory. foliated I-II. [RISM no. conductus motet a4. frag. 3]. the Liber Eliensis and the Inquisicio Eliensis. . II-IIv. Salve sancta parens christi fol. virtutum spolia . neither the center of a gathering. 7]. when they received a continuous foliation which does not include the preceding calendar. the present binding is of the 17th or 18th century. fol. Sanders (2001b) IV. HISTORY No info. . 44. frag. CONTENTS 1. David arreptus solvitur . 75 6. bound together. Stilla mellis vellus rorifluum/T. consists of a calendar and two late 12th-century volumes from Ely. [RISM no. no. fol. . Notation is EMN in virga-rhomb patterns. 46. . Best available description in Fenlon (1982). II. Iv. conductus motet a3 . 44-47. 5]. and one free.Cambridge. . 215-216 [229-230]. page dimensions 225 x 165 mm. O. PMFC XIV. Fenlon (1982). PMFC XIV. I-Iv. conductus motet a3 3. ed. [RISM no. facs. Host manuscript of 256 fols. one c. Two parchment bifolia. which survive intact. . ed. [RISM no. 1-2] 2. facs. fol. O Maria singularis stella/T.f. conductus motet a3. . 215-215v [229-229v]. 25 4. .xiii med. App. Fenlon (1982). conductus motet a3. 1 I. II. [Et confitebor]/T2. 482-85. BIBLIOGRAPHY RISM B/IV/1. mundo profuit/T1. 215v [229v]. . Fenlon (1982). frag. III. [RISM no. no. 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. . /T. evidently from the same source but with no continuity from one to the next. fol.

49 (Rok 58). /T. [In veritate comperi quod sceleri] . continental concordances in I-FL 29. . but this insular conductus-motet version and triplum not otherwise known. [RISM no. etc. . [Veritatem] fol. Agmina milicie celestis omnia/T. ed. 8. 10]. 9]. .7. frag. [Agmina] fol. 216v [230v]. continental concordances in F-MO 48 (Rok 57). no. etc. conductus motet a3. totum orbem inficit . PMFC XIV. 835. . frag. [RISM no. variant continental concordances in F-MO. Virgo decus castitatis/T. 216 [230]. [RISM no. . 8]. conductus motet a3. frag. conductus motet a3. etc. 24 9. no. [Alleluya] fol. App. 216v [230v].

Dies sanctificatus illuxit no[bis] fol. PMFC XIV. Part I. chant setting a3. Two parchment front flyleaves. is a 15th-century collection of documents from Bury St. chant setting a3 of Sanctus Sar 5 and trope. Notre Dame style musical notation. ed. Lütolf (1970). pl. 39. ii. XXXVII. Losseff (1994). . BIBLIOGRAPHY RISM B/IV/1. frag. no. on music leaves. EEH. running from Richard II to Henry VI. no. Initials in red. Notre Dame concordances for one clausula -------2. 38 3. no. XXXVIIXXXVIII. Alleluia. ii. PHYSICAL DESCRIPTION s. facs. green. Host manuscript of 96 fols. EEH. V. facs. pl. frag. from the same ms but not originally continguous. From Bury? Lütolf argues for French provenance. and violet. 1:213-18.xiii med. University Library. overall dimensions 290 x 205 mm with written space of 179 x 121 mm (172 x 122. 29 I. 65 . PMFC XIV. blue. EEH. [Sanctorum exultacio] . ii-ii verso. Edmunds. III. the Red Vestry Register. CONTENTS 1. . chant setting a3 of Sanctus Sar 3 and trope. Lütolf. Ludwig) ruled in twelve red five-line staves of staff gauge 8 mm. honor. HISTORY No info. i-i verso. 486-88. Ff. II. acc. Cui dulci iubilo fol.Cambridge. ed. 55-57 IV. Sancte ingenite genitor fol. Lütolf.

Written for Canterbury? Used in an unidentified tall stabbed binding. 21-23 and pl. Sandon. staves freely ruled in red. . RISM Suppl. II. motet a4. with three tabs extending a further 15 mm horizontally. now 280 x 125 mm. MMBL.. 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. written space arr. motet a4. 39-41 (identified as CANT 2). Notation in black. 534. ed. Additional 128/2 I. s de primo puncto verso. 534. motet a4. 246-48 IV. . probably from a codex in the Canterbury Cathedral Library or Archive. 542 . perhaps originally 245 x 150 mm (recto). ed. Lefferts (1983). 539. III. ed. BIBLIOGRAPHY Wathey. Cathedral Library. [Venit sponsa de li]bano/. with some semiquadrata elements. de secundo puncto verso. PHYSICAL DESCRIPTION s. 280 x 180 mm. . . Lefferts (1986). 530-33 2. 328 (identified as 128/5). Ker. Lefferts (1983). xiv in. Lefferts (1983). frag. 539-41 4. 529-42. 4-5. ed. with text guides. notation is Franconian. Lefferts (1983). originally ca. Lefferts (1983).Canterbury. 534-38 3. [Regi]na iam discubuit/.5 mm. CONTENTS 1. frag. Text script is gothica textualis quadrata. designations of untexted voices in red. frag. with ornamental semibreves. HISTORY Leaf now lost. 2: 326. and staff gauge 13. [Q]Uid rimari cogitas/[Ten]or primus recto. frag. Single parchment leaf with no foliation. motet a4. [Det]entos a demonibus/[Sec]undo tenor recto.

Alleluia V. top system of verso. 20-21. double text guides. III. and ruled three-line 16 mm indentations for initials. transcendens Maria recto-verso. . Originally ca. text gaps filled by red-green ornament. . now 245 x 190 mm. CONTENTS 1. Additional 128/8 + Additional 128/71 I. partially cut off. untroped chant setting a3 in score 2. Sandon dates repertoire stylistically to mid-century. 48-50. predate the discovery of Add. 1 not added to bottom system of recto and the badly worn. Sandon (1976). red five-line staves freely ruled with gauge ca. 111-113 IV. with written space 244 x 155 mm. first reported by Sandon. placing handwriting and notation both ca. RISM Suppl. 300 x 200 mm. no. untroped chant setting a3 in score. Written for Canterbury? Fragments were formerly pastedowns in unidentified bindings probably from the Canterbury Cathedral Library or Archive. the larger. Losseff (1994). 128/71) . PMFC XVII. 1260-1280. frag. Salve virgo mater dei verso. Wathey dates s. 63 (both edns. Two text hands. Two separated fragments. HISTORY No info. both versions of gothica textualis semiquadrata. Music that would have completed no. ruled in four three-staff systems with frame rules. . musical notation is EMN with rhomboid breves and diagonal stems on the first rhombs of conjuncturae. together comprising one parchment leaf. . discovered at separate times in the later 20th century. ed. Sandon (1976). Three-line initial for S [alve] of item 2 in red. stella dei cella . Sandon's description reverses recto and verso. Cathedral Library. Alleluya V. 37-39 (where 128/8 is identified as CANT 1). 13 mm. on music leaf. xiii 2/2.. BIBLIOGRAPHY Wathey. green. has modern foliations "Cant 1" and "10". PMFC XVII. PHYSICAL DESCRIPTION s. xiii med. II. and brown.Canterbury. Ave rosa generosa .

Robert Ford IV. on this leaf. PHYSICAL DESCRIPTION s. possibly part of a rotulus. fit innocens opprobrio/Virgo que fructifera/T. HISTORY No info. Written for Canterbury? Formerly used in an unidentified binding probably from the Canterbury Cathedral Library or Archive. now 250 x 196 mm. . modern foliation "Cant 6" on verso. Lefferts (1986). Additional 128/62 I. xiii ex. . . 23-24. II. paraphs. with at least three staves and two lines of text cut away at the top. ruled indentations for initials. frag. perhaps originally 300 x 164 mm. written space now 235 x 164 mm. CONTENTS 1. III. Text script is gothica textualis rotunda.Canterbury. musical notation is Franconian. BIBLIOGRAPHY Wathey. Virgo [dei genitrix] recto. Cathedral Library. 246 (identified as CANT 6). eleven (originally at least fourteen) five-line staves freely-ruled in a single column with frame rules. the editors also gratefully acknowledge a private communication from Dr. and staff gauge of 11-13 mm. RISM Suppl. and tenor text in red. troped chant setting a3 of the verse of the Gradual Benedicta et venerabilis . Single parchment leaf with notation only on recto (verso is blank).. perhaps originally 325-360 x 190-200 mm. double text guides. Staves.

Found in a cavity in the wall of the 15th-century clock chamber of Netherbury Church. 1 organized into six two-staff systems.Dorchester. dimensions of two-page opening now 142 x 275 mm. PE/NBY/MI 1 [olim P 350/MI 1] I. . small capitals in red and green. . 228 and p. perhaps originally with twelve four-line staves per page on fols 1v-2v. . 229.. 1 and complete facs. fol. 120 x 100 mm. 1. frag. RISM Suppl. ave [pro]lem protulisti fol.5 mm. with edn. frag. ed. Dei filium . Salve m[ater salvator]is vas e[lectum] fol. the first of which has one five-line staff. of no. frag. III. 1v. 160 x 140 mm with written space ca. followed here. xii/xiii Two frag. 2. . . . II. sequence (unidentified) a1 . BIBLIOGRAPHY Wathey. sequence a1 4. . sequence a2. frag. fol. 24-25. between p. IV. with semi-quadratic neumes. Dorset. that of five-line staff is 9. gauge of 4-line staves is 6-7 mm. Dorset Record Office. . major initial in red flourished with green. Bent (1970). each folio originally ca. speciale gaudium . sequence a1 -------3. . CONTENTS 1. [Verbum bonum et suave] . 2v. no surviving foliation (Wathey's foliation for RISM. parchment folios forming a bifolium not from the center of a gathering. PHYSICAL DESCRIPTION s. . on music leaves. 239 2. Text script is an English proto-gothic book hand (miniscule with certain gothic forms). [Superne matris gaudia] . reverses that of Bent). in 1964. deposited in Dorset Record Office in 1969. [pro] qualitate (sic) meriti fol. HISTORY No info. Bent (1970). and notation is of the later 12th or early 13th century. . Staves are red. free-ruled in single columns.

34. 69. no. Binding material from a printed book. 9. perhaps once reinforcement for the spine. vol.Durham. PMFC XIV. Now a front flyleaf but not originally so. 253-54) 2. which has two pieces on St. [Quem trina polluit] recto. ruled on recto in four three-staff systems. Peter. 13 I. not original. double-texted conductus-rondellus a3. CONTENTS 1. 3/4 Single leaf. III. PMFC XIV. University Library. O46 (Sv. 32. frag. HISTORY No info.. some early owners lived in Norwich. ed. red. Present binding. no.f. Tu capud ecclesie/Tu es Petrus/T. Bamburgh Collection. originally ca. original written space ca. ed. motet a3.xiii. is ca. Provenance of music could be either city (see Losseff (1994)). Anderson edn. of which top staff is lost. on music leaf. Hygden's Polycronycon (London: Wynkyn de Worde. 490-91. Illuminated capitals in motet. no. ruled on verso for 10 staves. BIBLIOGRAPHY RISM B/IV/1. single-texted concordance (frag. 300 x 200 cm. 268 x 162 mm with five-line staves of gauge 16 mm. Losseff (1994). Sel.. 1545 and not London work. no. 78 . PMFC XIV. c. [Veritatem] verso. II. WF. of which top staff is lost. II. 1495). brown) for texts in rondellus segments. now trimmed on three sides to 260 x 179 mm.) in Recon. Anderson edn. no. PHYSICAL DESCRIPTION s. different colored inks (blue. 61-62 IV.

HISTORY Polyphony entered among plainsongs in the Temporale of this Sarum Antiphonal from ca. CONTENTS 1. II. tone a2 for first lesson of First Nocturne of Christmas Matins.London. perhaps from York. British Library. not 14 verso as described in RISM. 1300. 11 . III. Polyphony on fol. Plainsong and polyphony written on 17 to 19 red four-line staves per page of gauge 8 mm. 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. 14. Göllner.xiv inf. Additional 28598 I. 14. Göllner (1969) IV. I. BIBLIOGRAPHY RISM B/IV/1. Primo tempore alleviata fol. PHYSICAL DESCRIPTION s. 515-16.

melody based on the sequence Letabundus. Deeming (2006) IV. Malyshko (1989: 72. facs. fols. MES. 153. 154. II. Middle English dialects have both East Anglian and Northern features. EEH. pl. no. facs. vol. heading reads "Sequencia de Magdalena post notam Letabund". 14 3. 201v. HISTORY A theological and moral miscellany variously dated late 13th century (Dobson in MES) or early 14th century (Stevens). 14 4. no. (RISM no. 1. Stevens (1981a). EEH. Te milde lamb isprad o rode fol. 15 (i). Deeming (2006). BIBLIOGRAPHY RISM B/IV/1. Overall dimensions of 207 x 150 mm. ed.5 mm. XXXII-XXXVI. fols. facs. written space is 180 x 115 mm with staff gauge 6 mm (15 mm for the two-staff system). Magdalene laudes plene vox serene fol. facs. facs. in a variety of hands and rulings with staff gauge ca. med. 14 6. EEH. ed. concordance in Ob 18. On fol. 153v. ed. XXXIII. since a later owner was of the parish of Leeds. plus later entries. EEH. Worldes blis ne last no throwe fol. Flos pudicicie/Flur de virginite fol. 15 (ii) 5. pl. 95133. entered within an integral binio. conductus a2. 81) suggests Leeds as a possible point of origin. 7-7. P29 (Sv. monophonic English devotional song. Malyshko (1989). XXXIV. ed.. XXXII. MES. It is a composite of four parchment mss. Page (1976). Music.xiii. 154. EEH. no.London. CONTENTS 1. PHYSICAL DESCRIPTION s. pl. 217-218) 2. Losseff (1994). EEH. XXXIV. 152-55. monophonic English devotional song. facs. 180190 x 115-25 mm. Stevens (1986). 136-201. 1-94. no. Gillingham edn. sequence a1 double texted in Latin and Anglo-Norman. MES. PMFC XIV. pl. nos. MES. pl. O labilis o flebilis f. 38-40. 10. 8. heading reads "Cantus de Domina post cantu Aaliz". 134-35. XXXIV. Arundel 248 I. 153v. no. Anderson edn. 154. 1). pl. Angelus ad virginem/Gabriel fram evene king fol. 153-155 is ca. III. EEH. Everist (1986). pl. British Library. written space for music on fols.. 491-93. devotional song a1 double-texted in Latin and English. Deeming (2006). all in the fourth discrete ms. XXXIII. 7 . sequence a1.

Deeming (2006). frag. 3). 6). XXXVI -------12. 201v. O12. XXXVI. Caldwell (1991). no. EEH. 155. conductus a3 in Anglo-Norman. facs. 69 10. EEH. 2). 19a. 19b. chant setting a2 -------13. EEH. 12 9. facs.7. (RISM no. no. PMFC XIV. 154v. PMFC XIV. musical concordance is no. Spei vena melle plena fol. 154v-55. facs. PMFC XIV. (RISM no. musical concordance is no. EEH. Gillingham. XXXV-VI. pl. no. Alleluia V. 9. 200v. Virga ferax Aaron fol. ed. facs. 10 below. ed. Risum fecit sare fol. Anglo-Norman monody. 5). (RISM no.. 1. no. Anderson edn. Everist (1986). 15. 21 . 155. ed. no. O14). conductus a3 (Anderson cat. PMFC XIV. facs. 4). (RISM no. vol. no. ed. 9 above. XXXVI. XXXV 8. Salue virgo virginum parens fol. Veine pleine de ducur fol. facs. EEH. no. (RISM no. 9. pl. no. pl. pl.. Jesu cristes milde moder fol. Bien deust chantar ky leal amie fol. 155. MES. no. 2 11. sequence a2. pl. double-texted sequence a2 in English. Marian sequence a1.

pl. British Library. Amor patris et filii veri splendor fol. ed. 16. and Harley 5393. but the gathering containing the music is shorter. IX-X. EEH. The two items are entered in different hands. facs. with six pairs of four-line brown staves per page of gauge 10 mm. CONTENTS 1. vol.. PHYSICAL DESCRIPTION s. Fol. Early 13th-century notation similar to British Library manuscripts Cotton Vesp. xviii. Benedicamus domino fol. P30 2. EEH IV. Burney 357 I. Anderson edn. Harley 524. 16v has 12 lines of unrelated written text in yet another. EEH. II. no. xiii. facs. at 200 x 115 mm.London. 10. Pentecost sequence a2. 15v-16. Music and text added on the final leaves of a gathering given over to De diluvia. Oxfordshire. X . BIBLIOGRAPHY RISM B/IV/1. 1/4 Overall ms dimensions are 212 x 115 mm. III. 493-94. later hand. pl. written space of music pages is 180 x 103-107 mm. setting a2. HISTORY MS of 24 folios is a 12th-13th century collection of short theological works that originally belonged to Cistercian abbey of Thame.

no. no. British Library. 18. II. MES. concordance in US-PRu 119 B. 52 2. [Dou way Robin] fol. University Library. PMFC XVII. 272-73. 190 x 135 mm. The leaf is dated 1349 in a document added at the bottom of the recto. 196-98. 307-8. xiii. 15 (ii) with substitute text (Gabriel Fram Heven-King). an early 14th-century Durham miscellany of 85 folios and dimensions 240 x 165 mm that survives in very good shape. Heat has distorted and shrunk the parchment to current dimensions of ca. PHYSICAL DESCRIPTION s. pp. xviii. 36v. 17 . med. no. III. Page (1983). 36 in a 19th-century miscellany of fragments of burnt Cotton manuscripts. Angelus ad virginem subintrans fol. MES proposes Sancta mater. setting a2 with tune in top voice. 494. Cotton Fragment xxix I. Stevens (1981). Page (1976). CONTENTS 1. PMFC XVII IV. Shrinkage and warping on account of the Cotton fire make a fair estimate of original dimensions impossible. Notation is EMN. ed. no. HISTORY Leaf apparently was a flyleaf in Cotton Titus A. 1 . leaf probably from Adel (Addle in Yorkshire). MES. Parchment leaf of polyphony now fol. and elsewhere).London. 126-27 in the commentary to no. 36. vol. RISM proposes Salve mater as incipit. no. 9. ed. BIBLIOGRAPHY RISM B/IV/1. Veni mater gracie stella/T.. O13. pes motet a2. Additional 710 (an error in RISM repeated in Anderson edn. PMFC XVII. not concordant to a later polyphonic setting a3 of the same text and tune in Cambridge. MES.

no. 90v-91. no. 90v) and 170 x 125 mm (fol. but the present consensus is that the music. 20 2. 495. Agnus dei trope a3. Virtute numinis fol. EEH. in written space 178 x 115 mm (fol. Hughes (1954). Cotton Titus A. 1 to page 90 recto. for which space had been saved. Hughes (1954) before 303. of staff gauge 7-10 mm. RISM errs in assigning item no. the upper two polyphonic voices on fol. III. at any rate. monophonic sequence . is a parchment collection of psalm and hymn texts of the late 12th or early 13th century. II. Provenance might be French or English. facs. CONTENTS 1. XI. xxi I. MS dimensions are 235 x 160 mm. Salve virgo singularis fol.London. PMFC XIV. respectively. music added on originally blank rearmost pages. fols. xiii med. 1:199-202. 67. PMFC XIV IV. ed. Lütolf. 91. BIBLIOGRAPHY RISM B/IV/1. is an English addition The same hand entered the text and lowest musical part on fol. 91) on twelve and nine freely-drawn four-line staves per page. pl. PHYSICAL DESCRIPTION s. 90v. 91. HISTORY Ms of 91 fols. 90v. Lütolf (1970). were then added in another hand. British Library. 90v and the text and music of fol. EEH.

facs. CONTENTS 1. 163 recto is blank. Miscellaneous contents include chronicles and Papal bulls. ed. Everist (1986). one or two dots over some single longs) are most similar to British Library manuscripts Burney 357. 164 now a single leaf within it whose musical content continues onto fol. III. 164v (one fiveline and twelve four-line) and twelve on fol. PHYSICAL DESCRIPTION s. or Harley 5393. music added on blank flyleaves at end of main corpus in written space 179 x 125 mm ruled for thirteen red staves on fol. 165. with fol. Everist (1986) IV. Lots of erasures.London. II. as fols. motet a3 in Anglo-Norman. with continental concordances in FMO 15 (Rok. HISTORY 13th century MS of 167 folios from Ramsey Abbey. xiii. Decoration in red and green. British Library. 164v-165.g. etc. 3/4 MS dimensions are 215 x 160 mm.. 23). double longs divided by vertical line. Harley 524. 4 . Everist (1986). Amor veint tout fors/Au tens deste ke cil/T. 495-96. 165 (ten four-line and two five-line) with staff gauge 9 mm for five lines (7 mm for four lines). Et gaudebit fol.. frontispiece. 163 and 165 form a bifolio. BIBLIOGRAPHY RISM B/IV/1. perhaps either amending clef errors or recording the process of scribal conversion from continental notation to EMN. Some aspects of early 13th-century notation (e. and fol. Cotton Vespasian A. Leaves containing the music once may have been independent of the remainder. Musical notation is EMN in longrhomb motion. no. originally at least two separate mss now joined. xviii I.

no.London. is a miscellaneous collection of once independent libelli including sermons and other theological items. Szöverffy. EEH. II. Cotton Vespasian A. or Harley 5393. facs. Losseff (1994). xviii. BIBLIOGRAPHY RISM B/IV/1. III. 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. on three systems of two red four-line staves of gauge 8 mm. 1300-1320. conductus a2 (Anderson cat. Early 13th-century notation is most similar to British Library manuscripts Burney 357. C1 .. 505. Harley 524 I. Anderson edn.. 320). ca. 63. EEH. music in top half (98 x 115 mm) of a ruled written space of 148 x 115 mm. 369. Malyshko (1989). CONTENTS 1. The last of these is a letter from the Abbot of Oseney to the Bishop of Lincoln. 1. no. 42 IV. xiii. ed. pl. vol. PHYSICAL DESCRIPTION s. HISTORY MS of 147 fols. 79-80. British Library. Music entered on a ruled but blank endleaf of one of these items.. Red decoration on initials. C1. Falck no. Anderson edn. Veri floris sub figura quem produxit fol. XXXI. 1/4 MS dimensions are 207 x 150 mm. XXXI. pl.

it has evidently undergone some modifications at a later time. 2-13v. with a written space of 163 x 102 mm (sometimes taller) for fols.” and”W. Folio one is blank. de Wycombe. Harley 978 I. 2r-13v). Sanders (2001c). PHYSICAL DESCRIPTION s. 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. Losseff (1994). Grove 2001 entries for “Wintonia. xiii med. de. 11v (for item no. 14r-15r). PMFC XIV. 1268-90) and a cycle of Alleluia settings attributed to W. 505-8. Fols.” IV. 14r-15r begins the second section of the book and is ruled differently for its music theory examples. plus polyphony (Sumer canon.” “R. Lefferts (1986). 5 lines for item no. Gillingham (2006). The music is in the first section (fols.5 mm for five lines. Notation is EMN with rhomboid breve. McGee (1989). There are music theory examples at the beginning of the second section (fols. MES. Taylor (2002). 200 x 135 mm. and includes nine lengthy monophonic Latin songs. de Burgate (abbot of Reading. de Wintonia (a monk at Reading and at Leominster Priory. in the later 1270s). It records that the lost book was once owned and perhaps assembled by W. 11 (only ruled for 5 staves. three-voice motet as conductus. It is a portable miscellany originally in six distinct sections of widely varying content. three dances a2). Page (1976). BIBLIOGRAPHY RISM B/IV/1. 12). CONTENTS Item A . Perhaps compiled for Reading monk William of Winchester. a single bifolium which preserves the index or table of contents to a now lost music codex of c. Item C.. originally ca. and identifies a work by R. Deeming (2006).London. 82-84. fols. 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. Everist (1986). HISTORY This is a Reading Abbey ms principally from the mid 13th century and finished not long after 1265. Sanders (2001e). W. to the end of the piece). has a written space of 141 x 115 mm. EEH. Stevens (1986). staff gauge is 11-12. 5. III. Hohler (1978). in the 1270s and 1280s). 127. II. a Reading dependency. Taylor and Coates (1998). The last item added to the manuscript is a later addition. Schofield (1948). British Library. now trimmed at the margins to 190 x 130 mm. Crocker (1990). 160v-161. de Burgate. Item B. 1290 that was evidently also of Reading provenance. 9). written space is 143-152 x 80-85 mm. the so-called LoHa or Harleian index (fols. Item A comprises the entire first section. the appended fols. Sanders (2001b). Parrish. 160v161). A smallish book of 162 folios. but with uniform size and mostly uniform written space and ruling of pages. MGB. Anderson cat.

pl. facs. no. no. Dum Maria credidit fols. 28. Regina clemencie Maria vocata fols. sequence a1 11. Sv. PMFC XIV. Parrish. XIX. 66. Taylor (2002). ed. also survives independently. Everist. with performance instruction. Primum fuit gaudium fols. 4v-5v. pl. MGB. partial facs. XX-XXI. break point distinguished by a medium-sized initial. no. Caldwell (1991). Ab 13.. sequence a1 . L43. Falck. facs. Latin lai a1. 2-4v. 9v-10. Felix sanctorum chorus fols. pl. Deeming (partial) 10. MES. Latin lai a1. EEH. Büttner (1990). no musical notation 12. EEH. no. L42. 11. sequence a1 (Anderson cat. 9. NGD/2 24:708. 40 8. where rhyme shifts from -ata to -isti. PMFC XIV. MGB. XVII 3. for which see AH 31.. McGee. Crocker (1990). 12-13.. pl. 41 9.. 39 7. Cantus superior/Cantus inferior (textless) fol. McGee. p. 18. 175 4. ed. 80. 10v-11. pl. Anderson cat. no. 5v-6. ed. 1. XVIII-XIX. British Library Postcard BL/C/MSS/189 (The British Library Board. 15. partial facs. bitextual rota over a two-voice pes. 12. no. pl. Cantus superior/Cantus inferior (textless) fol. McGee. 16. Parrish. motet a3. 66-68). pl. 4a and b.. Eterni numinis mater et filia fol. no. EEH. pl. Sv. Ave gloriosa virginum regina fols. 11v. pl. XXXII-XXXIII. App. XLIII.1. 1982). MGB. Anderson cat. no. 13. poem on the twelve Apostles. no. with same musical material. vol. Ab. partial facs. 2. no. no. facs. 684-87. Anderson cat. Cantus superior/Cantus inferior (textless) fol. EEH. no. 7-8v. A13. 27. L44 5. no. Sumer is icumen in/Perspice christicola fol. 9. EEH. no. facs. 17. Ave gloriosa mater salvatoris (Duce creature) fols. 6-7. MGB. ed. facs. no. no. Falck. cover of record Medieval English Lyrics (ARGO ZRG 5443 [London. no. Samson dux fortissime fols. facs. no. second half of no. Ab. frontispiece to Grove's Dictionary (1954). 3 is second half. 9. XVIII 6. EEH. EEH. 13. MGB. ed. 106. PMFC XIV. Latin lai a1. Latin lai a1. 23 a and b. EEH. 1965]). K75. vii. XIX. XII-XVII 2. Ab. 61 13. Ab. transformed here into conductus and provided with alternative French text (Anderson cat. XII. PMFC XIV. Petrus romanis reseravit fol. 8v-9. pl. PMFC XIV.

6) All Gaude mundi domina. fols. A collect for the Five Joys fol.3) Item Regnum tuum solidum [several possibilities] 4 (1. Ordo libri W.7) All. 4?] 2 (1.9) Item All. 12?. Sanders (2001e). sequence a1 15. de Wicumbe 9 (2. 14r-15r -------Item C Index or table of contents for a lost volume of polyphony. Hic est discipulus 12 (2. including what are called in the index the conductus. 161-65. Gloria et honore 14 (2. Video celos apertos 11 (2. 1?] 5 (1. there are incipts for 164 items.Regnum tuum solidum [Ob 60. 13.7) All. the layout in sections with headings is original. Te martirum 13 (2. 4?] Postea Responsoria W. but the running numeration given below is modern. Losseff. Salve virgo 8 (1.8) All. as noted. 3?] 16 (2. Dies sanctificatus [Ob 400* B. 160v-161. Adorabo 17 (2. 67-69. Adorabo . Ante thronum regentis/Organizat triplex ierarchia fol. no musical notation -------Item B. F-Pn 25408. de Winton 1 (1.1) All. while other sections. Gaude Virgo 7 (1. Virginis inviolate.1) Spiritus et alme.3) All. apparently consist entirely or mostly of unica. Salve virgo domina.4) All.2) All. Gaude salutata virgo fecundata fol. Multiphariam 15 (2. a number of the textual incipits can be associated with possible concordances. fols. 13v. Virga Iesse 6 (1. possibles tend to group in certain of the sections.4) Virgo decora.8) All. Vidimus stellam [Ob 400* B. sequence a1 16.i.2) Rex omnium lucifluum.5) All. incl. R. Virgo dei genitrix [Ob 25. Three pages of music theory materials.14. Virga ferax [Lbl 248. 3?] 3 (1. 13v. 1?] 10 (2.5) All. see Lefferts (1986). de Burgate [Ob 60. Est tonus sic and solmization exercises.6) All.

36) All. R18] 60 (3.3) Dulcis ave femina [Anderson cat. Inter natos 26 (2. R16] 58 (3.28) All. 2?. 2?] 40 (2. R5] 47 (3.15) Virgo pudicicie {Ob D. Pascha nostrum 20 (2.13) Vox iocunda [Anderson cat. Dilexit Mariam dominus 45 (2. Hic Martinus [Hic Franciscus Ob 400* A. Ave Maria [Cjec 1 B.14) Gaude virgo vas pudicicie [Anderson cat. D-W3.6) Katerina progenie [Anderson cat.8) Dux Andrea [Anderson cat.13) All.4) Mater Christi quem pavisti [Anderson cat.3.1) Veni creator spiritus [Anderson cat. J41.10) All.23) All.29) All. Q8.12) All. N19. R15] 57 (3. 6?] 44 (2. Justus germinabit [D-W499. Hodie Maria virgo [Cjec 1 B. Tu es Symon Bariona 27 (2.37) All. Levita Laurencius 29 (2.26) All.7) Andreas celici [Anderson cat. R20] 62 (3.12) Gaudent celi letantur populi [Anderson cat.5) Miles Christi qui vestisti [Anderson cat.16) Salvatori sit gloria [Anderson cat. K76?. Paraclitus 24 (2. Dulce lignum 21 (2.2) In celesti ierarchia [Anderson cat. R17] 59 (3.24) All. Benedictus es Domine 25 (2. Ascendens Christus 22 (2. N21. Porta Syon [Ob 400* B.18 (2.20) All.14) Item Ascendens Christus 23 (2. 1?] 30 (2. 39?] 19 (2. Ora pro nobis 43 (2. R19] 61 (3.30) All. R6] 48 (3.18) All.32) All. 5?] 34 (2.10) Veni sancte spiritus [Anderson cat.11) Mundo salus oritur [Anderson cat. 2?] 42 (2.15) All.25) All. In conspectu [Ob 400* A. Dilexit Andream 36 (2.17) De radice sentium [Anderson cat. R7] 49 (3.11) Item All. 2?] [Anderson cat.21) All. L156.31) All. R12] 54 (3. R13] 55 (3.19) All. Tumba sancti Nicholae 37 (2. Veni electa 35 (2.17) All. 10?] 33 (2.27) All. R11] 53 (3.16) All.33) All.22) All. R9] 51 (3. 5?] 41 (2. Pascha nostrum [Recon I. Salve virgo [Cac 128/8. Non vos me elegistis 28 (2.35) All.34) All. E13?. R14] 56 (3. Salve decus Cunductus 46 (3. R21] . Gaude virgo [Recon II. 2?] 39 (2. 2?] 31 (2. O38. Virga Iesse [Recon II. R10] 52 (3. Judicabunt [Recon II. R8] 50 (3. Nativitas gloriose [Ob 400* A.9) Ave caro Christi [Anderson cat. 3?] 32 (2. 1?] 38 (2.

3) Precipue mihi dant [Precipua michi dat gaudia. R36] 78 (3. 3?] 99 (5. R27] 69 (3.20) Regina misericordie [Anderson cat.24) Letentur omnia corda [Anderson cat.5) De stirpe Davitica 102 (5.19) Salve sola solis cella [Anderson cat.4) Reges Tharsis et insule 88 (4.27) Corpora sanctorum [Anderson cat.26) Benedicta sit regina [Anderson cat.6) Nimis honorati sunt 90 (4.5) Radix Iesse 89 (4. R28] 70 (3. 2?] 105 (5. R26] 68 (3.12) Ad gloriam deice 96 (4.9) Christi miles rex Edmundus 93 (4.30) Hodie leticiam [Anderson cat.2) Super te Ierusalem [WOc Add. R33] 75 (3.11) Veritatis vere testis 95 (4. 8?] 98 (5.1) Quem non capit [Recon I.38) Resurrexit Dominus [Anderson cat.1) Gloriemur crucis in preconio 85 (4. R31] 73 (3.7) Omnis sexus gaudeat 91 (4.32) Salve Thomas flos [Anderson cat. R32] 74 (3.22) Salve decus castitatis [Anderson cat.36) Rorant celi [Anderson cat.10) Zelo crucis innocens 94 (4. 1?] 100 (5.8) Anima mea liquefacta est [US-PRu 119 A. R40] 82 (3.8) Ave pater inclite 92 (4.9) Descendi in ortum meum . Recon II.7) Sancte Dei preciose 104 (5.6) Plausit sterilis 103 (5. R39] 81 (3.29) Zacharie filius [Anderson cat.28) Rex sedet in solio [Anderson cat.31) Pastor gregis anglici [Anderson cat. R23] 65 (3. R34] 76 (3. R22] 64 (3. R35] 77 (3.25) Felix Magdalene [Anderson cat.35) Concipis affata [Anderson cat.23) Adorna Syon thalamum [Anderson cat.18) Castitatis culmine [Anderson cat.3) Salve virgo que salvasti 87 (4.34) Ympni novi nunc intonent [Anderson cat.63 (3.33) Ecce virgo iam complete [Anderson cat.13) Homo quam ingratus Motetti cum duplici littera 97 (5.37) O castitatis lilium [Anderson cat. R38] 80 (3. R30] 72 (3. R41] 83 (3. 68.21) Ave Maria laus tibi quia [Anderson cat.2) Mundialis glorie 86 (4. Frag. R25] 67 (3.4) Presul ave flos presulum 101 (5. x. R24] 66 (3. R37] 79 (3. R29] 71 (3. R42] Motetti cum una littera et duplici nota 84 (4.

27) Katerina lex divina 144 (7.11) Salve decus virginum 128 (7.2) In te martir patuit 119 (7.106 (5.29) Salve gemma confessorum [Recon I. 54?] 146 (7.10) O felicem genitricem 107 (5. 2?.14) Mulierum flos Maria 131 (7.17) Epulemur et letemur 114 (5.19) De costa dormientis 136 (7.11) Mira federa [Ob 400* C.14) Maria laudis materia 111 (5.15) Spiritus spirat ubi vult 132 (7.15) Benedicta sis lucerna 112 (5.18) Gaude virgo concipiens 135 (7.31) Salve mater salvatoris [DORcro.4) Virgo Jesum preter morem 121 (7. 1?] 108 (5.25) Nostris Christe melis 142 (7.7) Regis summi glorie 124 (7.1) Claro paschali 116 (6.3) Salvatoris est effecta 120 (7.20) Benedictus sit sincerus 137 (7.32) In honorem summi Dei .17) Ave Maria gracia plena [several candidates] 134 (7.16) In Domino gaudeat 113 (5.6) Intrat Noe portat iusticiam 123 (7.28) Clericorum sanctitate 145 (7.12) Veni creator spiritus 129 (7.12) Salve gemma virginum [Recon I.21) Eterne rex glorie 138 (7.26) Virgo sancta Katerina 143 (7.30) Gaude gemma virginum 147 (7.5) Quod in rubo Moyses 122 (7.10) Turtur innocencie 127 (7.13) Qui mortalia 130 (7. 59?] 109 (5.18) Resurgente salvatore Item moteti cum duplici nota 115 (6.23) Ysaias ut notavit 140 (7.16) O Iudee nepharie 133 (7.9) O regina misericordie 126 (7. Ob 343. 2?] 148 (7.24) Salve stella matutina 141 (7.2) Mira virtus Petri Item cum duplici littera 117 (7.22) Zacharie per helie 139 (7. 1?] 100 (5.13) O Maria vas mundicie [US-Cu 654.8) Benedicta sit regina 125 (7.1) In sanctis est mirabilis 118 (7.

40) Ad gracie matris obsequia 157 (7.42) Virgo pura pariens 159 (7.34) Felix illa curia [Recon I.41) Auctor pacis 158 (7.48) Rex omnipotens die hodierna .43) Roma felix decorata 160 (7.45) Te Dominum clamat angelicus [Recon I. 49?] 151 (7.35) Rex auctor misericordie 152 (7.37) Zacheus publicanorum 154 (7. 58?] 162 (7.39) Gaude virgo mater Christi [Lbl 3132.47) Ecclesie vox hodie 164 (7.44) Cives apostolici 161 (7.46) Sanctorum meritis 163 (7.38) O martir egregie 155 (7.36) Christum Dei filium 153 (7.33) O sanitas languencium 150 (7. 1?] 156 (7.149 (7.

no. frag. 2. regnum rex glori . . 378-80. .f. BIBLIOGRAPHY RISM B/IV/2. II. frag. 1-2). . . . 62 -------5. 1 is clearly a later addition of the 14th century with brown staves and a different hand and ink. fol.London. . 3. suffragarix domini . . . seria ro . t per horam longenam ut . Summers (1983). . frag. Summers (1983). . pl. . . tenor text fully underlaid in red. they appear to be from the same music source. . . . . pl. 16 2. . . Item no. HISTORY No info. /T. . . while the third measures 74 x 24 mm. two can be joined to form a fragment 73 x 48 mm. . 300 x 160 mm and staff gauge 15-16 mm. The verso of fol. Fragments were removed in a 1966 rebinding. . fol. motet. motet voice. in gremio virginis Marie pie venies . the later 13th-century original may have been over 330 x 180 mm with written space ca. . frag. third and final double versicle of sequence Celum Deus inclinavit in a setting a3 with c. . Summers (1983). Summers (1983) IV. fol. verbum . . motet voice 4. . once used as binding strips but now removed and mounted between two clear plastic sheets. estimating twelve red five-line staves to the page. . facs. modulami . CONTENTS 1.ria . motet voice. tis devote preces . now erased 3. . . frag. 75 mm x 225 mm from the bottom of a bifolium (fols. 62 6. . Harley 3132 I. The three horizontal strips. . 1v. Music notation is Franconian long-breve motion with square breves. 14thcentury addition. 3 is blank. Summers (1983). . . . . dorata po . facs. 62 . 62. when joined together. British Library. . 3. assumpta letaris . III. pl. motet voice. . fol. patris ad te cla . entur . facs. . form a fragment ca. The remaining three small vertical strips comprising fol. in lowest voice (perhaps the origin of this melody?). 3 are believed to come from the same leaf since their hands are very similar and their versos are blank. ed. . Former host ms is a 15th-century paper ms (English?) of 215 x 150 mm containing the Gesta Romanorum. Gaude virgo mater Christi fol. PMFC XVII. pl. PHYSICAL DESCRIPTION s. . . xiii/xiv Two groups of three small fragments each. on music fragments. facs. fol. 1. 2v.

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vol. Given to the British Museum by Edward Harley. Szöverffy. now 217 x 159 mm. Anderson edn. foliated 5-80) that is the first of two now bound together in this volume. with a written space for the music of 179 x 130-55 mm on fol... 250 x 180. 287.London. RISM Suppl. RISM Suppl. 1/4 Codex originally ca. 80v. and Harley 524. Text script is protogothic with strong documentary influence. Anderson edn. 80v. Quid tu vides Ieremia fol.and five-line staves with gauge 7-17 mm roughly drawn in a single column in three systems of three staves each. consists of this booklet (a glossed Gospel concordance s. Losseff (1994). III. 80v) of a discrete parchment booklet (76 fols. Earl of Oxford.. D4 . Cotton Vespasian A. Falck. facs.xiii. II. of possible Lincolnshire provenance. in 1753. BIBLIOGRAPHY Wathey. nine red four. xviii. no. The MS. with text guides. These were associated by the 15th century. PHYSICAL DESCRIPTION s. no. xii/xiii) and an Evangelium per totum Adventum legenda. D4.. British Library. ed. conductus a2 (Anderson cat. 41-42 IV. Musical notation is of the earliest 13th century.. pl. 46-47. Harley 5393 I.. 1. HISTORY Music has been added on the last page (fol. 260-61). no. 36. 18. like British Library manuscripts Burney 357. CONTENTS 1.

3/4 and 4/4 Three parchment fragments located at different places in the same modern compilation. Items all begin with letter B. 210215 mm tall. Musical notation is EMN. Fragment A Fol. CONTENTS Fragment A 1. of which eleven staves and a fraction are visible. Fragment B is evidently earlier. 125 mm. 32 and 65. with missing center. Blue initials ca. II. Fragment B Two parchment fragments now bound as fols. BIBLIOGRAPHY RISM B/IV/1. identified in the following as A and B.f. PHYSICAL DESCRIPTION s. 508-11 IV.London. 10 mm. 65)---suggests the original leaf was cut and trimmed to serve as front and rear flyleaves in the same small unidentified ms. on music leaves. Estimating from the tenor repetitions and upper voice gaps in item 1. and most of the topmost staff horizontally. suggesting alphabetical arrangement. 22]. motet a3 with texted tenor. the width of written space was ca. Together they form top left and right parts of one folio. a single parchment leaf originally ca. Overall the leaf would originally have been ca. indented ca. 20 mm. 20 mm wide set into one-staff indents of ca.and four-stave initials in red and blue. items 3 and 4 have original numerations X and XI. 22. the original written space was ca. representing leaves from two different medieval sources. 250 x 160 mm or larger. Elaborately flourished and painted two. xiii. The contents description reverses RISM's recto and verso. Harley 5958 I. Nobili precinitur/Flos de virga nascitur/T. 32) and 138 x 73 mm (fol. Present location is a 20th-century compilation of odd parchment fragments mostly of music. III. Similar size---137 x 68 mm (fol. 268 x 140 mm ruled for twelve red five-line staves of gauge 14 mm. Loss of music and text only about the depth of an initial vertically. 370 x 240 mm with wide margins. Fragment A is of the late 13th or early 14th century. Proles Marie virginis pie [Eius] recto [fol. Projecting from the assumption of 12 red five-line staves per page of gauge 12 mm. British Library. HISTORY No info. now trimmed at the top and right to 305 x 190-195 mm. Written space of ca. concordance in continental notation in F-MO 58 (Rok 67) . Musical notation is EMN. c.

tenor is a single word. 65v and 32v]. recto [fol. imabat/ de papille r. probable motet voice . motet a3. . Virgo dei genitrix. 96. 32 and 65]. frag. pl. PMFC XIV. conductus motet a3. no. 9]. [In seculum] verso [fol. . pl. . text paraphrases second stanza (Beatus auctor seculi) of Sedulius's abecedarian Annunciation hymn A solis ortus cardine 2. opening of a motet. [Beatus] .f. 65v and 32v]. . frag.2. nobis filium carnem sumens . Benedic[amus domin]o verso [fols. the soloistic incipit of the Marian gradual Benedicta et venerabilis V. quos condidit/T. Bis in cuius sa . . is from the Communion for BVM Assumption (GS. reddidit ut morte mortem solveret carne carnem redi . Benedicamus tenor has not been securely identified. Beata visce[ra marie virginis que porta] recto [fols. 4. original numeration X. . . this motet ed. frag. no. 17 [EECM 26.es abat verso [fols. chant setting a4 in score. Benedicta. [O homo considera . ./T. . c. 32 and 65]. dat co]mpendia cuius/O homo de pulvere/T. . PMFC XV. up a fifth in respect to its most common pitch level 3. text concordance in a motet in GB-Onc 362. . 22v]. c. . 195).[ Benedicamus]/[Benedicamus]/[Benedicamus]/T. no. . original numeration XI. 79 Fragment B 1. B . possible that this setting is incompletely notated. ed.f. with final cadence intended for empty staves immediately below on right hand side. .

added in various hands to empty fols. 5. no. British Library. PHYSICAL DESCRIPTION s.. 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. CONTENTS 1. xiii in. BIBLIOGRAPHY RISM B/IV/1. sequence a2 headed De resurreccione. Sloane 1580 I. Gillingham edn.London. IV. MS dimensions 167 x 114 mm. primarily to fols. III. II. 11 . Gillingham edn. 156v-157v. none in same hand as Verbum celo.. PMFC XIV. Music. is a miscellany of the 13th century. PMFC XIV. no. 143v-147v. containing principally sermons. HISTORY Host ms of 189 fols. 511-12. mainly monophonic sequences. ed. Verbo celum quo firmatur fol.

pl. sequence-like double versicle with ouvert and clos. BIBLIOGRAPHY RISM B/IV/1. 216 2. and two Agnus tropes (nos. Gillingham (1987). perhaps once at Westminster Abbey. facs. 3). facs. Gillingham (1987). Erasure of all material on the verso. PMFC XIV. continuation onto 192v is illegible. The music was added on both pages of the final (blank) folio at the end of the second part. Lütolf. ed. Lambeth Palace. Lütolf (1970). no. Gillingham (1987). III. ed. facs. no. V. pl. probably one additional piece fol. Gillingham (1987). PMFC XIV IV. V. 192. 217 3. V. 2 and 4). Agnus dei trope a2. V. a responsory trope (no. CONTENTS 1. xiii med. 65. staff gauge for 5 lines is ca. 220 5. Mortis dira ferens ut nostra fol. 66. Lütolf. a parchment ms of sermons in French and Latin dating to ca. 218 4. 457 I. PMFC XIV. Illegible music a2 under palimpsest. ed. PMFC XIV. 1:195-98. 10-12 mm. 192-192v. 1200. 192v . Lütolf. Ms dimensions of 195 x 133 mm with written space for music on recto of 161-72 x 102-07 mm. possibly all items were intended as Agnus tropes. Lütolf. 192. 1).London. sequence-like setting a2. ed. RISM identifies the legible music as a sequence (no. 192. Mater dei lumen rei fol. 133-192. Agnus trope a2. pl. PHYSICAL DESCRIPTION s. HISTORY Three manuscripts of English origin bound together (ff. pl. Lütolf. 10. II. 1-132. 523-24. Miro genere sol de sidere fol. 193-254). no. Lütolf. Astripotens famulos audi fol. 11. Gillingham (1987). 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. no. facs. no. 12.

Anderson edn. Falck. Barabas dimittitur Cristus penas Av-offset on front board. [Pa]ter noster qui [es in celis] Bv. 19. facs. 131 x 104 mm (estimating twelve staves to the page) and staff gauge 10-13 mm. vol. vol. G3. pl. 265. no. RISM Suppl. London. there are offsets on the front binding board from an additional bifolium once used as a pastedown but now lost. 29 2. Falck. second strophe of Ortu regis evanescit. facs.London. Anderson edn. CONTENTS 1. Szöverffy. pl. patris redit offset on front board-Br. 3. ed. Szöverffy. xiii med. 256. . 10 mm for initials. 26. Wathey. G2. Lambeth Palace. no.. that originally was adjacent to and nested within the surviving bifolium. (The offsets are not reproduced here. Wathey. G2 . no. ed. Martin's Lane. and musical notation is of Notre-Dame type. BIBLIOGRAPHY Wathey. double text guides. 62. Szöverffy. II. ed. 65). Text hand is gothica textualis rotunda. Single damaged parchment bifolium. frag. conductus a2. now 170 x 237 mm for the double leaf but originally each folio ca. here as a separate piece (Anderson cat. pl. 1700.. on music leaf. the surviving fragment now raised to form fol. . 19. Anderson edn. ed. 1694-1715) at St. no. No trace of ownership before ca. with written space ca. conductus a2 (Anderson cat. Christus natus de Maria Ar-v. G1. of which eight survive.. PHYSICAL DESCRIPTION s.. xiii/xiv. HISTORY No info. covered in what is probably the original binding of s. 19. G3 5. no. De re militari. 47-49.) Probably nine or twelve red five-line staves. further.. Red and blue plain capitals with red and blue flourishing. 30 -------3. Losseff (1994). no. vol. not the center of a gathering. 51.. with a preceding unfoliated stub. [Austro terris influente] . Wathey. 3. 236). Host manuscript is a late 13th-century copy of Vegetius... III. conductus a2 (Anderson cat. 28-33. Falck. . no. Hec est rosa Br-v. 190 x 134 mm. conductus a2. 752 I. freely-ruled in two-staff systems with frame rules. no. Possibly donated by Sir Charles Cotterell in the mid 1680s to the library founded by Thomas Tenison (Archbishop of Canterbury. G1 4. that was bound sideways to form the rear pastedown of MS 752. -ia serpens di. conductus a2. no. . Losseff (1994). 3. 95-99 IV. facs. 263). ed. Losseff (1994). and ruled indentations of ca.

.

has a different. 1552) received by the Abbey library in 1584 as a bequest from the collection of William Latymer. of two voices of troped Gloria trope a3. 370 x 185 mm. 4 ( ed... with frame rules and double text guides. PMFC XIV. 60-62 IV. assuming twelve five-line staves to the page. staff gauge 18. major initials in gold. rastrum-ruled in single column.London. frags. No. . Text script is gothica textualis sine pedibus. two voices in score followed by tenor . no. and is notated in a binary version of English mensural notation with rhomboid breves 2. HISTORY Music written in England. III. Two parchment strips forming one frag. text of tenor in red. G. late ars antiqua binary mensuration. CONTENTS 1. xvi/xvii. 29. blue. Spiritus et alme orphanorum verso. concordance is US-Cu 654. Spiritus et alme orphanorum recto. Formerly used as flyleaves at each end of Gal. a printed book (Paris. with mix of single staves and two-staff systems.-tem hominum a maligno spiritu/T. frag. BIBLIOGRAPHY Wathey. Fragment Box 3.5 mm. staves in red. syllabically-set text. music notation is English. RISM Suppl. veniam graciam et gloriam/T. originally ca. 1 I. present dimensions of written space 130 x 180 mm. folio. now 130 x 205 mm. non-tropic.. 73). Cu 654 version reverses the layout of the two voices. xiv in. PHYSICAL DESCRIPTION s. 4. no. originally ca. and red.. . Westminster Abbey. troped Gloria trope a3. II.. with some semi-quadrata elements. this book is now bound in what might be a standard Westminster Abbey design of s. 430 x 260 mm.

PMMM 5. ed.h. per te fides aperit/Spirans odor flos beate/Tenor. WF. 524-526. EECM 26. EECM 26. PMMM 5. Mors/Quartus Cantus fol. facs. The musical notation is Franconian. 1v. 27 -------4. 33327 I. . Written for Westminster Abbey? Formerly the cover for MS 33327. motet a4. 73. no. directly adjacent. 177. . 71. PMMM 5. motet a4. Items 2 and 6 have work numbers 25 and 37 in the l. App. by projection. margin next to them. Item nos. on music leaves. 56 . . CONTENTS 1. i. Preserved with Abbey muniments since that time. Fols. This may indicate choral performance. 17-18. all items beginning on these leaves) have "cor" in the l.xiii/xiv Two parchment folios. with tenor and quartus cantus ruled across the entire page. /T. I.h. frag. O nobilis nativitas/O mira dei misericordia/O decus virgineum/Tenor. cf. PMMM 5. Pro patribus fol. in red.. . 2. that begin one upper voice in each motet. . II. . Apparuit fol. 71. 85 3. or else be some kind of indication to the decorator for the gold leaf initials. ferno cum timore more/ . written space 400 x 250-55 mm for thirteen staves. 2. 175. pl. the original fascicle may have consisted of eight nested bifolia and 64 or more motets. ed. 70. BIBLIOGRAPHY RISM B/IV/1. . PMFC XIV IV. 1r and 2r bear the heading "quadruplices" in red. pl. 175. text concordance only in Recon. O mors moreris/O vita vera/Tenor. 7. now (and perhaps originally) 490 x 345 mm. ed. upper parts of motets ruled in double columns. margin. no. 72. PHYSICAL DESCRIPTION s. ed. HISTORY No info. PMFC XIV. Other initials. blue. 76-77. Westminster Abbey. which contains Abbey accounts dated from 29 September 1516 to 24 June 1517 headed by the name John Campyon. pl. cf. PMMM 5. PMFC XIV. facs. 1. facs.London. 6. cf. 55. and further decoration of gold initials. PMMM 5. 3. . motet a4. 75-76 2. no. PMFC XIV. respectively. I. or 365 x 250-55 mm for twelve red five-line staves of staff gauge 20 mm. EECM 26. 84 . facs. . ed. PMMM 5. no. no. III. 1. [O pastor patris] . concordance is Recon. 78-83. EECM 26. forming a bifolium not from the center of a gathering.e. EECM 26. tate quam ecclesia . and green. implying that a single missing bifolium---the center of the gathering--nested between these folios. 176. frag. 8 (and probably originally item 5. cf. no. Kyrie [Conditor Kyrie] fol. motet a4. pl. PMMM 5. ed.

pl. PMMM 5. pl. 87 7. Ave miles de cuius militia/Ave miles o Edwarde/Tenor. 2. 2 . Doce/Quartus Cantus fol. PMFC XIV. 88-89. 51 (Rok. 83-86. pl. 178.5. 2v. c. e ineffabilis potencie/Dona celi factor domine/Tenor. PMFC XIV. Opem nobis o Thoma porrige/Salve Thoma virga iusticie/Tenor. ed. facs. . . 73. EECM 26. no. frag. 60) . PMMM 5. motet a3. motet a4. 86 (with supplied triplum incipit Domine celestis rex) 6. PMMM 5. PMMM 5. 73. PMMM 5. 2v. no. motet a4. EECM 26. frag. no. cf. frag. motet a4. ed. 178. ed.f. cf. PMMM 5. 177. facs. PMMM 5. 74. . 74. cf. EECM 26. Ablue/Quartus Cantus fol. pl. no. no. concordance is FMO. facs. facs. PMFC XIV. Psallat chorus in novo carmine/Eximie pater egregie rector fol. Pastor cesus/Quartus Cantus de opem fol. 177. ed. EECM 26. 86-87. text concordance to US-Cu 654. 2. 88 8. ed.

. frag. is a 13th-century parchment ms of Augustine's Commentary on the Psalms from Reading Abbey. frag. vol. Musical notation of Notre Dame type. tuum natum nos iuvare . O31. no. 35 III. CONTENTS 1. II. presented to the Bodleian in 1608 with a sister ms.. O32. . 528-30. conductus a3 in score (Anderson cat. Gillingham edn. PMFC XIV. Bodleian Library. 195b-195a verso. now 291 x 212 mm.. Gillingham edn. O33). . conductus a3 in score (Anderson cat. O36 -------5.. Ave confederas ymis fol. no. ed. HISTORY No info.. 9. 9. layout in single columns with four groups of three brown staves each. Anderson edn. Page size was originally ca. O35 -------4. Anderson edn. O37 . Bodley 241. foliated 1 and 195. . 36a -------3. Szöverffy. Szöverffy. vol. Losseff (1994). PMFC XIV. Amen. Anderson edn.xiii. no. 1500. Anderson edn. Bodley 257 I. no. trimmed at the top and inserted sideways. 320 x 215 mm. App. with written space 225 x 142 mm and staff gauge 13 mm. PMFC XIV. no. no. [Ave] substantie biformis baiula .. . no. 176-77). . . on music leaves.. 195b. conductus a3 in score (Anderson cat. vol. Gothic text hand. 65-66).. fol. 7. Ms covered in a Reading binding of ca. O34. BIBLIOGRAPHY RISM B/IV/1.. PHYSICAL DESCRIPTION s. no. Initials in red and blue. O34. 1b verso-1a. fol. frag. semper pia vocis .. traces of music are still visible on the boards. 2. 195b verso. no. O33 -------2. no.. conductus a3 in score (Anderson. frag. 74). 9. conductus a3 in score (Anderson cat.. . no. each a flattened bifolium not the center of a gathering. PMFC XIV.. . O35). Anderson edn. 9. From Reading? Host ms of 195 fols. Amen. no. . [In te concipitur ma]tris et virginis fol.Oxford. 6. 9. no. Anderson edn. vol. . no. ed. vol. frag. ed. 5. 3/4 Two parchment flyleaves once glued to the front and rear covers. with virga and rhomboid breve to indicate long-short rhythms in no. ed. . 1b-1a verso. III. Szöverffy. App. ed. Ave credens baiulo fol. App. and not contiguous.

App. 195b verso-195a. Gaude per quam gaudium fol. vol. Anderson edn.. ed. O36. no.. 9. PMFC XIV. 145).6. no. 8. no. conductus a3 in score (Anderson cat. frag. Szöverffy. O38 .

1-3 form fol. fol. -ne essent pro . 5-6 form fol. and the current binding was probably made at Canterbury between 1450 and 1480. PHYSICAL DESCRIPTION s. regina peteris . RISM Suppl. Bodleian Library. PMFC I. ed. . . . CONTENTS 1. . and no estimate can be made of the original size of leaf or written space. motet a3. 5-7 2. A. xiv 1/4 Seven small parchment fragments comprising parts of two or more leaves (frags. using unstemmed semibreves and dots of division. 1938).. musical notation is basically Franconian. .. concordance to B-Br 19606. III. . . motet 3. Bv and frag. and Jacob Colfe. President[es in tronis]/[Super cathedram]/T. Bodley 271 (S. 66-68 IV. BIBLIOGRAPHY Wathey. hic fol. motet Fol. Given to the Bodleian Library in 1616 by Abraham.Oxford. 4 possibly from fol. 7 illegible).[Ruina] fol. HISTORY No info. . . 4 and fol. [E]t delictum ac ro. . 1v. . No fragment is now larger than 85 x 60 mm. . 2 and F-Pn 146. Written in England for Canterbury Christ Church? Present host ms was at Canterbury Christ Church by the early 14th century. frag. B. dulcedine fol. Av. . A. II. visibus effulsit . . B. Ruled in red five-line staves with gauge 12-14 mm and ruled two-stave indentations of 12 mm for initials. -quinario pasce peracto tempore frag. . 4 verso have blank staves only. formerly used as binding material in the spine of the present host MS. B. frags. Isaac. Text script is gothica textualis semi-quadrata. A. . frag. -ter expers . . Su. frag.. frag. frag.C. no. frag. binding fragments I. . sanitis . motet -------4. on music leaves. 7 is illegible. Frag. Four further strips remain embedded and have not been removed.

Unrelated music was later added at the end of the first section (one monophonic sequence on fol. Deeming. pp. Ker (1957). x verso. alternating red and green initials. Manuscript of over 200 fols. x verso) and at the end of the fourth (one monophonic sequence).. Polyphony on fol. 2. Overall page dimensions 308 x 200 mm. ed. almost rhomboid. Deeming. BIBLIOGRAPHY RISM B/IV/1. Bodleian Library. no. x. Ms given to the Bodleian by Sir Robert Cotton in 1603.xiii in. It has seven distinct sections.Oxford. no. 4-16 IV. 7-10 3. Gillingham edn. monophonic Marian sequence: see AH 9. 14. HISTORY Host manuscript is of the second half of the 12th century. each ending with blank space before the next begins again with a fresh quire. 530-31. with written space 232 x 147-54 mm and staff gauge 7-9 mm. polytextual Marian sequence a2 with voice exchange. monophonic sequence: see AH 40. 69. PHYSICAL DESCRIPTION s. x verso is written in double columns on sixteen red-four line staves. containing homilies in Old English and Latin. Notation is unmeasured squareheaded longs and rounded. Gillingham edn.. p. Salve sanctarum sanctissima fol. 6. with later additions. PMFC XIV. Irvine (1993). III. pp. breves. x and one polyphonic sequence on fol. II. Deeming (2006). CONTENTS 1. Salve mater salvatoris mater/Spes Maria peccatoris virgo fol. Specialis graciosa virgo Maria fol. . 64v. 103. Bodley 343 I. facs. PMFC XIV. 6. The monophony is not reproduced here.

Sanders (1962). Sanders (1962). that is a miscellaneous collection of statutes. 8 2. MES. with staff gauge ca. BIBLIOGRAPHY RISM B/IV/1. fol. 179v. no. MES. Notation is EMN in long-short rhythms of virga and rhomb. Jolietement my teent fol. Textless. III. of the 13th-14th century from the convent of Coventry once belonging to Sir Robert Cotton. 3. CONTENTS 1. 2 -------3. McGee (1989). pl. letters. HISTORY Music represents separate additions on empty space in a manuscript of 203 fols.Oxford. no. with continental concordances (F-MO. ed. here in a version in Anglo-Norman with English notation. with written space for music of ca. Foweles in the frith the fisses fol. Everist (1986). Page (1976). up to nine brown freely drawn four. Au queer ay un maus/Ja ne mi repentiray/T. EEH.xiii. etc. Douce 139 I. etc. 260]. PMFC XIV. 5v. 289-91.f. pl. Everist (1986). motet a3 on rondeau tenor. secular English love song a2. 3/4 Page dimensions of 241 x 175 mm. XLIV. facs. no. 20-22 mm for five lines and 13 mm for four lines. II. facs. monophonic instrumental dance in double versicles with polyphonic ending. EEH. PHYSICAL DESCRIPTION s. no. 535-37.or five-line staves per page. McGee (1989) IV. 243 [Rok. no.). Parrish. 200 x 150 mm. XXIV. 5 . Parrish. 5. c. Bodleian Library. ed. ed.

Bodleian Library. 541-64. Offsets from Bodley 862 remain in that manuscript. together with photographs of leaves preserved in other places. i. II. Hatton 30). and III below.xiii. inf. this source was created out of fifteen leaves removed from the bindings of three medieval manuscripts (eight from Oxford. Auct. See Reconstructions I. ms. Bodleian Library. 3/4 In an attempt to reassemble in one place as much surviving material as possible from two or more dismembered music codices. Sanders (2001a) . six from Oxford. 3. liturg. ms. f. Losseff (1994). Bodley 862. Büttner (1990). Bodleian Library. d.Oxford. Lat. HISTORY Assembled in the Bodleian Library between 1925 and 1952. Bodleian Library. ms. BIBLIOGRAPHY RISM B/IV/1. Recent discoveries of additional pertinent material render this factitious assembly of material out-of-date. 20 I. II. III. and one from Oxford. PHYSICAL DESCRIPTION s.

recto ruled with eight freely drawn red fiveline staves of gauge 22 mm. Fragment B Fol. they appear to be from two sources (designated A and B below). 82. fol. Though its ruling. 81a verso has a three-staff initial indented 8. 81a recto and b verso were ruled for nine (now six) independent five-line staves of staff gauge 15. one-staff initials are indented about 8. 79-85. they are ruled with nine freely drawn red five-line staves of gauge 18. 104v). fols. PHYSICAL DESCRIPTION s. where they were front and rear flyleaves (fols. fols 81a verso-b recto ruled for nine five-line staves arranged as three (now two) three-staff systems. originally blank. 250 x 180 and written space ca.5 mm in written space of ca. 272 x 53 mm. 130 x 135 for six visible staves. fol. 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. Text hand is gothica textualis quadrata and music hand is English Mensural Notation with rhomboid breve expressing second mode. 79. 80 is a single leaf. 245 mm in height. A. 13. 104 (designated C below). 83. 200 x 135 mm for nine staves.3 mm. Bodleian Library. Mus.5 mm. the similarity in content and in height of the written block suggest that this leaf may belong with them as well.514.5 mm. a single leaf (250 x 148 mm). Fol. HISTORY . Fol.5 mm. written space height is 240 mm.5 mm. from a polyphonic Kyriale to which fol. elaborate red-blue. 104 is a single parchment leaf trimmed at the top and now 127 x 160 mm. fol. 280 x 190 mm. also apparently belonged. probably the center of a gathering of a different. with staff gauge of ca. Fragment A Fols. The eighth is an unrelated single leaf. has been notated in a much later hand with a setting in score from the mid-14th century. were removed from ms Bodley 816. each system of staves is about in 53-56 mm in height. 247 x 86 mm. with page dimensions ca.. 84. 80v. and a one-staff initial is indented about 6. Fragment C Fol.Oxford. Fol.xiii/ xiv Eight parchment leaves. now 250 x 135 mm. fol. 272 x 193 mm. 60 I. Seven of these. 85. decorative style. assuming an original with ten staves and generous margins. i-iii and 197-200). 82-85 are two nested bifolia from the center of a gathering (present dimensions: fol. fols. now trimmed to ca. it has nine five-line staves arranged as three freely ruled three-staff systems with text underneath each. originally about 300 x 170 mm with a written space of 175 x 134 mm on the recto. 81 is an unfolded fragment (252 x 135 mm overall) cut from the top of a single bifolium. c. written space originally ca. 247 x 190 mm). 240 x 154 mm within overall page ca. slightly smaller manuscript that Frag. II. and text hand differ from those of the group just described.

no. A and B) were flyleaves in Oxford. CONTENTS Fragment A 1. Sanders (2001b) Frag. 104. concordance to Recon. Fol. PMFC XIV. 14 . Lefferts and Bent. 77. RISM no. no. free Gloria setting a3. [Regnum tuum solidum o rex glorie] fol. 13. 57b. 44 3. WF. Summers (1983). no. 29 2. Lütolf. 79-85 (frags. Summers (1983). concordance to Recon. pl. 11. XXVIII-XXIX (fols. Salve sancta parens virgo/Salve sancta parens virgo/T. Quatuor ex partibus mundus fol. it was owned by Dr. BIBLIOGRAPHY Frags.[Salve sancta parens enixa] fol. Rex omnium lucifluum/Rex omnium [lucifluum]/T. I. 84v-85. ed. no. possibly the item in the Harleian index identified with R. pl. ed. 83r-v). pl. was formerly a flyleaf in some unknown volume. Honoremus fol. on music leaves. PMFC XIV. 12. no. 85r). no. written in England in the later 13th century. XXIX (fol. 82v-83v. concordance to Recon. 62. RISM no. no. . 166-167. facs. Molloy. 3 . 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). III. Lütolf. HAM. [Et in terra . Campanis/T. RISM no. 83v) 4. 23. Abingdon. no. no. RISM no. 15 5. facs. 67 . III. single voice of motet -------7. troped chant setting a3 in parts of Marian introit. pes motet a4. no. frag. frag. troped chant setting a3 of Kyrie fons bonitatis. Lütolf (1970). Summers (1983). ed. 41 . vol]untatis fols. I. Southmoor. 59. 9. 82. de Burgate. troped chant setting a3 in parts of troped Gloria trope and prosula. Campanis cum cymbalis/Honoremus dominam dignam/T. RISM no. 165 (fol. Fols. 83v). 1. C: Wathey. 338-42 IV. A. I. some of which are medieval. 24. Summers (1983). pl. 14. Lütolf. p. Bodleian Library. no. App. [Spiritus et alme or]phanorum fol. 10. ed. Lütolf. 79. 1:237-43. RISM no. XXX (fol. 9. . 85v. WF. no. 83v-84. PMFC XIV. [Kyrie fons bonitatis] fol. and was bought by the Bodleian Library on 5 June 1967. 163-165. setting a4 in score of the six Spiritus et alme tropes of the Gloria. Bodley 816. ed.. pl. frag. pl.No info. Lütolf. RISM no. Kyrie pater venerande rex/T. Present host ms is a guardbook of musical fragments. PMFC XIV. A and B: RISM B/IV/2. facs. WF. RISM Suppl. 128-29 6. 85v. Büttner (1990). no. frag. 88. 566-70.

frag. in Lefferts and Bent. facs. . RISM no. RISM nos. fol. c. two frag. frag. de virgo semper/O spes et salus hominum/T. conductus a3 in score. pl. 81b appears to be continuation across the center of the gathering. . 8. [Gaudeamus omnes in domino] fol. . 81b verso [81v]. upper voice of conductus-rondellus a3 in parts 2. vol. . Sine macula profert pleni fol. . trini]tati sit eterna/O Judea et Jerusalem V. frag. hac die nobili/T. fol. . ed. 5. Gloria militie sanctorum preconia fol. .f. 977-80 . 161 Fragment B 1. 80. 80v. 340-41. . 162. 81a [81v]. 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. O42 (Sv. of freely composed Latin-texted Kyrie a3 in score. text trimmed off) fol. voices of a ?conductus-rondellus a3 in parts Fragment C 1. in Lefferts and Bent. 9. 6. facs. ha mundi gloria Maria/(another voice. . Gloriose trinitati sit eterna fol. Summers (1983). two voices of troped chant setting a3 of a Marian version of the well known introit -------9. . RISM no. Lefferts (1983). partial ed. . no. 339. . RISM no. 79v.. . Anderson edn. RISM no. . 2. . ed. [O Judea . . Summers (1983). 81a verso-81b [81r]. 149) 3. Consona constantes . e hausit lugens mirifice fol. facs. 7. RISM no. pl. 3 and 4.8. 104-104v. motet a3.

perhaps ca. Red five-line staves with black or red initials. a Gothica textualis semiquadrata. Bodleian Library. and the following voice part occupies eleven full staves. 1-4 [DIAMM fols. 400*. C below. comprising fragments from three distinct sources---a booklet and two rotuli---identified as A. BIBLIOGRAPHY . of two pages in Dittmer (1954). and the latter two fragments measure 108 x 165 mm and 178 x 115 mm. Two bifolia now housed in ms C. nos. the pages are variously trimmed on all margins. 2 and 3. followed by two empty staves). B. Ob 19 removed in mid-19th century and rediscovered in 1982. 400* (nos. Fragment C Three fragments. 165 x 96 mm. PHYSICAL DESCRIPTION s. with texts copied in a spacing that allowed for staves and music for six compositions. b. These are from a rotulus of original dimensions about ca. Rawlinson C. 240 x 180 mm. HISTORY Former host ms is a pontifical made for Roger de Mortival. 19 I. III. 4) and two in ms C. and documents concerning grain purchased at Reading and Wokingham. the first of these measures 306 x 170 mm. Other binding fragments removed to Ob 400* in 1952. the two voices in score of no. appear to be nearly contiguous. Leominster Priory. Music of item C written in England not after 1256. 400* + Ob Lat. The music is from Reading Abbey or its dependency. 5a and 6a [DIAMM fols. once used as front flyleaves in the host. Parchment flyleaves removed from Rawlinson C. and 140 x 92 mm. now 192 x 150-155 mm. with orig. Anne. All three sources are linked by text hands. Fragment B Four fragments in ms C. All three fragments preserve the right-hand margin of the written space. 1-4]) measuring 140 x 125 mm. 400* (frags. but the notation was never added. 400. 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. liturg. one in Lat. musical notation is English Mensural Notation with rhomboid breves. bishop of Salisbury (13151330) and bequeathed to the Cathedral upon his death. b. 155 x 135 mm. 630 x 165 mm. 9. with a written space of ca. 200 x 140 mm.Oxford. Margaret. 2 occupy eight full staves grouped as four twostave systems. 19 (fol. two bifolia and six scraps are in Ob 400*. Of these flyleaves. Fragment A Not reproduced here. 700 x 200 mm with written space ca. liturg. facs. and an additional fragment from Ob 400 is now Ob 19. II. The dorse of this roll contains notes on the Tribunium of St. These are all from a rotulus of original dimensions at least ca. Two of these.xiii med. 1 occupies 15 staves. 10]). from the center of a larger gathering.5-14 mm. a draft office for St.

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

BML. with written space for monophony on fol. Parrish. in parchment of 2nd half of the 13th century. no. PHYSICAL DESCRIPTION s.f. HISTORY Benedictine psalter of 107 fols. ca. tenor pitches have been divided for syllabic performance.. 6 . ed. EEH. BIBLIOGRAPHY RISM B/IV/1. and for polyphony on fol. in brown ink. MES. XIX. Bequeathed to the Bodleian in 1755. 7 2. BML). MES) or early 13th century (Frere. frag. EEH. 22 . 36-38 IV. Worldes blis ne last no throwe fols. no. as an addition at the end. and continental concordances in F-MO 32 (Rok 40). 106v. that passed to the Augustinian nunnery of Burnham. monophonic English song. etc. III. 256. Losseff (1994). English concordance in Ccc 8 after fol. concordance in Lbl Arundel 248. 105v of 110 x 50 mm. ed. facs. PMFC XIV. pl.xiii mid. in the late 13th or early 14th century.. pl. PMFC XIV. Bucks. Monophonic song and polyphony entered in same hand. XXIII. no. 18 I. Mellis stilla maris stella rosa fol. c. CONTENTS 1. Bodleian Library. 105v-106. 574-75. here presented as conductus in score with single text below staff system. II. Parrish. perhaps prepared at Canterbury. motet a2. EBM. Rawlinson G. MES. 1265 (acc. Music apparently added at the nunnery. MS dimensions are 163 x 112 mm. App.Oxford. Frere. 106v of 143 x 93 mm on five two-staff systems of red four-line staves of gauge 8 mm.

Bodleian Library. facs. 68v-72v). no. EECM 26. PMFC XVII. PMFC XVII. 4a 2. 5 3. no. sequence a3. Salve virgo tonantis fol. Summers (1983). Rawlinson liturg. 171-172. fol. sequence a3. no. 72v. 3 I. pl. 279). no. pl. 71. Summers (1983). d. EECM 26. 76-77. facs. EECM 26. concordance in Oxford. BIBLIOGRAPHY RISM B/IV/1. 153]. ed. 4. that gathering is integal to a late 13th-century Sarum Gradual of 111 fols. no. 9. but cf for two English discant settings of Kyrie (PMFC XVI. Kyrie fol. ed. pl. 9. Anderson edn. pl. 5 [facs.. ed. Virgo pudicicie fol. 173-174. 136-37. 196). Summers (1983). PHYSICAL DESCRIPTION c. pl. 171. vol. 575-76. nos. 74-75. facs. 1300 MS dimensions are 251 x 166 mm. 281 IV. 6 4. Summers (1983). Anderson edn. PMFC XVII. 174 . no. 74. 97v and is cf for a discant setting of Deo gracias (PMFC XVI. vol.O40 (Szöverffy. 72-72v. Anderson edn. III. not otherwise found in plainchant sources. 72). Lefferts (1990). monophonic Kyrie. Summers (1983). II. ms Barlow 55. 77. O39 (Szöverffy. Bodleian Library. EECM 26. sequence a3. vol. 71-71v. 9. O41 (Szöverffy.Oxford. Anderson edn. facs. pl. Lefferts (1986). fol. EECM 26. pl. no. Summers (1983). no. PMFC XVII. pl. 40. PMFC XVI. HISTORY The polyphony is inthe same hand as the remainder of the gathering of BVM sequences to which it belongs (fols. pl. EECM 26. in three systems of three freely drawn red four-line staves of gauge 9 mm. Mater ora filium fol. CONTENTS 1. the Christe is a Benedicamus domino chant in Lbl Lansdowne 462. pl. with written space for polyphony of 167-186 x 122 mm. 10 and 11). 329).

Virgo dei genitrix. was once part of a larger volume. now unpasted but very damaged. crucis ligna carcere draco . a mirror image of the remains of the pastedown on the cover is preserved as Bodleian ms Fasc. flyleaf originally ca.Oxford. just a little of one staff visible. . 83. 3/4 Single parchment leaf inserted upside down as a front flyleaf. Tractatus summe iudicialis de accidentibus mundi. homo tua per viscera/[V]irgo stillicidio fecunda/T. 1. Salvatoris fol. . fol. Savile 25 I. 577-78. Assuming 16 staves. . . suggesting 16 or more staves. d. varied concordance written as a monotextual cantilena a3 in score in Oxford. florie ne reseras languoris pabulum . Bodleian Library. pl. frag. Bodleian Library. PMFC XVII. PHYSICAL DESCRIPTION s. RISM identifies the author as a former member of Merton College. II. . inopia quid tristem occupas O mortis angust . HISTORY Host is a 14th-century English parchment ms of 204 fols. of two voices of a motet-like setting . . 1 (facs. 7 staves with frags. troped chant setting a3 of the verse of the Marian gradual Benedicta V. 1. [V]irgo fol. . 90. Now 13 red four. 1. 15b 2. III. BIBLIOGRAPHY RISM B/IV/1. . CONTENTS 1. fol. 175). . . 1v once fastened down to the front wooden cover. 1v. 350 x 180 mm. but trimmed at the top with loss of first three staves of no. . 1v. 15a. both versions ed. frag. . Music notation is EMN with rhomboid breve in virga-rhomb alternation and chains of rhombs. . 14. . . of a motet-like setting 3.xiii. fol. . nos. but also observes that there is a 15th century foliation indicating that this ms. RISM further says the present binding may be original.or five-line staves per page visible. PMFC XVII IV. [Virgo decora] . perpetim vultu salvatoris/T. Arch Selden B. with written space of ca. in Summers (1983). Size of host ms is 227 x 168 mm. 5 staves with frags. fol. . whose principal contents are Johannes de Estemdene. fol. of 2 voices of a troped chant setting 4. perhaps from a rotulus. 306 x 150 mm ruled with gauge 13 mm. /T.

1v-1. he may have been the one to have had this book bound. Four parchment leaves. no. Music leaves discovered in 1954 and rebound as ff. Anderson edn.(or six-) line staves. front flyleaves (bound upside down and reversed as flyleaves i. 60-61. [Sal]ve mater misericordie fol. BIBLIOGRAPHY RISM B/IV/1. in Losseff. 1-2 ruled in four 15. Losseff suggests the order of the first two should be 2v-2. 578-79. 1569). PMFC XIV. with split into five-line staves in rondellus sections. 7. PMFC XIV. 108-109 2. partial ed. Musical notation is of Notre Dame type. 1v-1 (ii-ii verso). and blue initials with red filigree for the others.. now fols. III. vol. O21. [pr. O laudanda virginitas fol. Szöverffy. Szöverffy. once apparently owned by Edw. 2v-2 (i-i verso).or 16-line accolades of gauge 33 mm. concordance to Occ 489. Ferrers. 1v. with considerable rotation on some of the freestanding square breves or puncti.. fols. O20.. no. 277). ii. bk. 9. 8 mm.. PHYSICAL DESCRIPTION s. Bodleian Library. Ferrers is evidently a late 16th-century figure. conductus a3 in score (Anderson cat. O19 -------3. frag. no. 3-4 have six continuous 10-line accolades of gauge ca. CONTENTS 1. Now 197 x 145 mm but perhaps originally 221 x 162 mm with a written space of 155 x 92 mm. no. O17. HISTORY Written in England. fol. 27-28. each to be interpreted as a system of three red five.. 2. who scribbled his name all over it. Formerly the flyleaves at each end of a printed book. II. fol.. 4. 218). 1-4. with gold initials and red-blue filigree for items 2. each to be interpreted as two five-line staves of gauge ca. Anderson edn. 32. 3-4) were conductus a2. fols. no. 100-109 IV. 1 (ii verso). judging by the many dates he added during the reign of Elizabeth I. verging on rhomb shape in some cases.Oxford. 20 mm. 214). vol. The Pallace of Pleasure Beautified by William Painter (London. The original music manuscript was very impressive. 1-2) were conductus a3 and rear ones (iv-iii. trimmed at the top with slight loss of music and used as flyleaves. conductus-rondellus a3 in score (Anderson cat. conductus-rondellus a3 in score (Anderson cat. no. frag.xiii 3/4 One of the most beautiful English sources. Anderson ed. O18. 1v) belongs with this item as the texted . possibly the rondellus Salve mater gracie maria (Occ 489. ed. ed. Losseff (1994). now fols. 9. O benigna preces audi fol. Szöverffy.] Wood 591 I. leaves from rear are consecutive but ones from front are not. no.

etc. H30 7. conductus a2 (Anderson cat. H30. etc... 383. vol. concordance to W1. 3v-4-4v (iiii-iii verso-iii). (or short) conductus a3 in score. no. here missing. 3. 2 (i verso). 9. PMFC XIV. H15. ed. conductus a2 (Anderson cat. Anderson edn. 181-82). 9. 245. no. vol. vol. no. frag. vol. I24. vol. 4v (iii). no. I24 . 271. Losseff (1994).. Ista dies celebrari promeretur fol. Falck no. no. Szöverffy. Anderson edn. O22.. no. Salve rosa venustatis fol.. Falck no. H15 6. no. 9.. ed. Anderson edn. concordance to W1. Anderson edn. 328). ed. PMFC XIV. 3-3v (iiii verso-iiii).version of an initial cauda... no. no.. ed.. etc. App. 43. 3. ed. preserving one text stanza and framing caudas (Anderson cat. 105-107 4. 79). 189. 274. 33. no. Szöverffy.. frag. no. O15. no. conductus a2 (Anderson cat. O20 -------5. 278). concordance to W1. Anderson edn. Szöverffy. no. Falck no. [B]eate virginis fecundat viscera fol. no. 4. Virga Iesse regio flore fol. Szöverffy..

no. One of other the later entries is datable after 1275. PMFC XIV. Büttner (1990). monophonic double-texted Latin sequence to the BVM . 59 I. Brown (1928). HISTORY Host is a late 13th-century codex of 120 fols. Marrocco and Sandon. 72120). 13. 75 2. Büttner (1990) IV. The polyphony is added in a written space of 162 x 114 mm on three staves. Edi beo thu hevene quene fol. Marrocco and Sandon. Among the additions to the second are a polyphonic devotional song in the vernacular and a monophonic Marian sequence. MES. on fol. CONTENTS 1. Additions to the first include Recitemus pro hec festa. 113v. 57. 113v-114. Page (1976). 171) and a glossed De consolatione philosophie of Boethius plus later entries (fols. and another after 1273 or perhaps 1289. II. 2. MES.Oxford. ed. from the Augustinian priory of Llanthony Maior in Gloucestershire. the first of eight lines and the subsequent two of six lines. 579-80. PMFC XIV. compiled from two once-independent 13th-century manuscripts containing the Anticlaudanius of Alanus of Lille plus later entries (fols. Orbis honor celi schema fol. a local Gloucester saint. xiii. III. 3/4 Overall dimensions of hos ms are 199 x 135 mm. Music and lyrics possibly composed or copied by the master of the priory grammar school. BIBLIOGRAPHY RISM B/IV/1. p. PHYSICAL DESCRIPTION s. no. no. Corpus Christi College. 68. a double-texted monophonic sequence for Kyneburg. polyphonic devotional song a2 in Middle English. Notation is EMN with long-short alternation of virgas and rhombs.

O15 -----------3. Szöverffy. Salve mater gratie Maria fol.. 1v. II. and brownblack text of rondellus in no. RISM no. 178). 1. Anderson edn. no. red. Corpus Christi College. with written space 187 x 122 mm and staff gauge ca. on music leaves. O17. 4.. RISM no. ed. Szöverffy. 2b. 2a originally as opening melismatic cauda. O14 2a. PMFC XIV.5-10. 29 as freestanding work. III.. but originally ca. HISTORY No info. O17 . not unlike coloring of rondellus texts in DRu 13. 26-33 IV. O16. 245 x 155 mm. 9. O18. vol. is an extract from a longer Marian poem. Anderson edn. conductus-rondellus a3 (Anderson cat. 581-82. no. ed. but with occasional virgas and rhombs for long-short rhythms. originally melismatic. CONTENTS 1. not the center of a gathering. 9.. housed in a modern compilation of medieval fragments. cauda to no. vol. 1. 33.. no. no. PMFC XIV. 3. Anderson edn. 2. no. PMFC XIV. O16 4. no. ed. Salve mater misericordie fol. conductus a3 (Anderson cat. 9 as the conclusion to no. Flos regalis virginalis fol. no.. conductus-rondellus a3 (Anderson cat. no. Integra inviolata pia virgo fol. text. 9. Blue-green. now 226 x 155 mm. vol. 1 2b. ed.. vol. ed. no. 329). 2v. no. Notation of Notre Dame type. this rondellus a3 is a texting of the initial. conductus a3 (Anderson cat.xiii. BIBLIOGRAPHY RISM B/IV/1.. 30. vol. RISM does not separately identify and incorporates it into no. 9. PHYSICAL DESCRIPTION s. Anderson edn. 3 . Anderson edn. O19. no. twelve red five-line staves per page.5 mm. frag. RISM no. 9. 277). Virgo rosa flos radicis fol. with no. 28. 1-1v. 1v. 1. ed. 489/9 I. concordance in Ob 591. 137-38). RISM no. 3/4 Parchment bifolium. Szöverffy. no.Oxford. Szöverffy. Page (1996). frag. PMFC XIV. 2-2v.. with initials in red or blue. discussed by Page (1996). no.

290 x 220 mm with written space 178 x 143 mm and staff gauge 9-10 mm. a 14thcentury British ms of 239 fols. on music leaves. o flos Frag. Kyrie rex Marie proles pie fol. . hence the break between fol. In the motet additions. 277 x 191 mm. pro Maria eleyson. 3].. in a 16th-century binding. . In the conductus. Corpus Christi College. 276 x 194 mm. ed. 5. no. . Originally ca. extensive frag. with additions in the lower margins of fols. vol. 1v 2. 5. 1 -------3. 2]. . 3. no. 2v-3v [RISM. Latin-texted Marian Kyrie a3 in score. 497 I. Frag. . 86. 282 x 154 mm. Leaf one is a narrow vertical strip whose recto is actually a verso.or five-line staves. 283 x 211 mm. Lütolf (1970). 3/4. but does not appear to immediately precede the other leaves. four. 262 x 21 mm. no. Anderson edn.Oxford. 284 x 152 mm. . 2. . and vice versa. Compositions a3 in score begin with red and blue three-stave initials. end of a Latin-texted Marian Kyrie a3 in score. no. Lütolf.. BIBLIOGRAPHY RISM B/IV/1. ed. no. It apparently belongs before fol. fol. fol. 12 4. 4 and fol. Adelard of Bath's De causis naturalium compositorum. fol. Leaves 2-7 are three contiguous bifolia missing the center of the gathering. Formerly flyleaves in Corpus Christi College. 582-86. 42-46. That ms is a miscellany containing Aesop's Fables. 13. II. Szöverffy. fol. Marie eleyson. 1]. no. . Losseff (1994). in four accolades of three red five-line staves per page. 281 x 136 mm. The leaves were removed in 1938 and put into their present order in 1952. . 2. 4/4 Seven parchment leaves trimmed to various sizes: fol. 7. Sacrum flamen naturam mundans in Maria . of Latin-texted Kyrie a3 in score fol. etc. Lütolf. PMFC XIV. 2-2v [RISM. 246). Virgo p . fol. since it contains Kyrie prosula settings. no. 6. of Latin-texted Kyrie a3 in score fol. fol. O25 . O23. 4. notation is Notre Dame style but with the use of virga and rhomb for longshort rhythms. 1. III. Sanders (2001b) IV. CONTENTS 1. 3v-4 and 5v-6 on brown. fol. 9. of conductus a3 in score (Anderson cat. xiii. . notation is EMN. no. ed. HISTORY No info. 1:228-33. Porta salutis Maria fol. PHYSICAL DESCRIPTION s. 18 5. 2 [RISM.

University Library. Ihesu fili summi patris fol. O28. no. vol. motet a3 in parts. Falck. O31 15.. O28 11. O29. 220). Anderson edn. 44 -------10. Ave Maria gracia plena dominus fol. 82 8. final strophe only of conductus a3 in score (Anderson cat. 2.. no. 149-50). conductus a3 in score (Anderson cat. this text is set in one voice of a motet . Anderson edn. no. Anderson edn. O30 14. PMFC XIV. 4]. ed. F33. O25). varied concordance in D-W2. no. ed. vol. 23. 9].. vol.. added in lower margin. no. . 9. . Losseff. Szöverffy. no. 11]. vol. no. 3v-4 [RISM. fol. 301). 5v-6 [RISM. . Add. no. no. App. Szöverffy. no. Transit nature semitas fol.. 9. 165). PMFC XIV. whose tenor is a textless pes related to Recon. O30. 10]. In odorem] fol. no. no. no. 5 [no RISM entry]. 2. 109v. 24. no. 13].6. no. Szöverffy. O29 12. no. . 9. vol.. it is a monophonic sequence added in the lower margin. 9. Szöverffy. no. no.. no. 6-7 [RISM no. conductus a3 in score (Anderson cat. PMFC XIV. 7]. O27. no. RISM misidentifies as a motet voice. no. 262. Anderson edn. ed. 7-7v [RISM no. F33. vol.. 12]. motet a3 (originally a4?) added in lower margin. Gloriosa dei mater fol. frag. ed. no. no. Szöverffy. 7v [RISM no. App. Anderson edn. 9. vol. 162).. 5]. Iam vellus imbuitur fol. no. no. In odore fragrant dulcedinis/[Gracia viam con]tinencie/[T. ed. I. varied concordance in F-MO 61 (Rok 70). . no. 7v [RISM no. frag. 57 13. Quis tibi Christe meritas fol.. 196). ed. 3v-4 [RISM. Wilson (1990). no. O32 16. Anderson edn. [Gaude virgo sal]utata Gabriele nuncio . Szöverffy. O27 9. O26 7... no. prole plena gaudio fol. conductus a3 in score (Anderson cat. ed. ed. 9. Szöverffy. in Lwa 3 and US-Cu 645. O Maria stella maris medicina fol. O26. PMFC XIV. 42. PMFC XIV. conductus a3 in score (Anderson cat. 45. vol. PMFC XIV. no. 6]. conductus a3 in score (Anderson cat. texts are concordant to the following two conducti below in this ms. Anderson edn. conductus a3 in score (Anderson cat. fol. 5v-6 [RISM. 3. conductus a3 in score (Anderson cat. PMFC XIV. App. 290). no.. O24. 9. Memor esto tuorum fol. 4. Anderson edn. 710 [Dublin Troper]. O Maria stella maris/Ihesu fili summi patris/T. no. 4v [RISM. 8]. ed. no. a monophonic concordance is Cambridge. 4 [RISM..

. . the first front flyleaf in the present host ms. de super lux orta/T. conductus a2 with texted rondellus section. 230 x 150 mm. Merton College. . Text hand is anglicana and music notation is EMN. a 14th-century note states that it was a gift of William Reed. PHYSICAL DESCRIPTION s. in parchment compiled by one John Sheppey. judging by comparable sources. partial ed. 280 x 200 mm with written space ca. Single parchment leaf. HISTORY No info. frag. now cut away by more than half vertically to 273 x 94 mm. . pacis consiliarum yma regis verso. frag. . med. 587. Twelve red. in NOHM II. in single column as six two-stave accolades with gauge 12 mm within double frame rule.Oxford. bishop of Chichester (1368-85). original may have been ca. Karitatis . 248 I. . II. conductus motet a3 2. NOHM II III. recto. five-line staves arr. unnumbered. . with written space 230 mm in height. CONTENTS 1. 376 . BIBLIOGRAPHY RISM B/IV/1. induit et vituit divinitas . on music leaf. xiii. III. Host is an English ms of 225 fols.

27. conductus a3 (Szöverffy. measuring 213 x 175 mm with written space ca. CONTENTS 1. Ave virga decoris incliti officina fol. the volume once belonged to Ralph.16A. 75). no. no. ed. O24 . vol. conductus a3 (Anderson cat. 3. Worcester College. no. 2-2v. 25. vol. PMFC XIV. since former host ms. 594-95. conductus a3 (Szöverffy. ed. Anderson edn. Ave Maria salus hominum cella fol. Anderson edn. Two consecutive parchment leaves.5-11 mm for five lines. esp. belonged to Reading Abbey and has dates 1264 and 1281. J49. Anderson cat. 9. 71). ed. O22 3. on music leaves. no. vol. Ave regina celorum ave decus fol. 731-32. no. from which these binding fragments have been removed. perhaps adjacent leaves from an anthology since all surviving pieces begin with Ave. ed. 26 a and b. J49 and vol. no. Szöverffy... PMFC XIV.. no. no.... O21 2. 1v-2. HISTORY No info. BIBLIOGRAPHY RISM B/IV/1.. II. Anderson edn. 5. 38.Oxford. PHYSICAL DESCRIPTION s. Musical notation of Notre Dame type but with virga and rhomboid breve of EMN to indicate long-short rhythms. 85 III. PMFC XIV. no. III. med. frag. 35. Anderson edn. conductus a3 (Szöverffy. Falck. no. Worcester College. PMFC XIV. 9.xiii. O23 4. Ave tuos benedic virgo singularis fol. layout in single columns with four groups of 14-16 red stave lines per page. 9. red and blue initials. 75). MMBL 3:726-32. Anderson edn. Possibly from Reading. vol. 213* I. Losseff (1994). 9. Earl Verney (1752-1791). 185 x 115-120 mm and staff gauge 10. 1-1v. 68). 2v.

with two hands. s . HISTORY No info. formerly two strips from the binding of the present host book. now 240 x 100 mm. Peter. ca. with unstemmed semibreves and dots of division. staves 10-12. v. staves 1-6 (texted voice). one for recto and the second for verso. now joined and foliated v. .Wisbech. 1660. 215 mm high. Canterbury. . RISM Suppl. 1. facs. v verso. 92-93 IV. CONTENTS 1.bk. v. .5-13 mm in a single column with frame rules on recto.. disrupta surge Petre/[no text] fol. facs. . fero rubigo labitur fol. Given to Wisbech Town Library by ca. II. Written for Canterbury Christ Church? Present host book was printed at Lyons in 1497 and was owned by a monk of Christ Church.] C3. PHYSICAL DESCRIPTION s. de mon cr . v verso. RISM Suppl. Wisbech and Fenland Museum. motet on conversion of St. tenor to no. 3? . motet a3/a4 on St. [pr. single voice of frag. staves 1-8. musical notation is basically Franconian. xiv in. ca. Originally taller. 275 mm.8 I. . III. BIBLIOGRAPHY Wathey. s voy bone fol. downward stems added later to semibreves in no. Paul 4. pl. 7-9 (untexted voice). Fragmentary parchment leaf. freely ruled in twelve red five-line staves of gauge 11. with width greater than 200 mm. Wathey. Rebound in the 18th and 20th centuries. pl. end of a cantilena or discant setting a3 in score. staves 9-12. . [E]cce vir. . single voice. RISM Suppl. Text script is an informal gothica textualis rotunda. 24 2. where they were used as guards for the first and last quires. Wathey. written space. . frag. [no text] fol.. on music leaf. Town Library. 24 3. .

which has materials copied in the 13th century. 27. xiii/xiv Single parchment leaf ca. fol. III. either monophonic or tenor of troped chant setting . PMFV XIV. xii I.Worcester. Cathedral Library. WF. F & H. PMMM 5. WF. 925-30 4. WF. no. Frag.f. App. frag. 50. Christe lux oriens fol. . Regnum tuum solidum palimpsest. Lefferts (1983). 4. 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. 159. xiii. HISTORY No info. facs. 80. 3/4 and s. Formerly folded horizontally and bound as front endleaves in WOc Q. Lefferts (1983). Inter choros paradisicolarum/Invictis pueris inter flammas palimpsest. 78. c. fol. Thomson (2000). blue. 1. no. Ut recreentur celitus/Secundus tenor palimpsest. no. 27. ed. ed. frag. II. primarily in England. motet a4. on music leaf. 26 3. frontispiece and p. Sanders (2001d). and turquoise decoration. 79. damaged on inner edge so perhaps originally ca. facs. Lefferts (1983). 1v. frag. 595-97. PHYSICAL DESCRIPTION s. ed. Kyrie rex genitor . facs. MMBL 4:684. 916-22 2. 149 IV. PMFC XIV. 10 mm or more wider. frontispiece. Regnum sine termino/T. nothing is known of the erased and overwritten original music aside from what is legible of no. F&H. PMMM 5. 1v. Recto has decoration in black and red. 1v. Additional 68. PMMM 5. CONTENTS 1. fol. voice that is the only material visible from original layer of music. BIBLIOGRAPHY RISM B/IV/1. now mainly erased. motet a4. verso in different hand with red. inside a 15th-century Worcester binding. Thomson (2001). 350 x 230 mm. Music is mostly palimpsest. frag. no. Palimsest over earlier music. troped chant setting a4. .

. Frag. HISTORY No info. 16. Ex semine Habrahe fol. II. EMN in long-rhomb patterns. 1v. Ad honorem summi regis fol. Formerly binding fragments in Worcester Book of Feofments (MMBL). chant setting a3 in score with texted clausula. 1 is EMN with paired rhomboid breves. the middle of a gathering. 597. PMMM 5. 81. /T. organum mostly unique but clausula has continental concordances. . 306 x 193 mm in a variety of rulings. Sanctus fol. 2. with staff gauge 16 mm. now trimmed on outer and lower margins to ca. . no. Caldwell (1991). [RISM. PMMM 5. written space was ca. WMH. 34 4. original page size ca. PMMM 5. MMBL 4:685. including twelve five-line staves on fol. on fol. Cathedral Library. . 1. 81. PHYSICAL DESCRIPTION s. WMH. App. 595. 33-34. PMMM 5. Reaney (1977). Single parchment bifolium. superioris . Nativitas gloriose virgi[nis] Marie. 2-2v. Sanders (2001d) IV. no. CONTENTS 1. 1v-2. facs. Virgo dei genitrix fol. facs. monophonic (Chev. Music notation on fol. xviii I. 315 x 220 mm. 44-46 (partial) 3. on music leaves. III. no. frag. facs. PMFC XIV. Alleluia V. 1 and five three-staff systems on fol. Additional 68. . WF 80a]. 34908). 380 x 260 mm. BIBLIOGRAPHY RISM B/IV/1. facs. xiii med. PMFC XIV. WF.Worcester. monophonic. PMMM 5. [Benedicta et venerabilis] V. 35 . 1v-2. troped chant setting a3 in parts. Caldwell (1991). 32 2. ed. Reaney (1977).

WF. PMFC XIV. missing here. no. frag. facs. Gaudeat ecclesia cuncti fol. 228 x 156 mm ruled for seven red five-line staves. CONTENTS 1. 36 2. now trimmed at the top and outer edges to ca. and fol. Frag. fol. 81-82. the Primus tenor is freely composed). 95. in a Worcester binding of ca. 595. 94. PMFC XIV. 288 x 212 mm. gauge for both pages is 23-24 mm. 59 (Rok. II. 1v has written space ca. Thomson (2001). facs. PMMM 5. no. PMFC XIV. 152. ed. WF. MMBL 4:686. 1 recto has written space ca. 93. ed. Bernard of Clairvaux. frag. 2. Sanders (2001d). PMMM 5. 1527-31 that is likely by monk-binder John Musard. 46. 1 and 260 x 200 mm for fol.Worcester. PMMM 5. no. xiii. Additional 68. frag. 2v has nine red five-line staves in written space 240 x 156 mm with gauge 19 mm. no. concordance a3 with many unsupported fourths (suggesting version a4 is original) in F-MO. 47. no. frag. 1. only eight of which are now visible. HISTORY No info. BIBLIOGRAPHY RISM B/IV/1. facs. WF. 41 3. a late 14th-century English copy of works of Robert Grosseteste. F&H. no. 257 x 156 mm ruled for nine red fiveline staves. no. Cathedral Library. 96 . rondellus a3. PHYSICAL DESCRIPTION s. [I]n excelsis gloria fol. 3 . on music leaf. xx I. fol. motet a4 (tenor. 68). troped chant setting a4?. c. Crucifixum dominum in carne/T. 44. conductus-rondellus a3. Sed fulsit virginitas/Primus tenor fol. concordance in US-Cu 654. PMMM 5. ed. is "Dominus". PMMM 5. [Crucifixum in carne] fol. 3/4 Single parchment bifolium not the middle of a gathering. 103-104 IV. facs. 2. WF. 601-2. pp. no. Former front pastedown in WOc F. 45. Fol. original page ca. no. 1v. 83 4.f. ed. 2 has eight red five-line staves in written space 220 x 156 mm with gauge 21 mm. III. and others. PMFC XIV. 255 x 157 mm for fol. 2v.

240 x 170 mm. Formerly rear endleaves in ms WOc F. monophonic. some under palimpsest. 210 x 125 for five three-stave systems of gauge 12-13 mm for five lines. b). a1 verso. facs. b1 recto. Bifolium "a" has a variety of rulings. b1 recto. Anderson edn. F&H. Thomson (2001). 2. 1. On frag. . Virginis Marie matris . a1-a1 verso. partially entered. 43. PMMM 5. 171 x 122-127 mm and staff gauge 9 mm for five lines. . originally ca. on music leaves. facs. App. Sanders (2001d). 27-28 IV. 3. xiii. 13. 5 -------5. Page (1996). a1 verso. PMFC XIV. 54 3. xxix I. ed. CONTENTS 1. facs. 51-52. monophonic. PMMM 5. facs. BIBLIOGRAPHY RISM B/IV/1. PMMM 5. [illegible] fol. Singularis et insignis mundi domina fol. III. 7. sequence-like chant setting a3 of double-versicle rhymed offertory. facs. text only. Additional 68. 9 beginning appropriately with the Marian sequence Benedicta es and ending with a page of erasure and palimpsest. eleyson palimpsest. PHYSICAL DESCRIPTION s. rebound at the British Museum in 1886. 6. 595-96.. "b". apparently from the same volume but not consecutive. a source combining two English volumes of the late 13th century of texts of Roger Kilwardby. no. PMMM 5. Latin-texted Kyrie a3. 97. now 215 x 142 mm (a) and 220 x 150 mm (b). so no information on age or provenance of any former medieval binding. fol. [A]ve Maria gracia plena virgo amantissima fol. Fol.Worcester. 8. [Ave] virgo concipiens angelo salutatis fol. 4. PMMM 5. monophonic. now nested and sewn together. 3/4 Two bifolia (a. nor is either the middle of a gathering. original written space ca. MMBL 4:687. Sanctus fol. II. 53 . HISTORY No info. PMMM 5. 20-21. 54 4. 5. 34. a2-a2v of ca. a2 has an old foliation XIIII. erased sequence or conductus a3 6. 11. contents would then have the following order of items: nos. PMFC XIV. no. 14 2. Possibly the fragment should be reversed around the centerfold so that bifolium "b" is outermost. 14. a1 verso. 12. WF. 10. 15. 602-603. Cathedral Library. Frag. with written space for the two-stave systems on fols. frag.

no. conductus-like free setting a2 (Anderson cat. P47. b2-b2 verso. mun]di pressuram fol.. 98. ed. conductus a3. fol. 100. O sponsa dei electa esto nobis via recta fol. 54 8. b1 verso. PMMM 5. b1 verso. 9. conductus-like chant setting a3 of Marian version of hymn Veni creator spiritus. b2. fol. facs. WF. 1 . facs. 34. . no. 101. P49 14. 57. a2. 55 11. fol. . no. Sanctus fol. Ave Maria gracia plena dominus palimpsest. old foliation XIIII. 54 -------10. no. facs. notes not entered and text erased except in fourth system from top. in AH 24: 162 and 32:58. PMMM 5. [Alleluia V. PMMM 5. facs.. . [S]ponsa rectoris omnium summi patris fol. WF. Szöverffy. no. notes that the text is ed. O52 -------13. facs. facs. 55-56. PMMM 5. no. facs. 56.. PMMM 5. 54 9. frag. WF. designatur cuius lilia ante partum et post partum sunt similia. 57 15. 57-58. facs. 64 12. Page (1996). PMMM 5. a2. PMFC XIV. 328). monophonic. vol. no. a2-a2 verso. App. 21.7. monophonic sequence. PMMM 5. no. Anderson edn. frag. b2v. ed. facs. . PMMM 5. sequence or conductus a3. O Maria virgo pia plena dei gracia fol. monophonic. Benedicta es celorum regina fol. Virga florem germinavit . . PMFC XIV. b1 verso. monophonic. WF. ed. conductus a2. 99. Anderson edn. Sanctus palimpsest. PMFC XIV. no. ed. PMMM 5. 10. no. vol.

. . PMMM 5.xiii. PMMM 5. WF. Cathedral Library. Mater patris et filia mulierum letitia fol. no. PHYSICAL DESCRIPTION s. facs. 109. ed. Formerly endleaves in ms WOc F. Paranimphus salutat virginem fol. 2 is mis-identified as two separate works. Lefferts (1990). sequence a2. Folio b verso has old foliation IIII. 2. 85 x 135 mm (b). 63 4. 190 x 142 mm. c-c verso. 105 -------6. 61-62. 63-64. sequence a2. F34).. 150 x 112 mm and staff gauge 8-9 mm. 596. MMBL 4:687-88. with written space ca. 102 x 142 mm (c). Anderson cat. ed. 278. conductus a1. solatium. . xxx I. in Sanders (2001d). III. [Salve virgo sacra parens] . 106 . no. frag. frag. [E]rgo virgo tam beata fol. 64. 195). sequence a2. 59-60. BIBLIOGRAPHY RISM B/IV/1. De spineto nata rosa fol. a1-a1 verso. 63 5. facs. . Salve virgo virginum fol. . II. fol. 2/4 Four small parchment fragments (a1. WF. item no.. frag. vol. in a 15th-century Worcester binding. PMMM 5. HISTORY No info. Red four-line staves mainly in five two-staff systems per page for polyphony. b verso [old foliation IIII]. facs. and thus is mistakenly assigned two different WF numbers. Sanders (2001d) IV. 103-104 -------3. F&H. 560 2. PMMM 5. Szöverffy. 26. 102. no. .Worcester. an English volume of the late 13th or early 14th century containing works of Aquinas. b. PMMM 5. conductus a1 (AH 45a. Additional 68. Et qui mente . WF. a2. text set in a musically unrelated polyphonic conductus in E-Hu and E-Ma (Anderson edn. frag. m virgo mundi lilium lumen fidelium O mater pia . ed. facs. In WF and RISM. PMMM 5. CONTENTS 1. frag. originally from pages ca. . frag. Thomson (2001). now 87 x 84 mm (a1). PMMM 5. nos. 87 x 139 mm (a2). 603-4. F34. 282. WF. facs. no. a2-a2 verso. 73-74. on music leaves. b. partial ed. . . b. c) that appear to be from the same source. 52. no. ed. sequence a2. facs. Frag.

xiii. . Frag. 1v. Frag. Virgo m . one staff of second hocketing voice . 22 IV. BIBLIOGRAPHY RISM B/IV/1. which has a Worcester binding of the late 15th or early 16th century. b now 34 x 286 mm. c) of plainchant sequences on four-line staves of width 130 mm and gauge 10-11 mm: frag. an English manuscript of the second half of the 13th century. . the present Frag. Hand does not look like RECON I or II. PHYSICAL DESCRIPTION s. . Not recorded in WF or MMBL. A. 17. xxviii also comes from the binding of this book. 595. A. Büttner (1990). 1. CONTENTS 1. Sanders (2001a). A does not come from RECON I. xxxiv I. frag. pp. III. . 34. A is a single parchment scrap of polyphony ca. on music leaves. fol. Sanders (2001d). Thomson (2001). B). but accounted for by Büttner (1990) and Thomson (2001).Worcester. qua Christe exp . 3/4 Four small fragments. fol. (a. F&H. Notation is EMN with long-rhomb motion. Frag. Additional 68. . They were removed from manuscript WOc F. but unlike that fragment (and contrary to Thomson). a now 212 x 33 mm. rondellus fragment? 2. Frag. B (not reproduced) consists of three frags. 605. frag. c now 36 x 141 mm. Cathedral Library. two staves of a repetitive tenor. . 54 x 107 mm ruled in red five-line staves of gauge 1314 mm. [Textless]/[textless] Frag. Frag. b. II. HISTORY No info. probably from two different sources (A. .

ca. PHYSICAL DESCRIPTION s. motet . A and B). frag.Worcester. . Bv. . frag. MMBL 4:689. Thomson (2001). if for 12 staves of music and text. Wathey. RISM Suppl. fol. on music leaf. xlvi. motet 2. 45. . Original written area. Text hand mixes gothica textualis quadrata. . . an early 14th-century English copy of the Legenda aurea in a contemporary binding. . Nunc in celis Katerina fluens deliciis . tuis in laudibus tu celicis commenda . . . fol. p. fol. HISTORY No info. BIBLIOGRAPHY F&H. . 64 x 275 mm. archa panis angelici de quam . . . motet 3. A. . fol. 235 mm. xxxix/1. Additional 68. 21. 28-29 IV. .xiii. . . B. frag. Freely ruled red five-line staves of gauge 16 mm. 310 mm in height. II. motet 4. . if for 9 staves. xxxix/2 (not reproduced) is a parchment flyleaf with a few notes and letters of offset from Frag. 93-95. with long-breve declamation. Musical notation basically Franconian (square breve). concipies parvulum que presens . Frag. 3/4 Single horizontal parchment strip. . frag. Av. xxxix/1 I. . Front binding fragments from WOc F. . Cathedral Library. semi-quadrata.. CONTENTS 1. and sine pedibus. was ca. Frag. cut from a bifolium (fols. . III.

n.] fol. but likely for a Franciscan house. Red and blue initials. BIBLIOGRAPHY F&H. i. Codex origin unknown. V. p. 76) judges the polyphony to be "an English adaptation of a French work". melismatic conclusion of organum a2. facs. trimmed to ca. 115 x 80 mm ruled for five red two-stave systems.xiii. p. fol. 94. 10. 19 I. Cathedral Library. II. Virgo dei genitrix quem totus non creauit orbis in tua se clau[sit viscera. xv and only attested there 1622-23" (Thomson 2000). with staff gauge 9 mm and 7 mm. Benedicta. 19 arrived late in the history of the Cathedral library: "not at Worcester before s. Book hand is a neat gothica rotunda. Music notation of Notre Dame style. i. Music leaf uncovered by 1993 (Malyshko) and again in the late 1990s recataloguing of the Cathedral Library. Thomson (2001). Thomson (2000) concludes it to be "a leaf from a Parisian book of sacred polyphony. 2/4 Single parchment leaf. WOc Q. frag. 118. respectively. the upper staff of five lines and the lower staff of four. Malyshko (1998). varied concordance to Magnus Liber setting (M32). Q. Malyshko (1998) . HISTORY Front flyleaf. i-iv. and ed. frag. textless fol. PHYSICAL DESCRIPTION s. Malyshko (1998) 2. Thomson (2000). 130-131 IV. organum a2 on soloistic portions of Marian gradual. about which nothing is known. CONTENTS 1. Malyshko (1998.Worcester. facs. in a codex assembling three volumes of Franciscan sermons copied in the late 13th century. 160 x 105 mm. with original written space ca." III.

125). Thomson (2001). x 1. Frag. Crocker (1990). clemens eleyson fol. WF. Büttner (1990). Christe lux mundi perpetua . xxxvi. The relative location of the seven fragmentary folios from Lbl Hatton 30. 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. xl (containing item nos. and F. Sanders (2001a). only in the 1520s. xiii and Frag. PMMM 5. cxxxix. and nested bifolia sometimes form blocks of continuous material from the following original folios: vi-vii. has a very useful diagram projecting the gathering structures that can be determined from these materials. Wibberley (1976). PMMM 5. A bit of material still remains in F. facs. 1. xlii). lxxvi-lxxvii. lxxxxix-ci. The materials in Lbl Additional 25031 are still in place. 1527-31 for more than ten extant manuscripts. xiii-xvi. xl and xli. BIBLIOGRAPHY RISM B/IV/1. lxxxii-lxxxiii. They include material from WOc F. Losseff (1994). On the music and text hands. .xiii. x (from WOc F. 1 . Caldwell (1991). Losseff (1994). F&H. The leaves are variously trimmed. liturg. lxxix. two with original foliations. lxxxxii-lxxxxiiii. 53-69) cannot be determined. Its pages were re-used in Worcester bindings of ca. lxxxviii-lxxxix. Caldwell (1994). and most surviving in Worcester Cathedral Library. New fragments. xiii (from WOc Q. 149-52. 44 that probably also belongs in this reconstruction. xlvi CONTENTS WOc Additional 68." to distinguish it from RECON II and RECON III. xli). 562-64. xxxi. WMH. Sanders (2001d). fol. lxxiii-lxxviiii. Malyshko (1998). 159-63. 3/4 The partial remains (30 or more folios. 280-283 x 200-205 mm with written space mainly ca. cxxxvi. A previous attempt at reconstruction in Ob Lat. . Frag. 68. Bukofzer (1944). Wibberley (1976). esp. Offsets onto binding boards survive in situ for Frags. no. 133). inf. but appear originally to have been ca. 68. and these leaves. 541-52. Frag. 44 (now Frag. 24. xxviii (from WOc F. 20 combines surviving leaves formerly in Ob Auct F. MMBL 4:684-88. one voice of troped chant setting a3 of Kyrie Orbis factor. Frag. The original book of music was likely broken up by a Worcester monk-binder. 34). vi [Ob 20. xxxi (from WOc Q. John Musard. Sanders (2001e). and Frag. 148-54. ed. xl). and most of these have been removed to the fragment series in Add. see esp. Frag. F. 175 (now Frag. Thomson (2000). Frag. 21). some of demonstrable Worcester provenance.3 and Ob Hatton 30 with photos of leaves from Lbl Additional 25031 and WOc Additional 68. HISTORY In the literature this book is known as "the small format volume" or "the motet book. 31). bifolia. Some pages have original foliations in red.RECONSTRUCTION I PHYSICAL DESCRIPTION s. and WOc Add. Dittmer (1957). d. 120 (now Frag. 205 x 145-155 mm for nine red fiveline staves of gauge 13-15 mm. 60 or more pieces) of a substantial codex (140 or more total folios). 1]. xi (from WOc F. PMMM 6.

vol. xlii 10. 58-59 (partial) 8. Crocker (1990). 29 4. Virgo dei genitrix. fol. one voice of troped chant setting of Offertory Felix namque es. fol. est ex te verbum nunc natum quo salvantur omnia . troped chant setting a3 of Kyrie Lux et origo. Frag. [xv] verso-[xvi] [Ob 20. xxxi . 6v]. fol. fol. fol. ed. text lost. 17. facs. WF. Kyrieleyson fol. facs. 2v]. . fig. frag. frag. WF. vi verso-vii verso [Ob 20. facs. WF. PMFC XIV. 31. 5v-6]. PMMM 6. WF. two parts in score. Pes super Quem non capit fol. 4 6. ed. xxxvi. ed. PMMM 6. 40-41 (partial) 3. Dittmer (1957). facs. troped chant setting a3 of Gradual Benedicta V. fol. 2]. PMMM 6. 15-16. 21. fol. vii verso [Ob 20.. pes motet a3. no. 12. 7 9. WF. 000.2. Thomson (2000). 9. [Lux polis] refulgens a[urea] fit inmensis/Lux et gloria/T. 8 -------WOc Additional 68. 13-14. PMMM 6. concordance in Ccl . white notation fol. ed. 54. App. PMFC XIV. fol. Benedicta domina mundi per spacia fol. text lost -------12. no. . PMFC XIV. no. 6. xxxvi verso.. . Dittmer (1957). 3 and 6v]. WF. Caldwell (1991). WMH. . 30. 2. xiii [Ob 20. Thomson (2000). facs. no. fig. no. 1v-2v]. no. no. . facs. O44 7. Anderson edn. facs. 692-97. pes motet a3. in genitrix o dulcis alitrix/T. Felix namque Maria fol. . facs. fol. 5. Caldwell (1991). text lost 13. Frag. no. xiii verso-xiiii [Ob 20. text lost. [xvi ]verso [Ob 20. Quem non capit/ . no. 4v-5]. ed. 4 -------WOc Additional 68. fol. 28-30. no. facs. conductus-rondellus a3. PMMM 6. fol. xiiii verso-[xv] [Ob 20. 000 verso. WF. 3v-4]. 127. Prolis eterne genitor/Psallat mater gratie/T. De supernis sedibus fol. facs. Dittmer (1957). fol. vii [Ob 20. 3 -------Lbl Additional 25301 5. ed. Pes super Prolis Psallat fol. frag. 4 11. 11. fol. . no. ed.

lxxvi verso-lxxvii [Ob 20. WF. 63. voice-exchange pes motet a3. 14 20. pes motet a3. 7 . in WF. no. WF. PMMM 6. Virgo regalis fidei/[Virgo regalis fidei]/Pes fol. Quam admirabilis/Quam admirabilis/Pes fol. 11. no. [Virgo dei] genitrix fol. 9]. no. fol. PMFC XIV. Eterne virgo memorie/Eterna virgo mater/T. 52 22. 128-29. no. 8]. troped chant setting a3 of verse of gradual Benedicta V. fol. Illumina morti datis fol. xxviii 16. PMMM 6. 128-29. concordance in Ob 60. 15. 9v-10]. WMH. [lxxiii] [Ob 20. [pes] fol. 62-63. no. PMFC XIV. fol.iiii. frag. 21. pes motet a3. PMFC XIV. WMH. 54-55. 48. 51 18. Virgo dei genitrix. parts. voice-exchange pes motet a3. 8v]. 10. Salve sancta parens virgo/[Salve sancta parens virgo]/T. 18. 50 17. WF.). no. . no. 63. 13 -------19. ed. 9. frag. no. no. xxxi and xxviii 15. 53. WF. frag. no. O venie vena spes seculi/T. lxxvi [Ob 20. facs. PMFC XIV. ed. facs. 58 WOc Additional 68. ed. de ave parens/. O quam glorifica luce/O quam felix femina/O quam beata domina/T. lxxiiii verso [Ob 20. 10v]. fol. WF. no. Büttner. lxxiiii [Ob 20. 7v-8]. no. [pes] fol. Auszug. Frag. PMFC XIV. fol. pes motet a3 with voice exchange. facs. ed. ed. 67 WOc Additional 68.v. Senator regis curie/Primus pes/Secundus pes fol. 18. pes motet a4. frag. no. no. 8v]. fol. 92-93 23. 16. Auszug. 7]. Caldwell (1991). facs. pes motet a3 with rondellus. Salve sancta parens enixa fol. WF. no. lxxvii verso [Ob 20. ed. lxxvi verso-lxxvii [Ob 20. 9]. lxxvi [Ob 20. with hocket. WF. 9v-10]. 21 21. fol. facs. no. troped chant setting a3. facs. fol. Virgo paris filium/T. facs. 12. PMMM 5. lxxiii verso-lxxiiii [Ob 20. lxxiiii verso [Ob 20. probably belonging together. facs. in WMH. ed. no. PMFC XIV. 232-33 (read as complete a3) -------- .14. ed. facs. fol. concordance in D-Gu 220. facs. Büttner. WF. 2 . ed. frag. fol. WF. Sol in nube tegitur/Non hircorum sanguine/Pes fol. WF. fol. two frag. 17 (read as two-voice frag. Frags.

no. lxxvii verso-lxxix [Ob 20. no. 226-28 26. ed. 18. no. . Sanctorum omnium virgo/T. facs. 11v]. no.3) 29. frag. fig. 701 (partial). no. 47. 225 -------32. fol. with tenor on verso and superius on recto. fol. fol. facs. Alle[luya] V. omnipotencia . troped chant setting a3. void notation fol. 22. frag. ed. 48-49 25. Post partum virgo fol. 15th-century work a2. 1 28. 20. 42. P . facs. PMMM 5. facs. fol. PMMM 6. . concordance is Recon. 48-49 -------WOc Additional 68. 20. facs. Wibberley (2000). lxxix verso [Ob 20. 221 30. Ave rex gentis anglorum (in 15th-century hand) fol. 66] . Thomson (2000). motet. 1. no. frag. 20 (formerly Ob Auct. Ave magnifica Maria/[Ave mirifica Maria]/T. 21. voice-exchange motet a4. fol. 717-18. conductus-rondellus a3 in parts. lxxxviii [Ob 20. ed. motet?. 19-20. WF. Crocker (1990). fol. . 10v-11]. PMMM 5. lxxxviii verso [Ob 20. . PMFC XIV. . WF. 13]. ed.24. Frag. Caldwell (1991). O regina celestis curie flos/O regina celestis curie consolare fol. no. 13v]. concordances in Ob 400*. fol. no. A (text only). F-MO (contrafactum with text Alle psallete cum luya). 49. PMFC XIV. 16 (transposed. II. . WF. 27 [WF. F. no. liturg. Loquelis archangeli/Quartus cantus fol. fol. 21. 12v]. 19. lxxxii. no. 18a. 24 . lxxxii verso Ob Lat. facs. 23 33. A . frag. PMMM 6. lxxxviii [Ob 20. WF. . facs. Büttner. . WF. Büttner. xli 27. lxxxiii-lxxxiii verso [Ob 20. PMMM 6. inf. PMMM 6. frag. rota a3. WF. Büttner. . 21 34. Büttner (1990). 11]. 60 31. lxxxiii [Ob 20. PMMM 5. lxxxiii verso [Ob 20. void notation scribble fol. frag. pes motet a3. . 50. facs. fol. App. fol. WF. no. PMMM 6. Caldwell (1991). fol. Recon II. ed. 22. Munda Maria mater militie fol. ed. fol. facs. lxxix [Ob 20. 35. 203-207 (partial). laus honor reverencia . 19. . 13]. PMMM 6. frag. ed. Amor patris presentatur fol. d. Crocker (1990). 12]. facs. and modified for different Alleluia). 12-12v].

WF. fol. no. ed. 139. fol. fig. AlleluyaV. lxxxxix [Ob 20. Per te dei genitrix fol. 28. pes motet a3. PMMM 6. F. ed. fol. 17]. WF. inf. facs. 30 43. c verso-ci [Ob 20. WF. no. d. WF. 20 (formerly Ob Auct. 29 -------42. PMMM 6. ed. 17v-18]. 22. 1. 218-220 (partial). 47. Pascha nostrum) fol. lxxxxii [Ob 20. liturg. 1 . frag. WF. 17]. fol. facs. 25. MGG2 Sachteil 9:2061-2062. Alma iam ad gaudia-Per te dei genitrix/Alme matris dei-Per te o beata/T.35. WF. 28. rondellus a3 in parts. fol. troped chant setting a3 of Kyrie fons bonitatis. 18v-19]. troped chant setting a3 of Marian version of Easter chant.3) 38. WMH. Alleluya canite-Parens alma/Alleluya canite-Parens alme/T. concordance in Ob 60. . troped chant setting a3. frag. lxxxxix [Ob 20. partial ed. 95-96). 71 40. no. Thomson (2000). concordance in Onc 362. 62. lxxxxii verso-lxxxxiii [Ob 20. 24-25. [pes] fol. 13v]. ed. 31. pl. no. Alleluya-Pes (V. fol. polytextual rondellus a3. facs. 42. text lost 37. ed. pes motet a3. fol. 16v]. Caldwell (1994). . Wibberley (2000). fol. 16 (EECM 26. facs. 14]. PMFC XIV. no. 525 39. frag. . lxxxix. facs. Fons ortorum riga morum/Pes fol. PMFC XIV. frag. Ave virgo mater dei fol. facs. no. 72 41. PMMM 6. lxxxviii verso [Ob 20. 32 . [Benedicta V. lxxxix verso. Kyrie fons pietatis fol. xli 36. lxxxxix verso-c [Ob 20. 28 44. ed. Fulget celestis/O Petre flos/Roma gaudet de tali fol. facs. no. frag. fol. fol. WF. 26. PMMM 6. fol. no. recolat ecclesia Katerine/Virgo sancta Katerina/T. Büttner (1990). Sanders 1980c. 26-27. WMH. lxxxxiii verso-lxxxxiiii [Ob 20. 15v-16]. no. no. lxxxxiiii verso [Ob 20. Virgo] dei genitrix fol. PMMM 6. frag. facs. ed. Wibberley (2000) WOc Additional 68. ed. facs. PMMM 6. no. 29-30. facs. 2061-62. troped chant setting a3 (Gradual). 42 45. 23. PMFC XIV. WF. PMMM 6. void notation scribbles fol. 27. text lost. no. no. 1 -------Ob Lat. 14v-15]. Beata supernorum-Virga iesse floruit/T. Frag..

with a varied textual concordance in Recon II.46. fol. profero in te rex glorie . facs. . WF. . no. fol. Bukofzer (1944). ed. O decus predicancium/T. no. pl. frag. ed. 26. [Salve virgo virginum M]aria virgo intercede fol. no. 40 -------WOc Additional 68. . 30 47. frag. WF. WF. 25. WF. 56 = WF. troped chant setting of Marian version of Gloria trope Regnum tuum. . 34 49. pes motet a3 of tropic origin. ed. 39 55. Thomson (2001). fol. 90. Thomson (2001). facs. facs. cxxxvi [Ob 20. fol. PMMM 5. O regina glorie Maria/T. no. Pro beati Pauli gloria/O pastor patris/T. frag. no. ed. [Gaude Mar]ia plaude dulcis et amena/T. [pes] [Ob 20. void notation scribble fol. troped chant setting a3 (Tract). decus virginitatis . 38 54. on two statements of an unidentified tenor or pes. 9. WF. frag. text concordance in following item [Recon. fol. 25. 35 -------51. 22]. [Agmina] fol. facs. frag. Frag. no. 177). I. pl. ed. fol. 4 (EECM 26. 36 52. [Gaude] Maria virgo fol. . xi 48. ed. mundum in prospero [Ob 20. facs. fol./ . [cxxxix] verso [Ob 20. fol. liturg. . no. WF. 33. no. PMMM 6. d. . 22v]. Felix illa curia. facs. PMMM 6. 90. xiii . . . [pes] fol. 17 . PMMM 6. 20 (formerly Ob Hatton 30) 53. cxxxvi verso [Ob 20. Salve gemma confessorum Nicholae [Ob 20. . . WF. polytextual conductus a3 in parts. . 21]. frag. 70] and Lwa 33327. no. Bukofzer (1944). ci verso [Ob 20. motet voice. . 20v]. facs. 32. 92. ci [Ob 20. . void notation scribbles fol. fol. Bukofzer (1944). 33 -------WOc Additional 68. frag. cxxxvi [Ob 20. ed. Frag. 9 50. 37 -------Ob Lat. pl. no. PMMM 6. PMMM 5. 31. cf motet a3. pes motet a4. fol. motet?. facs. facs. . no. in te domine in eternum/T. 21v]. fol. [cxxxix] [Ob 20. -grantis fumi virgula fumus ex aromati . 19v]. Salve fenestra vitrea/ . facs. 22]. 20]. frag. no. ed. PMMM 5. WF. 20]. . 19].

xl 65. . PMMM 5. Pes super O debilis/T.56. facs. 36v-37]. no. concordance in Recon II. Frag. Crocker (1990). no. facs. Büttner. Puellare gremium/Purissima mater/T. Dittmer (1957). fol. pes motet a3. xl (b). fol. quiquid homo gescit/T. fol. 22 [WF. no. fig. PMFC XIV. 48 -------61. 705-708 64. PMFC XIV. no. 4 (EECM 26. ed. I. 37v]. 75 63. facs. no. ed. no. WF. 38]. frag. 25. facs. cf motet a3. Thomson (2000). WF. facs. ed. 73. Pes super Virginis Marie et Salve gemma [Veritatem] [Ob 20. 562. Dittmer (1957). no. 39]. facs. ed. Dittmer (1957. fol. Frag. frag. 77 -------WOc Additional 68. 22-23. 28. . no. . 36v-37]. no. 74. facs. 36]. . No . ed. Te domine laudat/Te dominum clamat/T. 3 -------- . Malyshko (1998). Virginis Marie laudemus/Salve gemma virginum/T. pes motet a3. recto 66. O debilis o flebilis/T. WF. . Frag. 55 = WF. no. 30. white notation [Ob 20. 77 60. 972-76. Pro beati Pauli/O pastor patris/O preclara patrie/T. pl. 562. PMFC XIV. piste lumen celi prin . Sanctus [Ob 20. 22-23. 212-215 62. [Fulgens stella] . 47 59. no. WF. WF. no. WF. 71. fol. ed. troped chant setting. ed. . no. . 40]. 177). Pes de Fulgens stella [Ob 20. Sanders (2001d). fol. 38v-39]. frag. pes motet a2. PMMM 5. Lefferts (1983). fol. Dulcis Iesu memoria/Pes de Dulcis Iesu memoria [Ob 20. 31. pes motet a3. WF. 72. 76. 29. frag. 39v]. no. 70. 24-25. facs. PMFC XIV. facs. 61]. facs. . concordance in Lwa 33327. Primus pes super O debilis [Ob 20. fol. Sanders (2001d). no. fol. PMMM 5. Dittmer (1957). no. Pes de Pro beati Pauli et de O pastor patris et de O preclara patrie [Pro patribus] [Ob 20. cf motet a4. WF. PMMM 5. 36]. 28 58. Pes super Puellare et Purissima [Ob 20. text concordance in preceding item [Recon. 84 57. PMFC XIV. pes motet a2. Sanctus et eternus deus/T. . no. no. ed. xl (b). verso. 45. Pes super de Te domine et de Te dominum [Ob 20. PMMM 5.

67. of the well known monophonic song 69. . textless Frag. . Frag. . . xl (a). Malyshko (1998). angeli per famina intacta . facs. . monophony?. culorum tempore . . xl (a). verso. recto 68. in conclave virginis . frag. . recto. xl (a). fig. . . Thomson (2000). [Angelus ad virginem] . [pa]ries intacta Frag. . . . . 2 . vitam que dona morte .

) Further. 27a recto-verso) preserve the reverse image of one surviving page (fol. so that the opening spans 34r and 35r (as per the photo captions in PMMM 6. 35. Bodleian Library. fol. there is no reason to assume that fol. Offsets on the inside front and rear covers of Oxford. bifolia. 243 report Ob 20. The order of presentation here principally follows WF and RISM. and given that fol.RECONSTRUCTION II I. we assume no continuity between Ob 20. more than 32 pieces) of a once substantial music codex with overall dimensions of ca. 20 [Ob 20]. Bodley 862 (photographically reversed as Ob 20. Thomson (2001). 35 has a center gutter. III. xlvi). thus turning WF. 32. both RISM B/IV/1. an English manuscript of the middle of the 14th century. fols. but by assuming that item 29 spanned an opening (verso to recto). 68. BIBLIOGRAPHY RISM B/IV/1. d. A previous attempt at reconstruction in Ob Lat. The fragments comprise single leaves. 330 x 223 mm [330 x 220 in Dittmer and RISM]. 23-35v. 541-42. There is no surviving medieval evidence for this order aside from some local continuities between leaves that are linked physically or by content. Bodleian Library. 3/4 This reconstitutes the partial remains (more than 13 folios. but following observations in WMH and EEH. 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). 35. we have instead retained fol. and decoration in red. 552-62. and nested bifolia from the lost music codex.xiii. xliv. a 13th-century Worcester psalter whose flyleaves were detached and transferred back to Worcester in the 1920s. 32. fols. and also RISM. Büttner (1990). 43). the present nos. EEH. Caldwell (1990). At least one is of demonstrable Worcester origin and is still housed in Worcester Cathedral Library. combines leaves formerly in Oxford. 34. 31 and Ob 20. 688-9. Frag. Contradicting Dittmer in WF. II. 154-56. a written space of 267 x 170-80 mm ruled in twelve red five-line staves of gauge 13-14 mm. xxxv comes out of Oxford. PHYSICAL DESCRIPTION s. Wilson (1990). liturg. 34 before fol. All were probably owned by Worcester Cathedral Library. 34 as following fol. ix and xxxv. 554 and PMFC XIV. PMMM 5. The presence of erasure and palimpsest reveals an effort to update the original music codex in the 14th century. HISTORY In the literature this book is known as "the large format volume. fol. MMBL 4:683-4." to distinguish it from RECON I and RECON III. 72. Sanders (2001e). ix came out of the binding of WOc Q. Magdalene College 100. Levy. Lefferts (1983). Sanders (2001a). Losseff (1994). Fragments have been discovered in three surviving codices. 6 = Ob 20. fol. blue. Sanders (2001d). 110-11. Bodleian Library. 20 and 21. and with photocopies of leaves from WOc Add. 60 into two items. 31 originally preceded fol. Bodley 862 with reversed photos of the offsets on its binding boards. Thomson (2000). (Indeed. There are eight discrete series of pieces. F&H. Frag. PMMM 6. and green. Frags. fol. but with the reversal of recto and verso for fol. 188-91. 28 recto) and one otherwise lost page. PMFC XIV. 167-68 .

Caldwell (1990). PMMM 5. no. frag. 26v]. ed. fol. [Frag. . 26 = Frag. fol. fol.IV. troped chant setting. 68. no. fol. frag. facs. text concordance in Onc 362. 70. troped Spiritus et alme insertions a3. 59 2. no. fol. WF. partial ed. fol. fol. 3. PMFC XIV. 41. fol.20 (formerly Ob Bodley 862) 4. fol. 6v = Ob 20. Lefferts (1983). Wilson (1990). d. Alleluya concinat hec familia fol. ed. fol. Wilson (1990). ed. palimpsest. facs. WF. no. frag. xxxv 7. frag. 26 = Frag.20 (formerly Ob Bodley 862) 1. facs. 43. d. tenor motet. 899-906 Ob Lat. Rex omnipotencie palimpsest. in Sanders (1965). WF. PMFC XIV. ed. frag. 907-912 8. WF. fol. 25v-26. 42. WF. facs. 99-102 WOc Add. frag. [Frag. 50-51. Spiritus procedens a patre fol. 46. facs. fol. no. 35-37. tenor motet. no.. WF. 3v-4. fol. fol. Inviolata integra et casta fol. 3v-4. 913-15 -------WOc Add. no. 64-65. In tuis laudibus/ . 64-65. Büttner (1990). xxxv. 2v. liturg. Alleluya V. 4v. no. ed. CONTENTS Ob Lat. WF. xxxv 5. no. PMMM 6. tenor motet. Lingua peregrina te laudare/T. frag. 23v-24v]. fol. Lefferts (1983). 47. 26v]. palimpsest. 68. 25]. facs. 24v]. no. troped chant setting a3. [Ob 20. 1-2v. 6r]. no. [Ob 20. 20. frag. WF. frag. facs. Virga Iesse floruit. ed. etc. WF. 55. 4v. xxxv. troped chant setting a3 of Alleluya V. 28 -------Ob Lat. 38. 68. 6v = Ob 20. 56 3. pes motet a3. . [Ob 20. palimpsest. 25v-26. [Ob 20. palimsest. 70. xxxv. PMMM 5. xxxv. fol. ed. Peregrina moror/T. 48. ed. Gaude per quam cornu David/T. [Ob 20. Dulciflua tua memoria/Precipua michi da gaudia/Tenor de Dulciflua fol. Gaude virgo gaude fol. 68. 45 6. PMMM 6. Lefferts (1983). liturg. . . . 34. [Ob 20. no. Alleluya psallat hec familia/Alleluia psallat hec familia/T. PMFC XIV. PMMM 6. facs. WF. Laqueus fol.20 (formerly Ob Bodley 862) and WOc Add. PMMM 6. no. d. App. Inviolata integra mater/Inviolata integra mater/T. 37. 6r]. liturg. 44. 23]. ix . 1.

concordances in Cambridge. 27v-28. 57 . fol. 55. 1r-v = Ob 20. 8-8v. Alleluya V. fol. frag. 879. Alleluya V. 42. fol. [Frag. Alleluya moduletur Syon/Alleluya moduletur Syon/T. 36 . [Ob 20. [Ob 20. . fol. 1 & 2 v = Ob 20. Candens crescit lilium/Candens lilium columbina/Quartus cantus palimpsest. [Alleluya V. EECM 26. 54 15. . 204] and New York. et gloria in celestia/T. fol. 1 & 2 v = Ob 20. PMMM 5. . 27 = Frag. PMMM 6. Letabitur iustus] fol. 60 -------WOc Add. facs. fol. WF. fol. fol. 5. WF. ii verso [facs. [Ob 20. 27-27v-28. beginning as transposed concordance to Recon I. 7v-8. Gaude plaude/T. no. . Fulgebunt iusti fol. Pembroke College. WF. . frag. 205. O regina glorie/Alleluia . . no. PMMM 5. a varied concordance to the text of the troped verse has another musical setting in Recon I. . 28v]. fol. 50 WOc Add. frag. 3r = Ob 20. 5. no. frag. fol. 6v. facs. fol. no. 1r = Ob 20. no. d. facs. no. offset onto front binding board is Ob 20. Regis celorum . 30-30v]. troped chant setting a3. 5-6. facs. pl. PMMM 5. pl. troped chant setting a3. xxxv. 66-67. PMFC XIV. ed. p. fol. PMMM 6. fol. [Frag. 879. troped chant setting a3. 68. Iudicabunt sancti fol. ix and Ob Lat. PMFC XIV. xxxv. . frag. pl. 1 & 2 r]. WF. facs. 228. troped chant setting a3. fol. EECM 26. Iusti epulentur fol. [Frag. fol. Alme veneremur diei/Alme veneremur diei/T. 27a recto. fol. EECM 26. WF. Ave magnifica Maria/Ave mirifica Maria/Alleluya V.9.Frag. 978 [facs. [Frag. no. 29-29v]. ix. . 66. Veni mater gratie preces fol. no. WF. 27a recto. 19 16. refrain motet a4. ix. PMFC XIV. xxxv 14. PMFC XIV. xxxv. 52. Pierpont Morgan Library. 5v-6. ed. PMMM 5. 49 10. 56. fol. no. Dulcis mater fol. offset onto front binding board is Ob 20. 65. ed. troped chant setting a3. 26 and to F-MO (contrafactum with text Alle psallete cum luya). 20-23.20 (formerly Ob Bodley 862) 11. 67. . Alleluya V. frag. 22-23. no. fol. fol. 3v. 3r-v = Ob 20. 27 = Frag. WF. . App. 51 12. ed. . no. troped chant setting a3. Et honore speciali/T. [Frag. PMMM 5. liturg. 67. . O laus sanctorum/T. / T. xxxv. ix. fol. 20-21. Reaney (1977). no. facs. no. fol. frag. O laus sanctorum fol. troped chant setting a3. 40-41. . Sanders (2001a). 29]. 27]. 40-41. troped chant setting a3. 29v-30]. WF. WF. fol. 67. ed. 20-21. 192-193]. 879. 17 13. . fol. [Frag. Regis celorum mater fol. ed. xxxv. no. frag. 7-7v. 51 = WF. . ed. PMMM 5. Alleluya V. frag. ix. frag. WF. Sanders (2001a). ed. no. 1 & 2 r]. PMMM 6. et tanquam scintille/ . WF. frag. App. 68. facs. 53. PMMM 5. 18b 17. Alleluya V. Sanders (2001a). ed. no. Alleluya V. 27]. facs. . facs. fol. 7. WF. App. .

xxxv. fol. . 69. PMFC XIV. ed. Ob 20. 4r-v. WF. . 68. 59 20. 32]. Sanctus trope a3 on c. ed. 64 [WF. facs. Sanctus trope a3 on c. Salve mater redemptoris/Salve lux languentium/Salve sine spina rosa/T. 60 22. 55. WF. xxxv 25. WF. WMH 44-47 (partial).venit in nomine fol. WMH. no. 4r. not part of no. Sanctus trope a3 on unidentified c. frag. frag. 32v]. Osanna in celesti/T. 64. Sanctus trope a3 on c.f. facs.f. fol. pl. . no. EEH. Sanctus fol. [Frag. ed. 2r-v = Ob 20. xxxv. WMH. frag.. 77]. xxxv 18. fol. 33]. no. xxxv 21. 10-10v. fol. numbered III in the margin. xxxv. fol. 44 (partial). 60 -------WOc Add. Ob 20. 74 . xxxv. Sanctus sanctus sanctus adonay genitor/ . Sar 2. fol. frag. 10. WMH. 50-53. Sar 5. 68. facs. . fol. . fol. no. 48-49. ed. 10v. 11. 61. no. [Frag. 49. WF. WMH. . 9-9v. . [Sanctus] fol. 31v]. pl. 2r = Ob 20. . Sanctus Deus ens ingenitus/T. 68. Sursum corda fol. Osanna in excelsis/T. Sar 5. troped chant setting. in Sanders 1980c. 63 -------WOc Add.f. fol. Sanctus et eternus Deus/ . no. . 9. WMH. 526 23. facs. PMMM 5. . [Frag. xxxv. frag. 4v = Ob 20. [Frag. fol. . 21 below.f. facs. facs. 2v = Ob 20. . Unus tamen est divinus/T. frag. Sanctus trope a3 on c. WMH. ed. 31]. WF. 68. frag.-------WOc Add. [Frag. WMH. WF. fol. 55. WMH. [Sanctus] . WF. 32-32v]. [Sanctus] . 54. WF. frontispiece and front cover art on LP disc Nonesuch H-71308. 4v. PMMM 5. xxxv. fol. 5r = Ob 20. facs. EEH. ed. celitus pater natus fol. facs. PMMM 5. 62 24. of 2 vv of Sanctus trope a3 on c. [Sanctus] fol. partial ed. 31-31v]. frag. troped chant setting a4. no. . XL. fol. Sar 3 with trope Marie filius. PMMM 5. Benedictus/T. fol. [Sanctus] . no. WMH.f. 32v]. frag. Unus tamen est divinus] . fol. XL. frag. ed. 58 19. fol. 55. 20 above. Sar 2. . ed. nomine domini fol. [Salve] sancta parens enixa puerpera fol. .f. [Sanctus . . no. 10v. [Frag. 9v. [Frag. no. not part of no. 68. . 69. concordance in Recon I. [Frag. xxxv. Sursum corda elevate/T. Sanctus ex quo omnia pater/T. no. Ob 20. xxxv.

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

9. . 7 (Frag. no. no. 9. ed. fol. end of frag."]. . 38. ed. 7 (Frag. 68. ardire ad valoris. xix. 6v (Frag. 47. 14th-century chant setting. 47. facs. 269) 17. Anderson edn. frag. 1) [RISM [107]].. Sanctus fol. Anderson cat. fol. ed. xxxii. WF. cantilena a3. no. [Gloria laus et honor] tibi sit . no... conductus a3. no. no. 5v-6 (Frag. WF. PMFC XIV. 109. facs. frag. PMMM 6. no. 85 15. O48 (Szöverffy. . 150). PMMM 5. 86 -------WOc Add. frag. frag. . 13. . b1 verso-c1) [RISM [85]]. ed. fol. fol. WMH. vol. no. PMFC XIV. xxxii. no. frag. 46. vol. [Gloria laus et honor] fol. facs. 66 18. PMMM 5. 115. facs. Grata iuvencula decora nimium fol. fol. xxxii 16. WF. . 1v) [RISM [109]]. chant setting a3. PMMM 6. 7v (Frag. perduc ad polor nostra gaudia. 108. Anderson edn. [Anderson reads as " . no. facs. fol. 107. ed. . fol. 1) [RISM [108]]. 14th-century chant setting. PMMM 6. App. WF. O54 . c1 verso) [RISM [86]]. WF. xix. 39.14. O51 (Szöverffy. xxxii.

III. PMFC XIV IV. frag. motet a3 on St. a primo gene[ris]/ .xiii med. AH 21. 220g s. . [cal]bacio O grauis confusio . no. . 5]. PHYSICAL DESCRIPTION Two parchment flyleaves once consecutive. 2]. If there were originally twelve staves per page. Once used as flyleaves in Buterus. HISTORY No info. triplum text ed.D-Göttingen. Pes fol. no. . orbi ferens gaudia/ fol. A superna paranimphus patria . concordance with notation in square breves in Cjec 5. ed. . perhaps cut from a bifolium that was the center of a gathering. [RISM nos. WF. 50 2. 3]. now sliced in half horizontally with loss of the top part. Notation is EMN with rhomboid breves. frag. quo me vertam nescio/T. RISM foliation reverses rectos and versos). Niedersächsische Staats. 2-3. frag. monophonic sequence? . ruled in red five-line staves of width ca. I. [RISM no. 83-84. pes motet a3. on music leaves. respectively. [RISM no. since item 2 spans an opening (not recognizing this. RISM nos. ij/T. 1-2v. . 11. II. Senator regis curie/T. no funere fol. motet voice? 4. no. 6-8 are unrelated. . Acta colloqui Ratisponnensis (1541). [RISM no. . . PMFC XIV. and and trimmed vertically at the center fold. 10 mm. no.und Universitätsbibliothek. 1. BIBLIOGRAPHY RISM B/IV/1. 1v. frag. . . now housed in a modern collection of fragments as fols. . Theol. Thomas of Canterbury. dimensions are now 101 x 141 mm and 106 x 140 mm. concordance is Recon I. CONTENTS 1. 230 x 160 mm with written space ca. frag. [O]pem [nobis] fol. 1 3. 16 . 125 mm and staff gauge ca. 2. size would have been ca. 4]. [O mores perditos] . cf. 190 x 125 mm. 2. 143.

red and blue initials. now 280 x 245 mm. with written space ca. . troped chant setting a4 of an Alleluia. . Iustus germinabit. . frag. two frag. Qui s]edes ad dexteram . triplum of troped chant setting a3 or a4 of an Alleluia for a Confessor. . troped chant setting a3 or a4 of an Alleluia. troped chant setting a4 of an Alleluia. 2v. Thomas Martyr in Arbroath. Wolf. . 205-206. text tropic to Alleluia V. Franconian and Petronian musical notation. tenor melody is identical to setting of first three words only of verse of Alleluia V. BIBLIOGRAPHY RISM B/IV/1. Ludwig (1923). . III. /[T. II. Besseler (1925). Host ms once belonged to the Benedictine abbey of St. Assumpta est Maria 4. originally ca. 499 I. Alleluya concrepando pange/Alleluya consonet presens fol. HISTORY No info. HNK I. Ave Maria gracia plena 3. note. frag. frag. 1. not including jubilus) of Alleluia V. 1300 Two parchment leaves once front and rear flyleaves in the host ms. 1v. on music leaves. Alleluya confessoris almi presencia fol. at the verse. Scotland. CONTENTS 1. originally ten red five-line staves per page. 2. conflates the tenor pro iiii with the quartus cantus for a three-voice performance. 2. probably from a larger series of troped chant settings of Alleluias. 223. 5 uses superacute G. square-b and F-clefs. 220. Preece (2000) IV. 192. frag.] fol. 2. a solus tenor in all but name. solis vel syderis cum beatis ceteris coram salvatore/Quartus/Tenor pro iii/Tenor pro iiii fol. Quartus/Tenor pro iiii fol. Herzog-August-Bibliothek. the tenor pro iii. voices of 15th-century void-notation Gloria 5. 317 x 215 mm and staff gauge 22 mm. [Et in terra . 360 x 280 mm. PHYSICAL DESCRIPTION ca.D-Wolfenbüttel. melody of Tenor pro iiii begins like respond (soloists's Alleluia only. 286. Item no. verse perhaps began "Veni" or "Veni nunc" . .

Roesner 1974. 8) Lütolf. gatherings 24-26. the contents are usually described as comprising 11 fascicles. 1-23 may be the work of a single scribe. Listed below are simply the troped Sanctus and Agnus of W1. Roesner. III. 16-18. 1981. 33 D-W 677. The last three gatherings. Brown et al. Everist 1998. 97-171. Its contents most likely were collected and copied in the 1230s. 1976. 150 x 210 mm with written space mostly around 80/90 x 155/160 mm and staff gauge for five-line staff of ca. of ten gatherings. 26 (fasc.D-Wolfenbüttel. Most of the repertoire is an international Anglo/French corpus of organa and conductus. 1240 as as the most widely accepted approximate date of completion. 34 D-W 677. BIBLIOGRAPHY RISM B/IV/1. Fascicles 8-10 form a second large. troped Sanctus.199 Sar 3= Than 49 tr. mostly intact but a few with a couple of missing leaves. nos. RISM enumerates 3228 items in W1. Staehelin. 8) Lütolf. Consists of 26 gatherings. Roesner. 628 Helmst. Cosart (2007). Fascicle 9. 1980. from four to three to two. Gillingham 1982. 24-26. 1240 Manuscript ca. Falk. is by far the largest. 1995. was once an independent manuscript. fascicles 3. fascs. W1. 8. pp. organized group. Everist 1990. 36 . 189 (fasc.151 Sar 1= Than 203 tr. 1981. Fascicles 1-5 form a coherently organized group. Andrews and using a dialect of Notre Dame-era notation with some distinctive insular characteristics. PHYSICAL DESCRIPTION ca. 9 mm. 190 (fasc. and may arguably be understood as comprised of three fascicles (gatherings 1315. 8) Lütolf. who copied an original corpus of works and some contemporaneous additions. Herzog-August-Bibliothek. I.102 D-W 677. Andrews. with conductus arranged in descending order by number of voices from three to two to one. 191 (fasc. 19-22). with ca. 10 and the contents of the entire eleventh fascicle.171 Sar 8= Than 223 tr. with organa for mass and office arranged in descending order by number of voices. 8 Sanctorum exultacio Perpetuo numine Quem pium benedicit Laudes deo ore pio Sar 5= Than 32 tr. II. HISTORY Made for and probably copied at the Augustinian priory of St. gatherings nos. Fascicle 11. NGD 2001 “Sources” entry. here recorded in the local “house style” of St. 3. 9. represent an independent manuscript of similar dimensions and probably a similar history. 3) Lütolf. each consisting of one or more gatherings. 35 D-W 677. This entry is very much a “stub”. Guelf. Scotland. CONTENTS Following Handschin. Roesner (2009) IV. Baxter 1931.

All. 9 Sar 2= tr. 60 Lütolf. Kyrie virginitatis amator 7. 47 Sar 2= tr. 34 Sar 3= Than tr. a3) (fasc. fasc. Per precem piissimam [nine Marian Alleluias] 9. 83 Sar 2= tr.38 209 tr. All.32 D-W 677. 9. Virga dei mater pia 10. 2 W1.W1. Creator puritatis 3. 185 Sar 3= Than tr.55 114 tr. 123 Sar 3= Than tr. 193 D-W 677. Lux et gloria 4. 8. 9 Lux lucis Mortis dira Fons indeficiens Deus deorum 267 tr. 94 Sar 2= tr. O Marie creator pie 6. a2) (fasc. Conditor Marie omnium regine [Gloria with Marian trope insertions] 8. troped Agnus.66 136 tr. Kyrie virginei lux 5. 8. 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. 192 D-W 677. fascs. 9. a2) Lütolf. 281 (fasc. 63 Lütolf. 55 Sar 2= tr. 138 . 8. 47 Sar 3= Than tr. Virga Iesse floruit Sar 2= tr. fasc. Sar 3= Than tr. 64 W1. 61 Lütolf. 231 D-W 677. a3) (fasc. 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. Rex virginum amator 2.

De virgine nato 44. Voce vita [Maria Agnus tropes] . virgo serena 22.11. Hac clara die 31. All. Preter rerum seriem 40. Post partum 14. Virga florem germinavit 13. Hodierne lux diei 23. Inviolata integra et casta [Marian Sanctus tropes] 41. Ave Maria gratia plena viris invia 34. Ave Maria gratia plena . Felix namque es 37. All. Paranimphus salutat virginem 21. Laudes Christo decantemus 26. Recordare virgo mater 35. Ave Maria gratia plena dominus tecum 39. Reginarum dominam laudemus 29. Ave regina celorum 38. Mittit ad virginem 20. All. All. Ave Maria gratia plena 16. Ave mundi spes Maria 24. Sanctus. Virgini Marie laudes 25. Virgo intermerata 17. All. Angelus domini nuntiavit [Marian Tract] 18. All. Per te dei genitrix 15. Salve virgo dei mater 12. Virgo parens gaudeat 32. Sanctus. . Maria mater egregia 43. All. O vere beata sublimis sponsa domina 36. Sanctus. Vebum bonum et suave [eight Marian Offertory substitutes] 33. Ave celi imperatrix 30. Virgo mitis vere vitis 28. Gaude Maria virgo [twice seven Marian sequences] 19. Mater mitis vere vitis 42. . Missus Gabriel de celis 27.

Qui de carne (text only) . Factus homo 46.45 Agnus dei. Mortis dira ferens 47.

CONTENTS 1. ca. 1) and one similar setting before nos. 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. given by Charles II to Trinity College in 1661. xiv in. 29) 2. RISM Suppl. . three. 7. 300 x 185-190 mm. foliated 1 and 222. Iudicabunt] fol. Michael (Sept. HISTORY No info. Sancti per subopera/Alme cohors celica . of three voices of a troped chant setting a3 for All Saints (Nov. Vas sacratum consignatum . [Alleluya V. [Alleluya V. . on music leaves. frags. the front and rear flyleaves in the present host ms. 6. pl. 26-28 IV. frags.Eire-Dublin. facs. 11) 4. PHYSICAL DESCRIPTION s. Hic presul insignis/ T. Quem qui munere/ T. four. . 2 and 3 (for Sept. 222r-v. . Alme morum monitum . Andrew (Nov. frag. frags. 345 x 210 mm but now ca. 7. Archbishop of Dublin (1581-1656). 1r-v. facs Wathey. pl. Wathey. 1 headed "Martino. 1v." fol. Cecus angelorum/Almi patris in laude . BIBLIOGRAPHY Wathey. with long-breve declamation and very infrequent. In conspectu] fol. Dilexit Andream] fol.. written space 237 x 155 mm. Text hand is gothica textualis rotunda. 1. Wathey. of two voices of a troped chant setting a3 for St. pl. all in red. Martin (Nov. 1) ------------------3. facs. 11 and Nov. 3 and 4 (Nov. [Alleluya V. Fol. penwork capitals at internal textual subdivisions splashed with red. Two parchment folios. 29 and Nov. 30). II. The contents form part of a calendrical series of troped chant settings a3 of Alleluias. Psallam ergo cantica . . [Alleluya V. Wathey. 6). arabic numerals are used to indicate the number of single longs (two. Dilectus dilexit/ T. Major initials elaborately flourished in red and blue. III. facs. of two voices of a troped chant setting a3 for St. 30) . . between the existing leaves was probably a single folio with the completions of nos." and an "s" at the foot of these pages. melismatic groups of semibreves. Trinity College. 519 (E. 222v headed "In die. . 222v formerly pasted down. . . 29) I. Iuste diera/ T. pl. Flyleaves for a miscellany of theological and historical works copied in the mid to later 15th century. eight) in the duplex longa. A pressmark indicates that the volume was once owned by James Usher (Ussher). Hic Martinus] fol. 222r. with fol. musical notation is essentially Franconian. of a troped chant setting a3 for St.

Monophony and polyphony both use longs and rhomboid breves. Omnis caro peccaverat (The Song of the Flood) fols. Scribere proposui de contemptu mundano fol. ed. 119v-120. sequence a2 with voice exchange. no. Anderson cat. Trahis suspirium/Mordax detractio/T. 182 . 116-117. Anderson edn. no. 63 5. averaging ca. motet a3.. fols. 120 x 120 mm or 144 x 108 mm. written space variable from ca. Tischler (1967). Anderson cat. 117v-118. Latin monody. a discrete ternium.. vol. ed. Anderson cat. IV. Music copied into the first nine pages of the final item. PMFC XIV. no. c.. 1 and 5) are also found near to each other in Cambridge. 117 and and on the final three pages that are not reproduced here.France-Paris. Virga ferax Aaron fol. no. III. Richard of Fournival's Bestiary. freely drawn four-line staves per page of gauge 7-9 mm. 76 3. 8 mm. 7. L161 (Szöverffy.. Gillingham edn. Pages perhaps originally ca. is dated 3 September 1267 on fol. 380. [Epiphaniam domino] fol. written in England. Stevens (1986). no. 144-54 2. 15. BIBLIOGRAPHY RISM B/IV/1. 295). 120 x 104 mm to ca. Stevens (1986). no. University Library. partial ed. Anderson edn. V. Stevens (1986). 180 x 135 mm. 106v. no. 120. PMFC XIV. 281-82). PMFC XIV. there are unrelated nonmusical texts on fol. 118-119. PHYSICAL DESCRIPTION s. 116-121. II. P31 (Szöverffy. RISM B/IV/2. no. xiii med. HISTORY Ms is a miscellany of 121 fols. The two well-known monodies (nos. Bibliothèque Nationale de France. chant setting a3. now trimmed at top and outer margin to 165 x 131 mm. Gillingham edn. Anderson cat. Stillat in stellam radium fol. Additional 710. 10. L160.f. Latin monody. P31 4. ed. PMFC XIV.. The mixture of Latin monodies and varied polyphonic genres is similar to Lbl Harley 978 and Lbl Arundel 248... 393-95. 521. music on up to 10 red. Alleluya. CONTENTS 1. 276-78. One of the items. Tischler (1967). français 25408 I.

1 4.France-Tours. ed. [Ade finit perpete] . no. Bibliothèque Municipale. PMFC XVII IV. . foliated I. 165. O crux ave spes unica spirans/O crux ave spes unica spiritum/T. Ir and 165v were pasted down. Si javoie. frag. no. 166v-II. Lefferts (1986). ed.f. frag. 87). four-voice hocket 3. with a thirteenth staff. Se iavoie a plaingant/Tenor cont. 165v under uv). I. Iv. PMFC XVII. Wynter fol. HISTORY Bound into an early 15th-century paper manuscript of 164 fols. motet a4. motet a3. Musical notation is Franconian. 925 I. added at the bottom of Iv. fols.f. 166. frag.. Suppl. BIBLIOGRAPHY Cat. motet a3 . and fols. 87v (EECM 26. c. PMFC XV. c. motet a3 5. fols. III. . . Vide miser et iudica/Vide miser et cogita/T. 4 8. . fol. PHYSICAL DESCRIPTION s xiii/xiv Four parchment leaves used as front and rear pastedowns and flyleaves. ed. regnum poli patrie/Ade finit misere/T. c. but they have since been lifted. Exulta syon filia iam exultaris/Exulta syon filia suffulta/Exulta syon filia iam noli/T. fol.] fol. written space 200 x 140 mm. 165. 166 follows 165 (needs examination of fol. /Syderea celi cacumina/T. Iv and 165r. 165v palimpsest with erased music. [Textless. gén. 166.f. Anderson (1982). containing the works of Terence. /L-. I. etc. pages ruled in a single column of twelve red five-line staves of gauge 11 mm. Or sus alouete fol. of four lines. . II. 5 9. A definement fol. . were originally facing pages. pl. .f.f. concordance is Oxford. frag. L-. . possibly voices from two motets -------7. II.f. leaves now (and perhaps originally) 250 x 185 mm. motet a3. S-. 166. Iv-165. Initials in red and blue. Suppl. /[T. PMFC XVII. when first discovered. CONTENTS 1. . celestium gemma iubar . c. 304-7. fol. fol. 362. . En ai ie bien trouve fol. . possibly fol. 665-66. motet a3 2. no. .] fol. . motet a4 6. erased c. /T. New College. 166v and IIr. c.

Suppl. II. Va dorenlot fol. Mons olivarum ecce rumpitur/Mors amari moritur fol. motet a3. Cui proclamant fol. In virtu.f. 2 11. no. Valde mane diluculo devota/Valde mane diluculo maria/T. motet a3 . Corona virginum/Columba prudencie/T. c. PMFC XVII. no.10. Saa (?saient. frag. PMFC XVII.f. IIv. T.f. c. c. ?saiur) fol. Suppl. ed. 3 13. IIv. II. ed. tenor of otherwise lost motet 12. motet a3.

Fiori. so two melodies have been joined here 2. -----/T. Maiori vi leticie/T. duplum is a cantus prius factus with concordances. duplum is lost. . In seculum/Ihesu fili virginis two complete voices (tenor and duplum) of what was probably a three-voice duet motet with medius cantus. BIBLIOGRAPHY Vecchi. HISTORY III. Candor vestis in hiis festis/Candet sine spina rosa/T. Pieragostini) I. Celum mercatur hodie/T. triplum is lost. Fiori. complete three-voice motet on repeated and freely varied tenor 4. Pieragostini IV. Summers. CONTENTS 1.I-Bologna photos not reproduced here (see Vecchi. PHYSICAL DESCRIPTION II. Cesus in gregis medio two complete voices (triplum and tenor) of what was probably a three-voice motet.----/Maiorem intelligere two complete voices of what was probably a three-voice duet motet with medius cantus. tenor is lost 3.

. preserved in a small oblong binder. rhomboid semibreve (nos. BIBLIOGRAPHY RISM B/IV/1. PMMM 6. 56-58 2. containing the Liber de IX scientiis et sermones. 654 Suppl. 77. 68. cut in half horizontally with loss of about one music staff and folded once vertically to form eight front and eight rear flyleaves (fols. 175200 x 130-135 mm. Inked faces on capital "O"s at beginning of second section of bipartite motets nos. red five-line staves per page (a twelfth staff was added to 1r and 2r) with staff gauge 13. PMMM 6. Creatoris gratia . 1 . 48. Greene (1954). PMFC XIV. no. no. 2. 1-8 and 157-64) in the binding of ms 654. written in England. that once belonged to Meaux Abbey. no. second mode. text concordance to a different motet in Lwa 33327. facs.. motet a3. pl. 5 (EECM 26. 813-16. For a discussion of provenance and dating. first mode).. 1 [part 2]. frag. [RISM no. University of Chicago Library. ed. 3]. 3. ed. 8 appear not to be part of original decoration. 1 [part 1]. Variety of notation and mensuration types: binary EMN with rhomboid breve and tailed. fol. facs. [Agmina] fol. 4. frag. Voynich in 1923. no. 36 . inscriptions and graffiti. no. ternary ars antiqua mensural with square breve (no. bipartite cf.1300 Four parchment folios. 86). [RISM nos. [RISM no. binary ars antiqua mensural with square breve (nos. cf. 58-59 3. Red tenor initial for Barbara simplex. Purchased by alumni for the University of Chicago from W. HISTORY No info. PMFC XIV. WF. PMMM 6. Sanders (2001b) IV. 49-50. . perhaps originally 300 x 200 mm. 4]. all others in blue. ed. these fragments are now ca. 8). The leaves were already associated with MS 654 between 1439-1452. II. now removed. of the host ms. on music leaves.United States-Chicago. concordance to GB-WOc Add. This book. arr. Alternating red and blue used for other ornamental decorations. 1. etc. In excelsis gloria fol. conductus-rondellus a3. 1. PHYSICAL DESCRIPTION c. 1-2 and 3-4 are consecutive. 1v-2. motet a3. O Maria vas mundicie/T. 7. 93. 48. PMMM 6. PMMM 6. 1 and 2]. Dona celi factor domine/T. in single columns of ten or eleven free-ruled. M. 5. still bears its original Meaux Abbey pressmark. and renumbered fols. Written for Meaux Abbey? Cut down and bound as flyleaves into a parchment ms of the 13th and 14th centuries. 1. III. I. PMMM 6. ed. fols. frag. facs. see Greene (1954). 1-4. 9). xx. the MS now has a seventeenth-century English binding of brown calf. 6. Y xviiiij. CONTENTS 1. with written space 235 x 145-150 mm (for eleven staves).5-17 mm and one-staff indentations of 5-7 mm for initials. no.

Stella maris nuncuparis fol. Christi cara mater ave fol. facs. no. 4v. 70-71. PMMM 6. ed. recto. [RISM no. PMMM 6. 73 5. facs. 10]. PMFC XIV. 2v. ed. PMMM 6. Pia pacis inclita fol. 53-54. . rondellus a3. with c. no. PMFC XIV. conductus motet a3 with rondellus. 39 8. PMMM 6. [RISM no. 4.f. ed. in triplum and free "Tenor".4. [RISM no. PMMM 6. PMMM 6. 38 7. 2. 51. PMFC XIV. 37 -------6. 40 . Spiritus et alme/Gaude virgo salutata/Tenor fol. troped chant setting a3. [RISM no. PMMM 6. facs. PMMM 6. 50. conductus motet a3 with voice exchange. rondellus a3. PMFC XIV. 72-75. 62-64. PMMM 6. ed. PMMM 6. -nia ovem/T. PMFC XIV. 59-61. Patris superni/Patris superni/T. O bipertitum peccatum fol. 5]. 55. 64-67. PMMM 6. . 52. no. facs. 80 9. ed. 6]. 9]. Barbara simplex animo/Barbara simplex animo/Tenor fol. 8]. Orbis pium/[Orbis pium] . ed. varied concordance to GB-Lwa 3. 3v-4. facs. [RISM no. facs. PMMM 6. no. 1 . no. no. 54. 3. no. PMFC XIV. frag. [RISM no. 7]. 67-70. conductus motet a3.

from a rotulus. 295 mm and of each single column is ca. but if the damaged voice at the top was complete on this page. for a total of 22 staves. like fragment A. recto and verso have visible left and right margins.xiv Four sets of parchment fragments. and notation in EMN are similar to Fragment B. 2 and 5) measuring 245 x 190 mm. 140 mm. The first three are of the later 13th century and the fourth is of the mid 14th. Layout. B. 360 x 172 mm. RISM suggests the original had 13 staves. verso has all or part of 19 visible red five-line staves. 750 x 330 mm overall. the layout. the page was probably originally ruled for at least twelve staves and perhaps 15 or more. 13. with fol. There are one. and some pages of erased music still in the parent manuscript (D). 400 x 210 mm and a written space of ca. music and text hands. implying overall dimensions ca. this page was originally at least ca. 1 and 6. and four more would be required at the top to complete item no. Fragment C Single narrow vertical parchment strip now 257 x 54 mm. Overall written area for 22 staves was thus ca. ten red five-line staves visible on both sides (gauge ca. Garrett 119 I. 315-395 mm or more). and notation in EMN similar to Fragment C. 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. with two or more cut off at the bottom that would have been necessary to complete upper voices and a tenor for item 5. University Library.5 mm visible on the recto. Fragment A A page from what seems to have been a rotulus notated on both sides with music. with some of its notes and text still visible. Recto has all or part of 18 visible red five-line staves. now 257 x 190 mm .5 mm on the recto and ca. including three (A. Red ink is used for the English text of the tenor of item 1. These may all have come from different sources. . PHYSICAL DESCRIPTION s. once folded vertically down the middle to form folios Y and Z. Though dimensions are slightly different. 1. and that the verso has no music on it (it contains 14th-century monastic granger's accounts from Revesby Abbey). 3 and 4) measuring 257 x 300 mm and the lower portion (once fol. the upper portion (once fol. Fragment B Single parchment leaf. this leaf may have come. 15. eleven red five-line staves of gauge ca.and two-staff indentations of 16 mm for initials. s. about one whole staff is missing between the upper and lower portions. unfolded and kept separately in an envelope. now in two fragments. 2 just a stub. with staff gauge 17-18 mm. if top voice on recto covered seven staves like the second voice (height of written spaces thus ca. trimmed on all four sides with loss of music at the top. mainly in double columns. music and text hands.xiii.United States-Princeton. Given that the recto is incomplete at the top and the verso is incomplete at the bottom. then there must have been at least 17 staves. Musical notation is EMN on recto and Franconian (two different hands) on verso. 620 x 295 mm. Width of written space is ca. Given these dimensions. once folded vertically on the left to form fol. 14.

BIBLIOGRAPHY RISM B/IV/2. music now erased.Fragment D One parchment bifolium. fol. fol. 232-33. CONTENTS Fragment A 1. the full height of each system is 48-50 mm. with a finger gap between systems. the written space was originally about 235 x 155 mm. and minims for item 2. the present center fold is not the original gutter. Written for Revesby Abbey? The flyleaves were once bound into a 14th-century English copy in parchment of Walter of Lille's Alexandreis. 35v-36 was rastrum ruled in 12 five-line staves (now 11. conductus-rondellus a3 in parts. 4v). the page lying across fol. frag. the staves are rastrum ruled with a gauge of 13 mm. II. ed. Franconian long-breve notation for item 1 and 3. facs. 5v). top two visible staves (originally top three) indented for a major initial. ed. in EECM 26. Fragment B also has accounts from Revesby on the verso. overwritten. trimmed on the top and outer edges. Gonville and Caius College. Levy (1951) before 229. PMFC XIV. [Regis aula]/[Regis aula]/Regis aula regentis omnia recto (fol. with the loss of the top staff) with gauge 13 mm and width 153-55 mm. recto (fol. This manuscript is partly palimpsest over erased accounts from Revesby Abbey and polyphonic music (D). PMFC XIV. no. [T]ota pulchra es amica mea/[A]nima mea liquefacta est/T. which are likely the same original dimensions as on fols. 2). so its written space is basically intact horizontally. [Alleluia celica rite]/[A]lleluia celica rite/T. no. 100 2. Levy. 35-36. 254v- . HISTORY No info. pl. so there is loss of some music on fol 35-35v but the original second recto begins near the right side of fol. semibreves. fol. 816-17. 57 3. Levy (1951) after 228. 4. voice-exchange motet a3. 4v. facs. not the center of a gathering. Levy (1951). 210-211). the word "tenor" is written between the bottom two staves. 5 ). 35-35v ruled in four systems of three five-line staves with double-texting under each. 35v and extends into fol. PMFC XVI. facs. 3v. voice-exchange pes motet a4. 3. on music leaves. MES. fols. ed. III. 132v (EECM 26. 2. 3. 4v). pl. voice-exchange motet a3. concordance to Cambridge. 2v. 35-35v. PMFC XVI. Private comunication from Dr. concordance to Lbl 24198. PMFC XIV. 512/543. 56 4. Andrew Wathey concerning fragment D IV. recto (fol. The present binding dates from the 16th century. facs. and virtually illegible. no. Ars nova notation with breves. [T]homas gemma cantuarie/[T]homas cesus in Doviria/[Primus Tenor]/Secundus Tenor] verso (fol. indented 9 mm from frame-rule. iLevy (1951) after 228. 3. 36. PMFC XVII.

234-39. . double-texted cantilena 2. triplum and duplum of a motet a3 Fragment B 1.. damaged and partially erased The verso of fragment B was never notated with music. gaudii post hoc peperisti. no. 6 (facs. illegible fol. double-texted cantilena 3. concordance in Lbl Cotton XXIX. pl. frag. three voice parts of motets recto 2. Gaude digna tam benigna/T. no. frag.libate floruit integritate/T. in EECM 26. 18 (with incipit "Sancta mater graciae") 2. illegible fol. Levy.255. Dou way Robin the child wile wepe Dou way Robin recto (fol. 1. motet a3. . MES. ed. 36. 67.scit ortu solis naturalis/. PMFC XVII. WF. no. no. ed. three voice parts of motets verso Fragment D 1.. 52 (with incipit "Veni mater gracie"). 5v. 128-129) and Recon II. . recto (fol. 1. pes motet a2. illegible fol. . 6v). no. 2). no. RISM reads incipit as "Salve mater". [Veni mater gracie] . 35v. PMFC XIV. 35. Fragment C 1. 29. . verso (fol. . 36v was never notated with music... [S]i lingua lota fuerit/[M]ors amar . 1. one upper voice and tenor of a motet Fol. no. 61 5. 6v).