Archive Biblioteca dell'Abbazia, Montecassino, Italy (I-MC)

Shelfmark 871
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Surface Mixed Paper and Parchment
Numbering
None
System
Measurements 276 x 206 mm
RISM: I-MC 871
Other Identifiers CCM: MonteA 871
olim (Former shelfmark): 871N
Notations black void mensural
? Monastery of S. Michele Arcangelo de Planciano, Gaeta (copied at)
Relationships
? Monastery of SS. Severino and Sossio (copied at)
Transcription of the whole MS
External Links
images
Provenance Italy
Contents 169 pieces from 22 composers.
General Description
Composite of several originally separate fascicles bound together in late 17th century. Only paper folios
contain music; parchment folios contain miscellaneous religious writings (book of martyrs, rules for
Benedictine Order, etc.) Main scribe probably a Benedictine monk at monastery of St. Michele Arcangelo de
Planciano in Gaeta (PopeMC) or monastery of Sts. Severino and Sossio in Naples (CattCP); textless fragments
on pp. 323, 429, and 432 are later additions in a different hand. Section with music probably copied at
Benedictine monastery of Sts. Severino and Sossio in Naples (CattCP), or Benedictine monastery of St.
Michele Arcangelo de Planciano in Gaeta (PopeMC). Owned by latter monastery in 16th century (inscription on
p. 247: 'Est monasterij sancti angeli palantani de gaieta signatus lettera et numero'). Brought to central
monastery of Benedictine Order at Monte Cassino at an unknown time, probably in 16th or 17th century.
Physical Description
Paper folios trimmed at time of binding, obliterating many attributions and some foliation. At least 70 folios
lost; some folios now bound in incorrect order.
Binding
Rebound in modern covers of yellow leather over boards, with inscription 'N 871 / Martyrologium / Musica' on
spine; leather spine of earlier (but not original) binding pasted inside present covers.
Watermark
resemble Briquet #462, #746, #2066 = arms of Aragon, #3562-5(?), #3725, #7698, #11181, #12149.
Notation
black void mensural notation
Foliation
Modern pencil pagination, 1-436 (numbers often omitted on versos); section with music pp. 247-436 has
original ink foliation, 1-160(?), which includes folios now missing. (Foliation inaccurate and inconsistent due to
misbinding and faulty renumbering by later hands).
Decoration
Inked initials.
Index
Modern list of contents of composite volume on second modern flyleaf. Original index of musical portion on
pp. 433-434 lists 171 pieces in alphabetical order by title; 46 pieces listed in index now missing, other pieces
added to manuscript after index was prepared.
Surface
ii paper + 123 parchment + 95 paper
RISM Description
RISM B IV/5:
XVe s. 94 ff. (= 188 p.). Papier. 206X276 mm. Foliotation ancienne maintenant très inexacte, et pagination
moderne: 247-135. Notation mesurée blanche. 7 ou 8 portées par p. Aux. pp. 433-434, table du ms. de la main
du copiste principal, aux ff. 39 et 48, quelques lignes de musique copiées postérieurement.
 Le Ms. 871 est un recueil factice comprenant des mss. liturgiques (sans musique) copiés sur parchemin au
XlIIe s. et un ms. musical (le seul qui nous intéresse ici) copié sur papier deux siècles plus tard et occupant les
pp. 247 à 435 de la pagination continue attribuée assez récemment au volume entier. La table qui figure aux
pp. 433-434 permet de constater que de nombreuses pièces du ms. primitif ont disparu, tandis que d'autres
ont été ajoutées postérieurement. Bien que le ms. primitif semble être de la main d'un seul scribe, très
certainement italien, la copie a dû s'étaler sur une période de dix ou même vingt ans. Les filigranes tous datés
des environs de 1470 et le répertoire qui, à côté de Dufay et Ockeghem, comporte aussi des musiciens plus
jeunes comme Compère et Caron, suggèrent les 2 dernières décennies du XVe s. comme la date la plus
probable de la copie. Très probablement compilé par un moine de SS. Severino e Sossio de Naples, ou de S.
Angelo de Gaeta, ville qui faisait alors partie du royaume de Naples, il représente l'unique collection musicale
de la 2e moitié du XVe s. en nette liaison avec la cour de Naples, dont il reflète les goûts avec un répertoire à
peu près également réparti entre le religieux (61 pièces) et le profane (76 pièces). A l'occasion de réfections
successives de la reliure, de nombreux noms d'auteurs ont disparu, des feuillets ont été perdus, l'ordre des
cahiers a été bouleversé, la foliotation ancienne, qui devient de ce fait a peu près inutilisable, révélant alors
qu'environ 1/5e du ms. mq. actuellement.
This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and
copying/reproduction of any of this content without permission may result in legal action.
Répertoire International des Sources Musicales
Census Catalogue of Music Description
This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and
copying/reproduction of any of this content without permission may result in legal action.
1 Sanctus fragment, 1 Mass Proper section, 3 Magnificats, 6 psalms, 35 hymns, 2 Lamentations, 15 motets, 4
laude, 3 motet-chansons, 32 French secular pieces, 26 Italian secular pieces, 8 Spanish secular pieces, 1
Latin/Italian secular piece, 5 textless pieces or fragments = 142 + 2 duplicates = 144
Anthonius Piccardus-1, (Bedingham)-1, (Bedingham/Dunstable) -1, (Bedingham/Frye)-1, (Caron)-1, Compère-
1, Cornago-S, Cornago-Ockeghem-1, Damianus-2, Dufay-14, Dufay/(Binchois) -1, Dufay/(Ockeghem)-1, (Dux
Burgensis)-1, Gafori-2, (Haynevan Ghizeghem)-2, (Janue)-1, (Molinet)-1, Ockeghem-2, Oriola-2, (Quadris)-1,
Ycart Bernardus-1, anon-96
ii paper + 123 parchment + 95 paper folios, 276 x 206. Composite of several originally separate fascicles
bound together in late 17th century. Only paper folios contain music; parchment folios contain miscellaneous
religious writings (book of martyrs, rules for Benedictine Order, etc.) Paper folios trimmed at time of binding,
obliterating many attributions and some foliation. At least 70 folios lost; some folios now bound in incorrect
order.
Modern pencil pagination, 1-436 (numbers often omitted on versos); section with music pp. 247-436 has
original ink foliation, 1-160(?), which includes folios now missing. (Foliation inaccurate and inconsistent due to
misbinding and faulty renumbering by later hands). Rebound in modern covers of yellow leather over boards,
with inscription "N 871 / Martyrologium / Musica" on spine; leather spine of earlier (but not original) binding
pasted inside present covers. Modern list of contents of composite volume on second modern flyleaf. Original
index of musical portion on pp. 433-434 lists 171 pieces in alphabetical order by title; 46 pieces listed in index
now missing, other pieces added to manu-script after index was prepared.
Main scribe probably a Benedictine monk at monastery of St. Michele Arcangelo de Planciano in Gaeta
(PopeMC) or monastery of Sts. Severino and Sossio in Naples (CattCP); textless fragments on pp. 323, 429,
and 432 are later additions in a different hand. Inked initials. Watermarks resemble Briquet #462, #746,
#2066 = arms of Aragon, #3562-5(?), #3725, #7698, #11181, #12149.
Ca. 1480-1500; repertory ca. 1430-80 (PopeMC); non-musical portions date from 13th and 14th centuries.
Section with music probably copied at Benedictine monastery of Sts. Severino and Sossio in Naples (CattCP),
or Benedictine monastery of St. Michele Arcangelo de Planciano in Gaeta (PopeMC). Owned by latter
monastery in 16th century (inscription on p. 247: "Est monasterij sancti angeli palantani de gaieta signatus
lettera et numero"). Brought to central monastery of Benedictine Order at Monte Cassino at an unknown
time, probably in 16th or 17th century.
Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Click an entry to see more information about that item.

Folios / Composers (?
Composition
Pages Uncertain)
1 O princeps Pilate Ycart, Bernhard
1v–2 Patres nostri peccaverunt Cornago, Juan de
Folios / Composers (?
Composition
Pages Uncertain)
1v–2 Patres nostri peccaverunt Anonymous
2v Adoramus te Domine Anonymous
Du Fay, Guillaume
3 Adieu m'amour, adieu ma joie
(1397–1474)
3v A Florence la joeuse cite / Helas la fille / En ma chambre Anonymous
3v–4 In exitu Israel de Aegypto domus Jacob Anonymous
4 In exitu Israel de Aegypto domus Jacob Oriola, Pietro
4v O salutaris hostia Anonymous
Du Fay, Guillaume
4v–5 Belle veuilliés moi retenir
(1397–1474)
Cornago, Juan de (?)
5v–6 Qu'es mi vida preguntays Ockeghem, Jean de (ca.
1410–1497) (?)
6v–7 Puis fortuna m'avis en tal partit Anonymous
7 Per poco tempo ch'io so stato fora trovo che amore Anonymous
7v Tanto ha ch'io t'o contato li mei guai Anonymous
7v–8 O pellegrina o luce chiera stella Anonymous
Bedingham, John (–ca.
1460) (?)
8v–9 Soyez (Suis) aprentis en amours [= So ys emprentid]
Frye, Walter (–ca.
1475) (?)
Frye, Walter (–ca.
1475) (?)
8v–9 Suis aprentis en amours - 2a pars (of 2): Vos qui voles
Bedingham, John (–ca.
1460) (?)
9v–10 Donde stas - 1a pars (of 2): Donde stas que non te veo Cornago, Juan de
9v–10 Donde stas - 2a pars (of 2): Mos tal es tu fermosura Cornago, Juan de
Du Fay, Guillaume
10v Par le regard de vos beaux yeux
(1397–1474)
11 Voca la galiera Anonymous
11v–12 Ex ore tuo = Yerra con poco saber Cornago, Juan de
11v Zappay lo campo Anonymous
Ockeghem, Jean de (ca.
1410–1497) (?)
12v Départes vous male bouche.
Du Fay, Guillaume
(1397–1474) (?)
13 La vida de Culin no dura pas tot iors Anonymous
Amor tu non me gabaste - 1a pars (of 2): Amor tu non me
13v–14 Anonymous
gabaste
13v–14 Amor tu non me gabaste - 2a pars (of 2): Io averia voluntate Anonymous
14 Piangendo chiamo surda et crudele morte Anonymous
14v Dolce speranza del cor mio Anonymous
15 Moro perche non dai fede Cornago, Juan de
15v–16 Segun las penas me days Cornago, Juan de
16 Morte mercé - 1a pars (of 2): Morte mercé gentile aquil'altera Cornago, Juan de
16 Morte mercé - 2a pars (of 2): Amor con l'arco tesso Cornago, Juan de
Folios / Composers (?
Composition
Pages Uncertain)
17 Psalms Oriola, Pietro
17v–19 Dixit Dominus Domino meo Sede a dextris meis Anonymous
18v–20 Confìtebor tibi Domine. In consilio justorum Anonymous
20v–22 Beatus vir qui timet Dominum. In mandatis eius Anonymous
21v–23 Laudate pueri Dominum Laudate nomen Domini Anonymous
23v–24 Laudate Dominum omnes gentes, laudate eum Anonymous
23v–24 Conditor alme siderum Anonymous
24 Christe redemptor omnium conserva Anonymous
Du Fay, Guillaume
25 Christe redemptor omnium/conserva (v/24b)
(1397–1474)
25v Hostis Herodes impie Anonymous
Du Fay, Guillaume
26 Aures ad nostras (Respice clemens)
(1397–1474) (?)
Du Fay, Guillaume
26v Audi benigne conditor Scrutator alme cordium
(1397–1474)
Du Fay, Guillaume
27 Vexilla regis prodeunt
(1397–1474)
27v Ad caenam agni providi Cuius corpus sanctissimum Anonymous
28 Aurora lucis Tristes erant apostoli Anonymous
28v Hymnum canamus gloriae Anonymous
29 Jesu nostra redemptio Anonymous
Du Fay, Guillaume
(1397–1474) (?)
29v Je ne vis oncques la pareille de vous
Binchois, Gilles (ca.
1400–1460) (?)
Du Fay, Guillaume
30 Veni creator spiritus
(1397–1474)
30v Pange lingua gloriosi corporis misterium Anonymous
31 Pange lingua gloriosi corporis misterium Anonymous
31v Christe redemptor omnium ex patre Anonymous
Du Fay, Guillaume
32 O lux beata
(1397–1474)
32v Alleluia Anonymous
33 Dixit Dominus Domino meo Anonymous
33v–34 Dixit Dominus Domino meo Anonymous
33v–34 Fidelia omnia mandata Stahel, Johann
33v–34 In mandatis eius cupit Anonymous
33v–34 Sit nomen Domini benedictum Anonymous
34v–35 Benedicamus Domino Anonymous
34v–35 Lucis creator optime Anonymous
34v–35 Miserere mei Domine Anonymous
35v Te lucis ante terminum Anonymous
36 Ave maris stella Anonymous
Tibi Christe splendor Patris / Collaudamus venerantes omnes
36v Anonymous
caeli
Folios / Composers (?
Composition
Pages Uncertain)
37 Ut queant laxis resonare fibris Anonymous
37v Phebus astris cum omnibus Picardus, Anthonius
38 Exultet caelum laudibus Anonymous
38v Exultet caelum laudibus vos saecli justi judices Anonymous
39v Deus tuorum militum Anonymous
40 Iste confessor Domini sacratus Quadris, Johannes de
40v Iste confessor Domini sacratus Janue, Antonius
41 Jesu corona virginum Anonymous
Christe redemptor omnium . Tu lumen tu splendor (Christmas Du Fay, Guillaume
41v
setting) (1397–1474)
Gaffurius, Franchinus
42 Christe redemptor omnium ex patre
(1451–1522)
Du Fay, Guillaume
42v–44 Magnificat 3 & 4 toni. Anima mea [K.747]
(1397–1474)
Gaffurius, Franchinus
44v Hostis Herodes impie
(1451–1522)
45 Ave maris stella Havericq, Damien
45v–45 Ave maris stella Anonymous
47 Sanctorum meritis. Anonymous
47v–48 Magnificat sexti toni: Et exultavit [K.336] Anonymous
48v Magnificat sexti toni: Et exultavit [K.352] Anonymous
Dunstaple, John (ca.
1390–1453) (?)
101 O rosa bella, o Deitatis cella (= O quam suavis est domina)
Bedingham, John (–ca.
1460) (?)
101 Quanto più li ochi mei. Anonymous
101v Coq en l'orge di Margot = N'oes vous point le coc me vante Anonymous
102 Non gusto del male estranio Cornago, Juan de
De tous biens plaine est ma maîtresse [= Cum defecerint
102v Ghizeghem, Hayne van
ligna]
102 bis Puisque vos me Lasés seulete Anonymous
102 bis v–
Celebris hic dies agitur = Le serviteur infortuné Anonymous
203 bis v
Du Fay, Guillaume
103 Le serviteur hault guerdonné assovy
(1397–1474)
103v–104 Mercé te chiamo o dolze anima mia Anonymous
104 Dell' arboro chanta tat de port Anonymous
104v–105 Lamentationes et oratio Ieremiae Anonymous
105v–110 Lamentationes et oratio Jeremiae - 1a pars (of 5): Anonymous
105v–110 Lamentationes et oratio Jeremiae - 2a pars (of 5): Anonymous
105v–110 Lamentationes et oratio Jeremiae - 3a pars (of 5): Anonymous
105v–110 Lamentationes et oratio Jeremiae - 4a pars (of 5): Anonymous
105v–110 Lamentationes et oratio Jeremiae - 5a pars (of 5): Anonymous
105v–110 Lamentationes et oratio Ieremiae - 1a pars (of 4): Anonymous
105v–110 Lamentationes et oratio Ieremiae - 2a pars (of 4): Anonymous
Folios / Composers (?
Composition
Pages Uncertain)
105v–110 Lamentationes et oratio Ieremiae - 3a pars (of 4): Anonymous
105v–110 Lamentationes et oratio Ieremiae - 4a pars (of 4): Anonymous
105v–110 Lamentationes et oratio Jeremiae - 1a pars (of 4): Anonymous
105v–110 Lamentationes et oratio Jeremiae - 2a pars (of 4): Anonymous
105v–110 Lamentationes et oratio Jeremiae - 3a pars (of 4): Anonymous
105v–110 Lamentationes et oratio Jeremiae - 4a pars (of 4): Anonymous
Oratio Jeremiae prohetae - 1a pars (of 6): Incipit oratio
110v–114 Anonymous
Jeremiae prophetae
110v–114 Oratio Jeremiae prohetae - 2a pars (of 6): Recordare Domine Anonymous
110v–114 Oratio Jeremiae prohetae - 3a pars (of 6): Hereditas nostra Anonymous
110v–114 Oratio Jeremiae prohetae - 4a pars (of 6): Servi dominati Anonymous
110v–114 Oratio Jeremiae prohetae - 5a pars (of 6): In manibus nostris Anonymous
110v–114 Oratio Jeremiae prohetae - 6a pars (of 6): Pellis nostra Anonymous
Bedingham, John (–ca.
114v Fortune helas (= Gentil madona)
1460)
115 Fortuna tort en vous est contrarie Anonymous
115v Que faray je mal fortuné Anonymous
Caron, Firminus (ca.
148–153v S'il est ainsi - 1a pars (of 2): S'il est ainsi que plus je ne voye
1460–ca. 1475)
Caron, Firminus (ca.
148–153v S'il est ainsi - 2a pars (of 2): Helas je soloye obtenir
1460–ca. 1475)
148v Gardés le trait della fenestre Belle gente amoreuse Anonymous
Busnoys, Antoine (ca.
149 Resjois toy terre de France / Rex pacificus magnificatus
1430–1492)
149v Brunette je vous ay amée lonc temps Anonymous
Du Fay, Guillaume
(1397–1474) (?)
150 Je ne vis oncques la pareille de vous
Binchois, Gilles (ca.
1400–1460) (?)
O tres pitéulx - 1a pars (of 2): O tres pitéulx de tout espoir
Du Fay, Guillaume
150v–151 fontayne [Lamentatio Sanctae Matris Ecclesiae
(1397–1474)
Constantinopolitanae]
O tres pitéulx - 2a pars (of 2): Dont suis de bien et de joye Du Fay, Guillaume
150v–151
séparée (1397–1474)
151v Qu'es mi vida Preguntays non vos la quiero negar Cornago, Juan de
152 Donzella non est = me colpeis si fago mudanza Anonymous
152v–153 Amours amours trop me fiers de tes dars Ghizeghem, Hayne van
157v–158 Miserere nostri Domine / Vexilla regis - 1a pars (of 3): Anonymous
157v–158 Miserere nostri Domine / Vexilla regis - 3a pars (of 3): Anonymous
157v–158 Miserere nostri Domine / Vexilla regis - 2a pars (of 3): Anonymous
Ockeghem, Jean de (ca.
158v–159 Mort tu as navré de tont dart le père de / Miserere
1410–1497)
159v De vous regarder seulement Anonymous
Je vous prie mon tres douce amie / Tant que mon argent dura / Du Fay, Guillaume
160
Ma tres douce amie (1397–1474)
160v Petite camusette à la mort m'avez mis / S'elle m'aimera Ockeghem, Jean de (ca.
 Folios / Composers (?
Composition
Pages Uncertain)
1410–1497)
Viva viva rey Ferrando - 1a pars (of 2): Viva viva rey
161–161v Anonymous
Ferrando
161–161v Viva viva rey Ferrando - 2a pars (of 2): Vagan todas luminaria Anonymous
132 [untexted] Anonymous
132v–133 Ung lanceman a tout. Anonymous
133v–134 Dedos la mer Anonymous
Compère, Loyset (ca.
134v–135 Ave regina caelorum
1445–1518)
135v–136 Ave regina caelorum Anonymous
136v–137 Non sia gia mai Burgensis, Dux
137v Puisque je vis le regard gratieux Anonymous
Jerusalem luge - 5a pars (of 8): Cum autem venissem ad
138 Quadris, Johannes de
locum
Jerusalem luge - 5a pars (of 8): Cum autem venissem ad
138v–139 Quadris, Johannes de
locum
139v–140 Ave verum corpus natum de Maria virgine Anonymous
140v–141 De mes douleurs Anonymous
141v–142 Sepulchrum signantes Molinet, Jehan
143 Sepulchrum signantes Anonymous
143v Quanto mi dolse sta crudel partita Anonymous
143v Quanto mi dolse la nigra partita Anonymous
144 Dindiridin ridin rindayna dindirron. Me levay un to matin Anonymous
144v Amor quando fat'io che me dai guerra Anonymous
144v–144
Cor mio volonturiuso Anonymous
bis
144 bis Vedo che fortuna me contrasta Anonymous
144 bis v–
Chiave chiave Anonymous
145
145 O tempo bono e chi me t'a levato Anonymous
145v–146 Alle stamegne donne alle bone stamegne Anonymous
146v–147 Alta regina fonte di ogni amor Anonymous
147v Mon fort souspirs Anonymous
148 Christus factus est - 1a pars (of 2): Christus factus est Anonymous
148 Christus factus est - 2a pars (of 2): Anonymous
148v Christus factus est Havericq, Damien
149 Missa SIne nomine: Sanctus (Pleni sunt duo) Anonymous
149v Serà nel core mio doglia et tormento Anonymous
150 Correndo multi cani ad una casa Anonymous
150v Io vegio la mia vita ia finire

‡ denotes primary source study

Goldberg, Clemens (ed.) 2018. Montecassino, Biblioteca dell’Abbazia, Ms 871. Goldberg Stiftung. Pages: . Notes:
contents list; transcriptions.
Curtis, Gareth R K, and Andrew B Wathey. 1994. Fifteenth-Century English Liturgical Music: A List of the Surviving
Repertory. Royal Musical Association Research Chronicle, 27: 1-69.
Atlas, Allan W. 1985. Music at the Aragonese Court of Naples. Cambridge. Notes: contents list (partial); concordances
(partial); transcription (partial); mention of MS; discussion.
Hanen, Martha Knight. 1983. The Chansonnier El Escorial IV.a.24: Commentary and Edition. Musicological Studies. 3
vols. Henryville, Ottawa, and Binningen. Pages: I, 24-5,28,33-4,36,38,165-9. Notes: physical description (partial);
contents list (partial); concordances (partial); mention of MS; discussion.
Fallows, David. 1980. Neapolitan repertories 1460-90: Three recent editions. Early Music , 8: 493-501. Notes: facsimile
(partial).
Hamm, Charles E, and Herbert Kellman (eds.) 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic
Music 1400-1550. Renaissance Manuscript Studies. 5 vols. Neuhausen nr. Stuttgart: American Institute of
Musicology, Hänssler Verlag. Pages: II, 173-174.
Garey, Howard, and Leeman L Perkins (eds.) 1979. The Mellon Chansonnier. New Haven and London. Pages: II, 163-
4,198ff, passim. Notes: physical description; contents list (partial); concordances (partial); mention of MS;
discussion.
Ward, Tom Robert. 1979. The Polyphonic Office Hymn from 1400 to 1520: A Descriptive Inventory. RMS. American
Institute of Musicology. Notes: contents list (partial); concordances (partial); incipits (partial).
Kanazawa, Masakata, and Isabel Pope (eds.) 1978. The Musical Manuscript Montecassino 871: A Neapolitan Repertory
of Sacred and Secular Musk of the Late Fifteenth Century. Oxford. Notes: physical description; contents list;
concordances; texts; facsimile (partial); texts; mention of MS; discussion.
Atlas, Allan W. 1977. On the Neapolitan Provenance of the Manuscript Perugia, Biblioteca Comunale Augusta, 431 (G
20). Musica Disciplina, 31: 45ff. Pages: 45ff, 78-9, 86ff. Notes: contents list (partial); concordances (partial);
mention of MS; discussion.
Thompson, James (ed.) 1976. Les Oeuvres Completes de Philippe (?) Caron. Transcription et Notes Critiques de James
Thomson. Brooklyn: Institute of Mediaeval Music. Pages: II, iv.xvii, 197-200. Notes: contents list (partial);
concordances (partial); transcriptions (partial).
Atlas, Allan W. 1975-6. The Cappella Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C.
G.XIII.27). Musicological Studies. Brooklyn. Pages: I,136ff,248, passim. Notes: contents list (partial); concordances
(partial); mention of MS; discussion.
Atkinson, Charles Monte (ed.) 1975-. Recent Researches in the Music of the Middle Ages and Early
Renaissance. Madison, Wisconsin: A-R Editions. Pages: XV, passim. Notes: contents list (partial); concordances
(partial); transcriptions (partial); texts (partial); mention of MS; discussion.
Ruhland, Konrad. 1975. Der Mehrstimmige Psalmvortrag im 15. und 16. Jahrhundert: Studien zur Psalmodie auf der
Grundlage von Faburdon, Fauxbourdon und Falsobordone. Ph.D. dissertation, Ludwig-Maximilians-Universität
(Munich). Pages: 194-229, 313-8. Notes: contents list (partial); transcriptions (partial); facsimile (partial); mention of
MS; discussion.
Reidemeister, Peter. 1973. Die Chanson-Handschrift 78 C 28 des Berliner Kupferstichkabinetts: Studien zur Form der
Chanson im 15. Jahrhundert. Berliner Musikwissenschaftliche Arbeiten. Munich. Pages: 21,27-8,68,73,84ff,
facsimile follows Transcription Nr. 34. Notes: physical description (partial); contents list (partial); concordances
(partial); facsimile (partial).
Cattin, Giulio. 1972. Canti polifonici del repertorio benedettino in uno sconosciuto 'Liber quadragesimalis' e in altre
fonti italiane dei secoli XV e XVI ine. Benedictina, 14: 445-527. Pages: 471ff,487,491-6. Notes: contents list (partial);
concordances (partial); texts (partial); mention of MS; discussion.
Ward, Tom Robert. 1972. The Polyphonic Office Hymn and the Liturgy of Fifteenth Century Italy. Musica
Disciplina, 26: 161-88. Notes: contents list (partial); incipits (partial); mention of MS; discussion.
Avagliano, F. 1970. I Codici liturgici dell'Archivio di Montecassino. Benedictina, 17: 300ff. Pages: 300ff, n° 121.
Osthoff, Wolfgang. 1969. Theatergesang und Darstellende Musik in der Italienischen Renaissance. Münchner
Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: I,23-4. Notes: transcription (partial); mention of MS;
discussion.
Ward, Tom Robert. 1969. The Polyphonic Office Hymn from the Late Fourteenth Century Until the Early Sixteenth
Century. Unpublished Ph.D. dissertation, University of Pittsburgh. Pages: 55-63, 174f, 178f, 187 (concerne les
hymnes) 216ff,541-3, passim. Notes: contents list (partial); concordances (partial); incipits (partial); transcription
(partial); texts (partial); mention of MS; discussion.
Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica. 3 vols. Copenhagen. Pages: II,xxix, 68-73,158-61, passim;
III,30,59. Notes: physical description; contents list (partial); concordances (partial); transcriptions (partial);
facsimile (partial); mention of MS; discussion.
Besseler, Heinrich. 1968. Falsche Autornamen in den Handschriften Strassburg (Vitry) und Montecassino
(Dufay). Acta Musicologica, 40: 201-3. Pages: 201.
Haberkamp, Gertraut. 1968. Die weltliche Vokalmusik in Spanien um 1500. Der Cancionero musical de Colombina von
Sevilla und außerspanische Handschriften. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: 66.
Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16.
Jahrhunderts. Tutzing. Pages: 149. Notes: physical description (partial); contents list (partial); concordances
(partial); incipits (partial).
Gülke, Peter. 1961. Das Volkslied in der burgundischen Polyphonie des 15. Jahrhunderts. Festschrift Heinrich Besseler
zum sechzigsten Geburtstag, Leipzig. Pages: 182,192,199-201. Notes: contents list (partial); concordances (partial);
transcriptions (partial).
Picker, Martin. 1960. The Chanson Albums of Marguerite of Austria: Manuscripts 228 and 11239 of the Bibliothèque
Royale de Belgique, Bruxelles. Unpublished Ph.D. dissertation, University of California at Berkeley. Pages:
I,362. Notes: physical description (partial); contents list (partial); concordances (partial).
Stevenson, Robert. 1960. Spanish Music in the Age of Columbus. The Hague. Pages: 122-4,183,202-3,218-
9,223,299. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Pope, Isabel. 1958-61. The Secular Compositions of Johannes Cornago. Miscelânea en Homenaje a Monsenor Higinio
Angles, 689-706. Barcelona. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Gerber, Rudolf. 1956. Die Hymnen der Handschrift Monte Cassino 871. Anuário Musical, 11: 1-21. Notes: contents list
(partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Gerber, Rudolf. 1956. Zur italienischen Hymnenkomposition im 15. Jahrhundert. Acta Musicologica, 28: 75-86. Pages:
76ff. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Kultzen, Brigitte. 1956. Der Codex Escorial IV.a.24: Übertragung, Katalog, Historische Einordnung einer
Chansonsammlung aus der zweiten Hälfte des 15. Jahrhunderts. Unpublished Ph.D. dissertation, University of
Hamburg. Pages: 72-4,78,80,84-5. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Pope, Isabel. 1954. La musique espagnole à la cour de Naples dans la seconde moitié du XVIe siècle. 35. Paris. Pages:
41.
Blume, Friedrich (ed.) 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der
Musik. Kassel. Pages: II, 1337; VI,1022; XII,985. Notes: physical description (partial).
Besseler, Heinrich, and Guillaume de Van (eds.) 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis
musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: V-VI, passim. Notes: physical
description (partial); contents list (partial); concordances (partial); transcriptions (partial); texts (partial).
Ghisi, Federico. 1948. Canzoni profane italiane del secondo Quat trocento in un codice musicale di
Montecassino. Revue Belge de Musicologie, 2: 8ff. Notes: physical description (partial); contents list (partial);
transcriptions (partial); facsimile (partial); mention of MS; discussion.
Anglès, Higinio (ed.) 1941-1971. Monumentos de la Mùsica Espanola. Madrid (later Barcelona, later Rome). Pages: I,
116f.
Pirro, André. 1929. Un manuscrit musical du XVe siècle au MontCassin. Casinensia, 205-8.