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Songs materialising as music: medieval monophony in song books and music manuscripts
Published online by Cambridge University Press: 24 November 2023
Abstract
This survey of the mise-en-page of manuscripts that include medieval monophonic song focuses on complex multigraphic written artefacts presenting music on staves. Comparing the formatting of thirteenth-century French chansonniers and fifteenth-century collections of monophonic songs (BnF fr. 9346 and BnF fr. 12744), there are obvious differences in the mise-en-page. But when, where and why did the changes in the production of manuscripts and the materialisation of songs take place? This article proposes a distinction between entirely pre-ruled ‘“full” music manuscripts’, ‘music manuscripts’ employing pre-ruling and ‘manuscripts with music’ where the staves were drawn only after the text has been written. Moreover, ‘songbooks’ mainly interested in lyrics can be distinguished from ‘song books’ focusing on the music. The interrelation of production process, content and manuscript type is discussed using the example of the conductus In hoc ortus occidente. The emergence, interrelation and particularities of layouts are discussed for vernacular thirteenth- or fourteenth-century songbooks with Dutch, English/Anglo-Norman, French, Galego-Portuguese, German, Italian and Occitan texts. The two-column layout is found in songbooks all over Europe (except for Italian laudari). This article examines models such as rolls, libelli, Dominican liturgical books, particularities of layouts such as different strophic page layouts and as the separation of verses in some troubadour chansonniers and Galego-Portuguese cancionieros as well as the dissemination in German speaking regions through minstrel schools. Comparing French, German and Italian song books of monophonic song as well lais/Leich and/or polyphony reveals differences in the production process of Italian ‘“full” music manuscripts’ (BAV Rossi 215/I-OST, I-REas and I-Fl Mediceo Palatino 87), German ‘music manuscripts’ (A-Wn 2701, A-Wn 2777 and CZ-Pu XI E 9) and French ‘manuscripts with music’ (BnF fr. 146 and the Machaut-collections).
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- Research Article
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- Copyright © The Author(s), 2023. Published by Cambridge University Press
Footnotes
The research for this paper was funded by the Deutsche Forschungsgemeinschaft (DFG, German Research Foundation) under Germany's Excellence Strategy: EXC 2176 ‘Understanding Written Artefacts: Material, Interaction and Transmission in Manuscript Cultures’, project no. 390893796. The research was conducted within the scope of the Centre for the Study of Manuscript Cultures (CSMC) at Universität Hamburg. All websites cited were last accessed on 31 May 2022.
References
1 Barrett, Sam, ‘New Light on the Earliest Medieval Song Book’, in Manuscripts and Medieval Song. Inscription, Performance, Context, ed. Deeming, Helen and Leach, Elizabeth Eva (Cambridge, 2015), 9–34CrossRefGoogle Scholar.
2 Haines, John, ‘The Origins of the Musical Staff’, Musical Quarterly, 91 (2008), 327–78CrossRefGoogle Scholar, at 338.
3 On stave ruling, see Stephen Joseph Peter van Dijk, ‘An Advertisement Sheet of an Early Fourteenth-Century Writing Master at Oxford’, Scriptorium, 10 (1956), 47–64; Andrew Hughes, ‘The Scribe and the Late Medieval Liturgical Manuscript: Page Layout and Order of Work’, in The Centre and Its Compass: Studies in Medieval Literature in Honor of Professor John Leyerle, ed. Robert A Taylor (Kalamazoo, 1993), 151–224; Helen Deeming, ‘Observations on the Habits of Twelfth- and Thirteenth-Century Music Scribes’, Scriptorium, 60 (2006), 38–59; Haines, ‘The Origins’; Albert Derolez, ‘The Codicology of Late Medieval Music Manuscripts: Some Preliminary Observations’, in The Calligraphy of Medieval Music, ed. John Haines (Turnhout, 2011), 23–36.
4 Derolez, ‘The Codicology’, 25.
5 Uri Jacob, ‘Chevalier mult estes guariz and the pre-chansonnier vernacular lyric’, Plainsong and Medieval Music, 30 (2021), 119–40, at 122.
6 On questions of dating, with a strong argument for BnF fr. 9346 not before 1505, see Carlo Bosi, ‘Zu Stil und Form einstimmiger Melodien um 1500 – Einige Fälle in den Pariser monophonen Chansonniers’, troja, 13 (2014), 81–103, at 84–5, see also Isabel Kraft, Einstimmigkeit um 1500: der Chansonnier Paris, BnF f. fr. 12744, Beihefte zum Archiv für Musikwissenschaft 64 (Stuttgart, 2009).
7 On the multimodality of text, music and illuminations (not considered here) and the functions of decorated manuscripts, see Sylvia Huot, From Song to Book: The Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry (Ithaca, 1987); Emma Dillon, Medieval Music-Making and the Roman the Fauvel (Cambridge, 2002); Sheila Kate Maxwell, ‘Guillaume de Machaut and the mise en page of Medieval French Sung Verse’, Ph.D. diss., University of Glasgow (2009).
8 See the blank ruled fol. 107v in BnF fr. 9346. In BnF fr. 12744, there are only a few recto folios without staves where a song covers the whole opening (fols. 90r, 91r and 92r), but many folios where the staves on the recto folio have not been filled for the same reason (e.g., fol. 2r). At the beginning, pages were ruled with two staves to which more staves were added above when needed (fols. 3r, 8v and 9v–10r), and from fol. 42v onwards there are constantly three staves. That some of the folios in the first part were pre-ruled with three staves is obvious on fols. 12r, 18r, 26r, 27v and 39r and possible for fols. 13v, 17r, 19v, 20v–21r, 23r–26r, 27r–30v, 35r, 37v and 38v–40v.
9 Lawrence M. Earp, ‘Interpreting the Deluxe Manuscript’, in The Calligraphy of Medieval Music, ed. Haines, 223–40, at 231.
10 See Jane Alden, Songs, Scribes, and Society. The History of the Loire Valley Chansonniers (Oxford, 2010).
11 Marisa Galvez, Songbook. How Lyrics Became Poetry in Medieval Europe (Chicago, 2012), 2.
12 Friedrich Kammerer, Die Musikstücke des Prager Kodex XI E 9 (Augsburg, 1931), calls fascicle 13 of this small (14.5 × 21 cm) composite manuscript a ‘Musiksammlung’ (at 12). It opens with the Tractatus de cantu perfectio et imperfectio by Henricus de Zeelandia and includes mainly polyphonic songs, but also eleven monophonic songs (on fols. 247v and 260v). The pages are pre-ruled with seven (fols. 247r and 257v–262r) and eight staves (fols. 247v–251v)
13 Helen Deeming, ‘Music and the Book: The Textualisation of Music and the Musicalisation of Text’, in The Edinburgh Companion to Literature and Music, ed. Delia da Sousa Correa (Edinburgh, 2020), 48–62.
14 For this distinction, see Oliver Huck, ‘Early Polyphonic Settings of the Mass Ordinary and the Emergence of the Music Manuscript’, in Liturgical Books and Music Manuscripts with Polyphonic Settings of the Mass in Medieval Europe, ed. Oliver Huck and Andreas Janke, Musica mensurabilis 9 (Hildesheim, 2020), 27–37, at 31.
15 Fols. 3v–4r. The manuscript (19.8 × 14.5 cm) is dated c.1180–1230, see The Later Cambridge Songs. An English Song Collection of the Twelfth Century, ed. John Stevens (Oxford, 2005).
16 Fols. 417v–418r. For the production context of this source, revealing a number of similarities to E-Mn 6528, see Gregorio Bevilacqua, David Catalunya and Nuria Torres, ‘The Production of Polyphonic Manuscripts in Thirteenth-Century Paris: New Evidence for Standardised Procedures’, Early Music History, 37 (2018), 91–139.
17 Fol. 167r–v. On the preparation of this manuscript (26 × 18 cm), see Nicolas Bell, El códice musical de las Huelgas. Un studio complementario del facsímil (Madrid, 2004), 24–7.
18 See Bryan Gillingham, ‘The Provenance of Cambridge, University Library, Ff.I.17 (1)’, in Studies in Medieval Chant and Liturgy in Honor of David Hiley, ed. Terence Bailey and László Dobszay, Wissenschaftliche Abhandlungen 87 (Ottawa, 2007), 229–45, who argues for a Cluniac Ecclesia context.
19 In the polyphonic songs, double versicles are both underlaid. In In hoc ortus occidente, all the second lines are misplaced under the lowest stave.
20 See, for example, the top of fol. 1v, bottom of fol. 3r and top of fol. 3v.
21 See Stevens, ed., The Later Cambridge Songs, 7–8.
22 See Haines, ‘The Origins’, 365.
23 For the original gathering structure – a gathering with polyphonic conducti and a gathering with monophonic conducti at the end of the manuscript – see Bell, El códice musical, 75.
24 See, for example, fols. 159r, 161r, 163r, 164r and 165r.
25 On the date of this manuscript (23.2 × 15.7 cm), see Barbara Haggh and Michel Huglo, ‘Magnus liber, maius munus: The Origin and Fortune of the F-Manuscript’, Revue de musicologie, 90 (2004), 193–230 and Susan Rankin, ‘Some Medieval Songs’, Early Music, 31 (2003), 326–44, at 329.
26 Eighty-three conducti in fascicle 10 (gatherings 24–26, fols. 415–430, 431–445 and 446–462) and 60 rondelli in fascicle 11 (gathering 27, fols. 463–476).
27 See Rankin, ‘Some Medieval Songs’, 334. On O mens cogita (fols. 438v–439r), Veritas equitas largitas (fols. 440v–442v) and Ave gloriosa virginum (fols. 447r–448r), see Susan Rankin, ‘Taking the Rough with the Smooth: Melodic Versions and Manuscript Status’, in The Divine Office in the Latin Middle Ages, ed. Margot E. Fassler and Rebecca A. Baltzer (Oxford, 2000), 213–33, at 221.
28 Mark Everist, Polyphonic Music in Thirteenth-Century France. Aspects of Sources and Distribution (New York and London, 1989), 69–71, assumes that the manuscript was pre-ruled.
29 Huck, ‘Early Polyphonic Settings’, 33.
30 BAV Reg. lat. 1659, fol. 89v and E-Bbc 3871. On the latter, see Gerald A. Bond, ‘The Last Unpublished Troubadour Song’, Speculum, 60 (1985), 827–49 and Jordi Badiella, ‘De les cançons trobadoresques de Sant Joan de les Abadesses’, Sonograma, 25 (2015), http://sonograma.org/2015/01/de-les-cancons-trobadoresques-de-sant-joan-de-les-abadesses. The songs without staves are in BL Harley 2750 and BnF lat. 1139, on which, see John Haines, Medieval Song in Romance Languages (Cambridge, 2016), 208, 214 and 216.
31 E-Mn 105.
32 I-PCsa cass. C. 49/10, see Tracce di una tradizione sommersa, ed. Maria Sofia Lannutti and Massimiliano Locanto, Studi e testi 3 (Florence, 2005), and perhaps one song in E-Bbc 3871, see Joachim Schulze, ‘Eine bisher übersehene sizilianische Kanzone mit Melodie in Katalonien’, Zeitschrift für romanische Philologie, 118 (2002), 430–40. I-MC Compactiones XVIII lacks staves, see Haines, Medieval Song, 224 and I-RAaa 11518ter, see Tracce.
33 A-SPL 134/6 (olim 29.4.3), B-Ta 924a, CH-BEsu A 421, F-BSM 119, F-Pm 753, BnF lat. 11412, BnF fr. 19525 and F-Psg 1273. NL-DHk 72 J 17 may be a fragment of a chansonnier as the folio number ‘ccxxv’ suggests. This small manuscript (15.4 × 8.9 cm) is in single-column layout (layout 1) on black five-line staves. Sources without staves are: D-Asa Urkundensammlung fol. 5, F-CFbp 240 (189), BAV Reg. lat. 1462 and F-CHRm 520. See Haines, Medieval Song, 196, 198, 200, 204 and 226.
34 BL Royal 12 E. I, D-EFu 8° 32, GB-Ob Ashmole 1285, GB-Cpc 113, GB-Llma COL/CS/01/001/001, BnF fr. 19525, BL Harley 3775, IRL-Dtc 432, GB-Lpro E163/22/1/2, BL Harley 3775 and GB-Ccc 8. See John Stevens ‘Alphabetical Check List of Anglo-Norman Songs’, Plainsong and Medieval Music, 3 (1994), 1–22 and Jacob, ‘Chevalier’.
35 GB-Cu Mm. iv. 28, BL Royal 5 F. vii, GB-MAm A 13, GB-Cjc E.8, BL Harley 322, BL Royal 12 E. I, GB-Llma COL/CS/01/001/001, GB-Ob Rawl. G. 18 and GB-Ob Tanner 169*. See Songs in British Sources c. 1150–1300, ed. Helen Deeming, Musica Britannica 95 (London, 2013).
36 B-Br 15589–15623 and NL-DH Nationaal Archief, archief Graven van Holland, inv. no. 2150, fol. 54v, both with stroke notation.
37 A-Wn 4558, CZ-Pu XVII F 9 and CZ-OLa 300, see František Mužík, ‘Systém rytmiky česke písnĕ 14. Století’, Miscellanea musicologice, 18 (1965), 7–30.
38 Schreibers Bruchstück (lost, see Taschenbuch für Geschichte und Alterthum in Süddeutschland, ed. Heinrich Schreiber (Freiburg, 1839), 1: 352–7), A-Wn 4989, PL-Kj Berlin Mus. ms. 40580 and CH-Bu Cod. B XI 8. With stroke notation: Dießenhofener Liederblatt (private ownership), see Eckart Conrad Lutz, Das Dießenhofener Liederblatt. Ein Zeugnis späthöfischer Kultur, Literatur und Geschichte am Oberrhein 3 (Freiburg, 1994), A-Wn 5455, D-AN lat. 161 and D-B mgf 922. Without staves, apart from D-Mbs Clm 4460/4460a and songs with Old High German texts: A-KR Cod. 127, A-Su Cod. M II 6, A-VOR Cod. 401, D-ERu B 5, D-HTd 468, D-LEu 1285 and D-Mbs Cgm 5249/42a, see Ernst Hellgardt, ‘Neumen in Handschriften mit deutschen Texten. Ein Katalog’, in ‘Ieglicher sang sein eigen ticht’, Germanistische und musikwissenschaftliche Beiträge zum deutschen Lied im Mittelalter, ed. Christoph März, Lorenz Welker and Nicola Zotz, Elementa musicae 4 (Wiesbaden, 2011), 163–207. In addition: F-MEm 327, see Christian Meyer, Collections d'Alsace, de Franche-Comté et de Lorraine II, Catalogue des manuscrits notés du Moyen âge (Turnhout, 2008), 65. For all manuscripts with German texts, see https://handschriftencensus.de.
39 See Judith A. Peraino, ‘Re-Placing Medieval Music’, Journal of the American Musicological Society, 54 (2001), 209–64, at 217–18.
40 Deeming, ed., Songs in British Sources, xxxi.
41 See Karl Reichl, Die Anfänge der mittelenglischen weltlichen Lyrik: Text, Musik, Kontext, Nordrhein-Westfälische Akademie der Wissenschaften. Vorträge G 404 (Paderborn, 1995), 24–33.
42 On the date of U, see Robert Lug, ‘Katharer und Waldenser in Metz: Zur Herkunft der ältesten Sammlung von Trobador-Liedern (1231)’, in Okzitanistik, Altokzitanistik und Provenzalistik. Geschichte und Auftrag einer europäischen Philologie, ed. Angelica Rieger (Frankfurt 2000), 249–74 and Robert Lug, ‘Common Exemplars of U and C’, in A Medieval Songbook: Trouvère MS C, ed. Elizabeth Eva Leach, Joseph W. Mason and Matthew P. Thompson, Studies in Medieval and Renaissance Music 24 (Woodbridge, 2022), 82–120, at 93.
43 On V, see Nicolas Bleisch, ‘The Copying and Collection of Music in the Trouvère Chansonnier BnF fr. 24406’, Ph.D. diss., University of Cambridge (2019).
44 See Jacob, ‘Chevalier’, 130–1.
45 On Z, see Marcello Spaziani, Il canzoniere francese di Siena (Biblioteca comunale H-X-36). Introduzione, testo critico e traduzione, Biblioteca dell'Archivum Romanicum 46 (Florence, 1957).
46 On the date of O, see Lug, ‘Common Exemplars’, 89–90. The same layout is found in one manuscript of Gautier de Coincis Miracles de Nostre Dame (BnF N.A.F. 24541).
47 See John Haines, ‘The Transformations of the Manuscrit du Roi’, Musica disciplina, 52 (2002), 6–54, at 29.
48 The manuscripts of Gautier de Coinci's Miracles de Nostre Dame that include music (B-Br 10747, F-Pa 3517–18, BnF fr. 986, BnF fr. 1530, BnF Fr.1536, BnF fr. 22928, BnF N.A.F. 24541, BnF fr. 25532, BL Harley 4401 and RUS-SPsc fr. F. v XIV9) conform with this: except for BnF fr. 2163, they all have a two-column layout. See Gautier de Coinci. Miracles, Music, and Manuscripts, ed. Kathy M. Krause and Alison Stones, Medieval Texts and Cultures of Northern Europe (Turnhout, 2006), 367–8. The jeux and romans manuscripts with music have a two-column layout as well, see BnF fr. 372, BnF fr. 776, BnF fr. 1581, BnF fr. 1593, BnF fr. 2168, BnF fr. 24431, BnF fr. 25532, BnF fr. 25566, BnF N.A.F. 10036, A-Wn 2542 and A-Wn 2621.
49 F, T, M, W and a include polyphony, particularly motets. On the layout of the motets in these manuscripts, see Oliver Huck, ‘The Layout of the Early Motet’, Journal of the Alamire Foundation, 7 (2015), 11–32, at 12–15.
50 See Huck, ‘Early Polyphonic Settings’, 31.
51 On the evidence of copying in thirteenth-century songbooks, see John Haines, ‘Erasures in Thirteenth-Century Music’, in Music and Medieval Manuscripts. Paleography and Performance, ed. John Haines and Randall Rosenfeld (Aldershot, 2004), 60–90. There are single-column rolls with songs without music, see Richard H. Rouse, ‘Roll and Codex. The Transmission of the Works of Reinmar von Zweter’, in Paläographie 1981. Colloquium des Comité International de Paléographie München, 15–18 September 1981, ed. Gabriel Silagi, Münchener Beiträge zur Mediävistik und Renaissance-Forschung 32 (Munich, 1982), 107–23; Franz H. Bäuml and Richard H. Rouse, ‘Roll and Codex: A New Manuscript Fragment of Reinmar von Zweter’, Beiträge zur Geschichte der deutschen Sprache und Literatur, 105 (1983), 192–231 and 317–30 and William D. Paden, ‘Lyrics on Rolls’, in ‘Li premerains vers’: Essays in Honor of Keith Busby, ed. Catherine M. Jones and Logan E. Whalen, Faux titre 361 (Amsterdam, 2011), 325–40. On rolls with motets as models for the layout in codices, see Huck, ‘The Layout’, 20–1. In contrast to the layout of the extant manuscripts, there is a miniature (B-Br 10747, fol. 3r) showing Gautier de Coinci playing the vielle with an open libellus in single-column layout, see John Haines, ‘A Sight-Reading Vielle Player from the Thirteenth Century’, in The Sounds and Sights of Early Music. Essays in Honour of Timothy J. McGee, ed. Maureen Epp and Brian E. Power (Farnham, 2009), 13–26.
52 See, in addition, the French trope Entendez tuit a cest sermon, which is preserved in single-column layout in two early thirteenth-century manuscripts (BnF lat. 238 and F-LG 2) and in four-column layout in a late thirteenth-century manuscript (BnF fr. 375). See Haines, Medieval Song, 244, 258 and 273.
53 On I-Rss XIV L1 and one of the copies of this model (BL Add. 23935), see Haines, ‘The Origins’, 361–3.
54 See Mary O'Neill, Courtly Love Songs of Medieval France. Transmission and Style in the Trouvère Repertoire (Oxford, 2006), 25–7.
55 See Christopher Callahan, ‘Collecting Trouvère Lyric at the Peripheries: The Lessons of MSS Paris, BnF fr. 20050 and Bern, Burgerbibliothek 389’, Textual Cultures: Text, Contexts, Interpretation, 8 (2013), 15–30 and on the similarities of the layout of U and C, Lug, ‘Common Exemplars’, 82–3. On C, see A Medieval Songbook. On D/e see Rodney C. Dennis, ‘Ein wiederaufgefundenes Fragment eines Chansonniers aus dem 13. Jahrhundert’, Die Musikforschung, 12 (1959), 462–6.
56 BnF fr. 844, BnF fr. 846, BnF fr. 12615 and BnF fr. 20050.
57 See Venezia, Biblioteca Nazionale Marciana V (Str. App. 11 = 278), ed. Ilaria Zamuner, Intavolature 1/3 (Modena, 2003). Quar nueg e jorn trist soi et esbahit in I-CF 1484 is a planh on the death of Giovanni di Cucagna, who was active in Cividale di Friuli.
58 See fols. 1v–4r, 5r, 6v (with the exception of one line) and 7v–8r. The beginning of each verse is highlighted in red. The scribe struggles with the layout at the beginning: in the first two songs (fol. 1r–v) there is a text line for each stave, from fol. 2r onwards the last stave has no text line but is placed above the text block, that is, the first line of the second strophe, with music. On fol. 1r the text is not aligned verse by verse because the space does not fit the length of the verses.
59 A-Wn 2563, A-Wn 2583, E-E S.I.3 and RUS-SPsc EEsp. F. v. XIV.I.
60 There are at least two contrafacta of songs by Piere Vidal by Don Dinis: Amor fez a mim amar after Be⋅m pac d'ivern e d'estiu (BnF fr. 22543, fol. 48r, I-Ma R 71 sup., fol. 40v and BnF fr. 20050, fol. 87v) and Quer'eu em maneira de proençal after Plus que.l paubres, quan jai (BnF fr. 22543, fol. 64r). See Paolo Canettieri and Carlo Pulsoni, ‘Contrafacta galego-portoghesi’, in Medioevo y Literatura. Actas del V Congreso de la Asociación Hispánica de Literatura Medieval (Granada, 27 septiembre – 1 octubre 1993), ed. Juan Paredes (Granada, 1995), 1: 479–98, at 484–6.
61 William D. Paden, ‘On the Music of Galician-Portuguese Secular Lyric. Sources, Genres, Performance’, in Culture and Society in Medieval Galicia. A Cultural Crossroads at the Edge of Europe, ed. James d'Emilio, The Medieval and Early Modern Iberian World 58 (Leiden and Boston, 2015), 862–93, argues convincingly that the Vindel parchment is not a roll, but the central bifolio of a quire.
62 Stephen Parkinson, ‘Layout and Structure of the Toledo Manuscript of the Cantigas de Santa Maria’, in Cobras e Son. Papers on the Text, Music and Manuscripts of the ‘Cantigas de Santa Maria’, ed. Stephen Parkinson (Oxford, 2000), 133–53, at 146–7.
63 See fols. 22v–23r, 29v–30r, 49v–50r, 54v–56v and 65v–70r.
64 Parkinson, ‘Layout and Structure’, 146.
65 On D-MGs Best. 147, Hr. 1, Nr. 2, see Frauenlob (Heinrich von Meissen). Leichs, Sangsprüche, Lieder. 1. Teil. Einleitungen, Texte, ed. Karl Stackmann and Karl Bertau, Abhandlungen der Akademie der Wissenschaften in Göttingen, Philol.-Hist. Klasse III, 119 (Göttingen, 1981), 150–1. On D-Fu germ. oct. 18, see Marc Lewon, ‘Die Melodieüberlieferung zu Neidhart. Konkordanz zur Überlieferung von Neidhart-Melodien’, in Neidhart und die Neidhart-Lieder. Ein Handbuch, ed. Margarete Springeth and Franz-Viktor Spechtler (Berlin and Boston, 2018), 169–240, at 176–81. For more Neidhart manuscripts – including CH-Fcu Ms. L 24 (late fourteenth century, neumes), I-VIPac (early fifteenth century, German choral notation as well as black and white mensural notation) and A-Wn s.n. 3344 (c.1430, in two columns) – see ibid., 182–217. There is doubt as to whether the bifolio D-MÜsa VII.51 belonged to a songbook. Ulrich Seelbach, ‘Ein Münsterer Fragment von Konrads von Würzburg “Goldener Schmiede”’, Zeitschrift für deutsches Altertum, 124 (1995), 303–18, at 303–5, argues that it belonged to a manuscript that also included Konrad von Würzburg's Goldene Schmiede (D-MÜsa Msc. VII 2d Nr. 29).
66 See Die ‘Jenaer Liederhandschrift’. Codex – Geschichte – Umfeld, ed. Jens Haustein and Franz Körndle (Berlin and New York, 2010).
67 See Wolfgang von Wangenheim, Das Basler Fragment einer mitteldeutsch-niederdeutschen Liederhandschrift und sein Spruchdichter-Repertoire (Kelin, Fegfeuer) (Genf, 1972).
68 The only fragment (22 × 16 cm) of a songbook in single column layout is D-B mgq 981 (fourteenth century, 22 × 16 cm). In all these German manuscripts the subsequent strophes are arranged in layout 1. Only in the Jena Liederhandschrift and in D-HEu cpg 329 space for the initials was left blank, in the other manuscripts, initials or rubrics were written on the staves.
69 On the relationship between these two manuscripts, see Oliver Huck, ‘Die Notation der mehrfach überlieferten Melodien in der Jenaer Liederhandschrift’, Die ‘Jenaer Liederhandschrift’, 99–120 and Franz Koerndle, ‘Die Jenaer Liederhandschrift und die Basler Fragmente. Aspekte notenschriftlicher Traditionen’, ibid., 121–36.
70 Lorenz Welker, ‘Die “Jenaer Liederhandschrift” im Kontext großformatiger liturgischer Bücher des 14. Jahrhunderts aus dem deutschen Sprachraum’, ibid., 137–48, at 140, notes that square notation is often employed in German liturgical books of a large format.
71 See Thomas Klein, ‘Zur Verbreitung mittelhochdeutscher Lyrik in Norddeutschland (Walther, Neidhart, Frauenlob)’, Zeitschrift für deutsche Philologie, 106 (1987), 72–112.
72 The only complete early (c.1400) Dutch songbook is the Gruuthuse-manuscript (NL-DHk KW 79 K 10) with a two-column layout with five-line staves. The music is written in stroke notation. Unlike all the other songbooks in columns, the staves are not aligned to the width of the text columns but drawn beyond them. The reason for this is that the songs are predominantly written on a single stave or perhaps two, and the text of the first strophe is written in a block and not aligned with the music.
73 See Rob C. Wegman, ‘The Minstrel School in the Late Middle Ages’, Historic Brass Society Journal, 14 (2002), 11–30. The Minnesänger were familiar with the Occitan and French repertories. D-MÜsa VII.51 includes Walter's Palästinalied, arguably a contrafactum of Jaufre Rudel's Lanquan li jorn, which is found in three French chansonniers (BnF fr. 844, fol. 189v, BnF fr. 20050, fol. 81v and BnF fr. 22543, fol. 63r). See Florian Kragl, ‘Musik’, in Lyrische Werke, ed. Volker Mertens and Anton Touber, Germania litteraria medievalis francigena 3 (Berlin and Boston, 2012), 347–89.
74 See Joachim Schulze, ‘Das Lied in der höfischen Kultur des Duecento’, in Kontinuität und Transformation in der italienischen Vokalmusik zwischen Due- und Quattrocento, ed. Sandra Dieckmann, Oliver Huck, Signe Rotter-Broman and Alba Scotti, Musica mensurabilis 3 (Hildesheim, 2007), 141–66.
75 I-Fn Banco rari 18 was formerly in the possession of the Compagnia di Santo Spirito, Florence. It also contains motets and this last section (fols. 144r–151v) seems to have been pre-ruled. Fols. 152–153 are written on five-line staves and seem to have previously been part of another laudario. On I-Fn Mss. da ordinare 97/1 nr. 94 and 97/2 nr. 43, see Sandro Bertelli, I manoscritti della letteratura italiana delle origini. Firenze, Biblioteca Nazionale Centrale (Florence 2002), 147 and Concetto del Popolo, ‘Un nuovo frammento di laudario musicato’, Medioevo letterario d'Italia: Rivista internazionale di filologia, linguistica e letteratura, 10 (2013), 155–62. The Laudario di St. Agnese has been cut into folios, some of which ended up as part of different collections due to their elaborate miniatures, see Francesco Zimei, ‘New Light on the so-called Laudario di Sant'Agnese’, Musica disciplina, 56 (2011), 463–90, at 484–5. I-Tn Bobbiense F.I.4 in single-column layout contains Latin laude employing layout 3 and a modified layout 2 with only the incipit of the ripresa and the beginning of the second strophe with music.
76 See also I-Af 338 where no music has been entered, but staves have been ruled on fols. 11r and 11v.
77 Fol. 185r–187v, see Alexandros Maria Hatzikiriakos and Maria Teresa Rachetta, ‘Lo Chansonnier du roi (BnF fr. 844) e la sua storia: Un nuovo approcio alle aggiunte successive’, in Philologie et musicologie: des sources à l'interprétation poetico-musicale (XIIe–XIVe siècle), ed. Christelle Chaillou-Amadieu et al. (Paris, 2019), 143–58 and Stefano Asperti, Carlo I d'Angiò e i trovatori. Componenti ‘provencali’ e angioine nella tradizione manoscritta della lirica trobadorica (Ravenna 1995), 121–33. The same scribe has written fol. 117r–v with the same layout, see Judith Peraino: Giving Voice to Love: Song and Self-expression from the Troubadours to Guillaume de Machaut (Oxford, 2011), 161.
78 On fol. 186v the text of the subsequent strophes is neatly written between the stave lines. Apart from the additions of scribe 1, there are more pre-ruled pages (fols. 77r–78v, 103v–104v and 210r–211v).
79 See Oliver Huck, ‘Schreibprozesse in italienischen Musikhandschriften des 14. und frühen 15. Jahrhunderts’, Die Musikforschung, 56 (2003), 366–74.
80 Fols. 18r, 18v, 19r, 22r and 23r.
81 Fol. Bv, see Marco Gozzi and Agostino Ziino, ‘The Mischiati Fragment. A New Source of Italian Trecento Music’, in Kontinuität und Transformation, ed. Dieckmann et al., 281–314.
82 Five ballate by Gherardello da Firenze (fols. 28v, 29r, 30v and 31v) and five by Lorenzo da Firenze (fols. 47r, 47v, 48r, 50r and 51r).
83 See Gozzi and Ziino, ‘The Mischiati Fragment’, 298–9.
84 See Luciano Bellosi, ‘The Squarcialupi Master’, Il codice Squarcialupi: ms. Mediceo Palatino 87 Biblioteca Medicea Laurenziana di Firenze (Florence, 1992), 145–57.
85 The late fourteenth-century Libre Vermell (E-MO 1) includes a section with songs (fols. 21v–27r), their layout follows the disposition of the text. Of the ten songs only four are monophonic, one in Castilian and three in Latin. The two manuscripts with pre-ruled staves (BL Harley 978 and BL Arundel 248), containing polyphonic English songs only, include Latin monophonic songs, see Deeming, ‘Observations’, 45.
86 See Haines, ‘The Origins’, 366.
87 See Lawrence M. Earp, ‘Scribal Practice, Manuscript Production and the Transmission of Music in Late Medieval France: The Manuscripts of Guillaume de Machaut’, Ph.D. diss., Princeon University (1983), 186–90 on ruling staves.
88 See Joseph C. Morin, ‘Jehannot de Lescurel's Chansons, Geoffrey de Paris’ Dits, and the Process of Design in BN fr. 146’, in Fauvel Studies. Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France MS 146, ed. Margaret Bent and Andrew Wathey (Oxford, 1998), 321–36. As well as layout 1, this fascicle employs the somewhat old-fashioned layout 3.
89 See Huck, ‘The Layout’, 12–20.
90 In BnF fr. 844, they are written in two columns as are those in the manuscripts of the Roman de Tristan (A-Wn 2542 and BnF fr. 776). On BnF fr. 776, see John Haines, ‘Lai Layout in the Paris Prose Tristan Manuscripts’, Scriptorium, 59 (2005), 3–28.
91 Fols. 17r–18v, 19r–v, 28(bis)r–28(ter)v and 34v–36v.
92 On F-LA 134, see David Fallows, ‘Guillaume de Machaut and the Lai: A New Source’, Early Music, 5 (1977), 477–83. On F-DOU 1105/3 fragment 75, see Christian Meyer, Collections du Nord – Pas-de-Calais et Picardie II, Catalogue des manuscrits notés du Moyen âge 4 (Turnhout, 2017), 119–20. On the folio is a note dated 1344.
93 See Elizabeth Eva Leach, ‘Machaut's First Single-Author Compilation’, in Manuscripts and Medieval Song, ed. Deeming and Leach, 247–70.
94 Fol. 297 ff. See Earp, Scribal Practice, 187. The staves are always drawn to the end of the writing block (on fol. 200v one stave is longer according to the text line), as they are in Vg.
95 See Earp, Scribal Practice, 187–8.
96 Fols. 410v–412v, see Earp, Scribal Practice, 188–9. This lai is elsewhere found outside of the lai section, see C (fols. 87v–189r), Vg (fols. 87v–89v), B (fols. 104v–106v) and E (fols. 57v–58r).
97 The beginning of the lai section in B is lost; perhaps the beginning of the first of the lais, which was on the lost folio before fol. 218, was in two columns. In F-G, at the beginning of the lai section (fols. 76v–81r), the staves cut into the initials where no space between the sections was left in the text line and the staves was not interrupted; only from fol. 81v onwards are they interrupted throughout according to the text, see Earp, Scribal Practice, 187.
98 See Mondsee-Wiener Liederhandschrift aus dem Codex Vindobonensis 2856, ed. Helge Heger (Graz 1968). For manuscripts with single entries of the Mönch von Salzburg's songs, see Die weltlichen Lieder des Mönchs von Salzburg, ed. Christoph März (Tübingen, 1999), including the fourteenth-century manuscripts D-BAs Msc. Astr. 4, D-Mbs Clm 7543 and D-MZs I 572.
99 On D-B mgf 757 fol. 17, see Hellgardt, ‘Neumen’, 166, but the notation is on staves. There are only two strips with a line of text and the lowest stave line each, so nothing can be concluded about the layout, except that there was a single column. On D-Bga XX. HA Hs. 33, Bd. 1, see Karl Heinrich Bertau, ‘Wenig beachtete Frauenlobfragmente II’, Zeitschrift für deutsches Altertum, 93 (1964), 215–26; Frauenlob (Heinrich von Meissen), 139. On A-M Fragm. germ. 3, see Joachim F. Angerer, Lateinische und deutsche Gesänge aus der Zeit der Melker Reform, Forschungen zur älteren Musikgeschichte 2 (Vienna, 1979), 7–23. The notation changes from square notation to German choral notation and neumes without staves; Frauenlob (Heinrich von Meissen), 146. On RUS-SPsc O. v. XIV N. 6, see Teresa Proto, Studio ecdotico, linguistico e musicologico dei Geißlerlieder (Göppingen 2014). The Geißlerlieder are labelled as ‘Leich’ in other chronicles, see Hermann Apfelböck, Tradition und Gattungsbewußtsein im deutschen Leich. Ein Beitrag zur Gattungsgeschichte mittelalterlicher musikalischer ‘discordia’ (Tübingen, 1991), 110–13, where Apfelböck acknowledges the difference between Leich and Leise, but he admits some formal correspondences between the Geißlerlieder and the Leich.
100 See Bertau, ‘Wenig beachtete Frauenlobfragmente II’.
101 On D-MZs Hs. Frag 3a–c, see Georg Objartel, ‘Zwei wenig beachtete Fragmente Reinmars von Zweter und ein lateinisches Gegenstück seines Leichs’, Zeitschrift für deutsche Philologie, 90 (1971), Sonderheft 217–31. On A-SPL Cod. 24/8, see Hans Gröchenig, Peter Hans Pascher, Karl Stackmann, Karl Bertau and Christoph März, ‘Ein neues Fragment aus Frauenlobs Kreuzleich’, Zeitschrift für deutsches Altertum, 113 (1984), 246–86. On PL-WRu Cod. I Q 368a, see Joseph Klapper, ‘Frauenlobfragmente’, in Festschrift Theodor Siebs zum 70. Geburtstag, ed. Walther Steller (Breslau, 1933), 69–88; Frauenlob (Heinrich von Meissen), 149.
102 See Gröchenig/Pascher/Stackmann/Bertau/März, ‘Ein neues Fragment’, 260–1.
103 Birkhan, Helmut, ‘Wer byn ich – daz bist du: Eyn narre. Bemerkungen zur sogenannten Wiener Leich-Handschrift’, in Wiener Quellen der älteren Musikgeschichte zum Sprechen gebracht, ed. Lodes, Birgit, Wiener Forum für ältere Musikgeschichte 1 (Tutzing, 2007), 161–86CrossRefGoogle Scholar, at 161.
104 In the late fourteenth and early fifteenth centuries, German and Czech sacred songs were preserved in some pre-ruled manuscripts, which contain for the most part chants for the liturgy and some polyphonic music. For example, CH-EN 314, fols. 1–14 (and an additional German song with music on fol. 131r), but the outer three bifolios are lost, see Engelberg Codex 314, ed. Wulf Arlt and Matthias Stauffacher, Schweizerische Musikdenkmale 2 (Winterthur, 1986), 4 and CZ-VB 42 fols. 159v–161r, 161v–162r and 162v–163v. The sacred songs in Czech are found in manuscripts that could legitimately be called liturgical books. The cantionale from Vyšší Brod written by Přibík (c.1410) includes three monophonic songs with music in Czech. It has been pre-ruled with six red five-line staves per page. The Engelberg Codex (late fourteenth century), which was bound in the early fifteenth century under the direction of Abbot Walther Mirer dates back to the 1360s. Most of the German songs with music are found in the first fascicle, written by Mirer himself on folios that have been pre-ruled with black five-line staves. In its original state this fascicle was part of a songbook (including some dictamen) that now constitutes part of a manuscript used for instructing the monks in singing.
105 See Lorenz Welker, ‘Die Überlieferung französischer Chansons in der Wolkenstein-Handschrift A’, in Wiener Quellen, ed. Lodes, 311–30.
106 From fol. 51r onwards black staves are drawn according to the pre-disposition of the text, but staves are ruled filling the whole writing space and some text of subsequent strophes is neatly written between the lines of the staves. The same holds true for A-Iu (1432–38, 49 × 34 cm).
107 Fols. 1r, 1v, 2v, 4v, 5v, 9r, 14v, 17r, 17v, 18v, 19v, 20v, 21v and 23v.
108 Laurenz Lütteken, ‘Musikalischer Text – Musikalische Wirklichkeit. Probleme spätmittelalterlicher Schriftlichkeit im Licht der Wolkenstein-Handschrift A’, in Wiener Quellen, ed. Lodes, 287–310, at 297–8.
109 Delbono identified one of the later hands as that of Oswald Holler, who wrote another manuscript (D-Mbs Cgm 3897) in 1428, see Oswald von Wolkenstein, Handschrift A. Vollständige Faksimile-Ausgabe im Originalformat des Codex Vindobonensis 2777 der Österreichischen Nationalbibliothek, ed. Francesco Delbono, Codices selecti 59 (Graz, 1977), 43. Reinhard Strohm, however, in ‘Native and Foreign Polyphony in Late Medieval Austria’, Musica disciplina 38 (1984), 205–30, at 210 and 213, argues on the basis of concordances in other manuscripts related to Vienna that at least parts of this manuscript were prepared in the Dorotheenkloster, Vienna.
110 A-Iu 457 is from the scriptorium in Novacella, see Gozzi, Marco, ‘The Abbey of Novacella and Local Polyphonic Traditions’, in Oswald von Wolkenstein. Die Rezeption eines internationalen Liedrepertoires im deutschen Sprachbereich um 1400, ed. Berger, Christian, Voces 14 (Freiburg, 2011), 17–32Google Scholar.
111 See fol. 249v, Fuyés de moy and Oswald's Wohlauf, Gesell, wer jagen will.
112 Oswald's song is Wach auf mein hort on p. 2. See Salmen, Walter, Das Lochamer Liederbuch, Sammlung musikwissenschaftlicher Einzeldarstellungen 18 (Leipzig, 1951)Google Scholar.