Read:

Jeremy Yudkin, The Musical Treatise of Anonymous IV: A New Translation, MSD 41 (Neuhausen-Stuttgart: American Institute of
Musicology, 1985) pp. 39-40 on Leonin and Perotin, and pp. 73-5 on the Magnus Liber. For the Latin text, see Fritz Reckow, Der
Musiktraktat des Anonymus 4, Beihefte zum Archiv für Musikwissenschaft 4-5 (Wiesbaden 1967) pp. 46, 82-83.

Optional: Craig Wright, "Leoninus, Poet and Musician" JAMS 39 (1986) 1-35.
 
 

Read:

Johannes De Garlandia, Concerning Measured Music (De Mensurabili Musica), transl. Stanley H. Birnbaum, Colorado College Music
Press Translations 9 (Colorado Springs 1978) chapters 1, 12, 13 on the types of organum, pp. 1-5, 42-3.

Latin: Johannes de Garlandia, De mensurabili musica: kritische Edition mit Kommentar und Interpretation der Notationslehre, 2 vols., ed.
Erich Reimer, Beihefte zum Archiv für Musikwissenschaft 10-11 (Wiesbaden: Steiner, 1972).

Optional:

Anonymous IV, chap. 4 pts. 2-3 and chap. 5; Yudkin translation pp. 62-72, Reckow ed. pp. 70-81.

Jeremy Yudkin, De Musica Mensurata: The Anonymous of St. Emmeram: Complete Critical Edition, Translation, and Commentary
(Bloomington: Indiana University Press, 1990) 270-89.
 
 

Read:

Jeremy Yudkin, "The Rhythm of Organum Purum" Journal of Musicology 2 (1983) 355-76. Yudkin, "The Anonymous of St. Emmeram
and Anonymous IV on the Copula," MQ 70 (1984) 1-22.

Optional:

Jeremy Yudkin, "The Copula according to Johannes de Garlandia," Musica Disciplina 34 (1980)67-84. Charles M. Atkinson, "Franco of
Cologne on the rhythm of organum purum," Early Music History 9 (1990) 1-26.
 
 
 
 

                                     The Manuscripts of Notre Dame Polyphony
 
 

1. Catalogues

The classic catalogue of the Notre Dame and motet manuscripts is: Friedrich Ludwig, Repertorium Organorum Recentioris et Motetorum
Vetustissimi Stili, 2nd expanded ed., ed. Luther Dittmer, Band I: Catalogue raisonné der Quellen, Abteilung 1: Handschriften in
Quadrat-Notation (original ed. Halle: Max Niemeyer, 1910; this rev.ed. New York: Institute of Mediaeval Music and Hildesheim: Georg
Olms, 1964). Band I, Abteilung 2: Handschriften der Mensural-Notation, ed. Luther Dittmer (Brooklyn: Institute of Mediaeval Music,
1978). Band II: Catalogue raisonné der Quellen: Ein Vollständiges musikalisches Anfangsverzeichnis sämtlicher Organa recentioris stili,
sämtlicher geschichtlich wichtiger Organa-Teile, und sämtlicher Motetten der hier behandelten ältesten Mottettenepoche (Brooklyn:
Institute of Medieval Music; Hildesheim: Georg Olms, 1972).

Other catalogues of this material include: Friedrich Gennrich, Bibliographie der ältesten französischen und lateinischen Motetten, Summa
Musicae Medii Aevi 2 (Darmstadt: by the author, 1957). Hendrik van der Werf, Integrated Directory of Organa, Clausulae, and Motets
(Rochester: by the author, 1989). Gilbert Reaney, Manuscripts of Polyphonic Music: 11th-Early 14th Century, RISM B IV 1 (Munich:
Henle 1966). Hans Tischler, The Style and Evolution of the Earliest Motets (to circa 1270), 3 vols. in 4, Wissenschaftliche
Abhandlungen 40 (Henryville, Penn.: Institute of Medieval Music, 1985), vols. 3A and 3B.
 
 

2. Manuscripts and fragments of the Magnus Liber

The date of these sources, and their chronology relative to each other, is still debatable, but at least three types of evidence need to be
considered: the paleography of the texts, the notation of the music, and the state of the repertory. This third issue is the most problematic
one. A series of articles on this subject by Heinrich Husmann (two of them in JAMS and MQ 1963) has been challenged, on the one
hand, by Hans Tischler (MQ and Journal of Musicological Research 1984), on the other hand by Craig Wright, Music and Ceremony at
Notre Dame of Paris, 500-1550 (Cambridge 1989) 243ff.
 
 

W1 - Wolfenbüttel, Herzog August Bibliothek, MS 677 (olim Helmstad. 628)

This MS once belonged to the Scottish monastery of St. Andrew, and its insular provenance makes it difficult to compare with the other
sources paleographically. It seems to represent the most primitive recension of the Magnus Liber, but does this mean the manuscript itself
is early date or is it merely conservative because of its peripheral provenance? It is catalogued in Ludwig I/1, pp. 7-57. Facsimile ed.: J.
H. Baxter, An Old St. Andrews Music Book (Cod. Helmst. 628), St Andrews University Publications 30 (London: Humphrey Milford
and Paris: Librairie Ancienne Honoré Champion, 1931; repr. New York: AMS Press, 1973. An edition was published by William Waite,
The Rhythm of Twelfth-Century Polyphony, its Theory and Practice (New Haven: Yale, 1954) 135-254. But his views that the entire
corpus should be transcribed according to the rhythmic modes is no longer accepted.

For varying opinions on the provenance of this MS see: Edward Roesner, "The Origins of W1," JAMS 29 (1976) 337-80. Julian Brown,
Sonia Patterson, David Hiley, "Further Observations on W1," Journal of the Plainsong & Mediaeval Music Society 4 (1981) 4 (1981)
53-80. [Note: Brown and Patterson are paleographers specializing in insular and French manuscripts respectively.] Mark Everist, "From
Paris to St. Andrews: The Origins of W1," JAMS 43 (1990) 1-42.
 
 

F - Florence, Biblioteca Laurenziana, pluteus 29.1

Originating in Paris ca. 1250, it is the earliest of the three major MSS, yet seems to contain the most developed recension of the Magnus
Liber. It is catalogued in Ludwig I/1 pp. 57-125.

Facsimile ed.: Luther Dittmer, ed., Firenze, Biblioteca Mediceo-Laurenziana, Pluteo 29,1, 2 vols., Publications of Mediaeval Musical
Manuscripts 10-11 (Brooklyn: Institute of Mediaeval Music, [1966-7]. On the provenance see: Rebecca Baltzer, "Thirteenth-Century
Illuminated Miniatures and the Date of the Florence Manuscript," JAMS 25 (1972) 1-18.
 
 

MüA - Fragments formerly in Munich

These fragments seem to come from a relatively early source. They are catalogued in Ludwig I/1 pp. 279-85. Facsimile ed.: Luther
Dittmer, Eine zentrale Quelle der Notre Dame-Musik -- A Central Source of Notre Dame Polyphony (Brooklyn: Institute of Mediaeval
Music, 1959), with additions in Dittmer, "The Lost Fragments of a Notre Dame Manuscript in Johannes Wolf's Library," Aspects of
Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, ed. Jan LaRue (New York: W. W. Norton, 1966; repr. New
York: Pendragon Press, 1978) 122-33 and plates 6-17 following p. 490.
 
 

W2 - Wolfenbüttel, Herzog August Bibliothek, MS 1099 (olim Helmstad. 1206)

Though seemingly of Parisian origin the date of this MS is less certain, but notationally it is later than F. It is catalogued in Ludwig I/1 pp.
157-222. Facsimile ed.: Luther Dittmer, Wolfenbüttel 1099 Helmstadiensis-(1206): W2, Publications of Mediaeval Musical Manuscripts
2 (Brooklyn: Institute of Mediaeval Music, 1960).
 
 

Berlin/Marburg Fragments

See Kurt von Fischer, "Neue Quellen zur Musik des 13., 14. und 15. Jahrhunderts, " AcM 36 (1964) 79-97, esp. 80-83. The MS seems
to be from a MS more recent than W2 , because of greater use of mensural ligatures and the fact that some passages have been shortened.
 
 

Basel Fragments

Wulf Arlt and Max Haas, "Pariser Modale Mehrstimmigkeit in einem Fragment der Basler Universitätsbibliothek," Forum Musicologicum
1, Basler Studien zur Musikgeschichte 1 (Bern: Francke, 1975) 223-72. Three-part settings of organa otherwise known only in two parts,
with extensive use of mensural ligatures.
 
 

Two groups of fragments are too little known to attempt to date:
 
 

Stary Sacz Fragments in Poland

Miroslaw Perz, Sources of Polyphony up to c. 1500: Facsimiles, Antiquitates Musicae in Polonia 13 (Graz: Akademische Druck;
Warsaw: Polish Scientific Publishers, 1973) pp. IX-XX, 2-11.

A paper on these fragments is to be read at the Pittsburgh AMS meeting this year.
 
 

Copenhagen Fragments

John Bergsagel, "The Transmission of Notre Dame Organa in Some Newly-Discovered 'Magnus liber organi' Fragments in
Copenhagen," Atti del XIV congresso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura
musicale 3: Free Papers, ed. Angelo Pompilio et al., (Turin: E. D. T. Edizioni, 1990) 629-36. Bergsagel claims to have a complete
facsimile edition forthcoming in Early Music History.
 
 

Among the extant MSS containing selections from the Magnus Liber repertory combined with other material, some of the more important
are:

LoA - London, British Library, MS Egerton 2615

The organum section in this MS from Beauvais is of interest because it seems to date even earlier than F. It is catalogued in Ludwig I/1
pp. 229-43.
 
 

Ma - Madrid, Biblioteca Nacional, MS 20486 (olim Hh 167)

This is the largest collection of Notre Dame pieces in a MS that does not contain a "complete" Magnus Liber. It is catalogued in Ludwig
I/1 pp. 125-39. Facsimile ed.: Luther Dittmer, Madrid 20486, Publications of Mediaeval Musical Manuscripts 1 (Brooklyn: Institute of
Mediaeval Music, 1957). See also: Jutta Pumpe, ed., Die Motetten der Madrider Notre-Dame-Handschrift, Münchener
Veröffentlichungen zur Musikgeschichte 48 (Tutzing: Hans Schneider, 1991), review by Rebecca Baltzer forthcoming in Notes.

Aberdeen University Library MS 2379/1

See Geoffrey Chew, "A Magnus Liber Organi Fragment at Aberdeen," JAMS 31 (1978) 326-43. Further discussion by Alejandro
Enrique Planchart and Geoffrey Chew in JAMS 32 (1979) 164-5.
 
 

Other manuscripts undoubtedly existed in the Middle Ages, for they are occasionally described in library catalogues and other sources.
See Rebecca A. Baltzer, "Notre Dame Manuscripts and Their Owners: Lost and Found," The Journal of Musicology 5 (1987) 380-99.
 
 

Bibliography on the background of Parisian polyphony: Michel Huglo, "Les débuts de la polyphonie à Paris: les premiers organa
parisiens," Aktuelle Fragen der musikbezogenen Mittelalterforschung, Forum Musicologicum 3 (Winterthur: Amadeus 1982) 93-163. Leo
Treitler, "Der vatikanische Organumtraktat und das Organum vom Notre Dame de Paris: Perspektiven der Entwicklung einer schriftlichen
Musikkultur in Europa," Basler Jahrbuch 7 (1983) 23-31. Anne Walters Robertson, "Benedicamus Domino: The Unwritten Tradition,"
JAMS 41 (1988) 1-62. Craig Wright, Music and Ceremony at Notre Dame of Paris, 500-1550 (Cambridge 1989); reviews: Rebecca
Baltzer in Journal of the Royal Musical Association 116 (1991) 299-302; Andrew Wathey in Early Music History 10 (1991) 305-13;
Roger Bowers in Plainsong & Medieval Music 1 (1992) 93-96. Michel Huglo, "Notated Performance Practices in Parisian Chant
Manuscripts of the Thirteenth Century," Plainsong in the age of polyphony, ed. Thomas Forrest Kelly, Cambridge Studies in
Performance Practice 2 (Cambridge University Press, 1992) 32-44.

Publications of Rebecca Baltzer: "Another Look at a Composite Office and its History: The Feast of Susceptio reliquiarum in Medieval
Paris," Journal of the Royal Musical Association 113 (1988) 1-27. "How Long Was Notre-Dame Organum Performed?," Beyond the
Moon: Festschrift Luther Dittmer, ed. Bryan Gillingham and Paul Merkley (Ottawa: Institute of Medieval Music, 1990) 118-43. "The
Geography of the Liturgy at Notre-Dame of Paris," Plainsong in the Age of Polyphony, ed. Thomas Forrest Kelly, Cambridge Studies in
Performance Practice 2 (Cambridge University Press, 1992) 45-64. "Performance Practice, the Notre-Dame Calendar, and the Earliest
Latin Liturgial Motets," Das musikgeschichtliche Ereignis "Notre-Dame", ed. Wulf Arlt and Fritz Reckow, Wolfenbütteler Forschungen
(Wolfenbüttel: Herzog August Bibliothek, forthcoming). The Feast of the Reception of the Relics in Medieval Paris: A Complete Office
with Polyphony, ed. Baltzer, Recent Researches in the Music of the Middle Ages (Madison: A-R Editions, forthcoming).
 
 

Transcription assignment:

Using Ludwig's vol. 2 and the other catalogues, identify an organum complex that occurs in all three of the main MSS of the Magnus
Liber (perhaps also in some of the fragments) and that later served as the source of some motets. Good possibilities are the complexes
identified by Ludwig's numbers M5, M13, M14, M24, M26, M30, M34, O2, O16. Whichever one you select, try to determine which
sections should be classified as organum purum, copula, and discant. Prepare a parallel transcription of the organum purum sections from
all sources, attempting a plausible rhythmic interpretation in accordance with what you read in Yudkin's articles. Use a pencil, you will be
making changes in the coming weeks.
 
 

A forthcoming edition of this repertory is: Edward H. Roesner, ed., Magnus Liber Organi: Parisian Liturgical Liturgical Polyphony of the
Twelfth and Thirteenth Centuries (Monaco: Editions de l'Oiseau-Lyre, forthcoming). Soon to appear will be

vol. 5: The Two-Voice Clausulae in Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1, ed. Rebecca Baltzer.

Other editions include: Hans Tischler, ed., The Parisian two-part organa: the comparative edition (Stuyvesant, NY: Pendragon Press,
1988). William Waite, The Rhythm of Twelfth-Century Polyphony (based on W1, see above).
 
 
 
 

Listening assignment:

Look at the transcription of Alleluia Spiritus Sanctus in Jeremy Yudkin, Music in Medieval Europe (on reserve for Music 101) and listen
to the performance on the accompanying tape.