Anonymous theoretical writings.

This article focusses on anonymous music theory texts within the following categories: works written during the Western Middle Ages and early Renaissance (to about 1600), currently assumed to be anonymous and not closely associated with a known person, which have been edited and published in modern times.

1. Introduction.

2. Catalogue.

3. Index.

C. MATTHEW BALENSUELA

Anonymous theoretical writings

1. Introduction.

Several groups of anonymous treatises are excluded from this article, such as works of ancient Greek, Byzantine or Arabic music theory, works closely associated with named writers, and unpublished anonymous works. In addition, several significant anonymous works, such as the Musica enchiriadis, are the subjects of separate articles, and many minor works are treated in articles appropriate to their subject, such as Contrapunctus; Counterpoint; Discant; Faburden; Fauxbourdon; Mode; Organum; Theory, theorists; or Tonary. Numerous artefacts of music have survived to modern times without clearly identifying their author. These include musical works, pictures, court records, theoretical treatises and other documents. The corpus of anonymous theoretical works, therefore, comprises only a portion of all anonymous works in the history of music. In music theory, anonymous sources primarily span the time from antiquity to the early Renaissance, when texts were copied by hand. After the advent of printing, few theoretical works were transmitted anonymously.

(i) Reasons for anonymity.

There may be as many explanations for anonymity as there are anonymous treatises, but certain aspects of anonymity involve essential questions regarding an author’s intent. How did these unknown writers see themselves and their writings? Did they consider themselves ‘authors’ in a modern sense of producing original and stable texts for a wide and unknown audience, or ‘compilers’ or ‘commentators’ working within a tradition of common knowledge? The answers to these questions may vary for each author and work and may often be unanswerable, but these issues must be kept in mind as the treatises are read. These writings, though now anonymous, are the products of individuals whose thoughts and actions were affected by their own time and place.

While the unique circumstances of each treatise and author must be accepted, a number of traditional models are recognizable within the corpus of anonymous theoretical sources, creating small clusters or constellations of anonymous treatises. These include works derived from similar sources (such as the numerous anonymous treatises beginning ‘Gaudent brevitate moderni’ and drawn from the teaching of Franco of Cologne; see Ristory, 1987), anonymous notes probably used in university courses, and treatises on a discrete subject such as the division of the monochord, counterpoint or Ars Nova notation. In these cases, it may be posited that the writers did not consider their works to be ‘original’ but rather saw their efforts as continuing a well-known tradition.

Beyond the unknown intent of these authors, the process of manuscript production surely added to the anonymity of many works. Most manuscript sources for anonymous theoretical works post-date the assumed writing of the treatise by a substantial period, in some cases centuries. Modern readers, therefore, can hardly be sure of seeing a treatise as its ‘author’ intended it. The copying of manuscripts offered numerous opportunities for errors, deletions and additions in the texts as well as in their attributions. Treatises may have become separated from their authors through accidents in copying, and it is easy to imagine a title, incipit or explicit (where the author’s name often appears) disappearing over the centuries. Later copyists might falsely ascribe a treatise to a famous theorist if the work’s contents were consistent with that theorist’s teachings. In some cases, a scribe cited in a work’s explicit has been credited as the author of the work, an error uncovered by subsequent research, which then designates the work as anonymous. Finally, manuscripts often contain ambiguous designations. The best known of these are the works cited in the sources as ‘secundum Johannem de Muris’ where ‘secundum’ might mean authorship by Johannes de Murisor merely that the treatise follows his teachings. In a small number of cases, it appears that the medieval author wished to remain anonymous (as seems to have been the case with John of Tewkesbury, author of the Quatuor principalia musice) or tried to conceal their names from the casual reader (as is done in the acrostic formed by the first letter of each book in the Speculum musice of Jacobus of Liège).

Given the various factors that have contributed to the current anonymous state of these works (the unknown intent of the authors and the variety of transmission errors the works may have been subjected to), it is impossible to posit a single theory, such as a medieval cult of humility, to explain the large number of anonymous theoretical sources.

(ii) Past and present scholarship in relation to anonymity.

Consideration of the scholarship on anonymous sources must start with the manuscripts containing these works. The creators of these codices could themselves be seen as the first ‘scholars’ working on these treatises. They decided which works to copy, in what format, with what other works and with what commentary, additions or deletions. These codices also dictated how these works were read, studied and transmitted and thus determined the present state of the individual treatises. Understanding the nature and history of the original sources is a crucial prerequisite to understanding the theoretical texts they contain.

The modern study of these works can be said to begin with the multi-volume editions of Gerbert and Coussemaker. In presenting their monumental collections of music treatises, these pioneering scholars established and disseminated the basic texts of the field and helped to establish the modern study of the history of music theory. They have often been criticized in modern times, however, for errors in attribution and editing. In some significant cases, Coussemaker and Gerbert misattributed anonymous treatises, conflated individual treatises with other works, or even printed the same work twice with divergent attributions (to say nothing of their errors in the texts themselves). As scholars continue to unravel the history of music theory, it is only to be expected that some previously anonymous works will be ascribed to specific authors while other works (even well-established texts) will be newly designated as anonymous or will have their attributions and contents questioned.

Since the publications of Gerbert and Coussemaker, the activities of scholars in this field can be roughly divided into several broad areas: (a) publication of individual works omitted by Gerbert or Coussemaker or more accurate editions of previously edited works (especially in such series as MSD, CSM and GLMT), (b) publication of related works in a single volume (for example, the study of organ pipe treatises by Sachs, 1970–80), (c) production of accurate descriptions of the manuscript sources for music theory (most notably RISM, B/III) and (d) publication of studies on the entire contents of individual manuscripts (such as Catalogue no.65).

BIBLIOGRAPHY

CoussemakerS

GerbertS

Grove6 (L. Gushee)

MGG1 (‘Anonymi’; H. Hüschen)

MGG2 (‘Anonymi’, §A, §B.III; K.-J. Sachs)

RiemannL 12 (‘Anonymi’; H. Kühn)

C.-E.-H. de Coussemaker: Histoire de l’harmonie au Moyen Age (Paris, 1852) [CoussemakerH]

A. de la Fage: Essais de dipthérographie musicale (Paris,1864) [LaFageE]

M. Schneider: Geschichte der Mehrstimmigkeit (Berlin, 1934–5, enlarged 2/1969), ii, 106–20

G. Reaney: ‘The Question of Authorship in the Medieval Treatises on Music’, MD, xviii (1964), 7–17

K.-J. Sachs: Mensura fistularum: die Mensurierung der Orgelpfeifen im Mittelalter (Stuttgart, 1970–80)

K.-J. Sachs: ‘Zur Tradition der Klangschritt-Lehre: die Texte mit der Formel “Si cantus ascendit …” und ihre Verwandten’, AMw, xxviii (1971), 233–70

L. Gushee: ‘Questions of Genre in Medieval Treatises on Music’, Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, ed. W. Arlt and others, i (Berne, 1973), 365–433

K.-J. Sachs: Der Contrapunctus im 14. und 15. Jahrhundert: Untersuchungen zum Terminus, zur Lehre und zu den Quellen (Wiesbaden,1974)

H. Schmid, ed.: Musica et Scolica enchiriadis una cum aliquibus tractatulis adiunctis (Munich, 1981)

E. Apfel: Diskant und Kontrapunkt in der Musiktheorie des 12. bis 15. Jahrhunderts (Wilhelmshaven, 1982)

F. Zaminer, ed.: Die mittelalterliche Lehre von der Mehrstimmigkeit (Darmstadt, 1984)

C. Dalhaus: Untersuchungen über die Entstehung der harmonischen Tonalität (Kassel, 1986; Eng. trans., 1990)

E. Apfel: Die Lehre vom Organum, Diskant, Kontrapunkt und von der Komposition bis um 1480 (Saarbrücken, 1987, 4/1997)

Music Theory and its Sources: Antiquity and the Middle Ages: Notre Dame, IN, 1987

D. Pesce: The Affinities and Medieval Transposition (Bloomington, IN, 1987)

H. Ristory: ‘Ein Abbreviationstraktat im Umfeld der franconischen und post-franconischen Compendia’, AcM, lix (1987), 95–100

M. Huglo: ‘Bibliographie des éditions et études relatives à la théorie musicale du Moyen Age (1972–1987)’, AcM, lx (1988), 229–72

M. Bernhard, ed.: Clavis Gerberti: eine Revision von Martin Gerberts ‘Scriptores ecclesiastici de musica sacra potissimum’ (St. Blasien 1784), i (Munich, 1989)

M. Bernhard, ed.: Quellen und Studien zur Musiktheorie des Mittelalters, i (Munich 1990)

M. Bernhard, ed.: Lexicon musicum latinum medii aevi, i: Quellenverzeichnis (Munich, 1992)

Anonymous theoretical writings

2. Catalogue.

References to anonymous writings in modern scholarship are inconsistent and often vague. Some anonymous works are commonly known by their title or the city in which a manuscript is preserved, while other works have authorial attributions with ‘pseudo’ or ‘secundum’ prefixed. Editors’ names have been attached to some works, such as ‘Debenedetti’s anonymus’, and some anonymous treatises in collections have been numbered, such as Coussemaker’s Anonymus 4 (CoussemakerS, i). Any catalogue of anonymous works must therefore impose an arbitrary order on this random tradition of scholarship. Hüschen cited 72 treatises alphabetically by editor in his seminal article ‘Anonymi’ (MGG1). Conversely, Gushee (Grove6) arranged the corpus of anonymous theoretical writings into eight different categories by topic (such as plainchant, organum and mensural treatises). In revising Hüschen’s work, Sachs (MGG2) has appended 49 treatises to Hüschen’s original list, mostly works edited since the earlier article.

The following catalogue of anonymous theoretical writings reverts to an alphabetical listing by the work’s first editor and concentrates on treatises in Latin and European languages (French, German or Italian). Each anonymous work is listed by the name of its first editor, and further details – including numbers, dates or other clarifications as appropriate – are given for precise identification (e.g. ‘CoussemakerS, ii, Anon.1’ or ‘Müller anon. 1886’).

Following the model of Gushee’s article (Grove6), each entry in the present catalogue includes (where possible) the work’s title, incipit, date, first printed edition and a select bibliography. The catalogue also includes citations to other important reference works, especially the catalogue number from the article ‘Anonymi’ in MGG (MGG2 incorporates and extends MGG1). Writings cited above in the General Bibliography are referred to by author and date. Ellipses (…) within an incipit indicate the beginning of an introductory section followed by the first line of the treatise proper. For editions in journals or sections of books, the full pagination of the article is given, followed as appropriate by the pagination of the edition and translation. A short description of the work’s contents is also provided. Since these entries serve only as brief introductions to the works, listings of manuscript sources for the treatises are not provided, except in cases were a work is drawn from a single source or from a small number of known sources.

For Latin works, references are included to the two principal research projects on Latin music theory currently underway, the Thesaurus Musicarum Latinarum (TML), directed by Thomas Mathiesen, and the Lexicon musicum latinum medii aevi (LmL), directed by Michael Bernhard. The TML represents the full Latin texts as they currently stand in printed editions and manuscripts. The LmL is a lexical project based on a standardized text for each work. Thus an anonymous work published in several sources (e.g. the Discantus positio vulgaris) has only one entry in the LmL (disc.pos.vulg.), while every printed edition and manuscript version of the treatise receives a separate entry in the TML (disvul for the version in CoussemakerH, dispos for its appearance in CoussemakerS, i, dispovu for Cserba’s edition of Hieronymus de Moravia and disposi mpbn 1666 for the version in F-Pn lat.16663). The TML reference cited in this catalogue will be to the first edition of the work with references as appropriate to the most recent printed edition in the database. Thus, in the example of the Discantus positio vulgaris, the work is listed as ‘CoussemakerH, Anon.3 (Document 3); Discantus vulgaris positio’ because Coussemaker first edited the work in his Histoire, under that title, and the TML reference will read ‘disvul (cf dispovu)’.

No catalogue of anonymous theoretical sources can be complete. This catalogue generally omits works that serve as prefaces to tonaries, didactic poems and treatises in which the discussion of music is only a small section of the whole. A more specific omission concerns three anonymous fragments edited in Adrien de La Fage’s extremely rare Nicolai Capuani presbyteri Compendium musicale (Paris, 1853; only 50 copies were printed), catalogued only by Hüschen (MGG1, nos.54–6); these fragments are not indexed here.

  1.Adler anon. Incipit (of Fr. trans.) ‘Juda fils du s[aint martyr] r[abbi] Issac a dit’. 12th–14th century. Ed. Heb. with Fr. trans. I. Adler: ‘Le Traité anonyme du manuscrit Hébreu 1037 de la Bibliothèque Nationale de Paris’, Yuval, i (1968), 1–47; edn 15–47. J. Smits van Waesberghe: ‘The Treatise on Music Translated into Hebrew by Juda Ben Issac (Paris B.N. Héb.1037, 22v–27 v)’, Yuval, ii (1971), 129–61; MGG2: 73.
A Hebrew translation of an unknown Latin original made by Juda Ben Isaac in the 15th or 16th century. The five-chapter work from F-Pn héb.1037, ff.22v–27v, mostly concerns musica plana. There are brief discussions of the notation of polyphonic music and instruments (such as the monochord and organ pipes). Smits van Waesberghe proposed that the musica plana portions of the work were derived from the same source as Johannes de Garlandia, Introductio musicae (CoussemakerS, i, 157–75).  2. Amon anon; Tractatus de musica cum glossis. Incipit ‘Qui caret ipse fide’. Mid-15th century. Ed. and Ger. trans. J. Amon: Der ‘Tractatus de musica cum glossis’ im Cod. 4774 der Wiener Nationalbibliothek(Tutzing, 1977). LmL: trad.Holl.III; MGG2: 74.
An extensive treatment of musica plana (including discussion of the gamut, intervals, church modes) from A-Wn 4774, ff.35v–91r.  3. Anglès anon. 1929. Incipit ‘Omni desideranti notitiam artis mensurabilis’. Late 14th or early 15th century. Ed. H. Anglès: ‘Dos tractats medievals de música figurada’, Musikwissenschaftliche Beiträge: Festschrift für Johannes Wolf, ed. W. Lott, H. Osthoff and W. Wolffheim (Berlin, 1929/R), 6–12; edn 6–10. LmL: trad.Phil.III; MGG2: 1; TML: aganont.
A mensural treatise from E-Sc 5.2.25, ff.63r–64v, with parallels to the Ars perfecta in musica attributed to Philippe de Vitry (CoussemakerS, iii, 28–35) and the brief Sub brevissimo compendio Philippus de Vitriaco in musica (CSM, viii, 1964, pp.80–81).  4. Anglès anon. 1958; De cantu organico. Incipit ‘Ad evidentiam cantus organici est sciendum’. c1350. Ed. H. Anglès: ‘De cantu organico: tratado de un autor catalán del siglo XIV’, AnM, xiii (1958), 3–24; edn 18–24. LmL: anon.Barcin.I; MGG2: 75; TML: aganoco.
A brief treatise on mensural music from an eight-folio fragment in E-Bc with several musical examples. The writer refers in passing to musical practices in the Catalan region.  5. Bailey anon.; De modis musicis. Incipit ‘Autenticus autoralis et auctoritate plenus’. Mid-9th century. Ed. T. Bailey: ‘De modis musicis: a New Edition and Explanation’, KJb, lxi–lxii (1977–8), 47–60; edn 50–54. LmL: mod.Autenticus; MGG2: 76; TML: anodm.
The work, which also appears as part of the Alia musica (GerbertS, i, 149, where it is attributed to Hucbald of St Amand), presents the intonation syllables (parapters) for the eight modes of the Byzantine practice, such as ‘noeagis’, and proposes four additional modes (and their parapters) to accommodate antiphons which do not fit within the eight-mode system. Bailey notes parallels with the Musica disciplina of Aurelian of Réomé.  6. Bartha anon. Incipit ‘Pro themate presentis operis assummo Cassiodorum’. c1463. Ed. D. von Bartha: ‘Studien zum musikalischen Schrifttum des 15. Jahrhunderts’, AMf, i (1936), 176–99; edn 180–99. LmL: trad.Holl.V; MGG2: 77; TML: anopro.
A learned treatise on philosophical topics such as the purposes of music, the difference between a singer and a musician, and definitions of music with references to Scripture, scholastic philosophy, Pythagoras, Guido of Arezzo, Boethius and Johannes de Muris. Bartha based his edition on D-Mbs Clm 1573 and noted parallels with Cat. no.40.  7. Becker anon. Incipit ‘Diatessaron alia constat ex tono et semitonio et tono’. 14th century. Ed. A. Becker: ‘Ein Erfurter Traktat über gregorianische Musik’, AMw, i (1918–19), 145–65; edn 151–61. LmL: interv.Diatessaron, neum.Gurtulus, anon.Erford.; MGG2: 2; TML: becano.
A work from D-EF Ca.8^o94, ff.80r–84r, describing musical practice of the 11th century with extensive musical examples of psalm tone terminations. Becker noted parallels with Hermannus Contractus, Musica (cf pp.159–60 with GerbertS, ii, 152). The brief poetic verses on neume names (Incipit ‘Gurtulus, epiphonus, clivis’, p.160) and a short passage on note names and the gamut (Incipit ‘Pythagoras philosophus primus apud Graecos’, p.160) at the end of Becker’s text are considered to be separate items.  8. Bernhard anon. 1987; Dulce ingenium musicae. Incipit ‘Dulce ingenium musicae, quamvis instrumentis plurimis vigeat’. 10th–11th century. Ed. M. Bernhard: Anonymi saeculi decimi vel undecimi tractatus de musica ‘Dulce ingenium musicae’ (Munich, 1987). LmL: anon.Bernh.; MGG2: 78; TML: anodul, anodul2.
An introduction to the elementary aspects of music theory and plainchant. Bernhard noted that much of the treatise is not original and draws from such sources as Boethius, Martianus Capella and Alia musica (Cat. no.55).  9. Bernhard anon. 1990. Incipit ‘Quomodo organice modulentur. Quicumque organalem scientiam cupit attingere’. 12th century. Ed. M. Bernhard: ‘Ein weiterer Text zur Klangschritt-Lehre’, in Bernhard, ed., 1990, pp.68–70; edn 68. LmL: disc.Quicumque I.
A brief work from A-Wn Gud.lat.8^o334, ff.111v–112 r, on terminology in organum.  10. Brearley and Wray anonymi. 13th century. Ed. D. Brearley and T. Wray: ‘The British Museum Ms. Arundel 43 Monochord Fragments’, Mediaeval Studies, xxxvi (1974), 160–73. MGG2: 79.
Four fragments on monochord tuning interpolated into the works of the 9th-century grammarian Sedulius Scottus (GB-Lbl Arundel 43, ff.66v–67r).
a. Fragment 1. Incipit ‘Si monocordum mensurare desideras, quamcumquevis lineam in quatuor eque partire’. Edn and Eng. trans. 164–5; also ed. J. Smits van Waesberghe: De musico-paedagogico et theoretico Guidone Aretino (Florence, 1953), 183–4. LmL: mon.Si mon.
Instructions for Boethian tuning comparable to I-MC Arch.318, ff.216v–217r.
b. Fragment 2. Incipit ‘Notae in monocordo hae sunt’. Edn and Eng. trans. 166–8.
An excerpt from Guido of Arezzo, Micrologus (ed. in CSM, iv, 1955, pp.93–101. LmL: guido.micr.; TML: guimicr).
c. Fragment 3. Incipit ‘Divide in quatuor a puncto’. Edn and Eng. trans. 169–70. LML: mon.Divide in.
A short commentary on Fragment 4.
d. Fragment 4. Incipit ‘Totum monocordum partire inprimis in quatuor’. Edn and Eng. trans. 169–71.
The text is parallel to the anonymous division of the monochord in Cat. no.58a.  11. Briner anon. Incipit ‘Musica est motus vocum rationabilium in arsim item thesim’. c1437. Ed. A. Briner: ‘Ein anonymer unvollständiger Musiktraktat des 15. Jahrhunderts in Philadelphia, USA’, KJb, l (1966), 27–44; edn 27–38. LmL: anon.Philad.; MGG2: 80; TML: anophil.
A compilation from US-PHu lat.36, ff.207v–216v, on note names, mutation of hexachords, church modes and psalm tones. Briner notes parallels with Egidius de Zamora, Cat. no.39 and Cat. no.49.  12. Carapetyan anon.; Notitia del valore delle note del canto misurato. Incipit ‘Per avere alcuna notitia del valore … Per che dico essere note del canto misurato sei’. Late 14th century. Ed. A. Carapetyan, CSM, v (1957). MGG2: 81.
A Tuscan treatise from I-Fl Redi 71, ff.13r–24r, treating French mensural notation with special attention to the modi maximarum. The last section of the treatise is drawn from the Libellus cantus mensurabilis ascribed to Johannes de Muris.  13. Casimiri anon.; Ars et modus pulsandi organa. Incipit ‘C. D. E. F. … Nota quod omnes voces totius organi’. 14th century. Ed. R. Casimiri: ‘Un trattatello per organisti di anonimo del sec. XIV’, NA, xix (1942), 99–101; edn 100–01. LmL: ars org.; MGG2: 82; TML: anoamp.
A brief work from I-Rvat Barb.307, ff.37v–38r (29v–30r new pagination), proposing a range of over three octaves with unusual chromaticisms. The lowest 6th from C is diatonic, but starting with B the treatise proposes that the syllables mi or fa are possible on any pitch, creating a chromatic scale for the rest of the gamut.  14. CoussemakerH, Anon.1 (Document 1; Ad organum faciendum [Milan organum treatise]. Incipit ‘Cunctipotens genitor [with polyphonic example] … Cum obscuritas diaphoniae’. Second half of 11th century. Edn and Fr. trans. 226–43. New edn and Eng. trans., J.A. Huff: Ad organum faciendum et Item de organo (Brooklyn, 1963), 41–67; new edn and Ger. trans., H.H. Eggebrecht and F. Zaminer: Ad organum faciendum: Lehrschriften der Mehrstimmigkeit in nachguidonischer Zeit (Mainz, 1970). LmL: org.Mediol.pros., org.Mediol.rhythm.; MGG2: 4; TML: adorfa (cf adorfac).
A work on note-against-note organum based on I-Ma M.17 sup., ff.56v–61r. The treatise is now considered to be in two sections, the second beginning ‘Cum autem diapente et diatessaron organizamus’ (p.235).  15. CoussemakerH, Anon.2 (Document 2); Libellus in gallico de arte discantandi. Incipit ‘Quiconques veut deschanter, il doit premiers savoir’. 13th century. Edn 245–6. New edn, G. Reaney, CSM, xxxvi (1996), 58–63, edn 60–63. Sachs, 1971, p.261; MGG2: 5.
French treatise from the margins of F-Pn lat.15139 (formerly St Victor 813), ff.269r–270r. Transmits basic contrapuntal rules (‘Se li chans monte d’une note …’). Gushee (Grove6) observed parallels with various Latin discant treatises, especially E-Sco 5.2.25, ff.81v–82v.  16. CoussemakerH, Anon.3 ( (Document 3); Discantus vulgaris positio. Incipit ‘Nunc vero de cantu ecclesiastico … Viso ergo quid sit discantus’. 13th century. Edn and Fr. trans. 247–53. New edn in S.M. Cserba: Hieronymus de Moravia O.P., Tractatus de musica (Regensburg, 1935), 189–94; Eng. trans. (based on version in Hieronymus de Moravia) J. Knapp: ‘Two 13th-Century Treatises on Modal Rhythm and the Discant’, JMT, vi (1962), 200–15; trans. 203–7. Sachs, 1971, pp.255–8; Eng. trans. J. McKinnon, Strunk/SR2 219–22. LmL: disc.pos.vulg.; MGG2: 6; TML: disvul (cf dispovu).
A treatment of modal rhythm and counterpoint (discant, conductus, organum, hocket and motet). A longer version of the work is included in connection with Hieronymus de Moravia’s Tractatus de musica under the title Discantus positio vulgaris (CoussemakerS, i, 94–7; TML: dispos) where it begins ‘Viso igitur quid sit discantus’.  17. CoussemakerH, Anon.4 (Document 4). Incipit ‘Ars probat artificem … Si cantus ascendit duas voces’. 13th century. Edn and Fr. trans. 255–8. New edn, C. Sweeney: ‘The Regulae organi Guidonis Abbatis and 12th Century Organum/Discant Treatises’, MD, xliii (1989), 7–31; edn 27–30. LmL: disc.Si cantus asc.; MGG2 7; TML: guicha (cf abgureg).
A counterpoint treatise from F-Psg 2284, ff.109v–110v. For the question of authorship see Guido of Cherlieu. Hüschen (MGG1) combined this work with the following treatise, considering Documents 4 and 5 respectively to be French and Latin versions of the same treatise.  18. CoussemakerH, Anon.5 (Document 5);.De arte discantandi Incipit ‘Quando duae notae sunt in unisono et tertia ascendit’. Late 13th century. Edn 262–73. LmL: trad.Franc.V; MGG2: 7 (as part of Cat. no.17); TML: artdis.
From the margins of F-Pn lat.15139 (formerly St Victor 1106), ff.270–75. A short treatment of counterpoint (pp.262–5) followed by a version of the ‘Gaudent brevitate moderni’ mensural treatise after the teachings of Franco of Cologne.  19. CoussemakerH, Anon.6 (Document 6); Quaedam de arte discantandi. Incipit ‘Figura est repraesentatio vocis in aliquo modorum ordinatae’. Late 13th century. Edn 274–94. New edn as Ars musicae mensurabilis secundum Franconem, G. Reaney and A. Gilles, CSM, xv (1971), 38–54. LmL: ps.-petr.cruc.; MGG2: 8 (as ‘Anonymus 5 aus CH’); TML: anoqua (cf anofig).
A brief section on mensural music after Franco of Cologne (pp.274–83) with three-voice contrapuntal rules beginning ‘Sciendum est quod in plana musica vel mensurabili’ (pp.283–94).  20. CoussemakerS, i, Anon.1; Tractatus de consonantiis musicalibus. Incipit ‘Tredecim consonantie [with didactic melody] … Harum consonantiarum’. Late 13th–early 14th century. Edn i, 296–302. R. Bragard: ‘Le Speculum musicae du compilateur Jacques de Liège’, MD, viii (1954), 1–17; LmL: iac.leod.cons.; MGG2: 9; TML: ano1tra.
Discusses types of consonance and dissonance from B-Br 10162/66, ff.1r–3v. The work cites Boethius as a source and ends with a discussion of discant. Attributed by Bragard to Jacobus of Liège.  21. CoussemakerS, i, Anon.2; Tractatus de discantu. Incipit ‘Gaudent brevitate moderni. Quandocunque punctus quadratus, vel nota quadrata tractum habens’. Late 13th century. Edn i, 303–19. New edn and Eng. trans., A. Seay: Anonymous II: Tractatus de discantu (Colorado Springs, CO, 1978). Ristory, 1987, pp.95–110; Sachs, 1971, pp.234, 250, 259, 269; LmL: trad.Franc.I; MGG2: 10; TML: ano2tra (cf anotdd).
One of several treatises derived from Franco of Cologne beginning ‘Gaudent brevitate moderni’ (see also following entry), from F-SDI 42, ff.34r–43r. A first section on mensural notation is followed by discussion of intervals and discant rules.  22. CoussemakerS, i, Anon.3; ; De cantu mensurabili. Incipit ‘Gaudent brevitate moderni. Quandocunque nota quadrata, vel punctus quadratus invenitur, quod idem est’. Late 13th century. Edn i, 319–27. Partial new edn as Compendium musicae mensurabilis artis antiquae, G. Reaney, CSM, xxxiv (1987), 27–36; partial new edn as Tractatus de discantu, G. Reaney, CSM, xxxvi (1996), 37–45, edn 39–45. Ristory, 1987, pp.95–110; Sachs, 1971, pp.261, 269; LmL: trad.Franc. II, disc.Quicumque II; MGG2: 11; TML: ano3dec (cf anocmm).
From F-SDI 42, ff.54r–58v. Like the previous entry, this treatise is one of several works derived from Franco of Cologne beginning ‘Gaudent brevitate moderni’. Reaney divides Coussemaker’s treatise into two smaller works, a larger Compendium (CSM xxxiv) followed by a shorter Tractatus beginning ‘Quicumque bene et secure discantare voluerit’ (CSM xxxvi).  23. CoussemakerS, i, Anon.4; De mensuris et discantu. Incipit ‘Cognita modulatione melorum’. c1270–80. Edn i, 327–64. New edn and Eng. trans., L. Dittmer: Anonymous IV (Brooklyn, NY, 1959); new edn, F. Reckow: Der Musiktraktat des Anonymus 4 (Wiesbaden, 1967), i, 22–89; Eng. trans., J. Yudkin: The Music Treatise of Anonymous IV: a New Translation, MSD, xli (1985). LmL: anon.Couss.IV, MGG2: 12; TML: ano4dem (cf ano4mus).
Anon.4 is central to understanding the so-called Notre Dame school; the treatise not only describes musical techniques (rhythmic modes, organum, discant) but also mentions the composers Leoninus and Perotinus and several works of music.
Coussemaker included a passage on musica ficta beginning ‘Sequitur de sinemenis’ as a final section of Anon.4, but it is now considered a separate work. Incipit ‘Sequitur de sinemenis sic: b, c, cujus medium erit b parvum’. Edn i, 364–5. New edn and Eng. trans., J. Herlinger: Prosdocimo de’ Beldomandi: Brevis summula proportionum …, GLMT, iv (1987), 123–35; LmL: interv.sit b–O; MGG2: 12; TML: anodes.  24. CoussemakerS, i, Anon.5; De discantu. Incipit ‘Est autem unisonus quando due voces manent in uno et eodem loco’. 14th century. Edn i, 366–8. LmL: contr.Est autem; MGG2: 13; TML: ano5ded.
A treatise in GB-Lbl Roy.12.C vi, ff.50r–51v, and other sources. The work begins with a description of intervals followed by discant rules. It considers 3rds and 6ths as consonances and uses minimae in its examples.  25. CoussemakerS, i, Anon.6; Tractatus de figuris sive de notis. Incipit ‘Cum in isto tractatu de figuris sive de notis’. Mid-14th century. Edn i, 369–77. New edn, G. Reaney, CSM, xii (1966), 40–51. LmL: anon.London.I; MGG2: 14; TML: ano6tra (cf tradef).
A treatise in the tradition of Johannes de Muris; it emphasizes smaller notes (minima, semibrevis, brevis) with references to larger values (longa, larga, largissima). Reaney suggested John Torkesey as possible author.  26. CoussemakerS, i, Anon.7; De musica libellus. Incipit ‘Modus in musica est debita mensuratio temporis’. c1270–80. Edn i, 378–83. New edn, G. Reaney, CSM, xxxvi (1996), 11–35, edn 19–35; Eng. trans. J. Knapp: ‘Two 13th-Century Treatises on Modal Rhythm and the Discant’, JMT, vi (1962), 200–15; trans. 207–13. S. Pinegar: ‘Exploring the Margins: a Second Source for Anonymous 7’, JMR, xii (1992), 213–43; LmL: anon.Couss.VII; MGG2: 15; TML: ano7dem (cf anodml).
Edited from F-Pn lat.6286, ff.13r–15v. Compilation on diverse topics: modal rhythm, ‘pre-Franconian’ notation, intervals and church modes.  27. CoussemakerS, ii, Anon.1; Tractatus de musica plana. Incipit ‘Etsi multi musici his tribus vocabulis’. Late 14th or early 15th century. Edn ii, 434–83. M. Bernhard: ‘Clavis Coussemakeri’, Bernhard, ed., 1990, pp.12–14; L. Aluas: The ‘Quatuor principalia musicae’: an Introduction, Critical Text, and English Translation with Commentary (diss., Indiana U., 1996), 191–3; LmL: anon.Carthus., quat.princ.; MGG2: 16; TML: cartra.
The work, a compilation relying heavily upon the Quatuor principalia musicae, appears in B-Gu 70 (71) (formerly 421), ff.124r–159v. Coussemaker attributed the treatise ‘cuiusdam Carthusiensis monachi’. The text covers a wide range of topics including church modes, psalm tones, the muses and famous ‘inventors’ of music, and the monochord.  28. CoussemakerS, ii, Anon.2; Tractatus de musica [Louvain Treatise, Löwener Traktat]. Incipit ‘Musica est ars recte canendi sono cantuque consistens’. 13th century. Edn ii, 484–98. Sachs, 1971, pp.243–50; LmL: anon.Lovan.; MGG2: 17; TML: anomupo.
From B-LVu, destroyed by fire in 1914. Topics include: gamut, consonances, poetic metres, church modes and organum.  29. CoussemakerS, iii, Anon.1; De musica antiqua et nova. Incipit ‘Dictis aliquibus circa planum cantum’. 14th century. Edn iii, 334–64. L. Aluas: The ‘Quatuor principalia musicae’ (diss., Indiana U., 1996); LmL: quat.princ.; MGG2: 18; TML ano1dem.
The text reproduces the fourth part of John of Tewkesbury, Quatuor principalia musice, and as such appears after a short introduction in CoussemakerS, iv, 254–98, beginning ‘Cum omnis quantitas aut est continua’. Discusses basic issues of musica mensurabilis of the early 14th century.  30. CoussemakerS, iii, Anon.2; De musica antiqua et nova. Incipit ‘Ad evidentiam valoris notularum’. Early 14th century. Edn iii, 364–70. New edn as De valore notularum tam veteris quam novae artis, G. Reaney, CSM, xxx (1982), 13–28. LmL: anon.Paris.I; MGG2: 19; TML: ano2dem (cf ano2dev).
A treatise on notation from F-Pn lat.15128, ff.120r–122v. Reaney observes that the treatise is of note because it considers pairs of minimae to be unequal (the second is always altered).  31. CoussemakerS, iii, Anon.3; Compendiolum artis veteris ac novae. Incipit ‘Quoniam per ignorantiam artis musice’. Early 14th century. Edn iii, 370–75. New edn, A. Gilles: ‘L’Anonyme III de Coussemaker “Scriptores” III’, MD, xv (1961), 27–38; edn 29–38; also ed. idem as De arte musicae breve compendiolum, CSM, viii (1964), 84–93. LmL: trad.Phil.II; MGG2: 20; TML: ano3com (cf anoart).
A work on notation and mensurations with references to Franco and Philippe de Vitry, from F-Pn lat.15128, ff.127r–129r. Mentions the dragma or fusicée (a semibrevis with tails both above and below) equal to two minimae.  32. CoussemakerS, iii, Anon.4;.Compendium artis mensurabilis tam veteris quam novae Incipit ‘Si quis artem musice mensurabilis tam veterem quam novam’. Early 14th century. Edn iii, 376–9. New edn as Compendium musicae mensurabilis tam veteris quam novae artis, G. Reaney, CSM, xxx (1982), 33–41. LmL: anon.Paris.II; MGG2: 21; TML: ano4com (cf ano4cmm).
A treatise on mensural notation from F-Pn lat.15128, ff.129r–131 v. Topics include rhythmic modes, ligatures, mensurations and red notation, which is described as indicating either a change from one mode or tempus to another or octave transposition.  33. CoussemakerS, iii, Anon.5; Ars cantus mensurabilis mensurata per modos iuris. Incipit ‘Ad honorem et gloriam Sanctissime Trinitatis … Cum multi antiqui modernique cantores’. Late 14th century. Edn iii, 379–98. New edn and Eng. trans., C.M. Balensuela, GLMT, x (1994). LmL: anon.Couss.V; MGG2: 22; TML: ano5ars (cf ano5acm).
The treatise presents a mensural theory after Johannes de Muris within a Scholastic framework with references to canon and civil law; it cites several composers including Machaut, Landini and the otherwise unknown Nicolaus de Aversa. The counterpoint treatise Coussemaker associated with the work, beginning ‘Cum notum sit’, is most likely not a part of the treatise.  34. CoussemakerS, iii, Anon.6; De musica mensurabili. Incipit ‘Quum dictum sit musicam in numero ternario sumere perfectionem’. c1321. Edn iii, 398–403. New edn as part of Petrus de Sancto Dionysio: Tractatus de musica, U. Michels, CSM, xvii (1972), 154–66. K. von Fischer: ‘Eine wiederaufgefundene Theoretikerhandschrift des späten 14. Jahrhunderts’, Schweizer Beiträge zur Musikwissenschaft, i (1972), 23–33; LmL: petr.dion.; MGG2: 23; TML: ano6dem (cf psdtra, anodef).
This work is now regarded as part of the compilation Tractatus de musica of Petrus de Sancto Dionysio and contains substantial borrowings from Johannes de Muris’s Notitia artis musice. The present section (the second part of the complete treatise) presents a detailed explanation of the note values and their relationships from the minima to the longissima (equal to 81 minimae). The TML considers the last section of the treatise on figures and ligatures (beginning ‘Duplex est notula’) to be an independent work.  35. CoussemakerS, iii, Anon.7; De diversis maneriebus [manieribus] in musica mensurabili. Incipit ‘Sic formantur breves plicate’. Mid-14th century. Edn iii, 404–8. New edn, G. Reaney, CSM, xxx (1982), 51–62. F.A. Gallo: La teoria della notazione in Italia dalla fine del XIII all’inizio del XV secolo (Bologna, 1966), 53–7; LmL: anon.Deodat.; MGG2: 24; TML: ano7ded (cfano7ddm).
A fragment from F-SDI 42, ff.123r–127v, discussing Italian Trecento notation with reference to Ars Nova notation and Philippe de Vitry. Reaney’s edn (which begins with a fragmentary phrase omitted in CoussemakerS: ‘… ascendo vel descendo, ut hic supra. Sic formantur breves plicatae’) has shown Coussemaker’s text to be of two parts; Reaney does not include the latter, on French notation, beginning ‘Si due breves inter duas longas’ (iii, 408).  36. CoussemakerS, iii, Anon.8; Regulae de contrapuncto. Incipit ‘Consonantie contrapuncti demonstrativi ad oculum sunt sex’. 15th century. Edn iii, 409–11. Sachs, 1974, pp.208, 217; LmL: contr.Consonantie, contr.Quatuor sunt; MGG2: 25; TML: ano8reg.
A counterpoint treatise, without musical examples, from I-Fl Plut.29.48, ff.72r–73r. Sachs divides Coussemaker’s text into two separate works, the second beginning ‘Quatuor sunt species …’ (iii, 410–11).  37. CoussemakerS, iii, Anon.9; De musica mensurabili. Incipit ‘In der mensurabili musica so heissen die noten lang’. Late 14th or early 15th century. Edn iii, 411–13. New edn, R. Denk: Musica getuscht: deutsche Fachprosa des Spätmittelalters im Bereich der Musik(Munich, 1981), 18–22. MGG2: 26.
A German work from F-Sm 222, ff.7v–8r (destroyed by fire in 1870). Apparently a summary of 13th-century mensural practice after Franco of Cologne.  38. CoussemakerS, iii, Anon.10; De minimis notulis. Incipit ‘Item notandum quod notularum species quantum plures’. Late 14th century. Edn iii, 413–15. LmL: mens. Item notandum; MGG2: 27; TML: ano10dem.
Like the previous item, Coussemaker’s text was from F-Sm 222, ff.10v (destroyed in 1870). Discusses notes smaller than the minima and red or void notation, and mentions compositions of Zeltenpferd.  39. CoussemakerS, iii, Anon.11; Tractatus de musica plana et mensurabili. Incipit ‘Quare musica studetur? Respondetur quod illo modo’. Mid-15th century. Edn iii, 416–75. New edn and Eng. trans., R.J. Wingell: Anonymous XI (CS III): an Edition, Translation, and Commentary (diss., U. of Southern California, 1973). M. Bernhard: ‘Clavis Coussemakeri’, Bernhard, ed., 1990, pp.29–32; LmL: trad.holl.II, contr.Et primo I, contr Et primo II, contr.Si enim, contr.Septem s. cons., man.guid., vers.Imparitas, mens.Ista autem, interv.Notandum, vers.Primus habet, ton.Trev., prop.mens.Sequitur, mod.Not.quotiensc., prop.Prop.est duorum; MGG2: 28; TML: ano11tra (cf ano11tdm).
A compilation on various subjects from GB-Lbl Add.34200, ff.1r–41r, including treatment of both countrapuntal and mensural issues as well as a tonary. What Coussemaker subsumed as one treatise is not a unified work by one person. Modern scholars have divided the text of Coussemaker’s Anon.11 in various ways: Wingell (358–9) proposes a sevenfold division and begins his edition with a short phrase omitted by Coussemaker, ‘Item diceres, quare musica studetur?’; C. Meyer (RISM B/III/4, 54–5) gives nine different entries; and the LmL divides the text into 14 different works.  40. CoussemakerS, iii, Anon.12; Tractatus de musica. Incipit ‘Quoniam per magis noti notitiam’. 15th century. Edn iii, 475–95. New edn and Eng. trans., J.M. Palmer: Coussemaker’s Anonymous XII: a Text, Translation, and Commentary (thesis, Brigham Young U., 1975); new edn as Tractatus et compendium cantus figurati, J.M. Palmer, CSM, xxxv (1990). M. Bernhard: ‘Clavis Coussemakeri’, Bernhard, ed., 1990, p.32; LmL: anon.Couss.XII, mens.Item nota, vers.Profert, anon.London.II; MGG2: 29; TML: ano12tra (cf ano12tcf).
A mensural treatise in 15 chapters with an introduction on the definitions and etymology of music. A short commentary on practical music follows the main treatise, summarizing its contents and adding a short discussion of counterpoint.  41. CoussemakerS, iii, Anon.13; Tractatus de discantu. Incipit ‘Qui veult savoir l’art de deschant’. 14th century. Edn iii, 496–8. New edn as Traitié de deschant, G. Reaney, CSM, xxxvi (1996), 65–75, edn 69–75. Dahlhaus, 1986, pp.71–3; MGG2: 30.
A French treatise on counterpoint from F-Pn lat.14741 (formerly St Victor 665), ff.8v–9v. Principles of improvised counterpoint are based on distinctions called ‘notes appendans’, ‘notes non appendans’ and ‘notes désirans appendans’. Unfortunately the musical examples for these terms are missing in the source, but Reaney proposes brief examples in his edition.  42. CoussemakerS, iv, Anon.1; Tractatus de musica figurata et de contrapuncto. Incipit ‘[hexachord diagram] Item notandum quod septem sunt reformationes in manu’. Second half of 15th century. Edn iv, 434–69. LmL: anon.Couss.I; MGG2: 31; TML: tradem.
A work with numerous illustrations and examples from F-Pn lat.16664, ff.62v–85v. Topics include mensural notation, proportions and counterpoint. Coussemaker’s text concludes with a collection of polyphonic works in French, Dutch and Latin.  43. Crawford anon; Compendium musices. Incipit ‘Proprietas in musica est derivatio plurium vocum’. c1500. Ed. D. Crawford, CSM, xxxiii (1985). LmL: compend.mus.; MGG2: 83; TML: anocmu.  44. Czagány anon.; Terminorum musicalium diffinitorium. Incipit ‘De diffinitione musice imprimis’. Late 15th century. Ed. Z. Czagány: ‘Ein Diffinitorium musicum aus dem späten 15. Jahrhundert’, Cantus Planus IV: Pécs 1990, 127–39; edn 132–9.
A brief musical dictionary arranged by topics from I-Vnm lat.Cl.VIII.82, ff.142r–147r. The work defines the basic vocabulary of music (such as sonus) as well as terms related to mensural music (such as prolatio and sincopa). The author borrows from several sources including Boethius, Nicolò Burzio and Guido of Arezzo.
A popular introduction derived from several sources (including the Declaratio musice discipline of Ugolino of Orvieto, and the Lucidarium of Marchetto da padovo, Lucidarium) on the basics of music plana (gamut, mutation, intervals and church modes) published 29 times in Venice between 1499 and 1597. The work contains lengthy parallels with Cat. no.110. Cf Cat. nos.111, 24 and index.  45. Debenedetti anon.; Capitulum de vocibus applicatis verbis. Incipit ‘Postquam in precedenti capitulo dictum est’. 1313–32. Ed. S. Debenedetti: ‘Un trattatello del secolo XIV sopra la poesia musicale’, Studi medievali, ii (1906–7), 59–82; edn 79–80. LmL: gen.disc.Postquam; MGG2: 84; TML: anocap.
A commentary on the Summa artis rythimici of Antonio da Tempo, from I-Vnm lat.Cl.XII.97, ff.19v–20v. The author describes the texts and musical styles (both Italian and French) of several 14th-century genres (including ballata, motet, caccia and madrigal), and makes a number of references to the teaching of Aristotle.  46. Ellsworth anonymi. Before 1375. Ed. and Eng. trans. O. Ellsworth: The Berkeley Manuscript, GLMT, ii (1984). LmL: goscalc., anon.Ellsworth, interv.Tonus div.; MGG2: 85; TML: berman.
A collection of five treatises in US-BEm 744 (formerly Phillipps 4450) with a short introduction.
a. Incipit ‘Quoniam in antelapsis temporibus quamplures de cantibus … Cum autem cognoscere cuius modi sive toni’. Edn 30–108.
A short introduction followed by an initial treatise on modes in both chant and polyphony.
b. Incipit ‘Quoniam musici, antiquorum philosophorum ab usu discrepare nolentes’. Edn 110–46.
A work on discant based upon the Ars contrapuncti secundum Johannem de Muris (CoussemakerS, iii, 59–68).
c. Incipit ‘Quilibet igitur in arte practica mensurabilis’. Edn 148–82.
A work on mensural music based upon the Libellus cantus mensurabilis, attributed to Johannes de Muris (CoussemakerS, iii, 46–58). Ascribed in a concordant manuscript to ‘Goscalcus francigenus’.
d. Incipit ‘In omnibus requiem quesivi’. Edn 184–238.
Discusses what the anonymous writer calls the ‘harmonic body’, a series of proportions used for intervals 6 : 8 : 9 : 12, and the development of the ancient Greek and medieval scales (with several references to instruments). May contain an acrostic naming ‘Johan Vaiant’ (?= Vaillant, Jehan); see C. Page: ‘Fourteenth-Century Instruments and Tunings: a Treatise by Jean Vaillant?’, GSJ, xxxiii (1980), 17–35.
e. Incipit ‘Tonus dividitur in 3 partes’. Edn 240–46.
A brief work on dividing the tone into three equal parts.  47. Federhofer and Federhofer-Königs anon.;Musica. Incipit ‘Musica est recte modulandi scientia, cuius duae sunt partes’. Mid-16th century. Ed. H. Federhofer and R. Federhofer-Königs: ‘Ein anonymer Musiktraktat der Stiftsbibliothek Fiecht’, Festschrift Walter Senn, ed. E. Egg and E. Fässler (Munich, 1975), 36–52; ed. 36–43.
An introduction to the basic issues of musica plana such as solmization, intervals, mutation and modes from A-F 252, ff.97r–127r. The editors note similarities to the Tetrachordum musices of Johannes Cochlaeus and other sources.  48. Federhofer-Königs anon. 1960 [Graz anon.]. Incipit ‘Musica disciplina est, quae de numeris loquitur’. 14th century. Ed. R. Federhofer-Königs: ‘Ein unvollständiger Musiktraktat des 14. Jahrhunderts in Ms. 1201 der Universitätsbibliothek Graz’, KJb, xliv (1960), 14–27; edn 14–19. LmL: anon.Grac.; MGG2: 86; TML: anomusd.
An incomplete work from A-Gu 1201, ff.61v–63r, on speculative and philosophical musical issues such as the etymologies of musical terms, the zodiac, modal ethos and planetary motion. The work abounds with references to the Bible and classical mythology; Federhofer-Königs notes parallels with numerous sources, including Cassiodorus, Isidore of Seville, Aristotle and Plato.  49. Federhofer-Königs anon. 1962 [Michaelbeuern anon., Prague (Praha) anon.]. Second half of 14th century. Ed. R. Federhofer-Königs: ‘Ein anonymer Musiktraktat aus der 2. Hälfte des 14. Jahrhunderts in der Stiftsbibliothek Michaelbeuern/Salzburg’, KJb, xlvi (1962), 43–60; edn 44–54. MGG2: 87; TML: anomic.
A compendium from A-MB cart.95, ff.148r–153r.
a. Incipit ‘Musica est motus vocum rationabilium in arsim et a thesim’. Edn 44–8. LmL: anon. Michaelb. I.
A short work on the formation of church modes.
b. Incipit ‘Nota triplex est proportio’. Edn 48–9. LmL: anon.Michaelb.II.
Further information on the modes with parallels from Boethius and comments on the ethical characteristics of the modes.
c. Incipit ‘Iam post has normas’. Edn 49–54. LmL: vers.Iam post.
A discussion of mensural music in verse.  50. Feldmann anon.; Regulae generales de compositione cantus. Incipit ‘Qui vult componere aliquem cantum’. 15th century. Ed. F. Feldmann: Musik und Musikpflege im mittelalterlichen Schlesien (Breslau, 1938), 193–4. LmL: reg.comp.; MGG2: 88.
A brief guide to the composition of chant from Breslau [now Wrocław], Staatsbibliothek, I.Qu.43 (lost), f.142r.  51. Ficker anon.; Ars organi [Vatican Organum Treatise]. Incipit ‘Organum est cantus subsequens precedentem’. Early 13th century. Part ed. R. Ficker: ‘Der Organumtraktat der Vatikanischen Bibliothek’, KJb, xxvii (1932), 65–74; edn 65–6. New edn, F. Zaminer: Der Vatikanische Organum-Traktat (Tutzing, 1959); new edn and Eng. trans., I. Godt and B. Rivera: ‘The Vatican Organum Treatise: a Colour Reproduction, Transcription, and Translation into English’, Gordon Athol Anderson, 1929–81, in memoriam, ed. L.A. Dittmer (Henryville, PA, 1984), ii, 264–345; ed. 293–345. LmL: org.Vatic.; MGG2: 67b; TML: arsorg (ed. Godt and Rivera).
An extensive organum treatise from I-Rvat Ottob.3025, ff.46r–50v. After a brief introduction, the treatise outlines 31 counterpoint rules and provides extensive examples.  52. Gallo anonymi 1966. 14th century. Ed. F.A. Gallo: Mensurabilis musicae tractatuli, AMI, Scriptores, i (1966).
Six brief works on 14th-century notation from various sources.
a. Capitulum de semibrevibus. Incipit ‘Quandocunque due semibreves ponuntur pro tempore’. Edn 15. LmL: mens.Quandoc.due.
A brief treatment of semibreves in I-PAVu Aldini 361, f.70r–v.
b. Fragmentum de mensuris. Incipit ‘[quaternaria, se]naria perfecta, senaria inperfecta’. Edn 51–2. LmL: prop.mens.senar.
A brief treatment of Italian temporal divisions from F-SDI 42, f.130r.
c. Fragmentum de proportionibus. Incipit ‘Quaternarium vocatur proportio dupla minor’. Edn 55. LmL: prop.mens.Quat.
Seven lines on proportions in I-PAVu Aldini 450, f.7v.
d. Capitulum de modo accipiendo. Incipit ‘Nota quod modus accipitur a longa’. Edn 59. LmL: prop.mens.Nota quod I.
A brief treatment of mensural notation in I-CATc D39, ff.121v–122r.
e. Musice compilatio. Incipit ‘Nota quod tresdecim sunt species cantus’. Edn 63–75. LmL: anon.Mediol.
The work (from I-Ma M.28 sup., ff.114r–117r) touches briefly upon intervals, counterpoint and mensural issues (such as note shapes, mensuration, diminution and sincopa).
f. Tractatulus de figuris et temporibus. Incipit ‘Sciendum est, quod quatuor sunt tempora discantus’. Edn 79–85. P. Schreur: Tractatus figurarum, GLMT, vi (1989), 4; LmL: mens.Sciendum est.
A treatise on complex notational practices from E-Sc 5.2.25, ff.93r–94v. The proposed note shapes combine multiple stems, flags and half-coloured note heads to achieve subtle temporal divisions. The author associates Philippus de Caserta with these complicated notational techniques, and the notation in the work is similar to the theory proposed in Philippus’s Tractatus figurarum.  53. Gallo anon. 1971a; ; Compendium musicae mensurabilis artis antiquae [Faenza anon.]. Incipit ‘Gaudent brevitate moderni. Quandocumque punctus quadratus vel nota quadrata’. Late 13th century. Ed. F.A. Gallo, CSM, xv (1971), 66–72. Ristory, 1987, pp.95–110; LmL: trad.Franc.III; MGG2: 89; TML: anocom.
One of several mensural works derived from Franco of Cologne beginning ‘Gaudent brevitate moderni’. The treatise (from I-FZc 117, ff.23r–24r) mentions Petrus de Cruce and cites several musical works of the late 13th century.  54. Gallo anon. 1971b; Tractatulus de cantu mensurali seu figurativo musice artis [Melk anon.]. Incipit ‘Quoniam cantum mensuralem seu figuratum musice artis’. Mid-14th century. Ed. F.A. Gallo, CSM, xvi (1971), 11–37. LmL: anon.Mell.; MGG2: 90; TML: anotra.
A mensural treatise from A-M 950 (dated 1462), ff.76v–83v, derived from Johannes de Muris. The work demonstrates the diffusion of Ars Nova teaching to east central Europe.  55. GerbertS, i, Anon.1; Musica. Incipit ‘Duo semisphaeria, quas magadas vocant’. 11th century. Edn i, 330–38. New edn, J. Smits van Waesberghe: Bernonis Augiensis De mensurando monochordo, Divitiae musicae artis, ser.A, via (Buren, 1978), 27–114. LmL: berno.mon.; MGG2: 32; TML: ano1mus (cf berndem).
The text, on the division of the monochord and church modes, is now attributed to Berno of Reichenau. The source used by Gerbert (from the monastery of St Blasien) is no longer extant. Smits van Waesberghe’s edition begins with a prologue, ‘Quicumque aliquod sibi artificium inchoat’.  56. GerbertS, i, Anon.2; Tractatus de musica. 10th–11th century. Edn i, 338–42. MGG2: 33; TML: ano2tdm.
Gerbert’s text is currently considered to be a compendium of three sections.
a. Incipit ‘Quinque sunt consonantiae musicae’. New edn as ‘Ratio breviter excerpta de musica’ in Bernhard, 1989, pp.90–189. LmL: ton.Lugd.
On consonant intervals with references to Greek pitches. The section presented in GerbertS serves as an introduction to a tonary, included in Bernhard’s edition.
b. Incipit ‘Indicis a summo capiens exordia primus’. Edn i, 342. New edn, T.A. Russell: ‘A Poetic Key to a Pre-Guidonian Palm and the “Echemata”’, JAMS, xxxiv (1981), 109–18; edn 110. LmL: vers.Indicis.
A brief poem on using the hand as a mnemonic aid for the church modes.
c. Incipit ‘Prius dividenda est tota linea in quatuor partibus’. Edn i, 342. New edn as ‘Ratio breviter excerpta de musica’ in Bernhard, 1989, pp.191–2. LmL: mon. Prius dividenda.
A brief treatment of the division of the monochord.  57. GerbertS, i, Anon.3; Fragmentum musices. 12th century. Sachs, 1970–80, ii, pp.183, 186, 189; Bernhard, 1989, pp.192–3; MGG2: 34; TML: ano3fra.
Three separate items related to Boethius, De institutione musica, from the same source as Cat. no.55.
a. Incipit ‘Ad omni superparticulari si continuam ei … Ac si dixisset’. Edn i, 343.
Gloss to Boethius, De institutione musica, ii. 21.
b. Incipit ‘Ab omni superparticulari si continuam ei … Quod dicit, his exemplis probari potest’. Edn i, 343–4. New edn, N. Bubnov: Gerberti … Opera mathematica (Berlin, 1899), 30–31.
An excerpt from a letter of Gerbertus Scholasticus (Pope Sylvester II) to Constantinus, c980.
c. Incipit ‘Si superparticularis proportio binario multiplicatur’. Edn i, 344. New edn, N. Bubnov: Gerberti … Opera mathematica (Berlin, 1899), 29–30.
Another excerpt from the letter of Gerbertus to Constantinus, commenting on Boethius, De institutione musica, iii. 1.  58. GerbertS, i, Anon.4; Mensura monochordi Boetii. 12th century. MGG2: 35; TML: anomen.
Six short monochord excerpts. Items b, c and d were edited from the same source as Cat. no.55, which was destroyed by fire.
a. Incipit ‘Totum monochordum partire inprimis in quatuor’. Edn i, 344–5. New edn in Bernhard, 1989, pp.193–4. LmL:mon.Totum mon.
From D-Mbs Clm 4622, f.178v. Cf Cat. no.10d.
b. Incipit ‘Monochordum disparaturus totam epiphaniam in novem partes distribue’. Edn i, 345. New edn in Bernhard, 1989, p.194. LmL: mon.Mon.disparat.
c. Incipit ‘Si regularis monochordi divisionem secundum authenticam Boetii institutionem scire volueris’. Edn i, 345–7. New edn in Bernhard, 1989, pp.195–7. LmL: mon.Si regularis.
d. Incipit ‘Organalis mensura hoc exigit’. Edn i, 347. New edn in J. Smits van Waesberghe: Aribonis De musica, CSM, ii (1951), 45. LmL: mon.Organalis.
e. Incipit ‘Cum primum a G. ad finem novem passibus monochordum patiris’. Edn i, 347–8. New edn in Bernhard, 1989, p.198. LmL: mon.Cum primum.
From D-Mbs Clm 4622, f.177v.
f. Incipit ‘Quidam Ratisbonensis monachus nomine Otkerus’. Edn i, 348. New edn in Bernhard, 1989, pp.199–200. LmL: quadr.fig.
From Mbs Clm 4622, f.178v–179r.  59. GerbertS, i, Anon.5; Monacho qua mente sit psallendum. Incipit ‘Iunior quidam monachus, D. Antonii Abbatis discipulus’. 8th century. Edn i, 4–5. Bernhard, 1989, p.3. MGG2: 36; TML: monpsal.
A dialogue on various psalm verses.  60. GerbertS, i, Anon.6; Instituta patrum de modo psallendi sive cantandi. Incipit ‘Sancti Patres nostri antiqui docuerunt’. c1200. Edn i, 5–8. New edn in Bernhard, 1989, pp.5–8. J. Smits van Waesberghe: ‘De verklaring der letters: Appendix, De “Instituta patrum” van Sint Gallen’, Muziekgeschiedenis der Middeleeuwen(Tilburg, 1938–42), ii, 197–205; S.A. van Dijk: ‘Saint Bernard and the Instituta patrum of Saint Gall’, MD, iv (1950), 99–109. LmL: inst.patr.; MGG2: 37; TML: patpsal.
A non-technical discussion of proper singing in church, repr. by Gerbert from J.M. Thomasius: Opera omnia (Rome, 1748–54), iv, 353. Now attributed to Ekkehard (5) of st gallen.  61. GerbertS, i, Anon.7; Alia musica. Incipit ‘De harmonica consideratione Boetius ita disseruit’. 9th–10th century. Edn i, 125–52 (as part of Hucbald of St Amand, Musica). New edn, J. Chailley (Paris, 1965); new edn and Eng. trans., E.B. Heard: ‘Alia musica’: a Chapter in the History of Music Theory (diss., U. of Wisconsin, 1966). Bernhard, 1989, pp.16–17; LmL: alia mus.; MGG2: 38; TML: alimus (cf aliamu).
A central treatise in the early integration of the seven octave species and eightfold modal system in the West. Chailley demonstrated three layers in the text: a Model Treatise that uses the word tonus for each mode (with the incipit ‘Tonus primus NONANOEANE’), a Principal Treatise (the central portion of GerbertS) that uses both tonus and tropus and a New Exposition that uses only tropus.GerbertS, i, Anon.8. See Musica enchiriadis, Scolica enchiriadis.  62. GerbertS, i, Anon.9; Commemoratio brevis de tonis et psalmis modulandis. Incipit ‘Debitum servitutis nostrae’. c900. Edn i, 213–29. New edn and Eng. trans., T. Bailey (Ottawa, 1979); new edn in Schmid, 1981, pp.157–78. Bernhard, 1989, p.37. LmL: comm.br.; MGG2: 40; TML: anocomb (cf anocmb).
Discusses modes and psalm tones using dasian notation similar to that of the musica enchiriadis and Scolica enchiriadis. Bailey notes several textual parallels between the Commemoratio brevis and the Enchiriadis treatises.GerbertS, i, Anon.10. See Bernelinus.  63. GerbertS, ii, Anon.1; De mensura fistularum in organis. c12th century or before. MGG2: 42–3 (as Anonymi 1–2); TML: anofis.
A collection of short works on organ pipes and bells. Gerbert based his edition on a manuscript from St Blasien which was destroyed by fire in 1768. A partial copy from the 18th century remains as I-Bc A43; portions also in US-R 92 1200 (formerly Admont 494), ff.74v–75v.
a. Incipit ‘Fac tibi fistulam secundum aestimationem’. Edn ii, 283. New edn in Sachs, 1970–80, i, p.115. LmL: fist.Fac tibi.
b. Incipit ‘Primam fistulam quam longam’. Edn ii, 283–5. New edn in Sachs, 1970–80, i, p.116–125. LmL: fist.Primam fist.II.
c. Incipit ‘Si velis fundere cymbala’. Edn ii, 285–6. New edn in J. Smits van Waesberghe: Cymbala, MSD, i (1951), 44–5. LmL: cymb.Si velis.; TML: anocym.
d. Incipit ‘Cognita omni consonantia fistularum in organis’. Edn ii, 286. New edn in Sachs, 1970–80, i, pp.99–113. LmL: fist.Primam fist.I.
e. Incipit ‘A C. novem passus usque ad sustentationem’. Edn ii, 286–7. J. Smits van Waesberghe: De musico-paedagogico et theoretico Guidone Aretino (Florence, 1953), 169; idem: ‘Organistrum, Symphonia, Drehleier’ (1972), HMT, 3. LmL: organistr.A C.  64. Gilles anon.; ; De musica plana breve compendium. Incipit ‘Quoniam de plana musica sive de compositione gammatis breviter’. Late 13th century. Ed. in A. Gilles: ‘De musica plana breve compendium (Un témoignage de l’enseignement de Lambertus)’, MD, xliii (1989), 33–62; edn 40–51. LmL: trad.Lamb.; MGG2: 91; TML: anodmp.
An introductory work (from F-Pn lat.15128, ff.124r–127r) on musica plana including definitions of music, the gamut, hexachords and intervals. Gilles notes parallels with Lambertus, John of Tewkesbury, Quatuor principalia musicae, and other sources.  65. M.L. Göllner anonymi. 13th century. Ed. M.L. Göllner: The Manuscript Cod lat.5539 of the Bavarian State Library, MSD, xliii (1993).
Two works from D-Mbs Clm 5539.
a. Practica musicae artis mensurabilis magistri franconis. Incipit ‘Gaudent brevitate moderni. Quandocunque punctus quadratus seu nota quadrata tractum habet a parte dextra descendentem’. Edn 101–8. Ristory, 1987, pp.95–110. LmL: trad.Franc.I; TML: anopra.
One of several works on mensural notation after Franco of Cologne beginning ‘Gaudent brevitate moderni’. The present version is in the MS on ff.24r–27r.
b. Tractatulus anonymus de tonisque intervallibus, cum litteris musicis. Incipit (with letter notation above) ‘Cantus dicitur autenticus melodia cuius diapente’. Edn 110–13. Partially ed. D. Mettenleiter: Musikgeschichte der Stadt Regensburg (Regensburg, 1866), 78. TML: anocadi.
A narrative text with accompanying melody written above in letter notation. The text (in the manuscript on ff.189r–191r) discusses various issues of chant including modes, solmization and intervals. The text proposes a ‘cantus indifferens’ which includes all the notes of both the authentic and plagal forms of the mode. Cf Cat. no.92c.  66. T. Göllner anon. 1961. Incipit ‘Concordanciarum perfecte, ut unisonus, id est eadem’. First half of 15th century. Ed. and Ger. trans. T. Göllner: Formen früher Mehrstimmigkeit in deutschen Handschriften des späten Mittelalters (Tutzing, 1961); edn 167–81; Ger. trans. 183–94. P. van Poucke, ‘Musicus computans or the “Ars organica” Treatise in Codex latinus 7755’, Gentse bijdragen tot de kunstgeschiedenis en oudheidkunde, xxviii (1988), 171–85 (with facs. of ff.279v–280r of source). LmL: tact.Concordanciarum; MGG2: 92.
A lengthy treatise on ‘tactus’ (discant on the organ) from D-Mbs Clm 7755, ff.276r–280r, with several musical examples.  67. T. Göllner anon. 1968; Nota regulas supra tactus. Incipit ‘Prima est quod manendum est ante concordanciam’. 15th century. Ed. and Ger. trans. T. Göllner: ‘Eine Spielanweisung für Tasteninstrumente aus dem 15. Jahrhundert’, Essays in Musicology: a Birthday Offering for Willi Apel, ed. H. Tischler (Bloomington, IN, 1968), 69–81; edn 70–71. LmL: tact.Prima est; MGG2: 93.
A brief presentation, only 19 lines, of six rules on ‘tactus’ (discant on the organ) from D-Mbs Cgm 811, f.22v.  68. T. Göllner anon. 1969 [Füssen Treatise]. Incipit ‘[With musical example] At illi dixerunt … Parumper hesito, quin is cantus sit valde acceptabilis’. Mid-15th century. Ed. and Ger. trans. T. Göllner: Die mehrstimmigen liturgischen Lesungen (Tutzing, 1969); edn ii, 131–3; Ger. trans. ii, 133–4. LmL: cant.pass.; MGG2: 94.
This brief work (from D-HR II.2.2^o, p.6) suggests guidelines for the polyphonic recitation of dialogues in the Passion text using 5ths and octaves.  69. Gümpel anonymi 1968. 15th century. Ed. K.-W. Gümpel: ‘Zur Frühgeschichte der vulgärsprachlichen spanischen und katalanischen Musiktheorie’, Spanische Forschungen der Görresgesellschaft, 1st ser.: Gesammelte Aufsätze zur Kulturgeschichte Spaniens, xxiv (Münster, 1968), 257–336. MGG2: 95.
Two works from Spanish sources, the first in Spanish, the second in Latin.
a. Incipit ‘Devemos saber que en el arte del canto llano’. Edn 282–322.
Covers the fundamentals of music, especially solmization, drawn from several sources. Gümpel notes parallels with John of Tewkesbury, Quatuor principalia musice.
b. Ars musice, que apellatur liberalis. Incipit ‘Musica est una de septem artibus quas liberales appelamus’. 15th century. Edn 326–9. LmL: anon.Barcin.II; TML: anoam.
A brief collection of basic musical concepts such as definitions and etymologies. Gümpel notes parallels with several sources, including Johannes Cotto, Boethius and Egidius de Zamora.  70. Gümpel anonymi 1978. 11th century. Ed. K.-W. Gümpel, ‘Spicilegium Rivipullense’, AMw, xxxv (1978), 57–61. K.-W. Gümpel: ‘Musica cum Rhetorica: die Handschrift Ripoll 42’, AMw, xxxiv (1977), 260–86. TML: anospi.
a. De Guidonis musica. Incipit ‘Omnes autenti quinto loco’ (text to musical example: ‘Diapente et diatesseron Simphonie et intense et remisse …’). Edn 57–8. LmL: mod.Omnes authenti.
A brief text on church modes attributed to Guido of Arezzo on f.5r of E-Bac Ripoll 42.
b. Incipit ‘Discipulus. Diapason quid est?’. Edn 58–9. LmL: interv. Diapason.
A brief dialogue on intervals on f.5r of the MS.
c. See Cat. no.84c.  71. Gümpel anon. 1990a; Cartula de cantu plano. Incipit ‘Et dixit 〈Guido〉: Qui nescit palmam’. 14th century. Ed. K.-W. Gümpel: ‘Gregorianischer Gesang und Musica ficta: Bemerkungen zur spanischen Musiklehre des 15. Jahrhunderts’, AMw, xlvii (1990), 120–47; edn 144–7. LmL: cart.plan.; MGG2: 98; TML: anocar
A brief work from E-Bc M.883, ff.70v–71v, on the basics of musica plana (gamut, solmization, finals and conjunctions) with several references to specific chants.  72. Gümpel anonymi 1990b. Ed. K.-W. Gümpel: ‘Zwei unbeachtete Fragmente der altkatalanischen, Art del cant pla’, De musica hispana et aliis: miscelána en honor al Prof. Dr. José López-Calo, ed. E. Casares and C. Villanueva (Santiago de Compostela, 1990), i, 111–44.
Two fragments on plainchant from E-Bbc 390. Gümpel notes parallels with treatises in his Cat. no.69.
a. Incipit ‘Cante per becayre e pren la ueu de gamut’. Edn 122–6.
b. Incipit ‘En befabemi no y a mutaca que’. Edn 126–30.
A fragment on mutation on f.144r–v of the MS.  73. Gümpel and Sachs anon. 1974. Incipit ‘Quoniam homine senescente senescunt’. Second half of 15th century. Ed. K.-W. Gümpel and K.-J. Sachs: ‘Der anonyme Contrapunctus-Traktat aus Ms. Vich 208’, AMw, xxxi (1974), 87–115; edn 93–7. LmL: contr. Quoniam hom.; MGG2: 96; TML: anovic.
A counterpoint treatise from the Catalonian source E-VI 208, ff.3r–8r, with learned allusions to Virgil, Boethius and Guido of Arezzo.  74. Gümpel and Sachs anon. 1988. Incipit ‘Species plani cantus sunt terdecim. Vnisonus. Semitonus. Tonus’. Mid-15th century. Ed. K.-W. Gümpel and K.-J. Sachs: ‘Das Manuskript Girona 91 und sein Contrapunctus-Traktat’, AMw, xlv (1988), 186–205; edn 193–6. LmL: contr.Species plani; MGG2: 97; TML: anospe.
A didactic counterpoint treatise from the Catalonian source E-G 91, ff.118r–119v. The treatise gives two definitions of counterpoint: (1) note-against-note writing or (2) the ornamentation of a musical line itself and the tenor (‘est ornamentum sui rei et tenoris’, p.194).  75. Guentner anon. [Cistercian anon.]. Incipit ‘Cantum quem Cisterciensis ordinis ecclesiae cantare consueverant’. 1142–7. Ed. and Eng. trans. F.J. Guentner, CSM, xxiv (1974). LmL anon.Cist I; MGG2: 99; TML: berepi.
The work begins with a brief letter attributed to Bernard of Clairvaux. The body of the anonymous treatise is devoted to correcting errors in singing plainchant on such topics as text, modal assignment and range. The work is an example of the general reforms of chant attributed to St Bernard.  76. Hammerstein anon.; Epistola ad Dardanum [Pseudo-Jerome]. Incipit ‘Cogor a te ut tibi Dardane’. Mid-9th century. Ed. R. Hammerstein: ‘Instrumenta Hieronymi’, AMw, xvi (1959), 117–34. PL, xxx (1846), 213–15. LmL: ps.-hier.ep.; MGG2: 100.
A description of various instruments, based on several sources, traditionally attributed to St Jerome. The work mentions instruments from scripture such as the organum, tuba, cithara, sambuca and timpanum; several sources transmit extensive illustrations.  77. Handschin anon. 1930 [Montpellier Organum Treatise]. Incipit ‘Diaphonia duplex cantus est; cuius talis est diffinitio’. Second half of 11th century. Ed. J. Handschin: ‘Der Organum-Traktat von Montpellier’, Studien zur Musikgeschichte: Festschrift für Guido Adler (Vienna, 1930/R), 50–57; edn 50–51. New edn and Eng. trans., F. Blum: ‘Another Look at the Montpellier Organum Treatise’, MD, xiii (1959), 15–24; edn and Eng. trans. 21–4; new edn and Ger. trans., H.H. Eggebrecht and F. Zaminer: Ad organum faciendum: Lehrschriften der Mehrstimmigkeit in nachguidonischer Zeit (Mainz, 1970); edn 187–8; Ger. trans. 189–90. LmL: org.Montep.; MGG2: 45, TML: anomon (cf anomont).
A brief work (from F-MO H.384, ff.122r–123r) on two-voice note-against-note organum, with special attention to cadences. The treatise considers 3rds and 6ths to be appropriate intervals for organum.  78. Handschin anon. 1943. Incipit ‘Ratio sequitus est ista. Si aliquis vult scire sequitum’. 15th century. Ed. J. Handschin: ‘Aus der alten Musiktheorie, III: Zur ambrosianischen Mehrstimmigkeit’, AcM, xv (1943), 2–15; edn 5–6. LmL: org.Ambros.; MGG2: 101.
A brief organum treatise, including a poem beginning: ‘Ex una sursum tertia infra’.  79. Handschin anon. 1944; Compositio clavicordium secundum Baudeceti. Incipit ‘Volens facere clavicordium in hunc modum procedat’. Late 15th century. Ed. J. Handschin: ‘Aus der alten Musiktheorie: V. Zur Instrumentenkunde’, AcM, xvi–xvii (1944–5), 1–10; edn 7–9. LmL: clavic.; MGG2: 102.
Description for building a ‘clavichord’ (i.e. a monochord) from CH-Gpu lat.80, ff.44r–45v.  80. Huglo anon. Incipit ‘(De notulis) Sciendum est quod in notulis pro exigentia motellorum’. 13th century. Ed. M. Huglo: ‘Le traité de cantus mensurabilis du manuscrit de Bamberg’, Pax et sapientia: Studies in Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson, ed. R. Jacobsson (Stockholm, 1986), 91–5; edn 94–5. LmL: mens.Sciendum; MGG2: 103; TML: anocant.
A brief work on polyphonic genres of the 13th century: motet, organum and conductus.  81. Kellner anon. [Brieg (Brzeg) anon., Kremsmünster anon.]. Incipit ‘Pro facili informatione eorum, qui ad culmen artis musicae scientiae’. c1400. Ed. P.A. Kellner: ‘Ein Mensuraltraktat aus der Zeit um 1400’, AÖAW, xciv (1957), 72–85; edn 73–85. Partial Eng. trans. C.E. Brewer: The Introduction of the Ars Nova into East Central Europe: a Study of Late Medieval Polish Sources (diss., CUNY, 1984), i, 167–74, ii, 419–21. LmL: anon.Kellner; MGG2: 104; TML: anobri.
A Silesian treatise on Ars Nova mensural notation (A-KR 312, ff.210v–212v) notable for its attention to note values smaller than the minima (fusielis, semifusielis and semifusielis semi).  82. LaFageE, Anonymi 1. 12th century. TML: anofra.
Excerpts from F-Pn lat.10509 (cited in LaFageE as supp.lat.990).
a. Incipit ‘Proportio est divisarum rerum ad se invicem’. Edn 72–3. LmL: compil.Paris.II, MGG2: 46–52a.
On proportions and church modes, ff.58r–61r.
b. Incipit ‘Monocordum compositurus accipe’. Edn 73–4. J. Smits van Waesberghe: De musico-paedagogico et theoretico Guidone Aretino (Florence, 1953), 168, 169; LmL: mon.Mon.compos.; MGG2: 46–52b.
On division of the monochord, f.64r–v. Smits van Waesberghe regarded this as two short works, the second beginning ‘Compositio monocordi secundum enchiriadem’ (LaFageE, 74).
c. Incipit ‘Primam fistulam quantaevis magnitudinis facies’. Edn 74–5. New edn in Sachs, 1970–80, i, 116–25. LmL: fist Primam fist.IV; MGG2: 46–52c.
On the length of organ pipes, ff.65v–66r.  83. LaFageE, Anon.2. Incipit ‘In defectionibus hujusmodi solet necessario synemenon’. 11th century. Edn 87–9. LmL: cant.In defect.; MGG2: 46-52d; TML: anocan.
A treatment of plainchant excerpted from I-Rv B.81, ff.75r–76r.  84. LaFageE, Anonymi 3. 11th–12th century. TML: anofra2.
Excerpts from F-Pn Colb.lat.7211.
a. Liber argumentorum. Incipit ‘Interrogatio. Musica a quo inventa?’. Edn 185–8. New edn, J. Smits van Waesberghe: Expositiones in Micrologum Guidonis Aretini (Amsterdam, 1957), 19–30. LmL: lib.argum.
Brief dialogue on basic elements of musica plana including discussion of the gamut and intervals, ff.115v–125v.
b. Incipit ‘Sunt in numeris pythagoreorum malleorum’. Edn 191–3. LmL: compil.Paris.I, MGG2: 46–52e.
On proportions, ff.145r–146v.
c. Incipit ‘Si vis metiri monochordum’. Edn 193–4. New edn (based on E-Bac Ripoll 42, f.70r–v), K.-W. Gümpel: ‘Spicilegium Rivipullense’, AMw, xxxv (1978), 59–61. K.-W. Gümpel: ‘Musica cum Rhetorica: die Handschrift Ripoll 42’, AMw, xxxiv (1977), 283; LmL: mon.Si vis metiri and mon.Divide mon.; MGG2: 46–52f–g.
On divisions of the monochord, ff.146v–147r. The excerpt is divided into two sections in the LmL, the second beginning ‘Altera divisio monochordi. Divide monochordum in quatuor partes’ (LaFageE, 194).  85. LaFageE, Anon.4. Incipit ‘Quemo[a]dmodum, ut ait ille venerabilis doctor Ambrosius’. 15th century. Edn 241–8. LmL: anon.La Fage III; MGG2: 46–52h; TML: anomus.
A work in two parts (excerpted from I-Rv B.83, ff.39r–55v), the first on counterpoint, the second on musica plana.  86. LaFageE, Anonymi 5. 12th century. TML: anofra3.
Excerpts from I-Fn Magl.F.III.565.
a. Rhythmus de cantu Philomelae. Incipit ‘Aurea personet lyra clara modulamina’. Edn 275–9.
A poem with letter notation, ff.4v–6r.
b. Incipit ‘Melorum genera sunt tria’. Edn 282–4.
Short passages on various aspects of music, ff.85r–97v.
c. Incipit ‘Aetherium dulci laudantem carmine regem’. Edn 287–8.
A poem on music, f.97r.  87. LaFageE, Anon.6; De musica. Incipit ‘Semidictonus est inaequalium notarum consonantia, tonum perfectum cum semitonio’. 15th century. Edn 346–50. New edn, R. Bragard: CSM, iii (1955–73), ii, 178–307. TML: anofra4.
Excerpts from Jacobus of Liège, Speculum musicae (ii.73–125), drawn from I-Fl Plut.29.16, ff.54r–124r.  88. LaFageE, Anon.7 [De La Fage anon., St Martial anon.]. Incipit ‘Ex duobus tonis et semitono et tono’. 12th century. Edn 355–61. New edn, A. Seay: ‘An Anonymous Treatise from St. Martial’, AnnM, v (1957), 13–42. J. Handschin: ‘Zur Geschichte der Lehre vom Organum’, ZMw, viii (1925–6), 321–41; S. Fuller: ‘An Anonymous Treatise dictus de Sancto Martiale: a New Source for Cistercian Music Theory’, MD, xxxi (1977), 5–30; C. Maître: ‘Etude lexicologique d’un traité dit de Saint Martial’, Cantus Planus III: Tihány 1988, 257–65. LmL: anon. La Fage I; MGG2: 53; TML: anofra5.
The best-known anonymous work from La Fage’s Essais, excerpts from I-Fn II.I.406 (formerly Magl.XIX.D.19), ff.1r–4r. La Fage presented several passages from this incomplete source, giving the treatise’s incipit in a descriptive paragraph and beginning his first long excerpt, ‘Viso de gravibus ordine ad acutas’. Handschin noted that the work derived from the St Martial school of polyphony and printed a long excerpt of the treatise beginning ‘Discantus cantui debet esse contrarius’ (Handschin, 1925–6, pp.333–6; cf LaFageE, 358). Seay presented a hypothetical completion of the work based on other manuscripts with the incipit: ‘Quoniam de canendi scientia doctrinam sumus facturi’.  89. LaFageE, Anon.8. Incipit ‘Sex sunt species discantus: scilicet unissonus [sic], semiditonus, ditonus’. 15th century. Edn 381–3. LmL: contr.Sex s.spec.II, contr.Volens igitur; MGG2: 46–52i–k; TML: cicnm.
A discussion of counterpoint excerpted from I-Fr 734, ff.103r–104r. The LmL divides the excerpt into two shorter works, the second beginning ‘Volens igitur multos’ (f.103r). La Fage’s excerpts did not include that incipit, but began with the following line in the manuscript, ‘Contrapunctus idem’ (p.382).  90. LaFageE, Anon.9. Incipit ‘Arythmetica: Disciplina numerorum’. 11th century. Edn 404–7. LmL: vocab.mus., MGG2: 46–52l; TML: joamus.
A musical dictionary excerpted from I-MC Arch.318, pp.298–300, and attributed by La Fage to Joannes Presbyter.  91. LaFageE, Anon.10. Incipit ‘Notandum est quod regula subscripta’. 14th–15th century. Edn 423–8. LmL: anon.La Fage II; MGG2: 46–52m; TML: anomus2.
A compilation excerpted from I-Rv C.105, ff.119r–157r. Topics include church modes, hexachords, intervals, mensural notation.Mettenleiter Anon.1. See Frutolfus of Michelsberg.  92. Mettenleiter Anon.2; Regulae de musica. Incipit ‘Venerantissimis et in Christo plurimum diligendis dominis suis … Omnium humanarum actionum seu studiorum que moderantur’. 1295. Excerpts ed. D. Mettenleiter: Musikgeschichte der Stadt Regensburg (Regensburg, 1866), 61–70. LmL: anon.Hailspr.; MGG2: 58: TML: metano2.
The work of two monks from Hailsprunne, from D-ERu 66 (cited by Mettenleiter as 193; cf RISM B/III/3, 45–6) in two long sections; the first part is on ecclesiastical modes, the second a ‘commendatio omnium scientiarum et specialis musice’.  93. Mettenleiter Anon.3; Ratisbonensis cuiusdam ars musica. Incipit ‘Reverentissimo domino patri … Huius artis (musicae) experienciam querere cupientibus’. c1277–96. Ed. D. Mettenleiter: Musikgeschichte der Stadt Regensburg (Regensburg, 1866), 70–78. New edn, M.L. Göllner: The Manuscript Cod. lat. 5539 of the Bavarian State Library, MSD, xliii (1993), 69–94. LmL: anon.Ratisb.; MGG2: 59; TML: metano3 (cf anoarsmu).
After a short preface to Bishop Heinrich of Regensburg (1277–96), the treatise (D-Mbs Clm 5539, ff.1v–24r) addresses such basic issues of chant as the Guidonian hand, intervals (called ‘modi’ in the treatise), origins of music, etymologies, psalm tones and differentiae.  94. Meyer anonymi 1984. Ed. C. Meyer: ‘Ein deutscher Orgeltraktat vom Anfang des 15. Jahrhunderts’, Musik in Bayern, xxix (1984), 43–60. MGG2: 105.
Two brief treatises on ‘tactus’ (counterpoint on the organ).
a. Incipit ‘Reperi in una carta unum modum organizandij qui est antiquus’. First half of 15th century. Edn 44–8. LmL: tact.Reperi.
From D-Rp Th98, pp.411–13.
b. Incipit ‘Sequitur de quarto membro uidelicet de tactibus. Nota quod omnis tactus incipiens in ut’. c1470. Edn 56. LmL: tact.Sequitur.
From B-Br II.4149, f.48v.  95. Meyer anon. 1995; Tractatus de contrapuncto et de musica mensurabili. Incipit ‘Ad sciendum artem cantus’. c1400. Ed. C. Meyer, CSM, xl (1995). TML: anotdcm.
A treatise of south German provenance in D-Mbs Clm 16208, ff.145r–151r, and Clm 24809, ff.132r–136r, covering solmization, counterpoint and the basics of mensural notation.  96. Meyer anonymi 1997. c1430–1520. Ed. C. Meyer: Tractatus de cantu figurativo et de contrapuncto, CSM, xli (1997).
A collection of 11 brief mensural and counterpoint treatises drawn from late medieval German sources.
a. Ars et practica cantus figurativi. Incipit ‘Discantus est diversorum cantuum secundum modum’. Edn 36–47. TML: anoapc.
From D-Mbs Clm 19851, ff.110r–113v. The beginning of the work is paralleled in Cat. no.40 (cf LmL: anon.London.II).
b. Regulae cantandi contrapunctum. Incipit ‘Quid est contrapunctus. Contrapuntus nil aliud est nisi notam contra aliam notam ponere’. Edn 50–52. TML: anorcc.
From I-Vnm lat.Cl.VIII.82, ff.63r–65r and D-Mbs Clm 15632, ff.103v–104v.
c. De contrapuncto. Incipit ‘Nota quinque sunt species eius’. Edn 54–5. TML: anodcon.
From D-Tu Mc 48, ff.62v–63r.
d. De vera et compendiosa seu regulari constructione contrapuncti. Incipit ‘De vera et compendiosa seu regulari constructione contrapuncti … Prima regula contrapuncti est quod omnis contrapunctus debet perfecte incipi’. Edn 58–65. TML: anodvc.
From Tu Mc 48, ff.64v–67r.
e. De contrapuncto plano. Incipit ‘Tractatus compendiosus et brevis de contrapuncto plano … Notandum quod novem sunt species contrapuncti’. Edn 68–72.
From Tu Mc 48, ff.79r–80v.
f. Regulae de contrapuncto. Incipit ‘Contrapunctus est ars flectendi’. Edn 74–6. TML: anordc.
From A-Wn Cpv 3646, f.305r–v.
g. De consonantia et dissonantia. Incipit ‘Consonantia est duorum sonorum sibimet permixtorum’. Edn 78–9.
From Wn Cpv 3646, ff.306r–307r. TML: anodcd.
h. De formatione contrapuncti. Incipit ‘Prima regula. Si discantus ordinatur in unisono cum tenore’. Edn 82–3. TML: anodfc.
From Wn Cpv 3646, f.312r–v.
i. Excerpta de consonantiis et de contrapuncto. Incipit ‘Consonantiarum simplicium alia est vel dicitur’. Edn 86–7. TML: anoexc.
From A-Wn Cpv 3646, ff.230v–231r, 302r, 314v.
j. Regulae contrapuncti. Incipit ‘Item organisandi breviori conquirere cupiens modo’. Edn 90–96. TML: anorcpt.
From A-Ssp b.II.42, ff.334r–338v.
k. Iuxta artem conficiendi compositiones. Incipit ‘Iuxta artem conficiendi compositiones … est primo videndum quid sit componere’. Edn 98–115. TML: anoiux.
From D-Gs Mus.IV 3000 Rara, suppl. ms., ff.26r–45r.  97. Michels anon. [OP anon., Anon. OP]. Incipit ‘Quod punctus per sui additionem … Illud est causa alicuius’. c1320. Ed. U. Michels: ‘Der Musiktraktat des Anonymus OP’, AMw, xxvi (1969), 49–62; edn 56–62. LmL: anon. Michels; MGG2: 106; TML: anoptra.
An early Ars Nova treatise from GB-Ob Bodley 77, ff.104r–105v and F-Pn lat.14741, ff.5r–6r. The work is a scholastic disputatio on five theses of mensural music (particularly imperfection and alteration).  98. Moberg anon.; Tractatus brevis de musica mensurata. Incipit ‘Notularum alia longa, alia brevis, alia semibrevis’. 13th–14th century. Ed. C.A. Moberg: ‘Om flerstämmig musik i Sverige under medeltiden’, STMf, x (1928), 5–92; edn 82–6. LmL: mens.Notularum; MGG2: 107.
A short treatment of mensural notation in the tradition of Franco of Cologne with several brief examples with particular emphasis on ligatures from S-Uu C.55, ff.26r–27r.  99. Müller anon 1884 [Müller Anon.1, Cologne Organum Treatise]. Incipit ‘Diaphoniam seu organum constat ex diatessaron symphonia’. c900. Ed. H. Müller: Hucbalds echte und unechte Schriften über Musik (Leipzig, 1884), 79–80. New edn, E.L. Waeltner: Die Lehre vom Organum bis zur Mitte des 11. Jahrhunderts (Tutzing, 1975), 54; new edn, H. Schmid: Musica et Scolica enchiriadis una cum aliquibus tractatulis adiunctis (1981), 222–3. RiemannG, 20. LmL: org.Colon.; MGG2: 60; TML: colorg (cf colorgs).
An early and very brief work (approximately 200 words) on organum; it considers the 4th an appropriate interval for organum.  100. Müller anon. 1886; Regulae super discantum et ad discernendum ipsas notas discantus [Müller Anon.2, Karlsruhe anon.]. Incipit ‘Ad discendam artem discantandi notandum est, quod omnis discantus uno sex modorum habet fieri’. c1270–80. Ed. H. Müller: Eine Abhandlung über Mensuralmusik in der Karlsruher Handschrift St. Peter pergamen. 29a (Leipzig, 1886), 5–7. LmL: ps.-dietr.; MGG2: 61; TML: diereg.
A brief work on rhythmic notation from D-KA St.Peter pergamen.29a, ff.7v–8r, attributed to a writer named Dietricus. The work names six rhythmic modes, indicating that it is independent of the teaching of Franco of Cologne, who proposed only five modes.  101. Palmer anon.; Tractatus de musica compendium cantus figurati. Incipit ‘Praesens compendium secundum famosiores musicos in quindecim capitula dividitur’. 1490. Ed. J. Palmer: ‘A Late Fifteenth-Century Anonymous Mensuration Treatise’, MD, xxxix (1985), 87–106; edn 89–103. LmL: anon.Salisb.; MGG2: 108; TML: anocomp.
A compendium on white mensural notation in 15 brief chapters ‘secundum famosiores musicos’ from A-Ssp a.VI.44, ff.68v–75r. Palmer notes parallels with Cat. no.40.  102. Pannain anon.; Liber musicae [Schneider anon., British Museum anon.]. Incipit ‘Unde constet diatesseron. Decem sunt modi quorum tantum tres dicuntur consonantiae’. 14th century. Ed. G. Pannain: ‘Liber musicae: un teorico anonimo del XIV secolo’, RMI, xxvii (1920), 409–39. Partial new edn in Schneider, 1934–5, ii, 106–20. LmL: anon.Pannain; MGG2: 63 (as ‘Anonymus Schneider’); TML: anolibm.
A work on plainchant with a brief concluding section on discant from I-Nn VIII.D.12, ff.1r–20v. The work draws heavily on Guido of Arezzo and Johannes Cotto. A second source for a substantial portion of the work (GB-Lbl Eg.2888, ff.27r–39r) was published by Schneider with the incipit ‘Primum tractatum huius voluminis de symphonia’ (cf Pannain, 416).  103. Pinegar anon. [Bruges Organum Treatise]. Incipit ‘Dicturi de organo, prout organum est generale ad omnem mensurabilem musicam’. Late 13th or early 14th century. Ed. and Eng. trans. S. Pinegar: ‘Exploring the Margins: a Second Source for Anonymous 7’, JMR, xii (1992), 213–43; edn 232–7; Eng. trans. 238–43.
An organum treatise in the margins of B-BRs 528, ff.54v–58v, with parallels to Cat. no.26 and additional material drawn from the theory of Johannes de Garlandia, the Micrologus of Guido of Arezzo and Cat. no.14.  104. Reaney anon. 1983; De origine et effectu musicae. Incipit ‘Musica est scientia recte canendi’. Early 15th century. Ed. G. Reaney: ‘The Anonymous Treatise De origine et effectu musicae: an Early 15th Century Commonplace Book of Music Theory’, MD, xxxvii (1983), 101–19; edn 109–19. LmL: orig.et.eff.; MGG2: 109; TML: anooref.
An introductory compilation on acoustics, chant and mensural music; it borrows heavily from the Quatuor principalia musicae. The work is in GB-Lbl Lansdowne 763, ff.55v–59r, and a partial version appears in Ob Bodley 515, ff.89r–90v.  105. Reaney anon. 1997; Tractatus de contrapunto. Incipit ‘Inprimis dicetur qualiter contrapuntus’. Late 15th century. Ed. G. Reaney, CSM, xxxix (1997), 44–58. TML: anotdc.
A set of counterpoint rules in seven chapters (from I-Vnm lat.Cl.VIII.82, ff.30r–37r) similar in terminology to Guilielmus Monachus, De preceptis artis musicae.  106. Riemann anon. 1897; Introductorium musicae. Ed. H. Riemann: ‘Anonymi Introductorium musicae (ca.1500)’, MMg, xxix (1897), 147–64; xxx (1898), 1–8, 11–19. C. Miller: Introduction to Johannes Cochlaeus: Tetrachordum musices, MSD, xxiii (1970), 2. MGG2: 62; TML: anoleip.
An anonymous abbreviation of Johannes Cochlaeus, Tetrachordum musices, from a manuscript in D-LEu.  107. Riemann ‘anon.’ 1901; De cantu fractibili [Leibowitz anon.]. Incipit ‘Quum de contrapuncto, id est nota contra notam’. Ed. H. Riemann: ‘M. Ugolini de Maltero Thuringi … “De cantu fractibili”’, Präludien und Studien, iii (Leipzig, 1901), 185–95. New edn and Fr. trans., R. Leibowitz: Un traité inconnu de la technique de la variation, XIVme siècle (Liège, 1950). H. Besseler: ‘M. Ugolini de Maltero Thuringi “De cantu fractabili”: ein scherzhafter Traktat von Hugo Riemann’, AcM, xli (1969), 107–8.
A spurious work subsequently cited by several scholars as a genuine treatise of the early 14th century. The first example in the work (attributed to a ‘venerable Joseph’) is the pitch outline of Haydn’s Gott, erhalte [Franz] den Kaiser!, hXXVIa:43.  108. Ristory anonymi 1987. Ed. H. Ristory, CSM, xxxiv (1987). MGG2: 110.
Two anonymous works from A-Wn 5003 (a source associated with the monastery at Mondsee) published together with two other works related to Franconian notation.
a. Compendium musicae mensurabilis artis antiquae. Incipit ‘Gaudent brevitate moderni. Quandocumque nota quadrata vel punctus quadratus invenitur’. c1400. Edn 49–58. LmL: trad.Franc.IV; TML: anocomm.
One of several works beginning ‘Gaudent brevitate moderni’ derived from the teachings of Franco of Cologne. On ff.200r–202v of the MS.
b. Tractatus artis antiquae cum explicatione mensurae binariae. Incipit ‘Notandum quod, muteto vel conducto qui mensurabiliter cantantur’. Late 13th century. Edn 69–73. LmL: mens.Notandum quod; TML: anotaa.
This treatise directly follows the preceding item on ff.202v–204r; it concerns pre-Franconian mensural theory.  109. Ristory anonymi 1996. Late 15th century. Ed. H. Ristory, CSM, xxxviii (1996). J. Herlinger: ‘A Fifteenth-Century Compilation of Music Theory’, AcM, liii (1981), 90–105.
A series of anonymous 15th-century works from B-Br II.785.
a. Capitulum de quattuor mensuris. Incipit ‘Item nota tria consistunt in cantu’. Edn 62–3. TML: anocqm.
On f.8v of the MS.
b. Tractatulus mensurationum. Incipit ‘De alteratione sub brevitate. Nota quod ubi est perfectio numeri’. Edn 66–73. TML: anotram.
On ff.8v–9v of the MS. Previously considered part of Antonius de Luca, Ars cantus figurati, CoussemakerS, iv, 424–6.
c. Compendium breve de proportionibus. Incipit ‘De proportionibus breviter. De proportionibus aliquid clarius tractare’. Edn 76–82. LmL: prop.mens.De prop; TML: anocbp.
On ff.9v–11r of the MS. Previously considered part of Antonius de Luca, Ars cantus figurati, 426–8.
d. Tractatulus prolationum cum tabulis. Incipit ‘Nota quod quatuor sunt partes prolationis’. Edn 84–92. Cf GLMT, x (1994), 124–9. LmL: prop.mens.Nota quod II; TML: anotpt.
On ff.11v–13r, 14v of the MS. Previously considered part of Antonius de Luca, Ars cantus figurati, 429–33, but also related to Cat. no.33.  110. Schmid anon. 1990a. Incipit ‘Cum animadverterem iuxta hoc dictum: “longa solent sperni, gaudent brevitate moderni”’. 15th century. Ed. B. Schmid in Bernhard, ed., 1990, pp.71–6; edn 74–6. LmL: mens.Cum animadv.; MGG2: 111.
A summary of mensural music in the tradition of the various ‘Gaudent brevitate moderni’ works after Franco of Cologne; it briefly treats such topics as tempus, prolation, note shapes, ligatures, plicated notes and the punctus. The treatise is in D-Mbs Clm 24809, ff.144r–145r. Schmid notes parallels with the works of Johannes de Muris, Johannes de Garlandia and other sources.  111. Schmid anon. 1990b. Incipit ‘Quoniam circa artem musice figurative’. Mid-15th century. Ed. B. Schmid in Bernhard, ed., 1990, pp.77–98; edn 82–98. LmL: anon.Monac.; MGG2: 112.
A work from D-Mbs Clm 26812, ff.344r–355v; it treats basic issues of mensural notation, including the possibility of notes smaller than a minima. The anonymous author mentions theorists including Boethius, Guido of Arezzo, Johannes de Muris and Marchetto de Padova.  112. Schubiger anonymi. Ed. A. Schubiger in PÄMw, v, Jg.iv/2 (1876). Sachs, 1970–80, ii, 251–67, 305–8, 239–45. MGG2: 64.
An excerpt on organ pipes from CH-BEsu B56, ff.2v–3r, now considered three separate works.
a. Incipit ‘Cuprum purissimum’. Edn 82–4. New edn, Sachs, 1970–80, i, 55–8. LmL: fist.Cuprum pur.
b. Incipit ‘Mensuram et’. Edn 84. New edn, Sachs, 1970–80, i, 93–5. LmL: fist.Mensuram et.
c. Incipit ‘Si fistulae aequalis grossitudinis fuerint’. Edn 84–5. New edn, Sachs, 1970–80, i, 49–51. LmL: fist.Si fistulae I.  113. Seay anon. 1964; Libellus musicae adiscendae valde utilis et est dialogus. Incipit ‘Discipulus: Modo quaeritur quid est musica?’ c1400. Ed. A. Seay: Anonymus ex codice Vaticano Lat. 5129, CSM, ix (1964), 21–48. LmL: anon.Seay; MGG2: 113; TML: anolib.
A treatise on both plainchant and counterpoint in I-Rvat vat.lat.5129, ff.145r–157r. The dialogue format is used only for the first few lines. Topics include hexachords, church modes, intervals and basic counterpoint rules. The work also discusses how to recognize the mensurations of Ars Nova polyphonic works.  114. Seay anon. 1977a; Quaestiones et solutiones. Incipit ‘Primo videndum est quid sit introductio et unde dicatur’. Late 15th century. Ed. A. Seay, Critical Texts, ii (Colorado Springs, CO, 1977). MGG2: 114; TML: anoqs.
A chant treatise from I-PEc 1013 (M.36), ff.47r–68v. The work begins in Latin and ends in Italian; it is based upon the Introductio musicae of Johannes de Garlandia (CoussemakerS, i, 157–75; LmL: ioh.garl.plan.) and discusses the mutation of hexachords, intervals, church modes and intonation formulas. The work contains lengthy parallels with Cat. no.44.  115. Seay anonymi 1977b. 15th century. Ed. A. Seay: Quatuor tractatuli italici de contrapuncto, Critical Texts, iii (Colorado Springs, CO, 1977).
Four counterpoint treatises, mostly in Italian, from two different sources.
a. Regule de contrapuncto. Incipit ‘El contrapunto e semplice de unica sola nota in grave’. Edn 1–7.
From I-Fl Conv.Soppr. 388, ff.29r–34r.
b. Incipit ‘Concioscia cossa che el contrapunto’. Edn 8–16.
From Fl Conv.Soppr.388, ff.68r–74r; text changes to Latin at the end.
c. Ad avere alcuna notitia del contrapunto. Incipit ‘Per che dico il contrapunto richiede avere quatro cose’. Edn 17–24.
From Fl Redi 71, ff.24v–28v.
d. Incipit ‘Dico che noi abbiamo nel contrapunto quattro gradi’. Edn 25–39.
From Fl Redi 71, ff.48v–59v, with a concluding chapter on proportions.Smits van Waesberghe anonymi. Gushee’s term (Grove6) for a collection of works (Liber specierum, Liber argumentorum, Commentarius in Micrologum and Metrologus) related to Guido of Arezzo.  116. Smits van Waesberghe anon. 1975; Commentum super tonos. Incipit ‘Dilectissimo coepiscopo e., a. divina gratia dispensante episcopus’. c1000. Ed. J. Smits van Waesberghe, De numero tonorum litterae episcopi A. ad coepiscopum E. missae ac commentum super tonos episcopi E. (ad 1000), Divitiae musicae artis, A/i (Buren, 1975), 24–93. LmL: comm.ton.; MGG2: 115; TML: anocst.
A brief discussion of chant modes before a lengthy tonary, based on I-Nn VIII.D.14, ff.19r–40v, and D-B lat.8^o265, ff.1v–8r.  117. Sowa anon. 1930; De musica mensurata [St Emmeram anon.]. Incipit ‘Quoniam prosam artis musice mensurabilis’. 1279. Ed. H. Sowa: Ein anonymer glossierter Mensuraltraktat, 1279 (Kassel, 1930). New edn and Eng. trans., J. Yudkin: De musica mensurata: the Anonymous of St. Emmeram (Bloomington, IN, 1990). LmL: anon.Emmeram.; MGG2: 65; TML: ano1279 (cf anodmm).
A lengthy work on mensural music from D-Mbs Clm 14523 (formerly in the monastery of St Emmeram, Regensburg), ff.134r–159v. It covers such topics as note shapes, rhythmic modes, hocket, discant and organum. The core of the treatise is a 410-line poem in Leonine verse characterized by a complex literary style. The poem is glossed and accompanied by a prologue and a lengthy prose commentary.  118. Sowa anonymi 1933. 11th century. Ed. H. Sowa: ‘Zur Handschrift Clm 921’, AcM, v (1933), 60–65, 107–120. MGG2 116.
A series of brief works from D-Mbs Clm 921.
a. (Tractatulus 1) Incipit ‘Denique si a acuta habet XII’. Edn 61–2. LmL: prop.Denique si.
A brief work on proportions in the margin of f.18r.
b. (Tractatulus 2–3) Incipit ‘Hac ex lege protus autentus sit tibi notus’. Edn 63. LmL: vers.Hac ex lege.
A short discussion on church modes in the margins of ff.18v–19v. Eight lines of verse are followed by a brief passage in prose.
c. (Tractatulus 4) Incipit ‘Duo sinemena. Unum constat ex tono et semitonio et tono’. Edn 65. LmL: dietker.
A brief reference to tetrachords with a lengthy musical example in the margin of f.19r, attributed to a certain Dietker.
d. (Tractatulus 5) Incipit ‘Sunt in uoce orationis’. Edn 107.
Three short phrases on non-musical topics (speech, the soul and the Muses) in the margin of f.19v.
e. (Tractatulus 6) Incipit ‘Protus finit in lichanos ypaton’. Edn 107–8. LmL: mod.Protus finit.
A short prose discussion of church modes in the margin of f.20r.
f. (Tractatulus 7) Incipit ‘Cumque tam paucis clausulis tota armonia formetur’. Edn 108. LmL: trad.Hermann.I.
A commentary on the teaching of Hermannus Contractus, on f.20v.
g. (Tractatulus 8) Incipit ‘Cantor cantores excitet ad cantandum sollicitet’. Edn 110.
A brief poem in the margin of f.21v.
h. (Tractatulus 9) Incipit ‘Primam fistulam tante longitudinis’. Edn 111.
A short work on organ pipes in the margin of f.22v.
i. (Tractatulus 10) Incipit ‘Pone primam nolam id est C’. Edn 113. New edn in J. Smits van Waesberghe: Cymbala, MSD, i (1951), 47. LmL: cymb.Pone primam; TML: anocym.
A paragraph on the measurement of bells in the margin of f.25r.
j. (Tractatulus 11) Incipit ‘Tonus intensus, tonus remissus’. Edn 113–14.
A fragment on intervals in the margin of f.39r.
k. (Tractatulus 12) Incipit ‘Primus igitur tonus uel tropus’. Edn 115–19.
A brief discussion of the church modes with diagrams and musical examples, on f.39v. Sowa suggests it is by Dietker, the author of Cat. no.118c.  119. Sowa anon. 1935. Incipit ‘Graecam litteram ideo moderni maluerunt ponere quam latinam’. c1075. Ed. H. Sowa, ‘Tractatus anonymus de musica et de transformatione specialiter, Cod.1492 Univers.-Bibl. Leipzig’, Quellen zur Transformation der Antiphonen: Tonar- und Rhythmusstudien (Kassel, 1935), 154–60. Pesce, 1987, pp.37–9. LmL: anon.Lips.; MGG2: 117; TML: anodmt.
The work (from D-LEu lat.1492, ff.94r–98v) addresses issues of church modes including the gamut, transformation and transposition. The treatise cites several chants by name, and Sowa notes parallels with the work of Guido of Arezzo.  120. Staehelin anon. Incipit ‘Differentia est inter motetos, ballados, vireletos et rondellos et fugas’. 15th century. Ed. M. Staehelin: ‘Beschreibungen und Beispiele musikalischer Formen in einem unbeachteten Traktat des frühen 15. Jahrhunderts’, AMw, xxxi (1974), 237–42; edn 239. LmL: gen.disc.Differentia; MGG2: 118; TML: anotdm.
Short definitions of forms with references to specific works.  121. Steglich anon.; Quaestiones in musica [Pseudo-Rodulfus of St Trond]. Incipit ‘Quare non possint esse plura quam septem vocum discrimina. Natura omnium rerum antiquissima’. c1100. Ed. R. Steglich: Die Quaestiones in musica: ein Choraltraktat des zentralen Mittelalters und ihr mutmasslicher Verfasser Rudolf von St. Trond (Leipzig, 1911). LmL: quaest.mus.; MGG2: 66; TML: rudqua.
A lengthy and detailed treatise on chant theory in 27 chapters or questions from D-DS 1988, ff.110v–143v, conjecturally attributed to Rodulfus of st truiden. The treatise cites several chants; musical incipits are notated in campo aperto or with a one-line staff. Steglich notes parallels with Guido of Arezzo, Micrologus; Aribo, Musica; Cat. no.127 and other sources.  122. Sweeney anon.; De semibrevibus caudatis. Incipit ‘Primo nota quod omnes notulae sunt aequivocae’. Late 14th century. Ed. C. Sweeney, CSM, xiii (1971), 65–79. LmL: semibr.caud.; MGG2: 119; TML: anosem.
This mensural treatise from F-Psg 1257, ff.37r–40r, begins with a discussion of the semibrevis caudata a parte inferiori and mentions modus, tempus, prolation, red notation and the semiminima.  123. Van Dijk anon.; Rubrica de modo cantandi et psallendi divinum officium. Incipit ‘Dum Domino psalles. psallendo tu tria serves’. 12th century. Ed. S.A. van Dijk: ‘Saint Bernard and the Instituta Patrum of Saint Gall’, MD, iv (1950), 99–109; edn 109. LmL: anon.Cist.IV; TML: anover.
A brief, non-technical poem on psalm recitation edited from GB-Occ D.44, f.194r.  124. Vecchi anon.; ; Rubrice breves. Incipit ‘Tempus perfectum recte divisium in duodecim’. 14th century. Ed. G. Vecchi: ‘Anonimi rubrice breves’, Quadrivium, x (1969), 125–34; edn 128–34. LmL: rubr.brev.; MGG2: 120.
A gloss on the concluding passage of Marchetto da Padova, Pomerium; the work provides lengthy examples of various mensurations.  125. Vetter anon.; Summula tractatus metricus de musica glossis commentarioque instructus. Incipit ‘Dat de psallendi metis pariterque canendi’. 14th century. Ed. E. Vetter, Divitiae musicae artis, A/viiia (Buren, 1988). LmL: summ.guid.; MGG2: 121; TML: anosum.
A 318-line poem on chant theory with commentary (beginning ‘De regulis, numero, proprietatibus et clavibus finalibus tonorum primum capitulum’), formerly attributed to Guido of Arezzo.Vivell anon.; Commentarius in Micrologum. See Guido of Arezzo.  126. Wagner anon. 1904 [Vatican anon.]. Incipit ‘Quid est cantus? Peritia musicae artis inflexio vocis’. 10th century. Ed. P. Wagner: ‘Un piccolo trattato sul canto ecclesiastico in un manoscritto del secolo X–XI’, Rassegna gregoriana, iii (1904), 482–4; partial facs. (f.38v of source) in KJb, xix (1905), 70; partial edn and partial Ger. trans. in Neumenkunde: Paläographie des liturgischen Gesanges (Leipzig, 2/1912), 355–6. LmL: cant.Quid est cant.; MGG2 67a; TML: Anoquid.
A chant treatise from I-Rvat vat.lat.235, ff.38v–39r, covering the performance of neumes, 12 church modes (including four ‘toni moesi’) and examples of modal ambiguity in specific antiphons.  127. Wagner anon. 1929–30. Incipit ‘Viginti et una littera sunt in monocordo’. 14th century. Ed. in P. Wagner: ‘Aus dem St. Thomas-Archiv zu Leipzig, III: Ein didaktischer Musiktraktat’, ZfMw, xii (1929–30), 129–37; edn 130–37. LmL: compil.Lips.; MGG2: 122.
A compilation on plainsong written in a gradual (Leipzig, Archiv der St Thomaskirche, MS 371; now in D-LEu). The work discusses modes and intervals with references to specific chants. Wagner noted borrowings from Johannes Cotto and Guido of Arezzo.  128. Wolf anon. 1893a [Wolf Anon.1]. Incipit ‘Quindecim chordae habentur in monochordo secundum Boetium’. Late 11th or early 12th century. Ed. J. Wolf: ‘Ein anonymer Musiktraktat des elfen bis zwölften Jahrhunderts’, VMw, ix (1893), 186–234; edn 194–226. LmL: anon.Wolf; MGG2: 69; TML: wfanon1.
A lengthy treatise from D-DS 1988, ff.182r–189v, with parallels to Berno of Reichenau, Hermannus Contractus, Notker and Cat. no.55. Wolf suggested that the work was known to the author of Cat. no.121.  129. Wolf anonymi 1893b [Wolf Anon.2, Basel anon., Pseudo- Thomas Aquinas]. 13th century. Ed. J. Wolf: ‘Anonymi cujusdam Codex Basiliensis’, VMw, ix (1893), 408–17; edn 410–12. New edn, M. di Martino: S. Tommaso d’Aquino: Ars musice (Naples, 1933). MGG2: 70.
A collection in CH-Bu F.IX.54, ff.1r–8v (Wolf’s edn; cf RISM, B/III/1, pp.69–71) and I-Rvat vat.lat.4357, ff.57r–64r (Martino’s edn; cf RISM, B/III/2, p.95), consisting of excerpts from Johannes Cotto, Cat. no.121 and other sources. Wolf described the collection and edited only a short excerpt; Martino reproduced the full text and attributed it to Thomas Aquinas.
a. Incipit ‘[Figure with text: Ad iocundos primus 7mldr;] Quatuor ecce tropi natura matre creati’. Ed. Wolf, 410–12; Martino, 23–4. TML: wfanon2.
The portion published by Wolf is a brief excerpt on church modes including an extensive diagram of their ethical character.
b. Incipit ‘Tractaturi de musyca videndum est quid sit musyca’. Ed. Martino, 24–9. LmL: ps.-thomas aqu.I.
A brief introduction to issues of musica plana (omitted by Wolf) including definitions of music (with references to Boethius, Pythagoras and Guido of Arezzo) and descriptions of the church modes.
c. Incipit ‘Quoniam inter septem liberales artes’. Ed. Martino, 29–38. LmL: ps.-thomas aqu.II.
Further definitions of music (omitted by Wolf) with references to Boethius, followed by a discussion of intervals.  130. Wolf anon. 1908; Compendium totius artis motetorum [Wolf Anon.3]. Incipit ‘Primo punctus quadratus vel nota quadrata’. c1340. Ed. J. Wolf: ‘Ein anonymer Musiktraktat aus der ersten Zeit der “Ars Nova”’, KJb, xxi (1908), 33–8; edn 34–8. LmL: mens.Primo punctus; MGG2: 71; TML: wfanon3.
An early Ars Nova mensural treatise from D-EF Ca.8^o94, ff.68v–70r, with some traces of Franconian influence, especially in the description of note shapes. The work is also notable for presenting notes smaller than a minima (semiminima, minima addita and fusella), the frequent citation of motets by name (including de Garyson and Adesto sancta trinitas) and suggesting that red notation indicates either a change of mensuration or octave displacement.  131. Wolf anon. 1918–19; Tractatus de musica mensurabili [Wolf Anon.4, Breslau (Wrocław) anon.]. Incipit ‘Quoniam circa artem musicalis sciencie hodiernis temporibus cantando delyrant’. c1400. Ed. J. Wolf: ‘Ein Breslauer Mensuraltraktat des 15. Jahrhunderts’, AMw, i (1918–19), 329–45; edn 331–45. Partial Eng. trans. C.E. Brewer: The Introduction of the Ars Nova into East Central Europe: a Study of Late Medieval Polish Sources (diss., City of U. of New York, 1984), i, 174–217; ii, 427–30. LmL: anon. Vratisl.; MGG2: 72; TML: wfanon4.
A lengthy mensural treatise from Wrocław (PL-WRu cart.IV.Qu.16, ff.144v–153r). The treatise’s references to numerous pieces from the western European repertory (including works by Philippe de Vitry and Jean Vaillant) demonstrate the influence of these compositions in central Europe. The treatise posits notes smaller than a minima (semiminima, fusiel and dragma) and ends with a long section on ‘transmutacio’ or syncopation.

Anonymous theoretical writings

3. Index.

Here are listed putative authors, titles and alternative names of anonymous writings as well as editors subsequent to the first edition; references are to Catalogue numbers.Ad avere alcuna notitia del contrapunto, 115c
Ad organum faciendum, 14
Alia musica, 5, 61
Anon. OP, 97
Aquinas, Thomas, 129
Ars cantus mensurabilis mensurata per modos iuris, 33
Ars et modus pulsandi organa, 13
Ars et practica cantus figurativi, 96a
Ars musicae mensurabilis secundum Franconem, 19
Ars musice, que apellatur liberalis, 69b
Ars organi, 51
Ars organica, 66
Art del cant pla, 72
Bailey, T., 62Balensuela, C.M., 33
Basel anon., 129
Baudecetus, 79
Berkeley Manuscript, 46
Bernard of Clairvaux, 75
Bernhard, M., 56a, 56c, 58a–c, 58e–f, 60
Berno of Reichenau, 55
Blum, F., 77
Boethius, 57a–c
Bragard, R., 87
Breslau anon., 131
Brieg [Brzeg] anon., 81
British Museum anon., 102
Bruges Organum Treatise, 103
Bubnov, N., 57b–cCapitulum de modo accipiendo, 52d
Capitulum de quattuor mensuris, 109a
Capitulum de semibrevibus, 52a
Capitulum de vocibus applicatis verbis, 45
Carthusiensis monachus, 27
Cartula de cantu plano, 71
Chailley, J., 61
Cistercian anon., 75
Cologne Organum Treatise, 99
Commemoratio brevis de tonis et psalmis modulandis, 62
Commentum super tonos, 116
Compendiolum artis veteris ac novae, 31
Compendium artis mensurabilis tam veteris quam novae, 32
Compendium breve de proportionibus, 109c
Compendium musicae mensurabilis artis antiquae, 22, 53, 108a
Compendium musicae mensurabilis tam veteris quam novae artis, 32
Compendium musices, 43
Compendium totius artis motetorum, 130
Compositio clavicordium secundum Baudeceti, 79
Cserba, 16De …: see also Tractatus de …
De arte discantandi, 18
De arte musicae breve compendiolum, 31
De cantu fractibili, 107
De cantu mensurabili, 22
De cantu organico, 4
De consonantia et dissonantia, 96g
De contrapuncto, 96c
De contrapuncto plano, 96e
De discantu, 24
De diversis maneriebus [manieribus] in musica mensurabili, 35
De formatione contrapuncti, 96h
De Guidonis musica, 70a
De La Fage anon., 88
De mensura fistularum in organis, 63
De mensuris et discantu, 23
De minimis notulis, 38
De modis musicis, 5
De musica, 87
De musica antiqua et nova, 29, 30
De musica libellus, 26
De musica mensurabili, 34, 37
De musica mensurata, 117
De musica plana breve compendium, 64
Denk, R., 37
De origine et effectu musicae, 104
De semibrevibus caudatis, 122
De valore notularum tam veteris quam novae artis, 30
De vera et compendiosa seu regulari constructione contrapuncti, 96d
Dietker, 118c, 118k
Dietricus, 100
Discantus vulgaris positio [Discantus positio vulgaris], 16
Dittmer, L., 23
Dulce ingenium musicae, 8Eggebrecht, H.H., 14, 77
Epistola ad Dardanum, 76
Excerpta de consonantiis et de contrapuncto, 96i
Ekkehard V of St Gallen, 60Faenza anon., 53
Franciscan anon. of Bristol: see John of Tewkesbury
Fragmentum de mensuris, 52b
Fragmentum de proportionibus, 52c
Fragmentum musices, 57
Franco of Cologne, 18, 19, 21, 22, 37, 53, 65a, 98, 108a, 110
Füssen Treatise, 68Gilles, A., 19, 31
Godt, I., 51
Göllner, M.L., 93
Goscalcus francigenus, 46c
Graz anon., 48
Guido of Arezzo, 10b, 70a, 102, 119, 125
Guido of Cherlieu, 17
Gümpel, K.-W., 84c
Heard, E.B., 61
Herlinger, J., 23
Hermannus Contractus, 118f
Hieronymous de Moravia, 16
Hucbald, 61
Huff, J.A., 14Instituta patrum de modo psallendi sive cantandi, 60
Introductorium musicae, 106
Iuxta artem conficiendi compositiones, 96kJacobus of Liège, 20, 21, 22, 87
Jerome, 76
Joannes Presbyter, 90
Johannes Cochlaeus, 47, 106
Johannes Cotto, 102, 129
Johannes de Garlandia, 114
Johannes de Muris, 12, 25, 33, 34, 46b, 54
John Torkesey, 25Karlsruhe anon., 100
Kremsmünster anon., 81Leibowitz, R., 107
Libellus in gallico de arte discantandi, 15
Libellus musicae adiscendae valde utilis et est dialogus, 113
Liber argumentorum, 84a
Liber musicae, 102
Louvain Treatise [Löwener Traktat], 28Marchetto da Padova, 124
Martino, M. di, 129Melk anon., 54
Mensura monochordi Boetii, 58
Michaelbeuern anon., 49
Michels, U., 34
Milan Organum Treatise, 14
Monacho qua mente sit psallendum, 59
Montpellier Organum Treatise, 77
Musica, 47, 55
Musica enchiriadi, 62; see also Musica enchiriadis
Musice compilatio, 52eNota regulas supra tactus, 67
Notitia del valore delle note del canto misurato, 12OP anon., 97Palmer, J.M., 40
Petrus de Sancto Dionysio, 34
Philippe de Vitry, 3
Practica musicae artis mensurabilis magistri franconis, 65a
Prague [Praha] anon., 49
Quaedam de arte discantandi, 19
Quaestiones in solutiones, 114
Quaestiones in musica, 121
Quatuor principalia musicae, 27, 29, 69, 104; see also John of TewkesburyRatisbonensis cuiusdam ars musica, 93
Reaney, G., 15, 19, 22, 25, 26, 30, 32, 35, 41
Reckow, F., 23
Regulae cantandi contrapunctum, 96b
Regulae contrapuncti, 96j
Regulae de contrapuncto, 36, 96f
Regulae de musica, 92
Regulae generales de compositione cantus, 50
Regulae super discantum et ad discernendum ipsas notas discantus, 100
Regule de contrapuncto, 115a
Rhythmus de cantu Philomelae, 86a
Rivera, B., 51
Rodulfus of St Trond, 121
Rubrica de modo cantandi et psallendi divinum officium, 123
Rubrice breves, 124
Russell, T.A., 56b
Sachs, K.-J., 63a–b, 63d, 112
St Emmeram anon., 117
St Martial anon., 88
St Martial anon., 88
Schmid, H., 62, 99
Schneider, M., 102
Schreur, P., 52f
Scolica enchiriadis: see Musica enchiriadis
Seay, A., 21, 88
Smits van Waesberghe, J., 10a, 55, 58d, 63c, 84a, 118i
Summula tractatus metricus de musica glossis commentarioque instructus, 125
Sweeney, C., 17
Terminorum musicalium diffinitorium, 44
Thomas Aquinas, 129
Thomasius, J.M., 60
Tractatulus anonymus de tonisque intervallibus, cum litteris musicis, 65b
Tractatulus de cantu mensurali seu figurativo musice artis, 54
Tractatulus de figuris et temporibus, 52f
Tractatulus mensurationum, 109b
Tractatulus prolationum cum tabulis, 109d
Tractatus artis antiquae cum explicatione mensurae binariae, 108b
Tractatus brevis de musica mensurata, 98
Tractatus de …: see also De …
Tractatus de cantu figurativo et de contrapuncto, 96
Tractatus de consonantiis musicalibus, 20
Tractatus de contrapuncto, 105
Tractatus de contrapuncto et de musica mensurabili, 95
Tractatus de discantu, 21, 22, 41
Tractatus de figuris sive de notis, 25
Tractatus de musica, 28, 34, 40, 56
Tractatus de musica compendium cantus figurati, 101
Tractatus de musica cum glossis, 2
Tractatus de musica figurata et de contrapuncto, 42
Tractatus de musica mensurabili, 131
Tractatus de musica plana, 27
Tractatus de musica plana et mensurabili, 39
Tractatus et compendium cantus figurati, 40
Traité de deschant, 41 Ugolinus de Maltero Thuringi, 107Vaillant, Jehan, 46d
Vatican anon., 126
Vatican Organum Treatise, 51
Waeltner, E.L., 99
Wingell, R.J., 39
Wrocław anon., 131
Yudkin, J., 117
Zaminer, F., 14, 51, 77