Pub Date : 2018-10-01DOI: 10.1017/S0261127918000049
G. Bevilacqua, David Catalunya, Nuria Torres
Modern understanding of the production and dissemination of thirteenth-century polyphony is constrained by the paucity of manuscript sources that have been preserved in their entirety; the panorama of sources of medieval polyphony is essentially fragmentary. Some of the surviving fragments, however, were torn from lost books of polyphony that were to some extent comparable to well-known extant codices. The fragment of polyphony preserved in the binding of manuscript 6528 of the Biblioteca Nacional de Madrid is illustrative in this respect. This fragment displays a number of codicological and musical features that are strikingly similar to those of the Florence manuscript (F). Both sources share format and mise-en-page, make use of similar styles of script, notation and pen-work decoration, transmit the pieces in the same order, and present virtually identical musical readings. The Madrid fragment thus provides new evidence for a standardised production of polyphonic books in thirteenth-century Paris. The study provides a detailed account of the fragment’s codicological and philological features, and explores the hypothesis that it originated in the same Parisian workshop that produced F.
{"title":"THE PRODUCTION OF POLYPHONIC MANUSCRIPTS IN THIRTEENTH-CENTURY PARIS: NEW EVIDENCE FOR STANDARDISED PROCEDURES","authors":"G. Bevilacqua, David Catalunya, Nuria Torres","doi":"10.1017/S0261127918000049","DOIUrl":"https://doi.org/10.1017/S0261127918000049","url":null,"abstract":"Modern understanding of the production and dissemination of thirteenth-century polyphony is constrained by the paucity of manuscript sources that have been preserved in their entirety; the panorama of sources of medieval polyphony is essentially fragmentary. Some of the surviving fragments, however, were torn from lost books of polyphony that were to some extent comparable to well-known extant codices. The fragment of polyphony preserved in the binding of manuscript 6528 of the Biblioteca Nacional de Madrid is illustrative in this respect. This fragment displays a number of codicological and musical features that are strikingly similar to those of the Florence manuscript (F). Both sources share format and mise-en-page, make use of similar styles of script, notation and pen-work decoration, transmit the pieces in the same order, and present virtually identical musical readings. The Madrid fragment thus provides new evidence for a standardised production of polyphonic books in thirteenth-century Paris. The study provides a detailed account of the fragment’s codicological and philological features, and explores the hypothesis that it originated in the same Parisian workshop that produced F.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"37 1","pages":"91 - 139"},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127918000049","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47283527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1017/S0261127918000013
S. Rose
In the decades around 1600 many privileges for printed music were issued by the Holy Roman Emperor and the Elector of Saxony. Such privileges gave a bookseller or author an exclusive right to publish specified works for a limited period (usually ten years). The privileges threatened confiscation of any unauthorised copies, and fines for anyone caught printing or selling them. This article offers the first systematic study of archival material documenting the privileges for music, as preserved in the Österreichisches Staatsarchiv, Vienna, and the Sächsisches Hauptstaatsarchiv, Dresden. It reconstructs the ritualistic procedure for obtaining a privilege, analyses how composers justified their applications for privileges, and asks whether privileges gave effective protection against unauthorised editions. Revising previous interpretations of the privilege system as an early form of copyright, I instead argue that privileges enhanced the commercial and symbolic value of printed music.
{"title":"PROTECTED PUBLICATIONS: THE IMPERIAL AND SAXON PRIVILEGES FOR PRINTED MUSIC, 1550–1700","authors":"S. Rose","doi":"10.1017/S0261127918000013","DOIUrl":"https://doi.org/10.1017/S0261127918000013","url":null,"abstract":"In the decades around 1600 many privileges for printed music were issued by the Holy Roman Emperor and the Elector of Saxony. Such privileges gave a bookseller or author an exclusive right to publish specified works for a limited period (usually ten years). The privileges threatened confiscation of any unauthorised copies, and fines for anyone caught printing or selling them. This article offers the first systematic study of archival material documenting the privileges for music, as preserved in the Österreichisches Staatsarchiv, Vienna, and the Sächsisches Hauptstaatsarchiv, Dresden. It reconstructs the ritualistic procedure for obtaining a privilege, analyses how composers justified their applications for privileges, and asks whether privileges gave effective protection against unauthorised editions. Revising previous interpretations of the privilege system as an early form of copyright, I instead argue that privileges enhanced the commercial and symbolic value of printed music.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"37 1","pages":"247 - 313"},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127918000013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47219425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1017/s0261127918000098
{"title":"EMH volume 37 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0261127918000098","DOIUrl":"https://doi.org/10.1017/s0261127918000098","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"37 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127918000098","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43706375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1017/S0261127918000037
G. Bazinet
This article examines Pierre Attaingnant’s motet series (1535–9), with special attention to the rubrics assigned to the titles of books and to individual motets. The role of the rubric as an organisational tool and its relation to contemporary liturgical and devotional practices is explored, revealing a strikingly cohesive series and connections to liturgical books and books of hours. A consideration of the use of the motet texts in other types of books and the uses suggested by Attaingnant’s rubrics reveals that the printer was promoting the use of Paris in his series. This study also revisits the issue of the function of the motet in sixteenth-century France. Finally, in the light of several connections between this series and the French royal court, the role of motets in the devotional life of Francis I and the possibility that this series served as an extension of the king’s political influence are examined.
{"title":"SINGING THE KING’S MUSIC: ATTAINGNANT’S MOTET SERIES, ROYAL HEGEMONY AND THE FUNCTION OF THE MOTET IN SIXTEENTH-CENTURY FRANCE","authors":"G. Bazinet","doi":"10.1017/S0261127918000037","DOIUrl":"https://doi.org/10.1017/S0261127918000037","url":null,"abstract":"This article examines Pierre Attaingnant’s motet series (1535–9), with special attention to the rubrics assigned to the titles of books and to individual motets. The role of the rubric as an organisational tool and its relation to contemporary liturgical and devotional practices is explored, revealing a strikingly cohesive series and connections to liturgical books and books of hours. A consideration of the use of the motet texts in other types of books and the uses suggested by Attaingnant’s rubrics reveals that the printer was promoting the use of Paris in his series. This study also revisits the issue of the function of the motet in sixteenth-century France. Finally, in the light of several connections between this series and the French royal court, the role of motets in the devotional life of Francis I and the possibility that this series served as an extension of the king’s political influence are examined.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"37 1","pages":"45 - 89"},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127918000037","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47394058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1017/S0261127918000025
Elena Abramov-van Rijk
The Italians had conflicting sentiments regarding the visit of the Holy Roman Emperor Charles IV in Italy in 1355: from the enthusiastic expectations of the impact the Emperor would have on the local political life to contemptuous scepticism and even to overt disdain. Two Italian Trecento madrigals have traditionally been considered to refer to this visit: (1) the three-voice polytextual madrigal Aquil altera/Creatura gentil/Uccel di Dio by Jacopo da Bologna, seen as related to Charles’s coronation with the Iron Crown of Lombardy in Milan; and (2) the two-voice madrigal Sovran uccello by Donato da Firenze, considered a celebratory piece for Charles’s coronation as well. This essay explores the relevant historical contexts, Milanese for Jacopo’s madrigal and Florentine for Donato’s, with a view to placing both pieces.
对于1355年神圣罗马帝国皇帝查理四世访问意大利，意大利人的情绪是矛盾的:从对皇帝将对当地政治生活产生影响的热情期望到轻蔑的怀疑，甚至是公开的蔑视。两首意大利特伦托牧歌传统上被认为与这次访问有关:(1)Jacopo da Bologna的三声部多文本牧歌Aquil altera/Creatura gentil/Uccel di Dio，被认为与查尔斯在米兰与伦巴第铁王冠加冕有关;(2)多纳托·达·佛罗伦萨的双声部牧歌《索夫兰·乌切罗》，也被认为是查理加冕典礼的庆祝作品。本文探讨了相关的历史背景，雅格布的牧歌是米兰语，多纳托的牧歌是佛罗伦萨语，以放置这两件作品。
{"title":"THE ITALIAN EXPERIENCE OF THE HOLY ROMAN EMPEROR CHARLES IV: MUSICAL AND LITERARY ASPECTS","authors":"Elena Abramov-van Rijk","doi":"10.1017/S0261127918000025","DOIUrl":"https://doi.org/10.1017/S0261127918000025","url":null,"abstract":"The Italians had conflicting sentiments regarding the visit of the Holy Roman Emperor Charles IV in Italy in 1355: from the enthusiastic expectations of the impact the Emperor would have on the local political life to contemptuous scepticism and even to overt disdain. Two Italian Trecento madrigals have traditionally been considered to refer to this visit: (1) the three-voice polytextual madrigal Aquil altera/Creatura gentil/Uccel di Dio by Jacopo da Bologna, seen as related to Charles’s coronation with the Iron Crown of Lombardy in Milan; and (2) the two-voice madrigal Sovran uccello by Donato da Firenze, considered a celebratory piece for Charles’s coronation as well. This essay explores the relevant historical contexts, Milanese for Jacopo’s madrigal and Florentine for Donato’s, with a view to placing both pieces.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"37 1","pages":"1 - 44"},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127918000025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57440605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-12DOI: 10.1017/S026112791700002X
Markus Rathey
The celebration of Christmas in Early Modern Europe underwent a significant transformation in the second half of the seventeenth century. Even after the Protestant Reformation, European Christmas traditions maintained numerous features of their medieval practices, such as carnivalesque celebrations, processions, masks, and riotous behaviour. This changed during the seventeenth century. Popular carnivalesque Christmas plays were prohibited and replaced with a more internalized devotion that emphasized the individual’s relationship with the newborn Child. This transformation was part of a larger paradigm shift in seventeenth-century religiosity, which replaced external and physical displays of piety with internalized devotional practices. These shifts also included new theologies of corporeality and gender, which likewise had an impact on the ways in which Christmas was celebrated. The theological shifts correlate with the rejection of the carnivalesque in the Early Modern period, as it was analysed by Mikhail Bakhtin. Most of these changes took place in the 1670s and 1680s. Schütz’s Christmas Historia – which was composed before 1664 – represents a transitional phase and retains some earlier views of Christmas. The most obvious example is the Kindelwiegen (rocking of the child), the physicality of which was highly suspicious to theologians in the later seventeenth century. Schütz not only refers to this practice but incorporates it in the texture of his music.
{"title":"CARNIVAL AND SACRED DRAMA: SCHÜTZ’S CHRISTMAS HISTORIA AND THE TRANSFORMATION OF CHRISTMAS IN THE SECOND HALF OF THE SEVENTEENTH CENTURY","authors":"Markus Rathey","doi":"10.1017/S026112791700002X","DOIUrl":"https://doi.org/10.1017/S026112791700002X","url":null,"abstract":"The celebration of Christmas in Early Modern Europe underwent a significant transformation in the second half of the seventeenth century. Even after the Protestant Reformation, European Christmas traditions maintained numerous features of their medieval practices, such as carnivalesque celebrations, processions, masks, and riotous behaviour. This changed during the seventeenth century. Popular carnivalesque Christmas plays were prohibited and replaced with a more internalized devotion that emphasized the individual’s relationship with the newborn Child. This transformation was part of a larger paradigm shift in seventeenth-century religiosity, which replaced external and physical displays of piety with internalized devotional practices. These shifts also included new theologies of corporeality and gender, which likewise had an impact on the ways in which Christmas was celebrated. The theological shifts correlate with the rejection of the carnivalesque in the Early Modern period, as it was analysed by Mikhail Bakhtin. Most of these changes took place in the 1670s and 1680s. Schütz’s Christmas Historia – which was composed before 1664 – represents a transitional phase and retains some earlier views of Christmas. The most obvious example is the Kindelwiegen (rocking of the child), the physicality of which was highly suspicious to theologians in the later seventeenth century. Schütz not only refers to this practice but incorporates it in the texture of his music.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"36 1","pages":"159 - 191"},"PeriodicalIF":0.3,"publicationDate":"2017-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S026112791700002X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42693653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-12DOI: 10.1017/s0261127917000018
Elsa De Luca
The ‘León Antiphoner’, León, Cathedral Library, MS 8, is the most complete manuscript containing Old Hispanic chant, comprising Office and Mass chants for the whole church year. As such, the León Antiphoner is the most studied Old Hispanic manuscript. Despite this, its dating is controversial and hypotheses have ranged from c. 906 (Menéndez Pidal) up to the eleventh century (Zapke and others). In this article, the dating and early history of the manuscript are reconsidered and an entirely new perspective is brought to bear on the questions of when, where, and for whom the manuscript was written. The reinterpretation of the cryptographic inscriptions found at the bottom of fols. 128vand 149rhas made it possible to identify the patron of the Antiphoner as San Froilán, Bishop of León, and to date the manuscript’s production to the years 900–5. The scriptorium of the monastery of SS Cosmas and Damian in Abellar is suggested as the likeliest place of production of the Antiphoner.
{"title":"MUSICAL CRYPTOGRAPHY AND THE EARLY HISTORY OF THE ‘LEÓN ANTIPHONER’","authors":"Elsa De Luca","doi":"10.1017/s0261127917000018","DOIUrl":"https://doi.org/10.1017/s0261127917000018","url":null,"abstract":"The ‘León Antiphoner’, León, Cathedral Library, MS 8, is the most complete manuscript containing Old Hispanic chant, comprising Office and Mass chants for the whole church year. As such, the León Antiphoner is the most studied Old Hispanic manuscript. Despite this, its dating is controversial and hypotheses have ranged from c. 906 (Menéndez Pidal) up to the eleventh century (Zapke and others). In this article, the dating and early history of the manuscript are reconsidered and an entirely new perspective is brought to bear on the questions of when, where, and for whom the manuscript was written. The reinterpretation of the cryptographic inscriptions found at the bottom of fols. 128<jats:sup>v</jats:sup>and 149<jats:sup>r</jats:sup>has made it possible to identify the patron of the Antiphoner as San Froilán, Bishop of León, and to date the manuscript’s production to the years 900–5. The scriptorium of the monastery of SS Cosmas and Damian in Abellar is suggested as the likeliest place of production of the Antiphoner.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"51 10","pages":""},"PeriodicalIF":0.3,"publicationDate":"2017-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138507032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-12DOI: 10.1017/S0261127917000031
Alanna Ropchock Tierno
In sixteenth-century Germany, both Catholics and Lutherans circulated and performed Josquin’s Missa Pange lingua, even though its model, the hymn Pange lingua, was associated with Eucharistic practices that were exclusively Catholic. This source-based study reveals how Lutherans selected the Missa Pange lingua for performance over other available masses and adapted it for their liturgical and pedagogical needs. Two printed sources of the mass offer perspectives on how Lutherans might have negotiated the polemical rituals and theology associated with the Missa Pange lingua alongside an aesthetic interest in the work. The intention of this study is not to de-emphasise the connection between the Missa Pange lingua and its borrowed melody or the initial Catholic identity of the mass. Rather, the Lutheran identity of the Missa Pange lingua provides an additional layer to the early reception history of this work and a case study of the Lutheran appropriation of Catholic music.
{"title":"THE LUTHERAN IDENTITY OF JOSQUIN’S MISSA PANGE LINGUA: RENAISSANCE OF A RENAISSANCE MASS","authors":"Alanna Ropchock Tierno","doi":"10.1017/S0261127917000031","DOIUrl":"https://doi.org/10.1017/S0261127917000031","url":null,"abstract":"In sixteenth-century Germany, both Catholics and Lutherans circulated and performed Josquin’s Missa Pange lingua, even though its model, the hymn Pange lingua, was associated with Eucharistic practices that were exclusively Catholic. This source-based study reveals how Lutherans selected the Missa Pange lingua for performance over other available masses and adapted it for their liturgical and pedagogical needs. Two printed sources of the mass offer perspectives on how Lutherans might have negotiated the polemical rituals and theology associated with the Missa Pange lingua alongside an aesthetic interest in the work. The intention of this study is not to de-emphasise the connection between the Missa Pange lingua and its borrowed melody or the initial Catholic identity of the mass. Rather, the Lutheran identity of the Missa Pange lingua provides an additional layer to the early reception history of this work and a case study of the Lutheran appropriation of Catholic music.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"36 1","pages":"193 - 249"},"PeriodicalIF":0.3,"publicationDate":"2017-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127917000031","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42157949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-12DOI: 10.1017/s0261127917000079
{"title":"EMH volume 36 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0261127917000079","DOIUrl":"https://doi.org/10.1017/s0261127917000079","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"36 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2017-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127917000079","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49151810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-12DOI: 10.1017/S0261127917000043
J. Crossley
Thirteenth-century music theory, which followed the ideas of Boethius, was very largely concerned with the numerical proportions associated with musical intervals. Numbers provided an intellectual foundation that did not suffer from the vagaries of the senses. In general neither Boethius nor his greatest exponent, Jacobus (writing c. 1320), explained how they obtained the numbers they used. In this essay I attempt to reconstruct their methods and show how they developed ideas from the first-century Nicomachus to achieve their aims. Jacobus is explicit in saying that the use of the relatively newly introduced methods of algorism – calculating with Arabic numerals – made his cogitations easier. I shall argue that the manuscripts we have of his Speculum musicae show that Jacobus did indeed use algorism in his work.
{"title":"THE WRITINGS OF BOETHIUS AND THE COGITATIONS OF JACOBUS DE ISPANIA ON MUSICAL PROPORTIONS","authors":"J. Crossley","doi":"10.1017/S0261127917000043","DOIUrl":"https://doi.org/10.1017/S0261127917000043","url":null,"abstract":"Thirteenth-century music theory, which followed the ideas of Boethius, was very largely concerned with the numerical proportions associated with musical intervals. Numbers provided an intellectual foundation that did not suffer from the vagaries of the senses. In general neither Boethius nor his greatest exponent, Jacobus (writing c. 1320), explained how they obtained the numbers they used. In this essay I attempt to reconstruct their methods and show how they developed ideas from the first-century Nicomachus to achieve their aims. Jacobus is explicit in saying that the use of the relatively newly introduced methods of algorism – calculating with Arabic numerals – made his cogitations easier. I shall argue that the manuscripts we have of his Speculum musicae show that Jacobus did indeed use algorism in his work.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"36 1","pages":"1 - 30"},"PeriodicalIF":0.3,"publicationDate":"2017-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127917000043","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46864186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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