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Medieval Music Database

Antonius 'Zacharias' da Teramo

LIFE

  1. REANEY, Gilbert. `Zachara und Zacharias', Die Musik in Geschichte und Gegenwart, XIV (1968): 960-963.
  2. PIRROTTA, Nino. `Zacharus musicus', Quadrivium, XII/1 (1971): 153ff.
  3. D'ACCONE, F. A. `Music and musicians at Santa Maria del Fiore in the early Quattrocento', Scritti in Onore di Luigi Ronga, Milano-Napoli: Riccardi, 1973, pp. 106,120-1.
  4. PIRROTTA, Nino. `Zacharus musicus', Memorie e contributi alla musica del medievo all' età moderna offerti a Federico Ghisi nel settantesimo compleanno (1901-1971), Bologna: 1974, vol. I, pp. 153-175. Eng. trans. (with additional postscript) as ‘Zacara da Teramo’, Music and Culture in Italy from the Middle Ages to the Baroque(Cambridge, MA, 1984), 126-44
  5. ZIINO, Agostino. `Magister Antonius dictus Zacharias de Teramo: alcune date e molte ipotesi', Rivista italiana di musicologia, XIV/2 (1979): 311-348.
  6. REANEY, Gilbert. `Zacar', The New Grove, XX (1980): 609-610.
  7. NADAS, John. `Further notes on Magister Antonius dictus Zacharias de Teramo', Studi musicali, XV (1986).
  8. A. Esposito: ‘“Magistro Zaccara” e l'antifonario dell'Ospedale di S. Spirito in Sassia’, Scrittura, biblioteche e stampa a Roma nel Quattrocento: atti del 2° seminario: Vatican City 1979, ed. M. Miglio, P. Farenga and A. Modigliani (Vatican City, 1983), 334-42, 446-9.
  9. A. Esposito: ‘Maestro Zaccara da Teramo “scriptore e miniatore” di un antifonario per l'Ospedale di Santo Spirito in Sassia a Roma’, Recercare, iv (1992), 167-78
  10. G. Di Bacco and J.Nádas: ‘The Papal Chapels and Italian Sources of Polyphony during the Great Schism’, Papal Music and Musicians in Late Medieval and Renaissance Rome, ed. R. Sherr (Oxford, 1998), 44-92

EDITIONS

  1. WOLF, Johannes. `Florenz in der Musikgeschichte des 14. Jahrhunderts', Sammelbände der internationale Musikgesellschaft, III (1901): 599-646.
  2. WOLF, Johannes. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen, 3 vols., Leipzig: Breitkopf & Härtel, 1904. [reprinted Hildesheim: G. Olms, 1965].
  3. The Old Hall Manuscript, edited by Alexander Ramsbotham, completed by H.B. Collins and Dom Anselm Hughes, 3 vols., Nashdom Abbey, Burnham, Buckinghamshire: Plainsong and Medieval Music Society, 1933-1938.
  4. MARROCCO, W. Thomas. Fourteenth-Century Italian Cacce, Cambridge/Massachusetts: The Medieval Academy of America, 1942.
  5. GHISI, Federico. `Italian Ars nova music, the Perugia and Pistoia fragments of the Lucca Codex, and other unpublished early fifteenth century sources', Musica Disciplina, I/3 (1946): 173-191, and supplement with musical examples in I/4 (1947).
  6. PIRROTTA, Nino and Ettore LI GOTTI. `Il Codice di Lucca. II. Testi letterari', Musica Disciplina, IV (1950): 111-152.
  7. Der Squarcialupi-Codex Pal. 87 der Biblioteca Medicea Laurenziana zu Florenz, edited by Johannes Wolf and H. Albrecht, Lippstadt: Kistner and Siegel, 1955.
  8. REANEY, Gilbert. `The manuscript London, British Museum, Additional 29987 (Lo)', Musica Disciplina, XII (1958): 67-91.
  9. GLAHN, H. `Ein Kopenhagener Fragment aus dem 15. Jahrhundert', Natalicia musicologica Knud Jeppesen, Copenhagen: 1962, pp. 59-98.
  10. NITSCHKE, W. Studien zu den Cantus-Firmus Messen Guillaume Dufays, 2 vols., Berlin: 1968.
  11. GÜNTHER, Ursula. `Quelques remarques sur des feuillets récemment découverts à Grottaferrata', L'Ars nova italiana del Trecento III: Certaldo 1969, 1970, pp. 315-397.
  12. French Secular Compositions of the Fourteenth Century, music edited by Willi Apel, texts edited by Samuel N. Rosenberg, Rome: American Institute of Musicology, 1972. Corpus Mensurabilis Musicae 53/III.
  13. Keyboard Music of the Late Middle Ages in the Codex Faenza 117, edited by D. Plamenac, [n.p.]: American Institute of Musicology, 1972. Corpus Mensurabilis Musicae 57.
  14. The Old Hall Manuscript, edited by Andrew Hughes and Margaret Bent, 3 vols., American Institute of Musicology, 1973. Corpus Mensurabilis Musicae 46.
  15. HUESTIS, Robert. Contrafacta, Parodies and Instrumental Arrangements from the Ars Nova, Ph.D. dissertation, 2 vols., University of California: 1973.
  16. Italian Sacred Music, edited by Kurt von Fischer and F. A. Gallo, Monaco: Editions de L'Oiseau-Lyre, 1976. Polyphonic Music of the Fourteenth Century XII.
  17. Sources of Polyphony up to c.1500: Editions, edited by Miroslaw Perz, Warsaw: PWN-Polish Scientific Publishers, Graz: Akademische Druck- und Verlagsanstalt, 1976. Antiquitates Musicae in Polonia 14.
  18. Italian Secular Music, edited by W. Thomas Marrocco, Monaco: Editions de L'Oiseau-Lyre, 1977. Polyphonic Music of the Fourteenth Century X.
  19. Early Fifteenth Century Music, edited by Gilbert Reaney, [n.p.]: Hänssler-Verlag, American Institute of Musicology, 1977. Corpus Mensurabilis Musicae 11/VI.
  20. WILLIAMS, Carol J. The Mancini Codex: A Manuscript Study, Ph.D. dissertation (University of Adelaide), 3 vols., 1983.
  21. Italian Sacred and Ceremonial Music, edited by Kurt von Fischer and F. Alberto Gallo, Monaco: Editions de L'Oiseau-Lyre, 1987. Polyphonic Music of the Fourteenth Century XIII.
  22. The Lucca Codex. Codice Mancini. Introductory Study and Facsimile Edition, edited by John Nádas and Agostino Ziino, Lucca: Libreria musicale italiana editrice, 1990.

STUDIES OF WORKS

  1. WOLF, Johannes. `Florenz in der Musikgeschichte des 14. Jahrhunderts', p. 607.
  2. KÖNIGSLÖW, Annamarie von. Die italienischen Madrigalisten des Trecento, Würzburg-Aumühle: Triltsch, 1940, p. 35, ex. 47 (Movit'a pietade).
  3. GHISI, Federico. `Bruchstücke einer neuen Musikhandschrift der italienischen Ars Nova', Archiv für Musikwissenschaft, VII (1942): 17-39 (Amor nè tossa non se pò celare).
  4. APEL, Willi. The Notation of Polyphonic Music 900-1600, Cambridge/Massachusetts: The Medieval Academy of America, 1942, pp. 431-432, & example 63 (Sumite, karissimi).
  5. PLAMENAC, Dragan. `New light on the Codex Faenza 117', Bericht über den internationalen Kongress für Kirchenmusik in Bern, 1952, Bern: Paul Haupt, 1953, pp. 310-326. Publikationen der schweizerischen musikforschenden Gesellschaft ii/3 ([Un fior gentil]).
  6. ELLINWOOD, Leonard. `The Fourteenth Century in Italy', [chapter 2 of] The New Oxford History of Music. III. Ars Nova and the Renaissance, edited by Dom Anselm Hughes and Gerald Abraham, London: Oxford University Press, 1960, p. 64 (Caciando per gustar de quel tesoro; Ai cinçi, ai toppi, ai bretti).
  7. FICKER, Rudolf von. `The transition on the continent', [chapter 5 of] The New Oxford History of Music. III. Ars Nova and the Renaissance, edited by Dom Anselm Hughes and Gerald Abraham, London: Oxford University Press, 1960, p. 152 (Benché lontan me trovi in altra parte).
  8. FELLIN, Eugene C. A Study of Superius Variants in the Sources of Italian Trecento Music: Madrigals and Cacce, Ph.D. dissertation, University of Wisconsin: 1970, passim (Caciando per gustar de quel tesoro; Ai cinçi, ai toppi, ai bretti).
  9. ZIINO, Agostino and Giuseppe DONATO. `Nuove fonti di polifonia italiana dell' Ars nova', Studi musicali, II/2 (1973): 235-255, 236 (Gloria, Micinella).
  10. FELLIN, Eugene C. `The notation-types of Trecento music', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 211-224, passim (Caciando per gustar de quel tesoro; Ai cinçi, ai toppi, ai bretti).
  11. BAUMANN, Dorothea. `Some extraordinary forms in the Italian secular Trecento repertoire', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 45-63, passim (Ciaramella, me dolçe ciaramella).
  12. REANEY, Gilbert. `Sequence, hocket, syncopation and imitation in Zacar's mass movements', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 345-364.
  13. BAUMANN, Dorothea. Die dreistimmige italienische Lied-Satztechnik im Trecento, Baden-Baden: Valentin Koerner, 1979. Sammlung musikwissenschaftlicher Abhandlung no. 64, passim (Caciando per gustar de quel tesoro; Ai cinçi, ai toppi, ai bretti).
  14. REANEY, Gilbert. `Transposition and "key" signatures in late medieval music', Musica Disciplina, XXXIV (1979): 27-41, p. 35 (Rosetta che non canbi may colore).
  15. WILKINS, Nigel. Music in the Age of Chaucer, Cambridge: D. S. Brewer, 1979. Chaucer Studies I, p. 86 (Gloria, gloria laus honor).
  16. HALLMARK, Anne. `Some evidence for French influence in northern Italy, c.1400', Studies in the Performance of Late Mediaeval Music, edited by Stanley Boorman, Cambridge: Cambridge University Press, 1983, pp. 193-226, passim (Caciando per gustar de quel tesoro; Ai cinçi, ai toppi, ai bretti).
  17. D'ACCONE, Frank. `Una nuova fonte dell' "Ars nova" italiana: il codice di San Lorenzo, 2111', Studi Musicali, XIII (1984): 3-31, passim (Dicovi per certanza).
  18. ZIINO, Agostino. `Ripetizioni di sillabe e parole nella musica profana italiana del Trecento e del primo Quattrocento', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, Kassel: Bärenreiter, 1984, pp. 93-120 (Nuda non).
  19. NEWES, Virginia E. `The relationship of text to imitative technique in 14th century polyphony', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter, 1984, pp. 121-154 (Gloria, fior gentil).
  20. GÜNTHER, Ursula. `Sinnbezüge zwischen Text und Musik in Ars nova und Ars subtilior', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter, 1984, pp. 229-268 (p. 266) (Credo scabroso).
  21. BAUMANN, Dorothea. `Silben- und Wortwiederholungen im italienischen Liedrepertoire des späten Trecento und frühen Quattrocento', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, Kassel: Bärenreiter, 1984, pp. 77-92, p. 87 (Ciaramella, me dolçe ciaramella).
  22. BENT, Margaret. `Text setting in sacred music of the early 15th century: evidence and implications', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, Kassel: Bärenreiter, 1984, pp. 291-326 (pp. 304-305) (Gloria, gloria laus honor).
  23. McGEE, Timothy J. `Instruments and the Faenza Codex', Early Music, XIV/4 (1986): 480-490 (pp. 483-484) ([Roseta che non canci mai colore]).
  24. NEWES, Virginia. `Chace, caccia, fuga: the convergence of French and Italian traditions', Musica Disciplina, XLI (1987): 27-57, p. 35 (Caciando per gustar de quel tesoro; Ai cinçi, ai toppi, ai bretti).
  25. FISCHER, Kurt von. `Bemerkungen zur Überlieferung und zum Stil der geistlichen Werke des Antonius dictus Zacharias de Teramo', Musica Disciplina, XLI (1987): 161-182, passim (Plorans ploravi perché la Fortuna).
  26. REANEY, Gilbert. `The "international" style and the Oxford Manuscript, Bodleian Library, Canonici Misc. 213', Musica Disciplina, XLI (1987): 15-26.
  27. R. DITTRICH: Die Vokalkompositionen von Antonio Zachara da Teramo (um 1400) (diss., U. of Hamburg, 1988)
  28. R. DITTRICH: ‘Textbezüge in den Ballata-Vertonungen von Antonio Zachara da Teramo: drei Beispiele’, Die Musikforschung, xliii (1990), 15–30
  29. NADAS, John. `Editorial practices in early Quattrocento Florentine anthologies of secular polyphony', L'Ars nova italiana del Trecento VI: Certaldo 1984, Certaldo: Centro di Studio L'ars nova italiana, 1992 (Dicovi per certanza).
  30. M. Caraci Vela: ‘Una nuova attribuzione a Zacara da un trattato musicale del primo Quattrocento’, AcM, lxix (1997), 182-5.

OTHER LITERATURE

  1. HABERL, Franz X. Wilhelm du Fay, Leipzig: Breitkopf & Härtel, 1885. Bausteine für Musikgeschichte I.
  2. EITNER, Robert. Biographisch-bibliographisches Quellenlexikon der Musiker und Musikgelehrten der Christlichen Zeitrechnung., 10 vols., Leipzig: Breitkopf & Härtel, 1900-1904, vol. X, p. 317.
  3. S. Debenedetti, ed.: ‘Il “Sollazzo” e il “Saporetto” con altre rime di Simone Prudenzani d'Orvieto’, Giornale storico della letteratura italiana, suppl.xv (1913)
  4. LI GOTTI, Ettore and Nino PIRROTTA. Il Sacchetti e la tecnica musicale del Trecento italiano, Florence: Sansoni, 1935.
  5. PIRROTTA, Nino. `Il codice Estense lat. 568 e la musica francese in Italia al principio del 1400', Atti della Reale Accademia di scienze, lettere e arti di Palermo, Ser. 4, V/2, 1944-45 (1946): 101ff.
  6. PIRROTTA, Nino and Ettore LI GOTTI. `Il Codice di Lucca. III. Il repertorio musicale', Musica Disciplina, V (1951): 115-142.
  7. FISCHER, Kurt von. Studien zur italienischen Musik des Trecento und frühen Quattrocento, Bern: Haupt, 1956. Publikationen der Schweizerischen Musikforschenden Gesellschaft, Ser. II, vol. 5.
  8. FISCHER, Kurt von. `Kontrafakturen und Parodien italienischen Werke des Trecento und frühen Quattrocento', Annales musicologiques: moyen-âge et Renaissance, V (1957): 43-59.
  9. FISCHER, Kurt von. `Trecentomusik - Trecentoprobleme: ein kritischer Forschungsbericht', Acta Musicologica, XXX (1958): 179-199.
  10. LAYTON, B. J. Italian Music for the Ordinary of the Mass 1300-1450, Ph.D. dissertation, Harvard University: 1960.
  11. REANEY, Gilbert. `Ars nova in France', Pelican History of Music I, edited by A. Robertson and Denis Stevens, Hammondsworth: Penguin Books, 1960, pp. 261-308.
  12. GHISI, Federico. `Gli aspetti musicali della lauda fra il XIV e il XV secolo, prima metà', Natalicia Musicologica Knud Jeppesen, edited by Bjorn Hjelmborg and Soren Sorensen, Hafnia: W. Hansen, 1962, pp. 51-57.
  13. GHISI, Federico. `Rapporti armonici nella polifonia italiana del Trecento', L'Ars nova italiana del Trecento I: Certaldo 1959, 1962, pp. 32-39.
  14. HAGOPIAN, Viola L. Italian Ars Nova Music. A Bibliographic Guide to Modern Editions and Related Literature, Berkeley, Los Angeles, London: University of California Press, 1964, pp. 2, 3, 22, 49, 50, 66, 77/n60, 100-102.
  15. W. Nitschke: Studien zu den Cantus-firmus-Messen Guillaume Dufays (Berlin, 1968)
  16. PERZ, Miroslaw. `Die Einflüsse der ausgehenden italienischen Ars nova in Polen', L'Ars nova italiana del Trecento III: Certaldo 1969, 1970, pp. 465-483.
  17. REANEY, Gilbert. `The Italian contribution to the manuscript Oxford, Bodleian Library, Canonici Misc. 213', L'Ars nova italiana del Trecento III: Certaldo, 1969, 1970, pp. 443-464.
  18. HUGHES, Andrew. `Viella: facere non possumus', International Musicological Society: Report of the Eleventh Congress, Copenhagen: 1972, vol. I, pp. 453 - 456.
  19. M. Bent: ‘New Sacred Polyphonic Fragments of the Early Quattrocento’, Studi musicali, ix (1980), 171-89.
  20. R. Sherr: ‘Notes on some Papal Documents in Paris’, Studi musicali, xii (1983), 5-16.
  21. J. Nádas: ‘Manuscript San Lorenzo 2211: some Further Observations’, L'Europa e la musica del Trecento: Congresso IV: Certaldo 1984 [L'Ars Nova italiana del Trecento, vi (Certaldo, 1992)], 145-68.
  22. R. Strohm: ‘Magister Egardus and other Italo-Flemish Contacts’, ibid., 41-68.
  23. NADAS, John. The Transmission of Trecento Secular Polyphony: Manuscript Production and Scribal Practices in Italy at the End of the Middle Ages, Ph.D. dissertation, New York University, 1985.
  24. PESTELL, Richard. `Medieval art and the performance of medieval music', Early Music, XV/Feb (1987): 57-68.
  25. K. von Fischer: ‘Bemerkungen zur Überlieferung und zum Stil der geistlichen Werke des Antonius dictus Zacharias de Teramo’, Musica Disciplina, xli (1987), 161-82
  26. V. Newes: ‘Chace, caccia, fuga: the convergence of French and Italian Traditions’, Musica Disciplina, xli (1987), 25–57, esp. 35
  27. G. Ciliberti: ‘Diffusione e trasmissione del Credo nelle fonti mensurali del tardomedioevo’, Musica Disciplina, xliv (1990), 57–87
  28. G. Di Bacco and J.Nádas: ‘Verso uno “stile internazionale” della musica nelle capelle papali e cardinalizie durante il Grande Scisma (1378–1417): il caso di Johannes Ciconia da Liège’, Collectanea I, ed. A. Roth (Vatican City, 1994), 7–74
  29. A. Ziino, ed.: Il codice T. III. 2: Torino, Biblioteca Nazionale Universitaria (Lucca, 1994)
  30. A. Stone: ‘Glimpses of an Unwritten Tradition in some Ars subtilior Works’, Musica Disciplina, l (1996), 59–93
  31. M. Bent: ‘Early Papal Motets’, Papal Music and Musicians in Late Medieval and Renaissance Rome, ed. R. Sherr (Oxford, 1998), 5–43
  32. M. Staehelin: ‘Reste einer oberitalienischen Messenhandschrift des frühen 15. Jahrhunderts’, Studi musicali, xxvii (1998), 7–18
  33. D. Fallows: A Catalogue of Polyphonic Songs, 1415–1480 (Oxford, 1999)

Content Approved by: MMDB Director
Last updated: Wednesday, 18 June 2003

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