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Tout par compasrondeau by Baude Cordier SourcesChantilly: Bibliothèque du Musée Condé 564, fol. 12 (3/2).Facsimiles1. Les plus anciens monuments de la musique française, edited by Pierre Aubry, Paris: 1905, plate 69.2. Die Musik in Geschichte und Gegenwart, edited by Friedrich Blume, 16 vols., Kassel and Basel: Bärenreiter, 1949 ff, plate 55. 3. PARRISH, Carl. The Notation of Medieval Music, New York: W. W. Norton, 1957, plate LXII. 4. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978, p. 485. Editions1. RIEMANN, Hugo. Handbuch der Musikgeschichte, 5 vols., Leipzig: Breitkopf & Härtel, 1904-1913, Vol. I, p. 351, 352.2. Les plus anciens monuments de la musique française, edited by Pierre Aubry, Paris: 1905, p. 21. 3. Early Fifteenth Century Music, edited by Gilbert Reaney, [n.p.]: American Institute of Musicology, 1955. Corpus Mensurabilis Musicae 11/I, p. 11. 4. BERGSAGEL, John D. 'Cordier's circular canon', The Musical Times, CXIII (1972), p. 1175. 5. French Secular Music. Manuscript Chantilly, Musée Condé 564, First Part, edited by Gordon K. Greene, Monaco: Editions de L'Oiseau-Lyre, 1981. Polyphonic Music of the Fourteenth Century XVIII, p. 3. 6. GÜNTHER, Ursula. 'Fourteenth-century music with texts revealing performance practice', Studies in the Performance of Late Mediaeval Music, edited by Stanley Boorman, Cambridge: Cambridge University Press, 1983, p. 267. Literature1. REANEY, Gilbert. 'John Dunstable and late medieval music in England', The Score, V (1953), p. 23.2. GÜNTHER, Ursula. 'Der Gebrauch des tempus perfectum diminutum in der Handschrift Chantilly 1047', Archiv für Musikwissenschaft, XVII (1960), pp. 280-283. 3. BERGSAGEL, John D. 'Cordier's circular canon', The Musical Times, CXIII (1972): 1175-1176. 4. MEYLAN, Raymond. 'Réparation de la Roue de Cordier', Musica Discplina, XXVI (1972), pp. 69-71. 5. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978, pp. 485-486. 6. WILLIAMS, C. 'Two examples of mannerist notation in the late fourteenth century', Miscellanea Musicologica, XI (1980), pp. 111-116. 7. WILKINS, Nigel. 'Rondeau (i)', The New Grove, XVI (1980): 166-170. 8. COX, Bobby Wayne. 'Pseudo-augmentation in the manuscript Bologna, Civico Museo Bibliografico Musicale, Q15 (BL)', Journal of Musicology, 1 (1982), p. 437. 9. GÜNTHER, Ursula. 'Fourteenth-century music with texts revealing performance practice', Studies in the Performance of Late Mediaeval Music, edited by Stanley Boorman, Cambridge: Cambridge University Press, 1983, pp. 261-263. 10. REANEY, Gilbert. 'A consideration of the relative importance of words and music in composition from the 13th to the 15th century', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, Kassel: Bärenreiter, 1984, p. 190. 11. 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. 12. KOEHLER, Laurie. Review of Gordon K. Greene (ed.), p. 637. 13. NEWES, Virginia. 'Chace, caccia, fuga: the convergence of French and Italian traditions', Musica Disciplina, XLI (1987), pp. 38-40. Recordings1. Dictionnaire des Instruments Anciens, Clemencic Consort, Ars Musicae, Atrium Musicae, Ensemble Ric: Harmonia Mundi HMU (3) 445.2. Ballades, Rondeaux & Virelais from the 14th and 15th Centuries, Ancient Instrument Ensemble of Zurich, directed by Austin Miskell (1967): Odyssey 32 16 0178. 3. Codex Chantilly: airs de cour, Ensemble Organum, directed by Marcel Pérès (1987): HMC 901252. 4. The Chantilly Codex, Ensemble Organum, directed by Marcel Pérès (1987): Harmonia Mundi HMC 1252. 5. Ars Magis Subtiliter, Project Ars Nova (1989): New Albion Records NA 021 CD. |
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