Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-gxg78 Total loading time: 0 Render date: 2024-12-25T05:44:00.981Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  28 January 2021

James Grier
James Grier
Affiliation:
University of Western Ontario
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Musical Notation in the West , pp. 224 - 264
Publisher: Cambridge University Press
Print publication year: 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Secondary Sources

Adémar, de Chabannes. Opera liturgica et poetica: Musica cum textibus, ed. Grier, James. 2 vols. Ademari Cabanensis Opera Omnia Pars II. Corpus Christianorum Continuatio Mediaevalis, 245, 245A. Turnhout: Brepols, 2012.Google Scholar
Ammerbach, Elias Nikolaus. Orgel oder Instrument Tabulaturbuch. Nürnberg: Gerlach, 1583 (reproduced at books.google.ca/books?id=7 K-PGwXyKR8 C&printsec=frontcover& source=gbs_ViewAPI&redir_esc=y#v=onepage&q&f=false).Google Scholar
Ammerbach, Elias Nikolaus Orgel oder Instrument Tabulaturbuch (1571/83), ed. Jacobs, Charles. Oxford: Oxford University Press, 1984.Google Scholar
Anderson, Gordon A., ed. Compositions of the Bamberg Manuscript: Bamberg, Staatsbibliothek, Lit. 115 (olim Ed. IV. 6). Corpus Mensurabilis Musicae, 75. Neuhausen-Stuttgart: American Institute of Musicology, 1977.Google Scholar
Apel, Willi, and Rosenberg, Samuel N., eds. French Secular Compositions of the Fourteenth Century. 3 vols. Corpus Mensurabilis Musicae, 53. N.p.: American Institute of Musicology, 1970–72.Google Scholar
Attaingnant, Pierre. Tres breue et familiere introduction. Paris: Pierre Attaingnant, 1529 (facsimile ed. François Lesure [Geneva: Éditions Minkoff, 1988]).Google Scholar
Aubry, Pierre, ed. Cent motets du XIIIe siècle. 3 vols. Publications de la Société Internationale de Musique, Section de Paris. Paris: U. Rouart, Lerolle & Co. and Paul Geuthner, 1908.Google Scholar
Bach, Johann Sebastian. Klavierbüchlein für Wilhelm Friedemann Bach, ed. Plath, Wolfgang. Neue Ausgabe Sämtlicher Werke, ser. 5, 5. Kassel: Bärenreiter, 1962.Google Scholar
Bach, Johann Sebastian Messe in H-moll, BWV 232: Faksimile-Lichtdruck des Autographs mit einem Nachwort, ed. Dürr, Alfred. Kassel: Bärenreiter, 1965; repr. in Documenta Musicologica, ser. 2: Handschriften-Faksimiles, 12 (Kassel: Bärenreiter, 1983).Google Scholar
Bach, Johann Sebastian Messe in H-moll, BWV 232 mit Sanctus in D-Dur (1724), BWV 232111, ed. Musicologica, Christoph Wolff. Documenta, ser. 2: Handschriften-Faksimiles, 35. Kassel: Bärenreiter, 2007.Google Scholar
Bach, Johann Sebastian Sei solo a violino senza basso accompagnato. 2nd ed. Kassel: Bärenreiter, 1958.Google Scholar
Bach, Johann Sebastian Sei solo a violino senza basso accompagnato. Revocata, Monumenta Musicae, 2. Florence: Studio per Edizioni Scelte, 1985.Google Scholar
Bach, Johann Sebastian Sei solo a violino senza basso accompagnato, ed. Dadelsen, Georg von. Faksimile-Reihe Bachscher Werke und Schriftstücke, 22. Leipzig: Deutscher Verlag für Musik, 1988.Google Scholar
Bach, Johann Sebastian Sei solo a violino senza basso accompagnato, ed. Hiemke, Sven. Meisterwerke der Musik im Faksimile, 8. Laaber: Laaber-Verlag, 2006.Google Scholar
Bach, Johann SebastianToccata and Fugue in D minor, in Präludien, Toccaten, Fantasien und Fugen I, ed. Kilian, Dietrich. Neue Ausgabe Sämtlicher Werke, ser. 4, 5. Kassel: Bärenreiter, 1972, pp. 76–89.Google Scholar
Bach, Johann Sebastian Verschiedene Kammermusikwerke, ed. Hofmann, Klaus. Werke, Neue Ausgabe Sämtlicher, ser. 6, 5. Kassel: Bärenreiter, 2006.Google Scholar
Bach, Johann Sebastian Werke für Flöte, ed. Schmitz, Hans-Peter. Neue Ausgabe Sämtlicher Werke, ser. 6, 3. Kassel: Bärenreiter, 1963.Google Scholar
Bach, Johann Sebastian Das Wohltemperierte Klavier, 2 vols., ed. Alfred, Dürr. Neue Ausgabe Sämtlicher Werke, ser. 5, 6.1 and 6.2. Kassel: Bärenreiter, 1989–95.Google Scholar
Banchieri, Adriano. L’organo suonarino. Venice: Ricciardo Amadino, 1611; partial repr. ed. Giulio Cattin, Bibliotheca Organologica, 27 (Amsterdam: Frits Knuf, 1969); also in Bibliotheca Musica Bononiensis, sezione 2, no. 31 (Bologna: Forni Editore, 1969).Google Scholar
Bartók, Béla. Mikrokosmos. 6 vols. London: Boosey & Hawkes, 1987.Google Scholar
Baxter, J. H., ed. An Old St. Andrews Music Book (Cod. Helmst. 628). St. Andrews University Publications, 30. London: Oxford University Press, 1931; repr. New York, 1973.Google Scholar
Beatles, The. Complete Scores, ed. Fujita, Tetsuya, Hagino, Yuji, Kubo, Hajime and Sato, Goro. Milwaukee: Hal Leonard, 1993.Google Scholar
Beck, Jean, ed. Le manuscrit du roi: Fond français de la Bibliothèque nationale. 2 vols. Corpus Cantilenarum Medii Aevi, 1: Les Chansonniers des Troubadours et des Trouvères, 2. Philadelphia: University of Pennsylvania Press, 1938; repr. New York, 1970.Google Scholar
Beethoven, Ludwig van. Grande sonate pour le piano-forte. Vienna: Artaria et Compag, 1819 (reproduced at https://bit.ly/2DtST02).Google Scholar
Beethoven, Ludwig van Klaviersonaten, 1, ed. Schmidt, Hans. Werke, Beethoven, ser. 7, vol. 2. Munich-Duisburg: G. Henle Verlag, 1971.Google Scholar
Beethoven, Ludwig vanSinfonie mit Schluß-Chor über Schillers Ode “An die Freude”. Mainz: B. Schotts Sohnen, n.d. (reproduced at https://bit.ly/2Xmn14J).Google Scholar
Beethoven, Ludwig van Sinfonie no. 9, Op. 125: Autograph, Staatsbibliothek zu Berlin, Preussischer Kulturbesitz, Beethoven-Haus Bonn, Bibliothèque nationale de France, ed. Lockwood, Lewis, Del Mar, Jonathan and Rebmann, Martina. Musicologica, Documenta, ser. 2: Handschriften-Faksimiles, 42. Kassel: Bärenreiter, 2010.Google Scholar
Beethoven, Ludwig van Symphony no. 3 Opus 55 Eroica, ed. Churgin, Bathia. Werke, Beethoven, ser. 1, vol. 2. Munich: G. Henle Verlag, 2013.Google Scholar
Beethoven, Ludwig van Trois Sonates pour le Clavecin ou Piano-Forte. Vienna: Artaria, n.d.Google Scholar
Bent, Margaret, ed. Bologna Q15, The Making and Remaking of a Musical Manuscript: Introductory Study and Facsimile Edition. 2 vols. Ars Nova, nuova serie, 2. Lucca: Libreria Musicale Italiana, 2008.Google Scholar
Berio, Luciano. Sequenza III per voce femminile. London: Universal Edition, 1968.Google Scholar
Berio, Luciano. Sequenza VII per oboe solo. London: Universal Edition, 1971.Google Scholar
Brahms, Johannes. Concert für das Pianoforte mit Begleitung des Orchesters, Op. 15. Leipzig: J. Rieter-Bidermann, 1875.Google Scholar
Brahms, Johannes. Concert für das Pianoforte mit Begleitung des Orchesters, Op. 83. Berlin: Simrock, 1882.Google Scholar
Brown, Earle. Available Forms 1. New York: Associated Music Publishers, 1962.Google Scholar
Brown, Howard, ed. See Cavalli, Francesco.Google Scholar
Brumel, Antoine. Opera omnia, ed. Hudson, Barton. 6 vols. Corpus Mensurabilis Musicae, 5. N. p.: American Institute of Musicology, 1969–72.Google Scholar
Cabezón, Antonio de. Collected Works, 3: Versos & Fugas, ed. Jacobs, Charles. Gesamtausgaben, 4/3. Brooklyn: Institute of Medieval Music, 1976.Google Scholar
Cabezón, Antonio de Obras de música para tecla arpa y vihuela. Madrid: Francisco Sanchez, 1578 (reproduced at bdh-rd.bne.es/viewer.vm?id=0000037786).Google Scholar
Cabezón, Antonio de Obras de música para tecla arpa y vihuela, ed. Higinio, Anglés. 3 vols. Monumentos de la Música Española, 27–29. Barcelona: Consejo Superior de Investigaciones Científicas, 1966.Google Scholar
Cabezón, Antonio de Obras de música para tecla arpa y vihuela, ed. Pina, Javier Artigas, Parra, Gustavo Delgado, Esteban, Antonio Ezquerro, Marín, Luis Antonio González, Uriol, José Luis González and Valle, José Vicente González. 4 vols. Zaragoza: Consejo Superior de Investigaciones Científicas, Instituición «Fernando el Católico», 2010.Google Scholar
Caccini, Giulio. L’Euridice. Florence: G. Marescotti, 1600; repr. ed. Piero Mioli, Archivum Musicum, Musica Drammatica, 5 (Florence, 2000).Google Scholar
Carapetyan, Armen, ed. An Early Fifteenth-Century Italian Source of Keyboard Music: The Codex Faenza Biblioteca comunale, 117. Musicological Studies and Documents, 10. N.p.: American Institute of Musicology, 1961.Google Scholar
Carter, Elliott. Eight Pieces for Four Timpani (one player). New York: Associated Music Publishers, 1968.Google Scholar
Cavalieri, Emilio del. Rappresentatione di Anima e di Corpo. Rome: Nicolo Mutii, 1600; repr. Fransborough, 1967; and in Bibliotheca Musica Bononiensis, sezione 4, 1 (Bologna, 1987).Google Scholar
Cavalli, Francesco. Il novello Giasone, ed. Usula, Nicola. 2 vols. Drammaturgia Musicale Veneta, 3. Milan: Ricordi, 2013.Google Scholar
Cavalli, Francesco. Scipione Africano, ed. Brown, Howard Mayer. Italian Opera 1640–1770. New York: Garland, 1978.Google Scholar
Compere, Loyset. Opera omnia, ed. Finscher, Ludwig. 5 vols. Corpus Mensurabilis Musicae, 15. N.p.: American Institute of Musicology, 1958–72.Google Scholar
Corelli, Arcangelo. Sonate a violino e violone o cimbalo opera quinta. [Rome]: Incisa da Gasparo Pietra Santa, [1700] (facsimile London: Schott, 1987; reproduced at stimmbuecher.digitale-sammlungen.de/view?id=bsb00087066).Google Scholar
Corelli, Arcangelo. Sonate da chiesa, Opus I und III, ed. Lütolf, Max. Corelli, Arcangelo, Historisch-kritische Gesamtausgabe der musikalischen Werke, 1. Laaber: Laaber-Verlag, 1987.Google Scholar
Debussy, Claude. La demoiselle élue. Paris: Librairie de l’Art Indépendant, 1893 (reproduced at gallica.bnf.fr).Google Scholar
Debussy, Claude. La demoiselle élue. Paris: A. Durand & Fils, 1902 (reproduced at gallica.bnf.fr).Google Scholar
des Prez, Josquin. Missa De beata virgine, in The Collected Works of Josquin des Prez, 3: Masses Based on Gregorian Chants, 1, ed. Elders, Willem. Utrecht: Koninklije Vereniging voor Nederlandse Muziekgeschiednis, 2003, pp. 32–83.Google Scholar
Dittmer, Luther, ed. Firenze, Biblioteca Mediceo-Laurenziana, Pluteo 29,1. 2 vols. Veröffentlichung Mittelalterlicher Musikhandschriften, 10–11. Brooklyn: Institute of Mediaeval Music, n.d.Google Scholar
Dittmer, Luthered. Wolfenbüttel 1099 Helmst. Veröffentlichung Mittelalterlicher Musikhandschriften, 2. Brooklyn: Institute of Mediaeval Music, 1960.Google Scholar
Du Fay, Guillaume. Opera Omnia, ed. Besseler, Heinrich. 6 vols. Corpus Mensurabilis Musicae, 1. Rome: American Institute of Musicology, 1951–66.Google Scholar
Everist, Mark, ed. Le Magnus liber organi de Notre-Dame de Paris, 2: Les organa à deux voix pour l’office du manuscrit de Florence, Biblioteca Medicea Laurenziana, plut. 29.1. Les Remparts, Monaco: Éditions de l’Oiseau-Lyre, 2003.Google Scholar
Feldman, Morton. Intersection 2 for Piano Solo. New York: C. F. Peters, 1962.Google Scholar
Frottole intabulate da sonare organi libro primo. Rome: Andrea Antico, 1517 (facsimile ed. Giuseppe Radole, Bibliotheca Musica Bononiensis, sezione 4, 51B [Bologna: Forni Editore, 1970]).Google Scholar
Gabrieli, Giovanni. Opera Omnia, 10: Instrumental Ensemble Works in ‘Sacrae symphoniae’ (Venice, 1597), Printed Anthologies and Manuscript Sources, ed. Charteris, Richard. Corpus Mensurabilis Musicae, 12, no. 10. Neuhausen: Hänssler-Verlag, 1998.Google Scholar
Gabrieli, Giovanni. Sacrae symphoniae. 12 vols. Venice: Angelus Gardanus, 1597 (reproduced at http://data.onb.ac.at/rec/A09917003).Google Scholar
Gaultier, Denis. La rhétorique des dieux, ed. Lesure, François. Geneva: Éditions Minkoff, 1991.Google Scholar
Gaultier, Denis. La rhétorique des dieux, ed. Buch, David J.. Recent Researches in the Music of the Baroque Era, 62. Madison, WI: A-R Editions, 1990.Google Scholar
Gautier [sic], Denis. Oeuvres de Denis Gautier, ed. Rollin, Monique and Goy, François-Pierre. Français, Corpus des Luthistes. Paris: CNRS-Éditions, 1996.Google Scholar
Gillingham, Bryan, ed. Paris Bibliothèque Nationale, fonds latin 1139. Veröffentlichungen Mittelalterlicher Musikhandschriften, 14. Ottawa: Institute of Mediaeval Music, 1987.Google Scholar
Gillingham, Bryan ed. Paris Bibliothèque Nationale, fonds latin 3719. Veröffentlichungen Mittelalterlicher Musikhandschriften, 15. Ottawa: Institute of Mediaeval Music, 1987.Google Scholar
Gillingham, Bryan ed. Paris Bibliothèque Nationale, fonds latin 3549 and London, B.L. Add. 36,881. Veröffentlichungen Mittelalterlicher Musikhandschriften, 16. Ottawa: Institute of Mediaeval Music, 1987.Google Scholar
Gillingham, Bryan ed. Saint-Martial Mehrstimmigkeit. Wissenschaftliche Abhandlungen, 44. Henryville, Ottawa and Binningen: Institute of Mediaeval Music, 1984.Google Scholar
Greene, Gordon K., ed. French Secular Music: Manuscript Chantilly, Musée Condé 564. 2 vols. Polyphonic Music of the Fourteenth Century, 18–19. Les Remparts, Monaco: Éditions de l’Oiseau-Lyre, 1981–82.Google Scholar
Händel, Georg Friedrich. Elf Sonaten für Flöte und bezifferten Bass, ed. Schmitz, Hans-Peter. Hallische Händel-Ausgabe, ser. IV, vol. 3. Kassel: Bärenreiter, 2007.Google Scholar
Händel, Georg Friedrich Water Music, ed. Best, Terence and Hogwood, Christopher. Händel-Ausgabe, Hallische, ser. IV, vol. 13. Kassel: Bärenreiter, 2007, pp. 3–62.Google Scholar
Harmonice musices odhecaton. Venice: Ottaviano Petrucci, 1501 (facsimile of 1504 edition in Collezione di Trattati e Musiche Edite in Fac-Simile [Milan: Bollettino Bibliografico Musicale, 1932]; 1504 edition reproduced at gallica.bnf.fr).Google Scholar
Heartz, Daniel, ed. Preludes, Chansons and Dances Published by Pierre Attaingnant, Paris (1529–1530). Publications de la Société de Musique d’Autrefois, Textes Musicaux, 2. Neuilly-sur-Seine: Société de Musique d’Autrefois, 1964.Google Scholar
Hesbert, René-Jean, ed. Le graduel de Saint-Denis: Manuscrit 384 de la Bibliothèque Mazarine de Paris. Monumenta Musica Sacrae, 5. Paris: Nouvelles Éditions Latines, 1981.Google Scholar
Hewitt, Helen, ed. Harmonice musices odhecaton A. Medieval Academy of America Publications, 42. Cambridge, MA: Medieval Academy of America, 1942; repr. New York, 1978.Google Scholar
Husmann, Heinrich, ed. Die drei- und vierstimmigen Notre-Dame-Organa. Publikationen Älterer Musik, 11. Leipzig: Breitkopf & Härtel, 1940.Google Scholar
Intabulatura de lauto libro primo. Venice: Ottaviano Petrucci, 1507 (facsimile ed. François Lesure [Geneva and Paris: Éditions Minkoff, 1978]; reproduced at https://bit.ly/3a8lXGM).Google Scholar
Intabulatura de lauto libro secondo. Venice: Ottaviano Petrucci, 1507 (facsimile ed. François Lesure [Geneva and Paris: Éditions Minkoff, 1978]; and ed. Albert Reyerman, 2 vols. [n.p.: Tree Edition, 2011]; reproduced at https://bit.ly/2XEB0my).Google Scholar
Ives, Charles. Symphony no. 4. New York: Associated Music Publishers, 1965.Google Scholar
Karp, Theodore. The Polyphony of Saint Martial and Santiago de Compostela. 2 vols. Berkeley and Los Angeles: University of California Press, 1992.Google Scholar
Kelly, Thomas Forrest, and Peattie, Matthew, eds. The Music of the Beneventan Rite. Monumenta Monodica Medii Aevi, 9. Kassel: Bärenreiter, 2016.Google Scholar
Lesure, François, ed. See Gaultier, Denis.Google Scholar
Machaut, Guillaume de. The Works of Guillaume de Machaut, ed. Schrade, Leo. 2 vols. Polyphonic Music of the Fourteenth Century, 2–3. Les Remparts, Monaco: Éditions de l’Oiseau-Lyre, 1956.Google Scholar
Maître, Claire, ed. Graduel de l’abbaye royale de Saint-Denis, début XIe siècle: Paris, Bibliothèque Mazarine, ms. 384. Manuscrits notés, 3. N.p.: Éditions Actes Sud, 2005.Google Scholar
McGee, Timothy J., ed. Medieval Instrumental Dances. Music: Scholarship and Performance. Bloomington and Indianapolis: Indiana University Press, 1989.Google Scholar
Memelsdorff, Pedro, ed. The Codex Faenza 117: Instrumental Polyphony in Late Medieval Italy. 2 vols. Ars Nova, nuova ser., 3. Lucca: Libreria Musicale Italiana, 2013.Google Scholar
Milán, Luis de. Libro de musica de vihuela de mano, intitulado El maestro. Valencia: Francisco Diaz Romano, 1536 (facsimile ed. Francisco Roa [Madrid: Sociedad de la Vihuela, 2008]; reproduced at http://bdh-rd.bne.es/viewer.vm?id=0000022795).Google Scholar
Milán, Luis de El maestro, ed. Jacobs, Charles. University Park and London: Pennsylvania State University Press, 1971.Google Scholar
Monteverdi, Claudio. Madrigali guerrieri, et amorosi. 9 vols. Venice: Alessandro Vincenti, 1638 (facsimile, Monteverdi, Madrigali guerrieri, et amorosi libro ottavo, ed. Vacchelli, 1: 107–91).Google Scholar
Monteverdi, Claudio. Madrigali guerrieri, et amorosi libro ottavo, ed. Vacchelli, Anna Maria. 2 vols. Claudio Monteverdi Opera Omnia, 14. Cremona: Fondazione Claudio Monteverdi, 2004.Google Scholar
Monteverdi, Claudio. L’Orfeo. Venice: Ricciardo Amadino, 1609 (facsimile, Monteverdi, L’Orfeo, ed. Vacchelli, 1: 329–55; ed. Piero Mioli, Archivum Musicum, Musica Drammatica, 1 [Florence: Studio per Edizioni Scelte, 1993]; and ed. Elisabeth Schmierer, Meisterwerke der Musik im Faksimile, 1 [Laaber: Laaber-Verlag, 1998]).Google Scholar
Monteverdi, Claudio. L’Orfeo, ed. Vacchelli, Anna Maria. 2 vols. Claudio Monteverdi Opera Omnia, 8. Cremona: Fondazione Claudio Monteverdi, 2014–16.Google Scholar
Mozart, Wolfgang Amadeus. Don Giovanni, ed. Richard, Albert, Jourdin, Guy Mollat du, Lesure, François, Jacques Duron, René Dumesnil. 9 vols. Paris: La Revue Musicale, 1967.Google Scholar
Mozart, Wolfgang Amadeus. Klaviersonaten, ed. Plath, Wolfgang and Rehm, Wolfgang. Neue Ausgabe Sämtlicher Werke, ser. 9, 25/2. Kassel: Bärenreiter, 1986 (reproduced at http://dme.mozarteum.at/DME/nma/nmapub_srch.php?l=1).Google Scholar
Mozart, Wolfgang Amadeus. Piano Concerto No. 21 in C Major, K. 467: The Autograph Score, ed. Jan, LaRue. The Pierpont Morgan Library Music Manuscript Reprint Series. New York: Dover, 1985.Google Scholar
MPG 3 Die Handschrift St. Gallen Stiftsbibliothek 359 Cantatorium. Monumenta Palaeographica Gregoriana, 3. Münsterschwarzach: Studien des Gregorianischen Chorals, n.d.Google Scholar
MPG 4, 1 Die Handschrift St. Gallen Stiftsbibliothek 390 Antiphonarium Hartkeri. Monumenta Palaeographica Gregoriana, 4, 1. Münsterschwarzach: Studien des Gregorianischen Chorals, n.d.Google Scholar
MPG 4, 2 Die Handschrift St. Gallen Stiftsbibliothek 391 Antiphonarium Hartkeri. Monumenta Palaeographica Gregoriana, 4, 2. Münsterschwarzach: Studien des Gregorianischen Chorals, n.d.Google Scholar
Mudarra, Alonso. Tres libros de musica en cifra para vihuela. Seville: Juan de León, 1546 (facsimile ed. James Tyler [Monaco: Éditions Chanterelle, 1980]; reproduced at http://bdh-rd.bne.es/viewer.vm?id=0000108275&page=1).Google Scholar
Mudarra, Alonso. Tres libros de musica en cifra para vihuela (Sevilla, 1546), ed. Pujol, Emilio. Monumentos de la Música Española, 7. Barcelona: Consejo Superior de Investigaciones Científicas, 1949.Google Scholar
Newsidler, Hans. Ein newgeordent küntslich Lautenbuch. Nürnberg: Johannes Petreius, 1536 (facsimile ed. Peter Päffgen, 2 vols., Institutio pro arte testudinis, ser. A, 1 and 3 [Neuss: Junghänel-Päffgen-Schäffer, 1974–76]; and in Faksimile-Edition Laute, 6 [Stuttgart: Cornetto, 2004]; reproduced at https://bit.ly/3i2zJgK; and at https://bit.ly/33hjUib). English translation of preface, Marc Southard and Suzana Cooper, trans., “A Translation of Hans Newsidler’s Ein newgeordent kunstlich Lautenbuch… (1536),” Journal of the Lute Society of America 11 (1978): 5–25.Google Scholar
PalMus 8 Antiphonarium tonale missarum XI siècle: Codex H. 159 de la Bibliothèque de l’École de Médecine de Montpellier. Paléographie Musicale, 8. Tournai: Desclée, Lefebvre et Cie, 1901–5; repr. Bern, 1972.Google Scholar
PalMus 10 Antiphonale missarum sancti Gregorii IXe–Xe siècle: Codex 239 de la Bibliothèque de Laon. Paléographie Musicale, 10. Tournai: Desclée, 1909–12; repr. Bern, 1971.Google Scholar
PalMus 11 Antiphonale missarum sancti Gregorii (Xe siècle): Codex 47 de la Bibliothèque de Chartres. Paléographie Musicale, 11. Tournai: Desclée, 1912–21; repr. Bern, 1972.Google Scholar
PalMus ser. 2, 1 Antiphonale officii monastici écrit par le B. Hartker: No 390–391 de la Bibliothèque de Saint-Gall. 2nd ed., ed. Froger, Jacques. Paléographie Musicale, ser. 2, 1. Bern: Lang, 1970.Google Scholar
PalMus ser. 2, 2 Cantatorium (IXe siècle): No 359 de la Bibliothèque de Saint-Gall. Paléographie Musicale, ser. 2, 2. Tournai: Société de Saint-Jean l’Évangeliste and Desclée, 1924; repr. Bern, 1968.Google Scholar
Payne, Thomas B., ed. Le Magnus liber organi de Notre-Dame de Paris, 6a: Les organa à deux voix du manuscrit de Wolfenbüttel, Hertzog August Bibliothek, cod. guelf. 1099 Helmst. Les Remparts, Monaco: Éditions de l’Oiseau-Lyre, 1996.Google Scholar
Penderecki, Krzysztof. For the Victims of Hiroshima, Threnody for 52 Stringed Instruments. Kraków: Polskie Wydawnictwo Muzyczne, 1960.Google Scholar
Peri, Jacopo. Le musiche sopra l’Euridice. Florence: G. Marescotti, 1600; repr. in Bibliotheca Musica Bononiensis, sezione 4, 2 (Bologna, 1969); and in Monuments of Music and Music Literature in Facsimile, Second Series, Music, 28 (New York, 1973).Google Scholar
Plumley, Yolanda, and Stone, Anne, eds. Codex Chantilly: Chantilly, Bibliothèque du château de Chantilly, MS 564, facsimilé. 2 vols. Épitome Musical. Turnhout: Brepols, 2008.Google Scholar
Poulenc, Francis. Sonata, Flute and Piano. London: J. and W. Chester, 1958.Google Scholar
Rankin, Susan, ed. The Winchester Troper: Facsimile Edition and Introduction. Early English Church Music, 50. London: Stainer & Bell for the British Academy, 2007.Google Scholar
Reaney, Gilbert, ed. The Manuscript London, British Museum, Additional 29987. Musicological Studies and Documents, 13. N.p.: American Institute of Musicology, 1965.Google Scholar
Roesner, Edward H., ed. Antiphonarium, seu, Magnus liber organi de gradali et antiphonario: Color Microfiche Edition of the Manuscript, Firenze, Biblioteca medicea laurenziana, Pluteus 29.1. Munich: H. Lengenfelder, 1996.Google Scholar
Roesner, Edward H. ed. Le Magnus liber organi de Notre-Dame de Paris, 1: Les quadrupla et tripla de Paris. Les Remparts, Monaco: Éditions de l’Oiseau-Lyre, 1993.Google Scholar
Roesner, Edward H. ed. Le Magnus liber organi de Notre-Dame de Paris, 7: Les organa et les clausules à deux voix du manuscrit de Wolfenbüttel, Herzog August Bibliothek, cod. guelf. 628 Helmst. Les Remparts, Monaco: Éditions de l’Oiseau-Lyre, 2009.Google Scholar
Rokseth, Yvonne, ed. Polyphonies du XIIIe siècle: Le manuscrit H 196 de la Faculté de médecine de Montpellier. 4 vols. Paris: Éditions de l’Oiseau-Lyre, 1935–39.Google Scholar
Rore, Cipriano de. Il primo libro de madrigali a quattro voci. 4 vols. Ferrara: Giovanni de Buglhat et Antonio Hocher, 1550. (1569 edition [Venice: Gardano]; reproduced at https://bit.ly/2PxHmzK).Google Scholar
Rore, Cipriano de Opera omnia. 8 vols., ed. Meier, Bernhard. Corpus Mensurabilis Musicae, 14. N. p.: American Institute of Musicology, 1959–77.Google Scholar
Schönberg, Arnold. Das Buch der hängenden Gärten, Op. 15, in Lieder mit Klavierbegleitung, ed. Rufer, Josef. Arnold Schönberg Sämtliche Werke, riehe A, 1. Mainz and Vienna: B. Schott’s Söhne and Universal Edition, 1966, pp. 113–49.Google Scholar
Schönberg, Arnold. Five Pieces for Orchestra, Opus 16. New York: C. F. Peters, 1952.Google Scholar
Schönberg, Arnold. Fünf Orchesterstücke, Opus 16. Leipzig: C. F. Peters, 1912.Google Scholar
Schumann, Robert. Carnaval, Op. 9. Leipzig: Breitkopf & Härtel, 1837 (reproduced at brahms-institut.de).Google Scholar
Schumann, Robert. Concert für das Pianoforte mit Begleitung des Orchesters. Leipzig: Breitkopf und Härtel, n.d.Google Scholar
Schumann, Robert. Fantasiestücke, Op. 12. Leipzig: Breitkopf & Härtel, 1838 (reproduced at brahms-institut.de).Google Scholar
Schumann, Robert. Humoreske, Op. 20. Vienna: Petro Mechetti quondam Carlo, 1839 (reproduced at brahms-institut.de).Google Scholar
Schumann, Robert. Kinderscenen, Op. 15, in Robert Schumann’s Werke, ed. Schumann, Clara, ser. VII, vol. 3. Leipzig: Breitkopf & Härtel, 1880, pp. 64–73.Google Scholar
Staehelin, Martin, ed. Die mittelalterliche Musikhandschrift, W1: Vollständige Reproduktion des “Notre Dame”-Manuskripts der Herzog August Bibliothek Wolfenbüttel Cod. Guelf. 628 Hemst. Wiesbaden: Harrosowitz, 1995.Google Scholar
Stockhausen, Karlheinz. Nr. 14: Plus Minus. N.p.: Universal Edition, 1963.Google Scholar
Stockhausen, Karlheinz. Nr. 27: Spiral für einen Solisten. Vienna: Universal Edition, 1973.Google Scholar
Strawinsky, Igor. Pétrouchka. Berlin: Édition Russe de Musique, n.d.Google Scholar
Strawinsky, Igor. Variations, Aldous Huxley in Memoriam. London: Boosey & Hawkes, 1965.Google Scholar
Tischler, Hans, ed. The Montpellier Codex. 7 vols. in 4. Recent Researches in the Music of the Middle Ages and Early Renaissance, 2–8. Madison, WI: A-R Editions, 1978.Google Scholar
Tischler, Hans ed. The Parisian Two-Part Organa: The Complete Comparative Edition. 2 vols. Stuyvesant NY: Pendragon Press, 1988.Google Scholar
Usula, Nicola, ed. See Cavalli, Francesco.Google Scholar
Valente, Antonio. Intavolatura de cimbalo recercate fantasie et canzoni francese desminuite con alcuni enori balli et vare sorte de contraponti, libro primo. Naples: Gioseppe Caccio dall’Aquila, 1576 (partially reproduced at https://bit.ly/2DB6frZ).Google Scholar
Valente, Antonio. Intavolatura de cimbalo (Naples 1576), ed. Jacobs, Charles. Oxford: Oxford University Press, 1973.Google Scholar
van der Werf, Hendrik. The Oldest Extant Part Music and the Origin of Western Polyphony. 2 vols. Rochester NY: The author, 1993.Google Scholar
Wallner, Bertha Antonia, ed. Das Buxheimer Orgelbuch: Handschrift mus. 3725 der Bayerischen Staatsbibliothek, München. Documenta Musicologica, ser. 2: Handschriften-Faksimiles, 1. Kassel: Bärenreiter, 1955.Google Scholar
Wallner, Bertha Antonia ed. Das Buxheimer Orgelbuch. 3 vols. Das Erbe Deutscher Music, 37–39. Kassel: Bärenreiter, 1958–59.Google Scholar
Wooldridge, H. E., and Hughes, H. E., eds. Early English Harmony from the 10th to the 15th Century. 2 vols. London: Bernard Quaritch and the Plainsong and Mediaeval Music Society, 1897–1913; repr. New York, 1976.Google Scholar
Agricola, Mart. Musica instrumentalis deudsch. Wittemberg: Georg Rhau, 1529; repr. ed. Rob. Eitner, Publikation Älterer Praktischer und Theoretischer Musik-Werke, 20 (Leipzig: Breitkopf & Härtel, 1896). English translation: The ‘Musica instrumentalis deudsch’ of Martin Agricola: A Treatise on Musical Instruments, 1529 and 1545, trans. William E. Hettrick, Cambridge Musical Texts and Monographs (Cambridge: Cambridge University Press, 1994).Google Scholar
Magnus, Albertus. De causis proprietatum elementorum, ed. Hossfeld, Paul. Alberti Magni Opera Omnia, 5, 2. Aschendorf: Monasterii Westfalorum, 1980, pp. 47–104. English translation: On the Causes of the Properties of the Elements = (Liber de causis proprietatum elementorum), trans. Irwen M. Resnick (Milwaukee: Marquette University Press, 2010).Google Scholar
Alexander, de Villa-Dei. Das Doctrinale des Alexander de Villa-Dei: Kritisch-exegetische Ausgabe, ed. Reichling, Dietrich. Monumenta Germaniae Paedagogica, 12. Berlin: A. Hofmann & Comp., 1893.Google Scholar
Anonymous of St. Emmeram. De musica mensurata, ed. and trans. Jeremy Yudkin. Music: Scholarship and Performance. Bloomington and Indianapolis: Indiana University Press, 1990.Google Scholar
Antico, Andrea. Frottole intabulate da sonare organi, ed. Sterzinger, Peter. Musicale, Diletto, 891. Vienna: Doblinger, 1987.Google Scholar
Apel, Willi. The Notation of Polyphonic Music 900–1600. 5th ed. Medieval Academy of America Publications, 38. Cambridge, MA: Medieval Academy of America, 1961.Google Scholar
Apel, Willi. “The Partial Signatures in the Sources up to 1450.” Acta Musicologica 10 (1938): 1–13.Google Scholar
Aribo, . De musica, ed. Waesberghe, Jos. Smits van. de Musica, Corpus Scriptorum, 2. Rome: American Institute of Musicology, 1951.Google Scholar
Arlt, Wulf. “A propos de la notation ‘paléofranque’: Observations spécifiques et generales extraites de mon carnet d’atelier,” in Actes du Colloque de Royaumont, ed. Colette and Massip, pp. 51–72.Google Scholar
Arnold, Denis. Giovanni Gabrieli and the Music of the Venetian High Renaissance. London: Oxford University Press, 1979.Google Scholar
Arnold, F. T. The Art of Accompaniment from a Thorough-Bass as Practised in the 17th and 18th Centuries. London: Oxford University Press, 1931; repr. London, 1961.Google Scholar
Atkinson, Charles M. “The Anonymous Vaticanus in speculo,” in Actes du Colloque d’Auxerre, ed. Aubert and Rankin, pp. 29–56.Google Scholar
Atkinson, Charles M. The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music. AMS Studies in Music. New York: Oxford University Press, 2009.Google Scholar
Atkinson, Charles M. “De Accentibus Toni Oritur Nota Quae Dicitur Neuma: Prosodic Accents, the Accent Theory, and the Paleofrankish Script,” in Essays on Medieval Music in Honor of David G. Hughes, ed. Boone, Graeme M.. Isham Library Papers, 4. Cambridge MA: Harvard University Press, 1995, pp. 17–42.Google Scholar
Atkinson, Charles M. “Franco of Cologne on the Rhythm of Organum Purum.” Early Music History 9 (1990): 1–26.Google Scholar
Atkinson, Charles M.“Glosses on Music and Grammar and the Advent of Music Writing in the West,” in Western Plainchant in the First Millennium, ed. Gallagher et al., pp. 199–215.Google Scholar
Aubert, Eduardo Henrik, and Rankin, Susan, eds. Actes du Colloque d’Auxerre: Notarum figura: L’écriture musicale et le monde des signes au 9e siècle Auxerre, Centre d’études médiévales, 17–18 juin 2011 = Études Grégoriennes 40 (2013).Google Scholar
Augustine of Hippo. De musica, ed. and trans. Maria Bettetini. Testi a Fronte, 55. Milan: Rusconi, 1997. English translation: On Music, trans. Robert Catesby Taliaferro, The Fathers of the Church: Saint Augustine, 4 (Washington: Catholic University of America Press, 1947), pp. 151–379.Google Scholar
Aurelian of Réôme. Musica disciplina, ed. Gushee, Lawrence. Corpus Scriptorum de Musica, 21. N.p.: American Institute of Musicology, 1975. English translation: The Discipline of Music (Musica Disciplina), trans. Joseph Ponte, Colorado College Music Press Translations, 3 (Colorado Springs: Colorado College Music Press, 1968).Google Scholar
Babb, Warren, trans. Hucbald, Guido, and John on Music: Three Medieval Treatises, ed. Palisca, Claude V.. Music Theory Translation Series, 3. New Haven: Yale University Press, 1978.Google Scholar
Bach, Johann Sebastian. Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts, Leipzig, 1738, ed. and trans. Pamela L. Poulin. Early Music Series, 16. Oxford: Oxford University Press, 1994.Google Scholar
Bailey, Derek. Improvisation: Its Nature and Practice in Music. London: The British Library National Sound Archive, 1992.Google Scholar
Bain, Jennifer. “‘Messy Structure’? Multiple Tonal Centers in the Music of Machaut.” Music Theory Spectrum 20 (2008): 195–237.Google Scholar
Bain, Jennifer. “Tonal Structure and the Melodic Role of Chromatic Inflections in the Music of Machaut.” Plainsong & Medieval Music 14 (2005): 59–88.Google Scholar
Baltzer, Rebecca A. “How Long was Notre-Dame Organum Performed?” in Beyond the Moon, ed. Gillingham and Merkley, pp. 118–43.Google Scholar
Baltzer, Rebecca A.“The Decoration of Montpellier 8: Its Place in the Continuum of Parisian Manuscript Illumination,” in The Montpellier Codex, ed. Bradley and Desmond, pp. 78–89.Google Scholar
Bank, J. A. Tactus, Tempo and Notation in Mensural Music from the 13th to the 17th Century. Amsterdam: Annie Bank, 1972.Google Scholar
Barker, Andrew. Scientific Method in Ptolemy’s ‘Harmonics’. Cambridge: Cambridge University Press, 2000.Google Scholar
Baroffio, Giacomo. “Music Writing Styles in Medieval Italy,” trans. Giovanni Varelli, in The Calligraphy of Medieval Music, ed. Haines, pp. 101–24.Google Scholar
Anglicus, Bartholomaeus. De genuinis rerum coelestium, terrestrium et inferarum proprietatibus. Frankfurt: Wolfgang Richertum, 1601; repr. Frankfurt am Main, 1964.Google Scholar
Anglicus, Bartholomaeus De proprietatibus rerum, ed. Meier, Christel, Meyer, Heinz, Van den Abeele, Baudouin and Ventura, Iolanda. Vol. 1. De Diversis Artibus, 78 (n.s. 41). Turnhout: Brepols, 2007.Google Scholar
Bean, Kenneth L. “An Experimental Approach to the Reading of Music.” Psychological Monographs 50 no. 6 (1938): 1–80.Google Scholar
Bent, Margaret. Magister Jacobus de Ispania, Author of the Speculum musicae. Royal Musical Association Monographs, 28. Farnham: Ashgate, 2015.Google Scholar
Berger, Anna Maria Busse. Medieval Music and the Art of Memory. Berkeley, Los Angeles and London: University of California Press, 2005.Google Scholar
Berger, Anna Maria Busse Mensuration and Proportion Signs: Origins and Evolution. Oxford Monographs on Music. Oxford: Oxford University Press, 1993.Google Scholar
Berger, Christian. Hexachord, Mensur und Textstruktur: Studien zum französischen Lied des 14. Jahrhunderts. Beihefte zum Archiv für Musikwissenschaft, 35. Stuttgart: Franz Steiner, 1992.Google Scholar
Berger, Karol. “Musica ficta”: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. Cambridge: Cambridge University Press, 1987.Google Scholar
Bernard, Jonathan W. “The Evolution of Elliott Carter’s Rhythmic Practice.” Perspectives of New Music 26 no. 2 (Summer, 1988): 164–203.Google Scholar
Bernard, Philippe. Du chant romain au chant grégorien (IVe–XIIIe siècle). Patrimoines Christianisme. Paris: Éditions du Cerf, 1996.Google Scholar
Bernhard, Michael. “Die Überlieferung der Neumennamen im lateinischen Mittelalter,” in Quellen und Studien zur Musiktheorie des Mittelalters, 2, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, 13. Munich: Verlag der Bayerische Akademie der Wissenschaften, 1997, pp. 13–91.Google Scholar
Betteray, Dirk van. Quomodo cantabimus canticum Domini in terra aliena: Liqueszenzen als Schlüssel zur Textinterpretation, eine semiologische Untersuchung an Sankt Galler Quellen. Studien und Materialien zur Musikwissenschaft, 45. Hildesheim: Georg Olms, 2007.Google Scholar
Białkowski, Mariusz. “Alcune osservazioni sulla notazione sangallese nei contesti liquescenti e melodicamente unisonici.” Beiträge zur Gregorianik 59–60 (2015): 111–21.Google Scholar
Bielitz, Mathias. Zum Bezeichneten der Neumen, insbesondere der Liqueszenz: Ein Hypothesenansatz zum Verhältnis von Musik und Sprache, zur diatonischen Rationalität, zur Bewegungs- und Raum-Analogie, zur Enstehung der Neumenschrift und zur Rezeption des Gregorianischen Chorals in Benevent. Neckargemünd: Männeles Verlag, 1998.Google Scholar
Billecocq, Marie-Claire. “Lettres ajoutées à la notation neumatique du codex 239 de Laon.” Études Grégoriennes 17 (1978): 7–144.Google Scholar
Bischoff, Bernhard. Paläographie des römischen Altertums und des abendländischen Mittelalters. Grundlagen der Germanistik, 24. Berlin: Erich Schmidt Verlag, 1979.Google Scholar
Blackburn, Bonnie J. “The Lascivious Career of B-Flat,” in Eroticism in Early Modern Music, ed. Blackburn, Bonnie J. and Stras, Laurie. Farnham: Ashgate, 2015, pp. 19–42.Google Scholar
Boethius, Anicius Manlius Severinus. De institutione musica, ed. Friedlein, Gottfried, in De institutione arithmetica libri duo, De institutione musica libri quinque, accedit Geometria quae fertur Boetii. Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana. Leipzig: Teubner, 1867; repr. Frankfurt am Main, 1966, pp. 175–371. English translation: Fundamentals of Music, trans. Calvin M. Bower, ed. Claude V. Palisca, Music Theory Translation Series (New Haven: Yale University Press, 1989).Google Scholar
Bohlman, Philip V. “Musicology as a Political Act.” Journal of Musicology 11 (1993): 411–36.Google Scholar
Bonderup, Jens. The Saint Martial Polyphony–Texture and Tonality: A Contribution to Research in the Development of Polyphonic Style in the Middle Ages, trans. Stephanie Olsen and Jean McVeigh. Studier og publikationer fra Musikvidenskabeligt Institut Aarhus Universitet, 4. Copenhagen: Dan Fog Musikforlag, 1982.Google Scholar
Boorman, Stanley. Ottaviano Petrucci: Catalogue Raisonné. Oxford: Oxford University Press, 2006.Google Scholar
Boretz, Benjamin, and Cone, Edward T., eds. Perspectives on Notation and Performance. Perspectives of New Music. New York: W. W. Norton, 1976.Google Scholar
Boulez, Pierre. “L’écriture du musicien: Le regard du sourd?” Critique 36 (1981): 443–64; repr. Pierre Boulez, Jalons (pour une décennie): Dix ans d’enseignement au Collège de France (1978–1988), ed. Jean-Jacques Nattiez, Musique/Passé/Présent (n.p.: Christian Bourgois, 1989), pp. 293–315; and Pierre Boulez, Points de repère, 2: Regards sur autrui, ed. Jean-Jacques Nattiez and Sophie Galaise, Musique/Passé/Présent (n.p.: Christian Bourgois, 2005), pp. 268–92.Google Scholar
Bradley, Catherine A., and Desmond, Karen, eds. The Montpellier Codex, the Final Fascicle: Contents, Contexts, Chronologies. Studies in Medieval and Renaissance Music. Woodbridge: The Boydell Press, 2018.Google Scholar
Bragard, Roger. “Le Speculum musicae du compilateur Jacques de Liège.” Musica Disciplina 7 (1953): 59–105; ibid. 8 (1954): 1–17.Google Scholar
Brinkmann, Reinhold, ed., Improvisation und neue Musik. Veröffentlichungen des Instituts für Neue Musik und Musikerziehung, 20. Mainz: B. Schott’s Söhne, 1979.Google Scholar
Brodsky, Warren, Henik, Avishai, Bat-Sheva Rubinstein and Moshe Zorman. “Auditory Imagery from Musical Notation in Expert Musicians.” Perception & Psychophysics 65 (2003): 602–12.Google Scholar
Brodsky, Warren, Kessler, Yoav, Rubinstein, Bat-Sheva, Ginsborg, Jane and Henik, Avishai. “The Mental Representation of Music Notation: Notational Audiation.” Journal of Experimental Psychology: Human Perception and Performance 34 (2008): 427–45.Google Scholar
Brothers, Thomas. Chromatic Beauty in the Late Medieval Chanson: An Interpretation of Manuscript Accidentals. Cambridge: Cambridge University Press, 1997.Google Scholar
Brown, Earle. “Notation und Ausführung neuer Musik.” Darmstadter Beiträge zur neuen Musik 9 (1965): 64–86.Google Scholar
Bukofzer, Manfred F. Studies in Medieval and Renaissance Music. New York: W. W. Norton, 1950.Google Scholar
Byo, James L. “Effects of Barlines, Pitch, and Meter on Musicians’ Rhythmn [sic] Reading Performance.” Journal of Band Research 27 (1991–92): 34–44.Google Scholar
Cahn, Peter, and Heimer, Ann-Katrin, eds. De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper. Helmut Hucke zum 60. Geburtstag. Musikwissenschaftliche Publikationen, Hochschule für Darstellende Kunst, 2. Hildesheim: Georg Olms Verlag, 1993.Google Scholar
Campagne, Augusta. Simone Verovio: Music Printing, Intabulations and Basso Continuo in Rome around 1600. Wiener Veröffentlichungen zur Musikgeschichte, 13. Vienna: Böhlau Verlag, 2018.Google Scholar
CANTUS. An Aquitanian Antiphoner: Toledo, Biblioteca capitular, 44.2. Wissenschaftliche Abhandlungen, 55, no. 1. Ottawa: Institute of Mediaeval Music, 1992.Google Scholar
Caplin, William E. “Theories of Musical Rhythm in the Eighteenth and Nineteenth Centuries,” in The Cambridge History of Western Music Theory, ed. Christensen, pp. 657–94.Google Scholar
Cardine, Eugène. Semiologia gregoriana. Rome: Pontificio Istituto di Musica Sacra, 1968. English translation: Gregorian Semiology, trans. Robert M. Fowels (Solesmes: Abbaye Saint Pierre de Solesmes, 1983).Google Scholar
Carter, Elliott. “Music and the Time Screen,” in Current Thought in Musicology, ed. Grubbs, John W.. Symposia in the Arts and the Humanities, 4. Austin: University of Texas Press, 1976, pp. 63–88; repr. in Elliott Carter, The Writings of Elliott Carter: An American Composer Looks at Modern Music, ed. Else Stone and Kurt Stone (Bloomington: Indiana University Press, 1977), pp. 343–67.Google Scholar
Carter, Elliott. “The Time Dimension in Music.” Music Journal 23 no. 8 (November 1965): 29–30; repr. in Elliott Carter, The Writings of Elliott Carter: An American Composer Looks at Modern Music, ed. Else Stone and Kurt Stone (Bloomington: Indiana University Press, 1977), pp. 243–47.Google Scholar
Caskel, Christoph. “Notation für Schlagzeug.” Darmstadter Beiträge zur neuen Musik 9 (1965): 110–16.Google Scholar
Charteris, Richard. Giovanni Gabrieli (ca. 1555–1612): A Thematic Catalogue of His Music with a Guide to the Source Materials and Translations of His Vocal Texts. Thematic Catalogues, 20. Stuyvesant, NY: Pendragon Press, 1996.Google Scholar
Chartier, Yves. “Hucbald de Saint-Amand et la notation musicale,” in Musicologie médiévale, ed. Huglo, pp. 145–55.Google Scholar
Charru, Philippe. “Temps et musique dans la pensée d’Augustin.” Revue d’Études Augustiniennes et Patristiques 55 (2009): 171–88.Google Scholar
Christensen, Thomas, ed. The Cambridge History of Western Music Theory. Cambridge History of Music. Cambridge: Cambridge University Press, 2002.Google Scholar
Claussen, M. A. The Reform of the Frankish Church: Chrodegang of Metz and the Regula canonicorum in the Eighth Century. Cambridge Studies in Medieval Life and Thought, ser. 4, 61. Cambridge: Cambridge University Press, 2004.Google Scholar
Coelho, Victor. The Manuscript Sources of Seventeenth-Century Italian Lute Music. New York: Garland Publishing, 1995.Google Scholar
Coelho, Victor Anand, ed. Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation. Cambridge Studies in Performance Practice. Cambridge: Cambridge University Press, 1997.Google Scholar
Coelho, Victor, and Polk, Keith. Instrumentalists and Renaissance Culture, 1420–1600. Cambridge: Cambridge University Press, 2016.Google Scholar
Cole, Hugo. Sounds and Signs: Aspects of Musical Notation. London: Oxford University Press, 1974.Google Scholar
Colette, Marie-Noël, and Massip, Catherine, eds. Actes du Colloque de Royaumont: Manuscrits notés en neumes en Occident Abbaye de Royaumont 29–31 octobre 2010 = Études Grégoriennes 39 (2012).Google Scholar
Collamore, Lila Diane. “Aquitanian Collections of Office Chants: A Comparative Survey.” Ph.D. diss., Catholic University of America, 2000.Google Scholar
Collins, Michael. “The Performance of Triplets in the 17th and 18th Centuries.” Journal of the American Musicological Society 19 (1966): 281–328.Google Scholar
Commentarius anonymus in Micrologum Guidonis Aretini, in Expositiones in Micrologum Guidonis Aretini, ed. Waesberghe, Jos. Smits van. Musicologica Medii Aevi, 1. Amsterdam: North-Holland Publishing Company, 1957, pp. 95–172.Google Scholar
Compendium musicae mensurabilis artis antiquae, ed. Alberto Gallo, F, de Musica, Corpus Scriptorum, 15. N.p.: American Institute of Musicology, 1971, pp. 59–73.Google Scholar
Corbin, Solange. Die Neumen. Palaeographie der Musik 1, fasc. 3. Cologne: Arno Volk-Verlag, Hans Gerig KG, 1977.Google Scholar
Coussemaker, Edmond de, ed. Scriptorum de musica medii aevi. 4 vols. Paris: A. Durand, 1864–76; repr. Hildesheim, 1963.Google Scholar
Cowell, Henry. “Our Inadequate Notation.” Modern Music 4 no. 3 (March–April 1927): 29–33.Google Scholar
Craft, Robert. “‘Dear Bob[sky]’ (Stravinsky’s Letters to Robert Craft, 1944–1949).” The Musical Quarterly 65 (1979): 392–439.Google Scholar
Crocker, Richard. “Two Recent Editions of Aquitanian Polyphony.” Plainsong & Medieval Music 3 (1994): 57–101.Google Scholar
Cullin, Olivier. “Notations in Carthusian Liturgical Books: Preliminary Remarks,” in The Calligraphy of Medieval Music, ed. Haines, pp. 175–94.Google Scholar
Curran, Sean. “A Palaeographical Analysis of the Verbal Text in Montpellier 8: Problems, Implications, Opportunities,” in The Montpellier Codex, ed. Bradley and Desmond, pp. 32–65.Google Scholar
Dahlhaus, Carl. “Notenschrift heute.” Darmstadter Beiträge zur neuen Musik 9 (1965): 9–34.Google Scholar
Dahlhaus, Carl. “Die Tactus- und Proportionenlehre des 15. bis 17. Jahrhunderts,” in Geschichte der Musiktheorie, 6: Hören, Messen und Rechnen in der frühen Neuzeit, ed. Zaminer, Frieder. Darmstadt: Wissenschaftliche Buchgesellschaft, 1987, pp. 335–61.Google Scholar
Dahlhaus, Carl. “Zur Geschichte der Synkope.” Die Musikforschung 12 (1959): 385–91.Google Scholar
Dal Maso, Vania. Teoria e pratica della musica italiana del rinascimento. Lucca: Libreria Musicale Italiana, 2017.Google Scholar
Danckwardt, Marianne. “Zur Notierung, klanglichen Anlage und Rhythmisierung der Mehrstimmigkeit in den Saint-Martial-Handschriften.” Kirchenmusikalisches Jahrbuch 68 (1984): 31–88.Google Scholar
Davis, Lisa Fagin. The Gottschalk Antiphonary: Music and Liturgy in Twelfth-Century Lambach. Cambridge Studies in Palaeography and Codicology, 8. Cambridge: Cambridge University Press, 2000.Google Scholar
Debrock, Mark, and Mannaerts, Pieter. “Liquescence et force articulatoire: Une approche phonétique du chant grégorien.” Études Grégoriennes 45 (2018): 71–106.Google Scholar
Desmond, Karen. “Did Vitry Write an Ars vetus et nova?” Journal of Musicology 32 (2015): 441–93.Google Scholar
Desmond, Karen. Music and the moderni, 1300–1350: The ars nova in Theory and Practice. Cambridge: Cambridge University Press, 2018.Google Scholar
Desmond, Karen. “Texts in Play: The Ars nova and Its Hypertexts.” Musica Disciplina 57 (2012): 81–153.Google Scholar
Dorfmüller, Kurt. Studien zur Lautenmusik in der ersten Hälfte des 16. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte, 11. Tutzing: Hans Schneider, 1967.Google Scholar
Dorfmüller, Kurt.“La tablature de luth allemande et les problèmes d’édition,” in Le luth et sa musique, ed. Jacquot, pp. 245–57.Google Scholar
Drai-Zerbib, Véronique, and Baccino, Thierry. “L’expertise dans la lecture musicale: Intégration intermodale.” L’année psychologique 105 (2005): 387–422.Google Scholar
Drai-Zerbib, Véronique, Baccino, Thierry and Bigand, Emmanuel. “Sight-Reading Expertise: Cross-Modality Integration Investigated Using Eye Tracking.” Psychology of Music 40 (2012): 216–35.Google Scholar
Dry, François. “Instructions allemandes pour le luth et instructions espagnoles pour la vihuela: Esquisse d’une comparaison,” in “… La musique, de tous les passetemps le plus beau …”: Hommage à Jean-Michel Vaccaro, ed. Lesure, François and Vanhulst, Henri. Domaine Musicologique, 19. N.p.: Klincksieck, 1998, pp. 109–19.Google Scholar
Duchez, Marie-Elisabeth. “Des neumes à la portée: Élaboration et organisation rationnelles de la discontinuité musicale et de sa représentation graphique, et la formule mélodique à l’échelle monocordale.” Canadian University Music Review 4 (1983): 22–65.Google Scholar
Duchez, Marie-Elisabeth. “La representation spatio-verticale du caractère musical grave-aigu et l’élaboration de la notion de hauteur de son dans la conscience musicale occidentale.” Acta Musicologica 51 (1979): 54–73.Google Scholar
Dufourt, Hugues. “L’artifice de l’écriture dans la musique occidentale.” Critique 37, no. 408 (May 1981): 465–77; repr. in Hugues Dufourt, Musique, pouvoir, écriture, Musique/Passé/Présent (n.p.: Christian Bourgois, 1991), pp. 177–89; and ibid., Collection Musique & Philosophie (n.p.: Éditions Delatour France, 2014), pp. 209–23.Google Scholar
Duhamel, Pascale. “L’enseignement de la musique à l’Université de Paris d’après le manuscrit BnF lat.7378A.” Acta Musicologica 79 (2007): 263–89.Google Scholar
Dunford, Dawn. “Optometry and Music: A Review of the Literature.” Journal of Optometric Vision Development 31 no. 2 (Summer 2000): 76–82.Google Scholar
Earp, Lawrence. Guillaume de Machaut: A Guide to Research. Garland Composer Resource Manuals, 36. New York: Garland, 1995.Google Scholar
Earp, Lawrence. “Machaut’s Role in the Production of Manuscripts of His Works.” Journal of the American Musicological Society 42 (1989): 461–503.Google Scholar
Emerson, John A. Albi, Bibliothèque Municipale Rochegude, Manuscript 44: A Complete Ninth-Century Gradual and Antiphoner from Southern France, ed. Collamore, Lila. Wissenschaftliche Abhandlungen, 77. Ottawa: Institute of Mediaeval Music, 2002.Google Scholar
Eppelsheim, Jürgen. “Buchstaben-Notation, Tabulatur und Klaviatur.” Archiv für Musikwissenschaft 31 (1974): 57–72.Google Scholar
Everist, Mark. “From Paris to St. Andrews: The Origins of W1.” Journal of the American Musicological Society 43 (1990): 1–42.Google Scholar
Everist, Mark.“Montpellier 8: Anatomy of…,” in The Montpellier Codex, ed. Bradley and Desmond, pp. 13–31.Google Scholar
Everist, Mark. “The Polyphonic Rondeau c. 1300: Repertory and Context.” Early Music History 15 (1996): 59–96.Google Scholar
Fabris, Dinko. “Lute Tablature Instructions in Italy: A Survey of the Regole from 1507 to 1759,” trans. Paul Beier, in Performance on Lute, Guitar, and Vihuela, ed. Coelho, pp. 16–46.Google Scholar
Feisst, Sabine. Der Begriff “Improvisation” in der neuen Musik. Berliner Musik Studien, 14. Sinzig: Studio, 1997.Google Scholar
Feisst, Sabine. “Negotiating Freedom and Control in Composition: Improvisation and Its Offshoots 1950–1980,” in The Oxford Handbook of Critical Improvisation Studies, ed. Piekut, Benjamin and Lewis, George E.. 2 vols. New York: Oxford University Press, 2016, 2:206–29.Google Scholar
Fellin, Eugene C. “The Notation Types of Trecento Music,” in L’ars nova italiana del trecento, 4, ed. Ziino, Agostino. Certaldo: Centro di studi sull’Ars Nova Italiana del Trecento, 1978, pp. 211–23.Google Scholar
Fenlon, Iain. Music, Print and Culture in Early Sixteenth-Century Italy. Panizzi Lectures, 1994. London: British Library, 1994.Google Scholar
Ferretti, Bernardino. “Molti dialetti, un’unica lingua.” Studi Gregoriani 11 (1995): 155–88.Google Scholar
Ferretti, Bernardino. Una notazione neumatica della Francia del nord: Saggio critico sulla notazione paleofranca. Novalesa: Comunità Benedettina dei SS. Pietro e Andrea, 2003.Google Scholar
Fine, Philip, Anna Berry and Burton Rosner. “The Effect of Pattern Recognition and Tonal Predictability on Sight-Singing Ability.” Psychology of Music 34 (2006): 431–47.Google Scholar
Fischer, Kurt von. Studien zur italienischen Musik des Trecento und frühen Quattrocento. Publikationen der Schweizerischen Musikforschenden Gesellschaft, ser. 2, 5. Bern: Verlag Paul Haupt, 1956.Google Scholar
Fischer, Kurt von “Zur Entwicklung der italienischen Trecento-Notation.” Archiv für Musikwissenschaft 16 (1959): 87–99.Google Scholar
Fischer, Rupert. “Chartres, Bibliothèque Municipale, cod. 47.” Beiträge zur Gregorianik 28 (1999): 73–89.Google Scholar
Fischer, Rupert. “Einführung in Handschriften des Gregorianischen Chorals, I: St. Gallen, Stiftsbibliothek, Codex 359: Das Cantatorium von St. Gallen.” Beiträge zur Gregorianik 19 (1995): 61–70.Google Scholar
Fischer, Rupert. “Epiphonus oder Cephalicus?” Beiträge zur Gregorianik 8 (1989): 5–28.Google Scholar
Fischer, Rupert. “Laon, Bibl. de la ville, 239.” Beiträge zur Gregorianik 21 (1996): 75–91.Google Scholar
Floros, Constantin. Universale Neumenkunde. 3 vols. Kassel: Bärenreiter-Antiquariat, 1970.Google Scholar
Flotzinger, Rudolf. “Johannes de Garlandia und Anonymus IV: Zu ihrem Umfeld, ihren Persönlichkeiten und Traktaten,” in Gedenkschrift für Walter Pass, ed. Czernin, Martin. Tutzing: Hans Schneider, 2002, pp. 81–98.Google Scholar
Flotzinger, Rudolf. “Zur Frage der Modalrhythmik als Antike-Rezeption.” Archiv für Musikwissenschaft 29 (1972): 203–8.Google Scholar
Formarier, Marie. Entre rhétorique et musique: Essai sur le rythme latin antique et médiéval. Latinitates, 9. Turnhout: Brepols, 2014.Google Scholar
Fox, Christopher. “Opening Offer or Contractual Obligation? On the Prescriptive Function of Notation in Music Today.” Tempo 68 no. 269 (July 2014): 6–19.Google Scholar
Franco of Cologne. Ars cantus mensurabilis, ed. and trans. Jean-Philippe Navarre. AMICVS, Moyen Age, 1. Paris: Cerf, 1997.Google Scholar
Franco of Cologne Ars cantus mensurabilis, ed. Reaney, Gilbert and Gilles, André. Musica, Corpus Scriptorum de, 18. N.p.: American Institute of Musicology, 1974. English translation: “Ars cantus mensurabilis,” trans. Oliver Strunk, rev. James McKinnon, in Source Readings in Music History, ed. Strunk., rev. ed., ed. Treitler, pp. 226–45.Google Scholar
Froger, Jacques. “L’épitre de Notker sur les ‘lettres significatives’: Édition critique.” Études Grégoriennes 5 (1962): 23–71.Google Scholar
Frutiger, Adrian. Der Mensch und seine Zeichen. 2 vols. Echzell: Horst Heiderhoff Verlag, 1979.Google Scholar
Fuller, Sarah Ann. “Aquitanian Polyphony of the Eleventh and Twelfth Centuries.” 3 vols. Ph.D. diss., University of California, Berkeley, 1969.Google Scholar
Fuller, Sarah Ann “Defending the Dodecachordon: Ideological Currents in Glarean’s Modal Theory.” Journal of the American Musicological Society 49 (1996): 191–224.Google Scholar
Fuller, Sarah Ann “Hidden Polyphony—A Reappraisal.” Journal of the American Musicological Society 24 (1971): 169–92.Google Scholar
Fuller, Sarah Ann “The Myth of ‘Saint Martial’ Polyphony: A Study of the Sources.” Musica Disciplina 33 (1979): 5–26.Google Scholar
Fuller, Sarah Ann “A Phantom Treatise of the Fourteenth Century? The Ars nova.” Journal of Musicology 4 (1985–86): 23–50.Google Scholar
Gaffurius, Franchinus. Practica musice. Milan: Guillermus le Signerre, 1496; repr. Farnborough, 1967; reproduced at gallica.bnf.fr. English translation: Practica musicae, trans. Clement A. Miller, Musicological Studies and Documents, 20 (n.p.: American Institute of Musicology, 1968).Google Scholar
Gallagher, Sean, Haar, James, Nádas, John and Striplin, Timothy, eds. Western Plainchant in the First Millennium: Studies in the Medieval Liturgy and Its Music. Aldershot: Ashgate, 2003.Google Scholar
Gallo, F. Alberto. “Die Notationslehre im 14. und 15. Jahrhundert,” in Geschichte der Musiktheorie, 5: Die mittelalterliche Lehre von der Mehrstimmigkeit, ed. Zaminer, Frieder. Darmstadt: Wissenschaftliche Buchgesellschaft, 1984, pp. 257–356.Google Scholar
Gallo, F. Alberto. La teoria della notazione in Italia dalla fine del XII all’inizio del XV secolo. Antiquae Musicae Italicae, Subsidia Theorica. Bologna: Tamari Editori, 1966.Google Scholar
Garlandia, Johannes de. De mensurabili musica, ed. Reimer, Erich. 2 vols. Beihefte zum Archiv für Musikwissenschaft, 10–11. Wiesbaden: Franz Steiner, 1972. English translation: Concerning Measured Music (De Mensurabili Musica), trans. Stanley H. Birnbaum, Colorado College Music Press Translations, 9 (Colorado Springs: Colorado College Music Press, 1978).Google Scholar
Gasparini, Francesco. L’armonico pratico al cimbalo. Venice: Antonio Bortoli, 1708; repr. in Monuments of Music and Music Literature in Facsimile, Second Series, Music Literature, 14 (New York: Broude Bros., 1967). English translation: The Practical Harmonist at the Harpsichord, trans. Frank S. Stillings, ed. David L. Burrows, Music Theory Translation Series, 1 (New Haven: Yale University Press, 1963; repr. New York 1980).Google Scholar
Gillingham, Bryan. Modal Rhythm. Wissenschaftliche Abhandlungen, 46. Ottawa: Institute of Mediaeval Music, 1986.Google Scholar
Gillingham, Bryan. “Saint-Martial Polyphony: A Catalogue Raisonné,” in Gordon Athol Anderson (1929–1981): In Memoriam. 2 vols. Wissenschaftliche Abhandlungen, 39. Henryville, Ottawa and Binningen: Institute of Mediaeval Music, 1984, 1:211–62.Google Scholar
Gillingham, Bryan, and Merkley, Paul, eds. Beyond the Moon: Festschrift Luther Dittmer. Wissenschaftliche Abhandlungen, 53. Ottawa: Institute of Mediaeval Music, 1990.Google Scholar
Gillman [sic], Elizabeth, Underwood, Geoffrey and Morehen, John. “Recognition of Visually Presented Musical Intervals.” Psychology of Music 30 (2002): 48–57.Google Scholar
Gilman, Elizabeth, and Underwood, Geoffrey. “Restricting the Field of View to Investigate the Perceptual Spans of Pianists.” Visual Cognition 10 (2003): 201–32.Google Scholar
Glareanus, Henricus. Dodecachordon. Basel: n.p., 1547; repr. in Monuments of Music and Music Literature in Facsimile, Second Series, Music Literature, 65 (New York, 1967). English translation by Clement A. Miller, 2 vols., Musicological Studies and Documents, 6 (n.p.: American Institute of Musicology, 1965).Google Scholar
Glover, Jane. “A List of Monteverdi’s Instrumental Specifications,” in Claudio Monteverdi Orfeo, ed. Whenham, John. Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1986, pp. 182–84.Google Scholar
Goldman, Richard F. “Current Chronicle.” The Musical Quarterly (1951): 83–89.Google Scholar
Goolsby, Thomas W. “Eye Movement in Music Reading: Effects of Reading Ability, Notational Complexity, and Encounters.” Music Perception 12 (1994): 77–96.Google Scholar
Goolsby, Thomas W. “Profiles of Processing: Eye Movements during Sightreading.” Music Perception 12 (1994), 97–123.Google Scholar
Gordon, Edwin E. Learning Sequences in Music: A Contemporary Music Learning Theory. Chicago: GIA Publications, 2007.Google Scholar
Grainger, Percy. “The Impress of Personality in Unwritten Music.” The Musical Quarterly 1 (1915): 416–35.Google Scholar
Grant, Roger Mathew. “Epistemologies of Time and Metre in the Long Eighteenth Century.” Eighteenth-Century Music 6 (2009): 59–75.Google Scholar
Grier, James. “Adémar de Chabannes (989–1034) and Musical Literacy.” Journal of the American Musicological Society 66 (2013): 605–38.Google Scholar
Grier, James. “Adémar de Chabannes, Carolingian Musical Practices, and Nota Romana.” Journal of the American Musicological Society 56 (2003): 43–98.Google Scholar
Grier, James. Ademarus Cabanennsis monachus et musicus. Corpus Christianorum, Autographa Medii Aevi, 7. Turnhout: Brepols, 2018.Google Scholar
Grier, James. “Authority of the Composer, Authority of the Editor,” in Nordic Music Editions: Symposium 1–2 September 2005, ed. Krabbe, Niels. Copenhagen: The Royal Library, 2006, pp. 17–29.Google Scholar
Grier, James. The Critical Editing of Music: History, Method, and Practice. Cambridge: Cambridge University Press, 1996.Google Scholar
Grier, James. “The Musical Autographs of Adémar de Chabannes (989–1034).” Early Music History 24 (2005): 125–68.Google Scholar
Grier, James. The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-Century Aquitaine. Cambridge: Cambridge University Press, 2006.Google Scholar
Grier, James. “Scribal Practices in the Aquitanian Versaria of the Twelfth Century: Towards a Typology of Error and Variant.” Journal of the American Musicological Society 45 (1992): 373–427.Google Scholar
Grier, James. “Some Codicological Observations on the Aquitanian Versaria.” Musica Disciplina 44 (1990): 5–56.Google Scholar
Griffiths, John. “‘¿Fantasía o realidad?’ La vihuela en las Obras de Cabezón.” Anuario Musical 69 (2014): 193–213.Google Scholar
Griffiths, John. “La producción de libros de cifra musical en España durante el siglo XVI.” Hispánica Lyra 12 (2010): 10–27.Google Scholar
Griffiths, John.“The Vihuela: Performance Practice, Style, and Context,” in Performance on Lute, Guitar, and Vihuela, ed. Coelho, pp. 158–79.Google Scholar
d’Arezzo, Guido. Epistola ad Michahelem, in Guido d’Arezzo’s Regule rithmice, ed. and trans. Pesce, pp. 437–531.Google Scholar
d’Arezzo, Guido Micrologus, ed. Waesberghe, Jos. Smits van. Corpus Scriptorum de Musica, 4. N.p.: American Institute of Musicology, 1955. English translation in Hucbald, Guido, and John, trans. Babb, pp. 57–83.Google Scholar
d’Arezzo, Guido Prologus in Antiphonarium, ed. Waesberghe, Joseph Smits van. Divitiae Musicae Artis, ser. A, 3. Buren: F. Knuf, 1975. Also in Guido d’Arezzo’s Regule rithmice, ed. and trans. Pesce, pp. 405–35.Google Scholar
d’Arezzo, Guido Regulae rhythmicae, ed. Waesberghe, Joseph Smits van and Vetter, Eduard. Divitiae Musicae Artis, ser. A, 4. Buren: Knuf, 1985. Also in Guido d’Arezzo’s Regule rithmice, ed. and trans. Pesce, pp. 327–403.Google Scholar
Gunter, Thomas C., Schmidt, Björn-Helmer and Besson, Mireille. “Let’s Face the Music: A Behavioral and Electrophysiological Exploration of Score Reading.” Psychophysiology 40 (2003): 742–51.Google Scholar
Günther, Ursula. “Die Mensuralnotation der Ars nova in Theorie und Praxis.” Archiv für Musikwissenschaft 19–20 (1962–63): 9–28.Google Scholar
Gushee, Lawrence. “Jehan des Murs and His Milieu,” in Musik und die Geschichte der Philosophie und Naturwissenschaften im Mittelalter: Fragen zur Wechselwirkung von “Musica” und “Philosophia” im Mittelalter, ed. Hentschel, Frank. Studien und Texte zur Geistesgeschichte des Mittelalters, 62. Leiden: Brill, 1998, pp. 339–71.Google Scholar
Haggh, Barbara, and Huglo, Michel. “Magnus liber—Maius munus: Origine et destinée du manuscrit F.” Revue de Musicologie 90 (2004): 193–230.Google Scholar
Haines, John. “Anonymous IV as an Informant on the Craft of Music Writing.” Journal of Musicology 23 (2006): 375–425.Google Scholar
Haines, John. “From Point to Square: Graphic Change in Medieval Music Script.” Textual Cultures 3 no. 2 (Autumn, 2008): 30–53.Google Scholar
Haines, John. “The Origins of the Musical Staff.” The Musical Quarterly 91 (2008): 327–78.Google Scholar
Haines, John. “Proprietas and Perfectio in Thirteenth-Century Music Theory.” Theoria 15 (2008): 5–29.Google Scholar
Haines, John, ed. The Calligraphy of Medieval Music. Musicalia Medii Aevi, 1. Turnhout: Brepols, 2011.Google Scholar
Halpern, Andrea R., and Bower, Gordon H.. “Musical Expertise and Melodic Structure in Memory for Musical Notation.” American Journal of Psychology 95 (1982): 31–50.Google Scholar
Halporn, James W., Ostwald, Martin and Rosenmeyer, Thomas G.. The Meters of Greek and Latin Poetry, rev. ed. Norman: University of Oklahoma Press, 1980.Google Scholar
Ham, Martin. “A Sense of Proportion: The Performance of Sesquialtera ca. 1515-ca. 1565.” Musica Disciplina 56 (2011): 79–274.Google Scholar
Hamilton, David. “Igor Stravinsky: A Discography of the Composer’s Performances,” in Perspectives on Schoenberg and Stravinsky, rev. ed., ed. Boretz, Benjamin and Cone, Edward T.. New York: W. W. Norton, 1972, pp. 268–84.Google Scholar
Handlo, Robertus de. Regule, ed. and trans. Peter M. Lefferts, in Regule = The Rules, Robertus de Handlo, and Summa = The Summa, Johannes Hanboys. Greek and Latin Music Theory, 7. Lincoln, NE: University of Nebraska Press, 1991, pp. 80–179.Google Scholar
Handschin, Jacques. “Eine alte Neumenschrift.” Acta Musicologica 22 (1950): 69–97; and 25 (1953): 87–88.Google Scholar
Harding, Rosamond E. M. The Metronome and It’s [sic] Precursors. Henley-on-Thames: Gresham Books, 1938.Google Scholar
Haubenstock-Ramati, Roman. “Notation—Material und Form.” Darmstadter Beiträge zur neuen Musik 9 (1965): 51–54.Google Scholar
Haug, Andreas. “Zur Interpretation der Liqueszenzneumen.” Archiv für Musikwissenschaft 50 (1993): 85–100.Google Scholar
Heartz, Daniel. Pierre Attaingnant Royal Printer of Music: A Historical Study and Bibliographical Catalogue. Berkeley and Los Angeles: University of California Press, 1969.Google Scholar
Heartz, Daniel.“Les premières ‘Instructions’ pour le luth (jusque vers 1550),” in Le luth et sa musique, ed. Jacquot, pp. 77–92.Google Scholar
Hebborn, Barbara. Die Dasia-Notation. Orpheus Schriftenreihe zu Grundfragen der Musik, 79. Bonn: Orpheus-Verlag, 1995.Google Scholar
Heinichen, Johann David. Neu erfundene und gründliche Anweisung. Hamburg: Benjamin Schillers, 1711; repr. ed. Wolfgang Horn, Documenta Musicologica, ser. 1: Druckschriften-Faksimiles, 40 (Kassel: Bärenreiter, 2000). English translation by Benedikt Brilmayer and Casey Mongoven, Harmonologia, 17 (Hillsdale NY: Pendragon Press, 2012).Google Scholar
Helsen, Kate. “The Evolution of Neumes into Square Notation in Chant Manuscripts.” Journal of the Alamire Foundation 5 (2013): 143–74.Google Scholar
Hemming, Rudolf. “German Lute Tablature and Conrad Paumann,” trans. Uta Henning. Lute Society Journal 15 (1973): 7–10.Google Scholar
Hen, Yitzhak. The Royal Patronage of Liturgy in Frankish Gaul to the Death of Charles the Bald (877). Henry Bradshaw Society, Subsidia, 3. London: Boydell Press, 2001.Google Scholar
Hentschel, Frank. “The Sensuous Music Aesthetics of the Middle Ages: The Cases of Augustine, Jacques de Liège and Guido of Arezzo.” Plainsong & Medieval Music 20 (2011): 1–29.Google Scholar
Herbst, Johann-Andreas. Musica moderna prattica, ouero maniera del buon canto. Frankfurt: Georg Mullers Verlag, 1658; repr. ed. Florian Grampp, in Deutsche Gesangstraktate des 17. Jahrhunderts, Documenta Musicologica, ser. 1: Druckschriften-Faksimiles, 43 (Kassel: Bärenreiter, 2006).Google Scholar
Hieronymus, de Moravia. Tractatus de musica, ed. Meyer, Christian and Lobrichon, Guy. Corpus Christianorum Continuatio Mediaevalis, 250. Turnhout: Brepols, 2012. English translation of Discantus positio uulgaris: “Discantus positio vulgaris,” in “Two XIII Century Treatises on Modal Rhythm and the Discant: Discantus positio vulgaris, De musica libellus (Anonymous VII),” trans. Janet Knapp, Journal of Music Theory 6 (1962): 200–15 at 203–7. Also trans. James McKinnon, in Source Readings in Music History, ed. Strunk, rev. ed., ed. Treitler, pp. 218–22.Google Scholar
Highben, Zebulon, and Palmer, Caroline. “Effects of Auditory and Motor Mental Practice in Memorized Piano Performance.” Bulletin of the Council for Research in Music Education 159 (Winter 2004): 58–65.Google Scholar
Hiley, David, and Szendrei, Janka. “Notation, §III, 1: History of Western Notation: Plainchant,” in Grove Music Online, www.oxfordmusiconline.com.Google Scholar
Hindemith, Paul. Elementary Training for Musicians, 2nd ed. New York: Schott Music, 1949.Google Scholar
Holschneider, Andreas. Die Organa von Winchester: Studien zum ältesten Repertoire polyphoner Musik. Hildesheim: Georg Olms Verlagsbuchhandlung, 1968.Google Scholar
Hoppin, Richard H. “Conflicting Signatures Reviewed.” Journal of the American Musicological Society 9 (1956): 97–117.Google Scholar
Hoppin, Richard H. “Partial Signatures and Musica Ficta in Some Early 15th-Century Sources.” Journal of the American Musicological Society 6 (1953): 197–215.Google Scholar
Hourlier, J. “Le domaine de la notation messine.” Revue Grégorienne 30 (1951): 96–113, 150–58.Google Scholar
Hucbald of Saint Amand. Musica, ed. Chartier, Yves, in L’oeuvre musicale d’Hucbald de Saint-Amand: Les compositions et le traité de musique. Cahiers d’Études Médiévales, Cahier spécial, 5. Montreal: Bellarmin, 1995, pp. 136–213. English translation in Hucbald, Guido, and John, trans. Babb, pp. 13–44.Google Scholar
Huck, Oliver. “Double Motet Layouts in the Montpellier Codex and Contemporaneous Libri motetorum,” in The Montpellier Codex, ed. Bradley and Desmond, pp. 90–99.Google Scholar
Hucke, Helmut. “Toward a New Historical View of Gregorian Chant.” Journal of the American Musicological Society 33 (1980): 437–67.Google Scholar
Hughes, Andrew. Manuscript Accidentals: Ficta in Focus 1350–1450. Musicological Studies and Documents, 27. N.p.: American Institute of Musicology, 1972.Google Scholar
Hughes, David G. “Evidence for the Traditional View of the Transmission of Gregorian Chant.” Journal of the American Musicological Society 40 (1987): 377–404.Google Scholar
Hughes, David G.“From the Advent Project to the Late Middle Ages: Some Issues of Transmission,” in Western Plainchant in the First Millennium, ed. Gallagher et al., pp. 181–98.Google Scholar
Huglo, Michel. “The Earliest Developments in Square Notation: Twelfth-Century Aquitaine,” trans. Barbara Haggh, in The Calligraphy of Medieval Music, ed. Haines, pp. 163–71.Google Scholar
Huglo, Michel.“Observations codicologiques sur l’antiphonaire de Compiègne (Paris, B.N. lat. 17436),” in De musica et cantu, ed. Cahn and Heimer, pp. 117–30.Google Scholar
Huglo, Michel.“Toward a Scientific Palaeography of Music,” trans. John Haines, in The Calligraphy of Medieval Music, ed. Haines, pp. 13–21.Google Scholar
Huglo, Michel. “La tradition musicale aquitaine: Répertoire et notation,” in Liturgie et musique (IXe – XIVe s.). Cahiers de Fanjeaux, 17. Toulouse: E. Privat, 1982, pp. 253–68.Google Scholar
Huglo, Michel, ed. Musicologie médiévale: Notations et séquences. Paris: Librairie Honoré Champion, 1987.Google Scholar
Huglo, Michel, and Haggh-Huglo, Barbara. “Des lettres de la passion aux lettres significatives notkériennes,” in “Quod ore cantas corde credas”: Studi in onore di Giacomo Baroffio Dahnk, ed. Scappaticci, Leandra. Monumenta Studia Instrumenta Liturgica, 70. Vatican City: Libreria Editrice Vaticana, 2013, pp. 427–36.Google Scholar
“Interview with Stravinsky.” The Observer no. 6788 (3 July 1921): 9.Google Scholar
Jackson, Roland. “Guillaume de Machaut and Dissonance in Fourteenth Century French Music.” Musica Disciplina 53 (2003–8): 7–49.Google Scholar
Jacquot, Jean, ed. Le luth et sa musique: Neuilly-sur-Seine, 10–14 septembre 1957. Le Choeur des Muses. Paris: Éditions du Centre National de la Recherche Scientifique, 1958.Google Scholar
Jacques of Liège. Speculum musicae, ed. Bragard, Roger. 7 vols. in 8. Corpus Scriptorum de Musica, 3. Rome: Institute of Musicology, 1955–73. Partial English translation: “From Speculum musicae,” trans. Oliver Strunk, rev. James McKinnon, in Source Readings in Music History, ed. Strunk., rev. ed., ed. Treitler, pp. 269–78.Google Scholar
Jammers, Ewald. “Die palaeofraenkische Neumenschrift.” Scriptorium 7 (1953): 235–59.Google Scholar
Jammers, Ewald. “Studien zu Neumenschrift, Neumenhandschriften und neumierter Musik.” Bibliothek und Wissenschaft 2 (1965): 85–161.Google Scholar
Jammers, Ewald. Tafeln zur Neumenschrift. Tutzing: H. Schneider, 1965.Google Scholar
Janovka, Tomáš Baltazar. Clavis ad thesaurum magnae artis musicae. Prague: Georgius Labaun, 1701; repr. in Dictionarium Musicum, 2 (Amsterdam: Frits Knuf, 1973). Partial English translation in Lester, Between Modes and Keys, pp. 163–77.Google Scholar
Jean, Georges. Langage de signes: L’écriture et son double. Découvertes Gallimard, Archéologie. N.p.: Gallimard, 1989.Google Scholar
Judd, Cristle Collins. Reading Renaissance Music Theory: Hearing with the Eyes. Cambridge Studies in Music Theory and Analysis, 14. Cambridge: Cambridge University Press, 2000.Google Scholar
Judd, Cristle“Renaissance Modal Theory: Theoretical, Compositional, and Editorial Perspectives,” in The Cambridge History of Western Music Theory, ed. Christensen, pp. 364–406.Google Scholar
Kagel, Mauricio. “Komposition—Notation—Interpretation.” Darmstadter Beiträge zur neuen Musik 9 (1965): 55–63.Google Scholar
Karkoschka, Erhard. Das Schriftbild der neuen Musik: Bestandsaufnahme neuer Notationssymbole, Anleitung zu deren Deutung, Realisation und Kritik. Celle: Moeck, 1966. English translation: Notation in New Music: A Critical Guide to Interpretation and Realisation, trans. Ruth Koenig (New York: Praeger, 1972).Google Scholar
Kirnberger, Joh. Phil. Die Kunst des reinen Satzes in der Musik. 2 vols. in 4. Berlin: C. F. Voss (vol. 1); Berlin and Königsberg: G. J. Decker and G. L. Hartung (vol. 2), 1776–79; repr. ed. Gregor Herzfeld (Kassel, 2004). English translation: The Art of Strict Musical Composition, trans. David Beach and Jurgen Thym, Music Theory Translation Series, 4 (New Haven and London: Yale University Press, 1982).Google Scholar
Klauser, Theodor. “Die liturgischen Austauschbeziehungen zwischen der römischen und der fränkischen Kirche vom achten bis zum elften Jahrhundert.” Historisches Jahrbuch 53 (1933): 169–89.Google Scholar
Klöckner, Stefan. “Cod. H 159 der Bibliothek der Medizinischen Fakultät von Montpellier (Tonar von Saint-Bénigne, Dijon).” Beiträge zur Gregorianik 30 (2000): 77–93.Google Scholar
Koehler, Laurie. Pythagoreisch-platonische Proportionen in Werken der ars nova und ars subtilior. 2 vols. Göttinger Musikwissenschaftliche Arbeiten, 12. Kassel: Bärenreiter, 1990.Google Scholar
Kolisch, Rudolf. Tempo und Charakter in Beethovens Musik, ed. Busch, Regina and Satz, David. Musik-Konzepte, 76/77. Munich: Edition Text + Kritik, 1992. English translation: “Tempo and Character in Beethoven’s Music,” trans. Thomas Y. Levin and David Satz, The Musical Quarterly 77 (1993): 90–131, 268–342.Google Scholar
Kontarsky, Aloys. “Notationen für Klavier.” Darmstadter Beiträge zur neuen Musik 9 (1965): 92–109.Google Scholar
Kornicke, Eloise. “An Exploratory Study of Individual Difference Variables in Piano Sight-Reading Achievement.” Quarterly Journal of Music Teaching and Learning 6 (1995): 56–79.Google Scholar
Kreitner, Kenneth, Jambou, Louis, Hunter, Desmond, Carter, Stewart A., Walls, Peter, Ng, Kah-Ming, Schulenberg, David and Brown, Clive. “Ornaments,” in The New Grove Dictionary of Music and Musicians, ed. Sadie, Stanley. 2nd ed. 29 vols. London: Macmillan, 2001, 18:708a–746b.Google Scholar
Kügle, Karl. The Manuscript Ivrea, Biblioteca Capitolare 115: Studies in the Transmission and Composition of Ars Nova Polyphony. Wissenschaftliche Abhandlungen, 69. Ottawa: Institute of Mediaeval Music, 1997.Google Scholar
Lambertus, . Musica mensurabilis, in The “Ars musica” Attributed to Magister Lambertus/Aristoteles, ed. Meyer, Christian, trans. Karen Desmond. Royal Musical Association Monographs, 27. Farnham: Ashgate, 2015, pp. 60–115.Google Scholar
Law, Vivien. “The Study of Grammar,” in Carolingian Culture: Emulation and Innovation, ed. McKitterick, Rosamond. Cambridge: Cambridge University Press, 1994, pp. 88–110.Google Scholar
Leach, Elizabeth Evas. “Machaut’s First Single-Author Compilation,” in Manuscripts and Medieval Song: Inscription, Performance, Context, ed. Deeming, Helen and Eva Leech, Elizabeth. Music in Context. Cambridge: Cambridge University Press, 2015, pp. 247–70.Google Scholar
Lee, Ji In. “The Role of Inner Hearing in Sight Reading Music as an Example of Inter-Modal Perception.” Musikpsychologie 18 (2006): 35–52.Google Scholar
Leech-Wilkinson, Daniel. “The Emergence of ars nova.” Journal of Musicology 13 (1995): 285–317.Google Scholar
Lersch, Irmgard. “Mensuralnotation zwischen Ars Antiqua und Ars Nova.” Musica Disciplina 54 (2009): 5–38.Google Scholar
Lester, Joel. Between Modes and Keys: German Theory 1592–1802. Harmonologia, 3. Stuyvesant, NY: Pendragon Press, 1989.Google Scholar
Lester, Joel. Compositional Theory in the Eighteenth Century. Cambridge MA: Harvard University Press, 1992.Google Scholar
Levy, Kenneth. “Abbot Helisachar’s Antiphoner.” Journal of the American Musicological Society 48 (1995): 171–86.Google Scholar
Levy, Kenneth. “Charlemagne’s Archetype of Gregorian Chant.” Journal of the American Musicological Society 40 (1987): 1–30.Google Scholar
Levy, Kenneth. Gregorian Chant and the Carolingians. Princeton: Princeton University Press, 1998.Google Scholar
Levy, Kenneth. “On the Origins of Neumes.” Early Music History 7 (1987): 59–90.Google Scholar
Ligeti, György. “Neue Notation—Kommunikationsmittel oder Selbstzweck?” Darmstadter Beiträge zur neuen Musik 9 (1965): 35–50.Google Scholar
Lipman, Samuel. “Stravinsky: Rerecording History,” in The House of Music: Art in an Era of Institutions. Boston: David R. Godine, 1984, pp. 120–32 (originally published in The New Criterion, 1982).Google Scholar
Llewellyn, Jeremy. “Grammar, Writing and Chant: Notker the Editor and the Epistola ad Lantbertum,” in Actes du Colloque d’Auxerre, ed. Aubert and Rankin, pp. 225–41.Google Scholar
Lloyd, Angela. “Ordering and Reordering in Cipriano de Rore’s 1542 and 1550 Madrigal Books.” Muziek & Wetenschap 6 (1997): 3–25.Google Scholar
Loesch, Heinz von. “Musica—Musica practica—Musica poetica,” in Geschichte der Musiktheorie, 8/1: Deutsche Musiktheorie des 15. bis 17. Jahrhunderts, erster Teil, Von Paumann bis Calvisius, ed. Ertelt, Thomas and Zaminer, Frieder. Darmstadt: Wissenschaftliche Buchgesellschaft, 2003, pp. 99–264.Google Scholar
Lombardi, Daniele. Scrittura e suono: La notazione nella music contemporanea. Rome: Edipan, 1980.Google Scholar
Lowery, H. “On Reading Music.” The Dioptric Review and the British Journal of Physiological Optics new series, 1 (1940): 78–88.Google Scholar
Lowinsky, Edward E. “Conflicting Views on Conflicting Signatures.” Journal of the American Musicological Society 7 (1954): 181–204.Google Scholar
Lowinsky, Edward E. “Early Scores in Manuscript.” Journal of the American Musicological Society 13 (1960): 126–73.Google Scholar
Lowinsky, Edward E. “The Function of Conflicting Signatures in Early Polyphonic Music.” The Musical Quarterly 31 (1945): 227–60.Google Scholar
Lowinsky, Edward E. “On the Use of Scores by Sixteenth-Century Musicians.” Journal of the American Musicological Society 1 (1948): 17–23.Google Scholar
Madell, Jaime, and Sylvie, Hébert. “Eye Movements and Music Reading: Where Do We Look Next?” Music Perception 26 (2008): 157–70.Google Scholar
Marchetto of Padua. Pomerium in arte musicae mensuratae, ed. Vecchi, Joseph. Corpus Scriptorum de Musica, 6. N.p.: American Institute of Musicology, 1961.Google Scholar
Marshall, Robert. L. “J. S. Bach’s Compositions for Solo Flute.” Journal of the American Musicological Society 32 (1979): 463–98.Google Scholar
Martin, Henri-Jean. Histoire et pouvoirs de l’écrit. Collection Histoire et Décadence. Paris: Librairie Académique Perrin, 1988. English translation: The History and Power of Writing, trans. Lydia G. Cochrane (Chicago: University of Chicago Press, 1994).Google Scholar
Mathiesen, Thomas J. Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages. Publications of the Center for the History of Music Theory and Literature, 2. Lincoln and London: University of Nebraska Press, 1999.Google Scholar
Mattheson, Johann. Das neu-eröffnete Orchestre. Hamburg: B. Schillers, 1713; repr. ed. Dietrich Bartel, Die drei Orchestre-Schriften, 1 (Laaber: Laaber-Verlag, 2002).Google Scholar
Maw, David. “Je le temoin en mon chant: The Art of Diminution in the Petronian Triplum,” in The Montpellier Codex, ed. Bradley and Desmond, pp. 161–83.Google Scholar
McClary, Susan. Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley, Los Angeles and London: University of California Press, 2004.Google Scholar
McGee, Timothy J. “Dança amorosa: A Newly-Discovered Medieval Dance Pair,” in Beyond the Moon, ed. Gillingham and Merkley, pp. 295–306.Google Scholar
McGee, Timothy J. “‘Ornamental’ Neumes and Early Notation.” Performance Practice Review 9 (1996): 39–65.Google Scholar
McGee, Timothy J. The Sound of Medieval Song: Ornamentation and Vocal Style According to the Treatises. Oxford Monographs on Music. Oxford: Oxford University Press, 1998.Google Scholar
McKitterick, Rosamond. The Carolingians and the Written Word. Cambridge: Cambridge University Press, 1989.Google Scholar
McKitterick, Rosamond. “Royal Patronage of Culture in the Frankish Kingdoms under the Carolingians: Motives and Consequences,” in Committenti e produzione artistico-letteraria nell’alto medioevo occidentale, 4–10 aprile 1991. 2 vols. Settimane di studio del Centro italiano di studi sull’alto medioevo, 39. Spoleto: Presso la Sede del Centro, 1992, 1:93–129.Google Scholar
Meier, Bernhard. Die Tonarten der klassischen Vokalpolyphonie. Utrecht: Oosthoek, Scheltema & Holkema, 1974. English translation: The Modes of Classical Vocal Polyphony Described According to the Sources, trans. Ellen S. Beebe (New York: Broude Brothers, 1988).Google Scholar
Meyer, Christian. “Zur ‘Konstruktion’ der antiken Musiktheorie bei Glarean,” in Heinrich Glarean, ed. Schwindt, pp. 147–59.Google Scholar
Michels, Ulrich. Die Musiktraktate des Johannes de Muris. Beihefte zum Archiv für Musikwissenschaft, 8. Wiesbaden: Franz Steiner, 1970.Google Scholar
Miller, Clement A. “Gaffurius’ Practica Musicae: Origin and Contents.” Musica Disciplina 22 (1968): 105–29.Google Scholar
Minamino, Hiroyuki. “Conrad Paumann and the Evolution of Solo Lute Practice in the Fifteenth Century.” Journal of Musicological Research 6 (1986): 291–310.Google Scholar
Minamino, Hiroyuki. “Production and Reception of Petrucci’s Lute Books.” Journal of the Lute Society of America 41 (2008): 37–55.Google Scholar
Mocquereau, André. Le nombre musical grégorien ou rythmique grégorienne: Théorie et pratique. 2 vols. Rome and Tournai: Société de Saint-Jean l’Évangéliste, 1908–27.Google Scholar
Morley, Thomas. A Plaine and Easie Introduction to Practicall Musicke. London: Peter Short, 1597 (facsimile in The English Experience, 207 [Amsterdam and New York: Theatrum Orbis Terrarum and Da Capo Press, 1969]).Google Scholar
Muris, Johannes de. Ars practica mensurabilis cantus secundum Iohannem de Muris: Die Recensio maior des sogenannten “Libellus practice cantus mensurabilis,” ed. Berktold, Christian. Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, 14. Munich: Verlag der Bayerische Akademie der Wissenschaften, 1999.Google Scholar
Johannes, Muris Écrits sur la musique, trans. Christian Meyer. Collection Sciences de la Musique. N.p.: CNRS Editions, 2000.Google Scholar
Johannes, Muris Notitia artis musicae et Compendium musicae practicae, Petrus de Sancto Dionysio, Tractatus de musica, ed. Michels, Ulrich. Corpus Scriptorum de Musica, 17. N.p.: American Institute of Musicology, 1972. Partial English translation: “From Notitia artis musicae,” trans. Oliver Strunk, rev. James McKinnon, in Source Readings in Music History, ed. Strunk., rev. ed., ed. Treitler, pp. 261–69.Google Scholar
Nakada, Tsutomu, Fujii, Yukihiko, Suzuki, Kiyotaka and Kwee, Ingrid L.. “‘Musical Brain’ Revealed by High-Field (3 Tesla) Functional MRI.” NeuroReport 9 (1998): 3853–56.Google Scholar
Nelson, Janet L. “Literacy in Carolingian Government,” in The Uses of Literacy in Early Medieval Europe, ed. McKitterick, Rosamond. Cambridge: Cambridge University Press, 1990, pp. 258–96.Google Scholar
Odenkirchen, Andreas. “13 Neumentafeln in tabellarischer Übersicht,” in De musica et cantu, ed. Cahn and Heimer, pp. 257–62.Google Scholar
Oesch, Hans. Guido von Arezzo: Biographisches und Theoretisches unter besonderer Berücksichtigung der sogenannten odonischen Traktate. Publikationen der Schweizerischen Musikforschenden Gesellschaft, ser. 2, 4. Bern: Verlag Paul Haupt, 1954.Google Scholar
Ongaro, Guilio M. “All Work and No Play? The Organization of Work among Musicians in Late Renaissance Venice.” Journal of Medieval and Renaissance Studies 25 (1995): 55–72.Google Scholar
Ostheimer, Andreas. “Die Niederschrift von Musik mit Dasiazeichen: Untersuchungen zur praktischen Anwendung eines ‘theoretischen’ Schriftsystems.” Beiträge zur Gregorianik 28 (1999): 51–72.Google Scholar
Owens, Jessie Ann. “The Milan Partbooks: Evidence of Cipriano de Rore’s Compositional Process.” Journal of the American Musicological Society 37 (1984): 270–98.Google Scholar
Owens, Jessie Ann “Mode in the Madrigals of Cipriano de Rore,” in Altro Polo: Essays on Italian Music in the Cinquecento, ed. Charteris, Richard. Sydney: Frederick May Foundation for Italian Studies, 1990, pp. 1–15.Google Scholar
Page, Christopher. The Christian West and Its Singers: The First Thousand Years. New Haven and London: Yale University Press, 2010.Google Scholar
Palisca, Claude V. “Die Jahrzehnte um 1600 in Italien,” trans. Horst Leuchtmann, in Geschichte der Musiktheorie, 7: Italiensche Musiktheorie im 16. und 17. Jahrhundert, ed. Zaminer, Frieder. Darmstadt: Wissenschaftliche Buchgesellschaft, 1989, pp. 221–306.Google Scholar
Palm, Siegfried. “Zur Notation für Streichinstrumente.” Darmstadter Beiträge zur neuen Musik 9 (1965): 87–91.Google Scholar
Peirce, Charles S. Collected Papers of Charles Sanders Peirce, 8 vols., ed. Hartshorne, Charles and Weiss, Paul. Cambridge, MA: Harvard University Press, 1931–58.Google Scholar
Penttinen, Marjaana, and Huovinen, Erkki. “The Early Development of Sight-Reading Skills in Adulthood: A Study of Eye Movements.” Journal of Research in Music Education 59 (2011): 196–220.Google Scholar
Pesce, Dolores. The Affinities and Medieval Transposition. Music: Scholarship and Performance. Bloomington and Indianapolis: Indiana University Press, 1987.Google Scholar
Pesce, Dolores, ed. and trans. Guido d’Arezzo’s Regule rithmice, Prologus in Antiphonarium, and Epistola ad Michahelem: A Critical Text and Translation. Wissenschaftliche Abhandlungen, 73. Ottawa: Institute of Mediaeval Music, 1999.Google Scholar
Phillips, Nancy. “The Dasia Notation and Its Manuscript Tradition,” in Musicologie médiévale, ed. Huglo, pp. 157–73.Google Scholar
Phillips, Nancy. “Notationen und Notationslehren von Boethius bis zum 12. Jahrhundert,” trans. Gudrun Tillmann-Budde, in Geschichte der Musiktheorie, 4: Die Lehre von einstimmigen liturgischen Gesang, ed. Ertelt, Thomas and Zaminer, Frieder. Darmstadt: Wissenschaftliche Buchgesellschaft, 2000, pp. 293–623.Google Scholar
Phillips, Nancy, and Huglo, Michel. “Le De musica de saint Augustin et l’organisation de la durée musicale du IXe au XIIe siècles.” Recherches Augustiniennes 20 (1985): 117–31.Google Scholar
Pierce, Todd. The International Pictograms Standard. Cincinnati: ST Publications, 1996.Google Scholar
Pinegar, Sandra. “On Rhythmic Modes.” Theoria 8 (1994): 73–112.Google Scholar
Planchart, Alejandro Enrique. The Repertory of Tropes at Winchester. 2 vols. Princeton: Princeton University Press, 1977.Google Scholar
Powers, Harold. “From Psalmody to Tonality,” in Tonal Structures in Early Music, ed. Judd, Cristle Collins. Criticism and Analysis of Early Music, 1. New York and London: Garland Publishing, 1998, pp. 275–340.Google Scholar
Powers, Harold. “Monteverdi’s Model for a Multimodal Madrigal,” in In cantu et in sermone: For Nino Pirrotta on His 80th Birthday, ed. Seta, Fabrizio Della and Piperno, Franco. Italian Medieval and Renaissance Studies, The University of Western Australia, 2. Florence: Leo S. Olschki, 1989, pp. 185–219.Google Scholar
Prosdocimus, de Beldemandis. Tractatus practice de musica mensurabili, in Scriptorum de musica medii aevi, ed. Coussemaker, 3:200–28.Google Scholar
Prosdocimus, de Beldemandis.Tractatus practice de musica mensurabili ad modum ytalicorum, in Sartori, La notazione italiana, pp. 35–71.Google Scholar
Pseudo-Odo, Martin Gerbert, , in Scriptores ecclesiastici de musica. 3 vols. St. Blasien: Typis San-Blasianis, 1784; repr. Hildesheim, 1963, 1:251–64.Google Scholar
Ptolemy, Claudius. The Harmonics, trans. Andrew Barker, in Greek Musical Writings, 2: Harmonic and Acoustic Theory. Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1989, pp. 270–391.Google Scholar
Quantz, Johann Joachim. Versuch einer Anweisung die Flute traversiere zu spielen. 3rd ed. Breslau: Johann Friedrich Korn der älter, 1789. English translation: On Playing the Flute, trans. Edward R. Reilly (New York: The Free Press, 1966).Google Scholar
Quintilian, . Institutio oratoria, ed. Winterbottom, M. 2 vols. Scriptorum Classicorum Bibliotheca Oxoniensis. Oxford: Oxford University Press, 1970. English translation: The Orator’s Education, ed. and trans. Donald A. Russell, 5 vols., Loeb Classical Library (Cambridge, MA, and London: Harvard University Press, 2001).Google Scholar
Radke, Hans. “Zur Spieltechnik der deutschen Lautenisten des 16. Jahrhunderts.” Acta Musicologica 52 (1980): 134–47.Google Scholar
Rankin, Susan. “Calligraphy and the Study of Neumatic Notations,” in The Calligraphy of Medieval Music, ed. Haines, pp. 47–62.Google Scholar
Rankin, Susan. “Identity and Diversity: The Idea of Regional Musical Notations,” in Nationes, Gentes und die Musik im Mittelalter, ed. Hentschel, Frank and Winkelmüller, Marie. Berlin: Walter de Gruyter, 2014, pp. 375–93.Google Scholar
Rankin, Susan.“Neumatic Notations in Anglo-Saxon England,” in Musicologie médiévale, ed. Huglo, pp. 129–44.Google Scholar
Rankin, Susan. “On the Treatment of Pitch in Early Music Writing.” Early Music History 30 (2011): 105–75.Google Scholar
Rankin, Susan. “The Song School of St Gall in the Later Ninth Century,” in Sangallensia in Washington: The Arts and Letters in Medieval and Baroque St. Gall Viewed from the Late Twentieth Century, ed. King, James C.. New York: P. Lang, 1993, pp. 173–98.Google Scholar
Rankin, Susan.“Typologies of Ninth-Century Music Notations,” in Actes du Colloque de Royaumont, ed. Colette and Massip, pp. 33–49.Google Scholar
Rankin, Susan. “Winchester Polyphony: The Early Theory and Practice of Organum,” in Music in the Medieval English Liturgy: Plainsong and Mediaeval Music Society Centennial Essays, ed. Rankin, Susan and Hiley, David. Oxford: Oxford University Press, 1993, pp. 59–99.Google Scholar
Rankin, Susan. Writing Sounds in Carolingian Europe: The Invention of Musical Notation. Cambridge Studies in Palaeography and Codicology. Cambridge: Cambridge University Press, 2018.Google Scholar
Rastall, Richard. The Notation of Western Music: An Introduction. New York: St. Martin’s Press, 1982.Google Scholar
Raven, D. S. Latin Metre. London: Faber and Faber, 1965; repr. London, 1998.Google Scholar
Read, Gardner. 20th-Century Microtonal Notation. Contributions to the Study of Music and Dance, 18. New York: Greenwood Press, 1990.Google Scholar
Read, Gardner. Compendium of Modern Instrumental Techniques. Westport, CT: Greenwood Press, 1993.Google Scholar
Read, Gardner. Contemporary Instrumental Techniques. New York: Schirmer Books, 1976.Google Scholar
Read, Gardner. Modern Rhythmic Notation. Bloomington: Indiana University Press, 1978.Google Scholar
Read, Gardner. Pictographic Score Notation: A Compendium. Westport, CT: Greenwood Press, 1998.Google Scholar
Read, Gardner.Source Book of Proposed Music Notation Reforms. Music Reference Collection, 11. New York: Greenwood Press, 1987.Google Scholar
Reaney, Gilbert. “The Manuscript Chantilly, Musée Condé 1047.” Musica Disciplina 8 (1954): 59–113.Google Scholar
Reaney, Gilbert. Manuscripts of Polyphonic Music, 11th–Early 14th Century. Répertoire International des Sources Musicales, B/4, 1. Munich-Duisburg: Henle, 1966.Google Scholar
Reaney, Gilbert. “A Postscript to ‘The Manuscript Chantilly, Musée Condé 1047’.” Musica Disciplina 10 (1956): 55–59.Google Scholar
Reckow, Fritz. Die Copula: Über einige Zusammenhänge zwischen Setzweise, Formbildung, Rhythmus und Vortragsstil in der Mehrstimmigkeit von Notre-Dame. Akademie der Wissenschaften und der Literatur, Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse, Jahrgang 1972, no. 13. Mainz and Wiesbaden: Verlag der Akademie der Wissenschaften und der Literatur, and F. Steiner, 1972.Google Scholar
Reckow, Fritz. “Proprietas und perfectio: Zur Geschichte des Rhythmus, seiner Aufzeichnung und Terminologie im 13. Jahrhundert.” Acta Musicologica 39 (1967): 115–43.Google Scholar
Reckow, Fritz, ed. Der Musiktraktat des Anonymus 4. 2 vols. Beihefte zum Archiv für Musikwissenschaft, 4–5. Wiesbaden: Franz Steiner, 1967. English translation: The Music Treatise of Anonymous IV: A New Translation, trans. Jeremy Yudkin, Musicological Studies and Documents, 41 (Neuhausen-Stuttgart: American Institute of Musicology, Hänssler-Verlag, 1985).Google Scholar
Riché, Pierre. Les écoles et l’enseignement dans l’occident chrétien de la fin du Ve siècle au milieu du XIe siècle. 3rd ed. Paris: Picard, 1999.Google Scholar
Risatti, Howard. New Music Vocabulary: A Guide to Notational Signs for Contemporary Music. Urbana, Chicago and London: University of Illinois Press, 1975.Google Scholar
Ristory, Heinz. Denkmodelle zur französischen Mensuraltheorie des 14. Jahrhunderts. 2 vols. Wissenschaftliche Abhandlungen, 81. Ottawa: Institute of Mediaeval Music, 2004–16.Google Scholar
Ristory, Heinz. Post-franconische Theorie und Früh-Trecento: Die Petrus de Cruce-Neuerungen und ihre Bedeutung für die italienische Mensuralnotenschrift zu Beginn des 14. Jahrhunderts. Europäische Hochschulschriften, ser. 36, Musikwissenschaft, 26. Frankfurt am Main: Peter Lang, 1988.Google Scholar
Robertson, Anne Walters. The Service-Books of the Royal Abbey of Saint-Denis: Images of Ritual and Music in the Middle Ages. Oxford Monographs on Music. Oxford: Oxford University Press, 1991.Google Scholar
Roesner, Edward H. “The Emergence of musica mensurabilis,” in Studies in Musical Sources and Styles: Essays in Honor of Jan LaRue, ed. Wolf, Eugene K. and Rosener, Edward H.. Madison, WI: A-R Editions, 1990, pp. 41–74.Google Scholar
Roesner, Edward H. “Johannes de Garlandia on organum in speciali.” Early Music History 2 (1982): 129–60.Google Scholar
Rumphorst, Heinrich. “Verhältnis von St. Galler und Metzer Notation.” Beiträge zur Gregorianik 52 (2011): 61–87.Google Scholar
Sanders, Ernest H. “Consonance and Rhythm in the Organum of the 12th and 13th Centuries.” Journal of the American Musicological Society 33 (1980): 264–86.Google Scholar
Sanders, Ernest H. “The Early Motets of Philippe de Vitry.” Journal of the American Musicological Society 28 (1975): 24–45.Google Scholar
Sanders, Ernest H., and Lefferts, Peter M.. “Petrus de Cruce,” in Grove Music Online, www.oxfordmusiconline.com.Google Scholar
Santosuosso, Alma Colk. Letter Notations in the Middle Ages. Wissenschaftliche Abhandlungen, 52. Ottawa: Institute of Mediaeval Music, 1989.Google Scholar
Sartori, Claudio. La notazione italiana del trecento in una redazione inedita del “Tractatus practice cantus mensurabilis ad modum ytalicorum” de Prosdocimo de Beldemandis. Florence: Leo S. Olschki, 1938.Google Scholar
Saussure, Ferdinand de. Cours de linguistique générale, ed. Bally, Charles and Sechehaye, Albert. Paris: Payot, 1972 (originally published Lausanne: Payot, 1916). English translation: Course in General Linguistics, trans. Wade Baskin (New York: McGraw-Hill, 1959).Google Scholar
Sbordoni, Alessandro, and Rostagno, Antonio, eds. Free Improvisation: History and Perspectives. Lucca: Libreria Musicale Italiana, 2018.Google Scholar
Schoenberg, Arnold. “About Metronome Markings,” trans. Leo Black, in Style and Idea: Selected Writings of Arnold Schoenberg, ed. Stein, Leonard. Rev. ed. Berkeley and Los Angeles: University of California Press, 1984, pp. 342–43.Google Scholar
Schön, Daniele, and Besson, Mireille. “Visually Induced Auditory Expectancy in Music Reading: A Behavioral and Electrophysiological Study.” Journal of Cognitive Neuroscience 17 (2005): 694–705.Google Scholar
Schürmann, Martin, Raij, Tommi, Fujiki, Nobuya and Hari, Riitta. “Mind’s Ear in a Musician: Where and When in the Brain.” NeuroImage 16 (2002): 434–40.Google Scholar
Schwindt, Nicole, ed. Heinrich Glarean oder: Die Rettung der Musik aus dem Geist der Antike? Trossinger Jahrbuch für Renaissancemusik, 5. Kassel: Bärenreiter, 2005.Google Scholar
Scully, Terence. “French Songs in Aragon: The Place of Origin of the Chansonnier Chantilly, Musée Condé 564,” in Courtly Literature: Culture and Context, ed. Busby, Keith and Kooper, Erik. Utrecht Publications in General and Comparative Literature, 25. Amsterdam and Philadelphia: John Benjamins Publishing Company, 1990, pp. 509–21.Google Scholar
Seeger, Charles. “Prescriptive and Descriptive Music-Writing.” The Musical Quarterly 44 (1958): 184–95.Google Scholar
Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. Blackwell’s Music Series. Oxford: Basil Blackwell, 1975.Google Scholar
Sergent, Justine. “Music, the Brain and Ravel.” Trends in Neurosciences 16 (1993): 168–72.Google Scholar
Sergent, Justine, Zuck, Eric, Terriah, Sean and MacDonald, Brennan. “Distributed Neural Network Underlying Musical Sight-Reading and Keyboard Performance.” Science 257 (2 July 1992): 106b–109.Google Scholar
Servant, Isabelle, and Baccino, Thierry. “Lire Beethoven: Une étude exploratoire des mouvements des yeux.” Musicae Scientiae 3 (1999): 67–94.Google Scholar
Sheldon, Deborah A. “Visual Representation of Music: Effects of Beamed and Beamless Notation on Music Performance.” Journal of Band Research 31 (1995–96): 86–101.Google Scholar
Sloboda, John A. “Experimental Studies of Music Reading: A Review.” Music Perception 2 (1984): 222–36.Google Scholar
Sloboda, John A. “The Eye-Hand Span—An Approach to the Study of Sight Reading.” Psychology of Music 2 (1974): 4–10.Google Scholar
Sloboda, John A. “Phrase Units as Determinants of Visual Processing in Music Reading.” British Journal of Psychology 68 (1977): 117–24.Google Scholar
Sloboda, John A. “The Psychology of Music Reading.” Psychology of Music 6 (1978): 3–20.Google Scholar
Smith, F. Joseph. Iacobi Leodiensis Speculum musicae: A Commentary. 3 vols. Wissenschaftliche Abhandlungen, 13, 22 and 43. Brooklyn: Institute of Mediaeval Music, 1966–83.Google Scholar
Smith, F. Joseph. “Jacques de Liège, an Anti-Modernist?” Revue belge de musicologie 17 (1963): 3–10.Google Scholar
Smith, F. Joseph. “Jacques de Liège’s Criticism of the Notational Innovations of the Ars Nova.” Journal of Musicological Research 4 (1982–83): 267–313.Google Scholar
Smits van Waesberghe, Jos. De musico-paedagogico et theoretico Guidone Aretino eiusque vita et moribus. Florence: L. S. Olschki, 1953.Google Scholar
Smits van Waesberghe, Jos “The Musical Notation of Guido of Arezzo.” Musica Disciplina 5 (1951): 15–53.Google Scholar
Smits van Waesberghe, Jos Muziekgeschiedenis der Middeleeuwen, 2: Verklaring der Letterteekens (litterae significatiuae) in het gregoriaansche Neumenschrift van Sint Gallen: Een Onderzoek naar de historische Waarde van den zoogenaamden Notker-Brief en naar den Oorsprong en de Beteekenis der Letterteekens in St. Gallen. Nederlandsche Muziekhistorische en Muziekpaedagogische Studiën, A. Tilburg: W. Bergmans, 1939–42.Google Scholar
Solomon, Maynard. Beethoven. New York: Schirmer, 1977.Google Scholar
Southern, Eileen. The Buxheim Organ Book. Wissenschaftliche Abhandlungen, 6. Brooklyn: Institute of Mediaeval Music, 1963.Google Scholar
Stäblein, Bruno. “Modale Rhythmen im Saint-Martial-Repertoire?” in Festschrift Friedrich Blume zum 70. Geburtstag, ed. Abert, Anna Amalie and Pfannkuch, Wilhem. Kassel: Bärenreiter, 1963, pp. 340–62.Google Scholar
Stäblein, Bruno. Schriftbild der einstimmigen Musik. Musikgeschichte in Bildern, 3, lief. 4. Leipzig: Veb Deutscher Verlag für Musik, 1975.Google Scholar
Stewart, Lauren, Vincent Walsh and Uta Frith. “Reading Music Modifies Spatial Mapping in Pianists.” Perception & Psychophysics 66 (2004): 183–95.Google Scholar
Stockhausen, Karlheinz. “Musik und Graphik.” Darmstadter Beiträge zur neuen Musik 3 (1960): 5–25.Google Scholar
Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New York and London: W. W. Norton, 1980.Google Scholar
Stones, Alison. “Les manuscrits du Cardinal Jean Cholet et l’enluminure beauvaisienne vers la fin du XIIIeme siècle,” in L’art gothique dans l’Oise et ses environs (XIIeme–XIVeme siècle). N.p.: GEMOB, 2001, pp. 239–68.Google Scholar
Stones, Alison.“The Style and Iconography of Montpellier folio 350r,” in The Montpellier Codex, ed. Bradley and Desmond, pp. 66–77.Google Scholar
Strawinsky, Igor. Chroniques de ma vie. Bibliothèque Méditations. Paris: Denöel/Gonthier, 1962.Google Scholar
Strawinsky, Igor. Poétique musicale sous forme de six leçons. Charles Eliot Norton Lectures for 1939–1940. Cambridge MA: Harvard University Press, 1942. English translation: Poetics of Music in the Form of Six Lessons, trans. Arthur Knodel and Ingolf Dahl (Cambridge MA: Harvard University Press, 1947).Google Scholar
Strunk, Oliver, ed. Source Readings in Music History, rev. ed., ed. Leo Treitler. New York: Norton, 1998.Google Scholar
Sullivan, Blair. “Alphabetic Notation and Hucbald’s artificiales notae,” in Quellen und Studien zur Musiktheorie des Mittelalters, 3, ed. Bernhard, Michael. Wissenschaften, Bayerische Akademie der, Musikhistorischen Kommission, Veröffentlichungen der, 15. Munich: Verlag der Bayerische Akademie der Wissenschaften, 2001, pp. 63–80.Google Scholar
Sunyol, Gregori M. Introducció a la paleografia musical gregoriana. Montserrat: Abbey of Montserrat, 1925.Google Scholar
Tanay, Dorit. Noting Music, Marking Culture: The Intellectual Context of Rhythmic Notation, 1250–1400. Musicological Studies and Documents, 46. Holzgerlingen: American Institute of Musicology, Hänssler-Verlag, 1999.Google Scholar
Tanay, Dorit. “The Transition from the Ars Antiqua to the Ars Nova: Evolution or Revolution?” Musica Disciplina 46 (1992): 79–104.Google Scholar
Tinctoris, Johannes. Opera theoretica, ed. Albert Seay. 2 vols. in 3. Corpus Scriptorum de Musica, 22. N.p. and Neuhausen-Stuttgart: American Institute of Musicology, 1975–78. English translation of Proportionale musices: Proportions in Music (Proportionale musices), trans. Albert Seay, Colorado College Music Press Translations, 10 (Colorado Springs: Colorado College Music Press, 1979).Google Scholar
Tonda, Mario Stefano. “Nuove osservazioni sull’Intavolatura de cimbalo del 1576 de Antonio Valente.” Informazione Organistica 10–11 (2005): 3–21.Google Scholar
Treitler, Leo. “The Early History of Music Writing in the West.” Journal of the American Musicological Society 35 (1982): 237–79.Google Scholar
Treitler, Leo. “Homer and Gregory: The Transmission of Epic Poetry and Plainchant.” The Musical Quarterly 60 (1974): 333–72.Google Scholar
Treitler, Leo. “Observations on the Transmission of Some Aquitanian Tropes,” in Forum musicologicum: Basler Beiträge zur Musikgeschichte, 3: Aktuelle Fragen der musikbezogenen Mittelalterforschung: Texte zu einem Basler Kolloquium des Jahres 1975, ed. Oesch, Hans and Arlt, Wulf. Winterthur: Amadeus, 1982, pp. 11–60.Google Scholar
Treitler, Leo. “Oral, Written, and Literate Process in the Transmission of Medieval Music.” Speculum 56 (1981): 471–91.Google Scholar
Treitler, Leo. “Reading and Singing: On the Genesis of Occidental Music-Writing.” Early Music History 4 (1984): 135–208.Google Scholar
Treitler, Leo. “Regarding Meter and Rhythm in the Ars Antiqua.” The Musical Quarterly 65 (1979): 524–58.Google Scholar
Truitt, Frances E., Clifton, Charles Jr., Pollatsek, Alexander and Rayner, Keith. “The Perceptual Span and the Eye-Hand Span in Sight Reading Music.” Visual Cognition 4 (1997): 143–61.Google Scholar
Unverricht, Hubert. “Die Dasia-Notation und ihre Interpretation,” in Ars musica musica scientia: Festschrift Heinrich Hüschen, ed. Altenburg, Detlef. Beiträge zur Rheinischen Musikgeschichte, 126. Cologne: Verlag der Arbeitsgemeinschaft für Rheinische Musikgeschichte, 1980, pp. 444–48.Google Scholar
Upton, Elizabeth Randell. “Aligning Words and Music: Scribal Procedures for the Placement of Text and Notes in the Chantilly Codex,” in A Late Medieval Songbook and Its Context: New Perspectives on the Chantilly Codex (Bibilothèque du Château de Chantilly, Ms. 564), ed. Plumley, Yolanda and Stone, Anne. Collection “Épitome musical.” Turnhout: Brepols, 2009, pp. 115–32.Google Scholar
Upton, Elizabeth Randell “Inventing the Chantilly Codex.” Studi Musicali 31 (2002): 181–231.Google Scholar
van Dijk, S. J. P. “Papal Schola versus Charlemagne,” in Organicae voces: Festschrift Joseph Smits van Waesberghe. Amsterdam: Instituut voor Middeleeuwse Muziekwetenschap, 1963, pp. 21–30.Google Scholar
Van Doren, Rombaut. Étude sur l’influence de l’abbaye de Saint-Gall (VIIIe au XIe siècle). Académie Royale de Belgique, Classe des Beaux-Arts, Mémoires, 2, fasc. 3. Brussels: Maurice Lamertin, 1925 (also published as Université de Louvain, Recueil de Travaux Publiés par les Membres des Conférences d’Histoire et de Philologie, ser. 2, 6 [Louvain: Librairie Universitaire, Uystpruyst, 1925]).Google Scholar
Vendrix, Philippe. “La notation à la Renaissance,” in Histoire de la notation du Moyen Âge à la Renaissance. Musique Ouverte. N.p.: Minerve, 2003, pp. 135–94.Google Scholar
Vicentino, Nicola. L’antica musica ridotta alla moderna prattica. Rome: Antonio Barre, 1555; repr. ed. Edward Lowinsky, Documenta Musicologica, ser. 1: Druckschriften-Faksimiles, 17 (Kassel: Bärenreiter, 1959). English translation: Ancient Music Adapted to Modern Practice, trans. Maria Rika Maniates, ed. Claude V. Palisca, Music Theory Translation Series. New Haven and London: Yale University Press, 1996.Google Scholar
Virdung, Sebastian. Musica getutscht. Basel, 1511; repr. ed. Niemöller, Klaus Wolfgang, Musicologica, Documenta, ser. 1: Druckschriften-Faksimiles, 31 (Kassel: Bärenreiter, 1970). English translation: Musica getutscht: A Treatise on Musical Instruments (1511) by Sebastian Virdung, trans. and ed. Beth Bullard, Cambridge Musical Texts and Monographs. Cambridge: Cambridge University Press, 1993.Google Scholar
Vitry, Philippe de. Ars nova, ed. Reaney, Gilbert, Gilles, André and Maillard, Jean. Corpus Scriptorum de Musica, 8. N.p.: Institute of Musicology, 1964. English translation: “Philippe de Vitry’s Ars Nova: A Translation,” trans. Leon Plantinga, Journal of Music Theory 5 (1961): 204–23.Google Scholar
Vogel, Cyrille. “Les motifs de la romanisation du culte sous Pepin [sic] le Bréf [sic] (751–768) et Charlemagne,” in Culto cristiano, politica imperiale carolingia: 9–12 ottobre 1977. Convegni del Centro di studi sulla spiritualità medievale, Università degli Studi di Perugia, 18. Todi: Presso l’Accademia Tudertina, 1979, pp. 9–41.Google Scholar
Vogel, Cyrille. La reforme cultuelle sous Pepin le Bref et sous Charlemagne (deuxième motitié du VIIIe siècle et premier quart du IXe siècle). Graz: Akademische Druck- und Verlagsanstalt, 1965.Google Scholar
Vollaerts, J. W. A. Rhythmic Proportions in Early Medieval Ecclesiastical Chant. 2nd ed. Leiden: E. J. Brill, 1960.Google Scholar
Wagner, Peter. Einführung in die gregorianischen Melodien: Ein Handbuch der Choralwissenschaft, 2: Neumenkunde: Paläographie des liturgischen Gesanges. 2nd ed. Leipzig: Breitkopf & Härtel, 1912.Google Scholar
Wagner, Pierre-Édouard. “Chant romain et chant messin: L’école de Metz (VIIIe–IXe siècles),” in L’art du chantre carolingien: Découvrir l’esthéthique première du chant grégorien, ed. Demollière, Christian-Jacques. Metz: Éditions Serpenoise, 2004, pp. 13–26.Google Scholar
Wagner, Richard. Richard Wagner’s Prose Works, trans. William Ashton Ellis. 2nd ed. 8 vols. London: Kegan Paul and Co., 1892–99.Google Scholar
Wagner, Richard. Sämtliche Schriften und Dichtungen, 6th ed. 16 vols. in 8. Leipzig: Breitkopf und Härtel, n.d.Google Scholar
Wagner, Richard. Über das Dirigieren. Leipzig: C. F. Kahnt, 1870. Originally published in instalments in the Neue Zeitschrift für Musik, November 1869 through January 1870. Reprinted in Wagner, Sämtliche Schriften, 8: 261–337.English translation: About Conducting, trans. Ellis, in Richard Wagner’s Prose Works, 4:289–364.Google Scholar
Wagner, Richard. Über die Aufführung des “Tannhäuser”: Eine Mitteilung an die Dirigenten und Darsteller dieser Oper. Published privately, 1852. Reprinted in Wagner, Sämtliche Schriften, 5: 123–59. English translation: On the Performing of “Tannhäuser,” trans. Ellis, in Richard Wagner’s Prose Works, 3:167–205.Google Scholar
Waite, William G. The Rhythm of Twelfth-Century Polyphony, Its Theory and Practice. Yale Studies in the History of Music, 2. New Haven: Yale University Press, 1954.Google Scholar
Warfield, Gerald. Writings on Contemporary Music Notation: An Annotated Bibliography. Ann Arbor: Music Library Association, 1976.Google Scholar
Waters, Andrew J., Townsend, Ellen and Underwood, Geoffrey. “Expertise in Musical Sight Reading: A Study of Pianists.” British Journal of Psychology 89 (1998): 123–49.Google Scholar
Andrew J., Waters, and Underwood, Geoffrey. “Eye Movements in a Simple Music Reading Task: A Study of Expert and Novice Musicians.” Psychology of Music 26 (1998): 46–60.Google Scholar
Wathey, Andrew. “Philippe de Vitry’s Books,” in Books and Collectors 1200–1700: Essays Presented to Andrew Watson, ed. Carley, James P. and Tite, Colini G. C.. British Library Studies in the History of the Book. London: The British Library, 1997, pp. 145–52.Google Scholar
Wegman, Rob C. “The World According to Anonymous IV,” in Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart, ed. Zayaruznaya, Anna, Blackburn, Bonnie J. and Boorman, Stanley. Miscellanea, 8. Middleton, WI: American Institute of Musicology, 2015, pp. 693–729.Google Scholar
Werbeck, Walter. “Glareans Vorstellung von modaler Stimmigkeit – Die für das Dodekachordon bestellten Kompositionen,” in Heinrich Glarean, ed. Schwindt, pp. 177–97.Google Scholar
Wiora, Walter. “Zum Problem des Ursprungs der mittelalterlichen Solmisation.” Die Musikforschung 9 (1956): 263–74.Google Scholar
Wolf, Thomas. “A Cognitive Model of Musical Sight-Reading.” Journal of Psycholinguistic Research 5 (1976): 143–71.Google Scholar
Wolinski, Mary E. “The Compilation of the Montpellier Codex.” Early Music History 11 (1992): 263–301.Google Scholar
Wright, Craig. “Leoninus, Poet and Musician.” Journal of the American Musicological Society 39 (1986): 1–35.Google Scholar
Wright, Craig. Music and Ceremony at Notre Dame of Paris, 500–1550. Cambridge Studies in Music. Cambridge: Press, Cambridge University, 1989.Google Scholar
Wright, Roger. Late Latin and Early Romance in Spain and Carolingian France. ARCA Classical and Medieval Texts, Papers and Mongraphs, 8. Liverpool: Francis Cairns, 1982.Google Scholar
Yudkin, Jeremy. “The Anonymous Music Treatise of 1279: Why St. Emmeram?” Music & Letters 72 (1991): 177–96.Google Scholar
Yudkin, Jeremy. “The Anonymous of St. Emmeram and Anonymous IV on the Copula.” The Musical Quarterly 70 (1984): 1–22.Google Scholar
Yudkin, Jeremy. “The Copula According to Johannes de Garlandia.” Musica Disciplina 34 (1980): 67–84.Google Scholar
Yudkin, Jeremy.“Notre Dame Theory: A Study of the Terminology, Including a New Translation of the Music Treatise of Anonymous IV.” Ph.D. dissertation, Stanford University, 1982.Google Scholar
Yudkin, Jeremy. “The Rhythm of Organum Purum.” Journal of Musicology 2 (1983): 355–76.Google Scholar
Yumoto, Masato, Matsuda, Maki, Itoh, Kenji, Uno, Akira, Karino, Shotaro, Saitoh, Osamu, Kaneko, Yuu, Yatomi, Yukata and Kaga, Kimitaka. “Auditory Imagery Mismatch Negativity Elicited in Musicians.” NeuroReport 16 (2005): 1175–78.Google Scholar
Zapke, Susana. “Notation Systems in the Iberian Peninsula: From Spanish Notations to Aquitanian Notation (9th–12th Centuries),” in Hispania vetus: Musical-Liturgical Manuscripts from Visigothic Origins to the Franco-Roman Transition (9th to 12th Centuries), ed. Zapke, Susana. Bilbao: Fundación BBVA, 2007, pp. 189–243.Google Scholar
Zarlino, Gioseffo. Le istitutioni harmoniche. Venice: n. p., 1558; repr. in Monuments of Music and Music Literature in Facsimile, Second Series, Music Literature, 1 (New York, 1965). English translation of part 4: On the Modes: Part Four of Le Istitutioni Harmoniche, 1558, trans. Vered Cohen, ed. Claude V. Palisca, Music Theory Translation Series (New Haven: Yale University Press, 1983).Google Scholar
Zenck, Claudia Maurer. Vom Takt: Untersuchungen zur Theorie und kompositorischen Praxis im ausgehenden 18. und beginnenden 19. Jahrhundert. Vienna: Böhlau Verlag, 2001.Google Scholar
Zhukov, Katie. “Evaluating New Approaches to Teaching of Sight-Reading Skills to Advanced Pianists.” Music Education Research 16 (2014): 70–87.Google Scholar
Zöbeley, Hans Rudolf. Die Musik des Buxheimer Orgelbuchs: Spielvorgang, Niederschrift, Herkunft, Faktur. Münchner Veröffentlichungen zur Musikgeschichte, 10. Tutzing: Hans Schneider, 1964.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • James Grier, University of Western Ontario
  • Book: Musical Notation in the West
  • Online publication: 28 January 2021
  • Chapter DOI: https://doi.org/10.1017/9781139034821.011
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • James Grier, University of Western Ontario
  • Book: Musical Notation in the West
  • Online publication: 28 January 2021
  • Chapter DOI: https://doi.org/10.1017/9781139034821.011
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • James Grier, University of Western Ontario
  • Book: Musical Notation in the West
  • Online publication: 28 January 2021
  • Chapter DOI: https://doi.org/10.1017/9781139034821.011
Available formats
×