Hostname: page-component-586b7cd67f-dlnhk Total loading time: 0 Render date: 2024-11-30T19:14:42.449Z Has data issue: false hasContentIssue false
  • English
  • Français

A Medieval Scholasticus and Renaissance Choirmaster: A Portrait of John Hothby at Lucca*

Published online by Cambridge University Press:  20 November 2018

Benjamin Brand
Benjamin Brand*
Affiliation:
University of North Texas
Get access Rights & Permissions [Opens in a new window]

Abstract

John Hothby's career as cathedral choirmaster at Lucca is one of the longest, best documented, and most exceptional of any Northern musician active in fifteenth-century Italy. As director of the cathedral school and choir, this Englishman embodied two models of music master: a scholastic trained in the old Trivium and Quadrivium, and a professional maestro di cappella. Fulfilling this double role was but one way in which Hothby differed from his fellow oltremontani by ingratiating himself with his Lucchese patrons, colleagues, and citizens at large. Another was the integration into his curriculum of older pedagogies of local and regional origin, ones designed to appeal to his Italian students. The most important example of such appropriation were the laude that formed a basis for his students’ exercises in two-voice mensural counterpoint. The latter appear in I-Lc, Enti religiosi soppressi, 3086, one of only two examples of student work to survive from before 1500. These newly discovered exercises thus illuminate not only Hothby's career, but also a hitherto obscure stage of learning by which aspiring singers progressed from strict, note-against-note discant to complex, florid polyphony.

Type
Studies
Information
Renaissance Quarterly , Volume 63 , Issue 3 , Fall 2010 , pp. 754 - 806
Copyright
Copyright © 2010 Renaissance Society of America

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.)

Footnotes

*

Condensed versions of this essay were presented in 2007 at the Medieval and Renaissance Music Conference in Vienna and the national meeting of the American Musicological Society in Quebec City. I thank Craig Wright for evaluating this work in its earlier stages, as well as Bonnie Blackburn, Pamela Starr, and Anne Walters Robertson for their comments on later drafts. Leofranc Holford-Strevens kindly refined my translation of the Appendix. All other translations are my own except where otherwise noted. Abbreviations for library sigla follow the conventions of Répertoire International des Sources Musicales (RISM). Pitches that fall below middle C appear with a prime symbol (e.g., G′) while those that fall at middle C or higher appear without one. Documentary sources reckon in florins (Fl.), lire (£), and ducats. The value of one florin or ducat fluctuated between three and five-and-a-half lire.

References

Bibliography

F-Pn, lat. 7369 (P)Google Scholar
GB-Lbl, Add. 36986 Google Scholar
I-Fl, Ashburn, 999Google Scholar
I-Fl, Plut. XXIX.48 (F)Google Scholar
I-Fl, Redi 71Google Scholar
I-Fn, Conventi Soppressi, F.III.565Google Scholar
I-Fn, Palatino 472Google Scholar
I-FZc, 117 (“Faenza Codex”)Google Scholar
I-Las, Anziani al tempo della libertà, 532Google Scholar
I-Las, Anziani al tempo della libertà, 535Google Scholar
I-Las, Anziani al tempo della libertà, 616Google Scholar
I-Las, Archivio dei Notari, 829Google Scholar
I-Las, Archivio dei Notari, 830Google Scholar
I-Las, Archivio dei Notari, 1205 Google Scholar
I-Las, Biblioteca Manoscritti, 238Google Scholar
I-Las, Camarlingo Generale, 118Google Scholar
I-Las, Camarlingo Generale, 120Google Scholar
I-Las, Consiglio Generale, 6Google Scholar
I-Las, Consiglio Generale, 7Google Scholar
I-Las, Consiglio Generale, 19Google Scholar
I-Las, Consiglio Generale, 21Google Scholar
I-Las, Spedale di S. Luca,35Google Scholar
I-Lc, Archivio Arcivescovile,Collazioni, RGoogle Scholar
I-Lc, Archivio Arcivescovile,Constitutorum Criminalium Curie, 5Google Scholar
I-Lc, Archivio Arcivescovile,Libri Antichi, 5Google Scholar
I-Lc, Archivio Arcivescovile,Libri Antichi, 50Google Scholar
I-Lc, Archivio Arcivescovile,Libri Antichi, 112Google Scholar
I-Lc, Archivio Capitolare,GG 1Google Scholar
I-Lc, Archivio Capitolare,GG 2Google Scholar
I-Lc, Archivio Capitolare,GG 4Google Scholar
I-Lc, Archivio Capitolare,GG 5Google Scholar
I-Lc, Archivio Capitolare,GG 6Google Scholar
I-Lc, Archivio Capitolare,GG 9Google Scholar
I-Lc, Archivio Capitolare,LL 40Google Scholar
I-Lc, Archivio Capitolare,LL 43Google Scholar
I-Lc, Archivio Capitolare,LL 58Google Scholar
I-Lc, Archivio Capitolare,PP 3Google Scholar
I-Lc, Archivio Capitolare,PP 13Google Scholar
I-Lc, Archivio Capitolare,PP 16Google Scholar
I-Lc, Archivio Capitolare,PP 22Google Scholar
I-Lc, Archivio Capitolare,T+16Google Scholar
I-Lc, Biblioteca Capitolare,608Google Scholar
I-Lc, Biblioteca Capitolare,614Google Scholar
I-Lc, Biblioteca Capitolare,634Google Scholar
I-Lc, Cappellani Beneficiati,A, 1Google Scholar
I-Lc, Cappellani Beneficiati,B, 2Google Scholar
I-Lc, Enti religiosi soppressi,3086 Google Scholar
I-Lc, Opera del Duomo, 4Google Scholar
I-Ma, H. 165 inf.Google Scholar
I-Ma, I. 20 inf.Google Scholar
I-Mac, 518Google Scholar
I-PCc, Biblioteca Capitolare,65Google Scholar
I-Rvat, Ottob. lat. 3025 Google Scholar
I-Vnm, lat. VIII.82Google Scholar
US-DLC, ML 171 J6 Case (W)Google Scholar
Arrighi, Gino, ed. De arithmetica compediosetractata dal Codice 614 (sec. XII) della Biblioteca Capitolare Felinianadi Lucca. Pisa, 1964.Google Scholar
Arrighi, Gino. “La ‘Summa musiceartis’ di Mo Gugliemo Vescovo di Lucca.” Actum Luce 4(1975):105–2.Google Scholar
Balbi, Giovanna Petti. L'insegnamento nella Liguriamedievale: Sucole, maestri, libri. Genoa, 1979.Google Scholar
Balensuela, C. Matthew, ed. Ars cantus mensurabilismensurata per modos iuris. Lincoln, 1994.Google Scholar
Barsanti, Paolo. Il pubblico insegnamentoin Lucca dal secolo XIV alla fine del secolo XVIII. Lucca, 1905.Google Scholar
Barsocchini, Domenico, andDomenico Bertini. Dissertazioni sopra la storia ecclesiasticalucchese. 2 vols. Lucca, 1818–44.Google Scholar
Battaglia, Salvatore. Grande dizionario della linguaitaliana. 22 vols. Torino, 1961.Google Scholar
Bertolotti, Antonio. Musici alla corte dei Gonzagain Mantova dal secolo XV al XVIII: Notizie e documenti raccolti negliarchivi mantovani. Milan, 1980.Google Scholar
Biaggiani, Franco. Organi e organisti nellacattedrale di Lucca. Lucca, 1982.Google Scholar
Black, Robert. Humanism and Education inMedieval and Renaissance Italy: Tradition and Innovation in LatinSchools from the Twelfth to the Fifteenth Century. Cambridge, 2001.CrossRefGoogle Scholar
Blackburn, Bonnie J. “Music Theory and MusicalThinking after 1450.”In Music as Concept and Practice in the Late Middle Ages, ed. , Strohm, Rand , Blackburn, B. J, 301–5. Oxford, 2001.Google Scholar
Blackburn, Bonnie J., , Edward E, Lowinsky, and , Clement A, Miller, eds. A Correspondence ofRenaissance Musicians. Oxford, 1991.Google Scholar
Borders, James. “The Cathedral of Veronaas a Musical Center in the Middle Ages.”PhD diss., University of Chicago, 1983.Google Scholar
Bowers, Roger. “Obligation, Agency, and Laissez-Faire:The Promotion of Polyphonic Composition for the Church in Fifteenth-CenturyEngland.”In Music inMedieval and Early Modern Europe: Patronage, Sources, and Texts, ed. , Fenlon, I, 1–19. Cambridge, 1981.Google Scholar
Boynton, Susan. “Glossed Hymns in Eleventh-CenturyContinental Hymnaries.”PhD diss., Brandeis University, 1997.Google Scholar
Brand, Benjamin. “Liturgical Ceremonyat the Cathedral of Lucca, 1275–1500.”PhD diss., Yale University, 2006.Google Scholar
Brand, Benjamin. “The Development of thePolyphonic Chapel at the Cathedral of Lucca.”In L'istituzione ‘cappella musicale’fra corte e chiesa nell'Italia del Rinascimento. Atti, Convegno internazionaledi studi, Camaiore 20–23 ottobre 2005, ed. , Piperno, F, , Ravenni, G. B, and , Chegai, A, 73–89. Florence, 2007.Google Scholar
Brand, Benjamin. “John Hothby and theCult of St Regulus at Lucca.” Early Music History 27(2008): 1–45.10.1017/S0261127908000272CrossRefGoogle Scholar
Brand, Benjamin, ed. Historia Sancti Reguli. Ottawa, 2010.Google Scholar
Bratchel, M. E. Lucca 1430–1494: TheReconstruction of an Italian City-Republic. Oxford, 1995.10.1093/acprof:oso/9780198204848.001.0001CrossRefGoogle Scholar
Bridgman, Nanie, ed. Manuscrits de MusiquePolyphonique: Italie, XVe et XVIe Siècles,RISM V.IV5 . Munich, 1991.Google Scholar
Bullough, Donald A. “Lescuole cattedrali e la cultura dell'Italia settentrionale prima deiComuni.” In Vescovi e diocesi in Italia nel medioevo(sec. IX–XIII), 111–43. Padua, 1964.Google Scholar
Busse, Berger, , Anna, Maria. Mensuration and ProportionSigns: Origins and Evolution. Oxford, 1993.Google Scholar
Busse, Berger. Medieval Music and the Artof Memory. Berkeley, 2005.CrossRefGoogle Scholar
Cattin, Giulio. “Polifonia quattrocentescaitaliana nel codice Washington, Library of Congress, ML 171 J 6.” Quadrivium 9(1968): 67–102.Google Scholar
Caturegli, Natale. Scuola e archivio della chiesalucchese nel sec. VIII. Pisa, 1950.Google Scholar
Cerù, Domenico Agostino. Cenni storici dell'insegnamentodella musica in Lucca e dei più notabili maestri compositoriche vi hanno fiorito. Lucca, 1871.Google Scholar
Cohn, Samuel K. The Cult of Remembrance andthe Black Death: Six Renaissance Cities in Central Italy. Baltimore, 1992.Google Scholar
Concioni, Graziano. “San Martino di Lucca:La cattedrale medioevale.” Rivista di archeologia, storia, costume 22(1994): 1–453.Google Scholar
D'Accone, Frank. “A Documentary Historyof Music at the Florentine Cathedral and Baptistry during the FifteenthCentury.”PhD diss., Harvard University, 1960.Google Scholar
D'Accone, Frank. “The Singers of San Giovanniin Florence during the 15th Century.” Journal of the American Musicological Society 14.3(1961): 307–8.CrossRefGoogle Scholar
D'Accone, Frank. “The Musical Chapelsof the Florentine Cathedral and Baptistry during the First Half ofthe 16th Century.” Journal of the American Musicological Society 24.1(1971): 1–50.CrossRefGoogle Scholar
D'Accone, Frank. “Music and Musiciansat Santa Maria del Fiore in the Early Quattrocento.”In Scritti in onore di Luigi Ronga, 99–126. Milan, 1973.Google Scholar
D'Accone, 1997D'Accone,Frank. The Civic Muse: Music and Musicians in Siena duringthe Middle Ages and the Renaissance. Chicago, 1997.CrossRefGoogle Scholar
Di Bacco, Giuliano. De Muris e gli altri: Sullatradizione di un trattato trecentesco di contrappunto. Lucca, 1996.Google Scholar
Emden, Alfred Brotherston. A Biographical Register of the University of Oxford to A.D. 1500. 3 vols. Oxford, 1957–59.Google Scholar
Fischer, Kurt von, ed. Handschriften mit mehrstimmigerMusik des 14., 15. und 16. Jahrhunderts RISM V.IV3–4 . Munich, 1972.Google Scholar
Forney, Kristine K. “Music, Ritual and Patronageat the Church of Our Lady, Antwerp.” Early Music History 7(1987): 1–57.CrossRefGoogle Scholar
Frey, Herman-Walther. “Regesten zur päpstlichenKapelle unter Leo X. und zu seiner Privatkapelle.” Die Musikforschung 8(1955): 58–73, 178–99,412–37; 9 (1956): 46–57, 139–56, 411–19.Google Scholar
Fuller, Sarah. “APhantom Treatise of the Fourteenth Century? The Ars Nova.” Journal of Musicology 4.1 (1985–86): 23–50.CrossRefGoogle Scholar
Gallo, F. Alberto. “Cantus PlanusBinatim: Polifonia primitiva in fonti tardive.” Quadrivium7(1966a): 79–89.Google Scholar
Gallo, F. Alberto, ed. Prosdocimi de BelemandisOpera: Expositiones tractatus practice cantus mensurabilis magistriJohannis de Muris. Bologna, 1966b.Google Scholar
Gambassi, Osvaldo. “Pueri cantores”nelle cattedrali d'Italia tra medioevo e età moderna. Le ScuoleEugeniane: Scuole di canto annesse alle cappelle musicali. Florence, 1997.Google Scholar
Gastaldelli, Ferruccio. “Note sul codice 614della Biblioteca Capitolare di Lucca e sulle edizioni del De arithmetica compendiose tractata e della Summadialetice artis.” Salesianum 39(1977): 693–702.Google Scholar
Gehl, Paul F. A Moral Art: Grammar, Society,and Culture in Trecento Florence. Ithaca, 1993.Google Scholar
Giusti, Martino. “L’OrdoOfficiorum della Cattedrale di Lucca.”In Miscellanea Giovanni Mercati, 523–6. Vatican City, 1946.Google Scholar
Godt, Irving, and , Benito, Rivera. “The Vatican OrganumTreatise — A Colour Reproduction, Transcription, and Translation.”In Gordon Athol Anderson, 1929–1981:In Memorium von seinen Studenten, Freunden und Kollegen, 264–345. Henryville, 1984.Google Scholar
Grendler, Paul F. Schooling in RenaissanceItaly: Literacy and Learning, 1300–1600. Baltimore, 1989.Google Scholar
Gualdo, Germano. “Pietro da Noceto e l'evoluzionedella segreteria papale al tempo di Niccolò V (1447–1455).”In Office et papauté: XIVe–XVIIe siècle: charges, hommes, destins, ed. , Jamme, Aand , Poncet, O, 793–804. Rome, 2005.10.4000/books.efr.1238CrossRefGoogle Scholar
Guidi, Pietro, and , Ermenegildo, Pellegrinetti. Inventari del vescovato,della cattedrale e di altre chiese di Lucca. Rome, 1921.Google Scholar
Haar, James, and , John, Nádas. “Johannes de Anglia (JohnHothby): Notes on His Career in Italy.” Acta Musicologica 79.2(2007): 291–358.Google Scholar
Herlinger, Jan W, ed. The Lucidarium of Marchettoof Padua: A Critical Edition, Translation, and Commentary. Chicago, 1985.Google Scholar
Higgins, Paula. “Music and Musiciansat the Sainte-Chapelle of the Bourges Palace, 1405–1515.”In Atti del XIV congresso della SocietàInternazionale di Musicologia, ed. , Pompilio, Angelo, 689–701. Turin, 1990a.Google Scholar
Higgins, Paula. “Tracing the Careersof Late Medieval Composers: The Case of Philippe Basiron of Bourges.” Acta Musicologica 62.1(1990b): 1–28.CrossRefGoogle Scholar
Higgins, Paula. “Musical ‘Parents’and their ‘Progeny’: The Discourse of Creative Patriarchyin Early Modern Europe.”In Music in Renaissance Cities and Courts: Studies in Honor of LewisLockwood, ed. , Ann Owens, Jessieand , Cummings, Anthony M, 169–5. Warren, 1997.Google Scholar
Higgins, Paula. “Musical Politics inLate Medieval Poitiers: A Tale of Two Choirmasters.”In Antoine Busnoys: Method, Meaning, andContext in Late Medieval Music, ed. , Higgins, Paula, 15571. Oxford, 1999.Google Scholar
Hughes, Anselm. “In hoc anni circulo.” The Musical Quarterly 60.1(1974): 37–45.CrossRefGoogle Scholar
Huglo, Michel. “A propos de la Summa artis musicae attribuée à Gugliemo Roffredi.” Revue de musicologie 58.1(1972): 90–94.CrossRefGoogle Scholar
Immel, Steven C. “The Vatican OrganumTreatise Re-Examined.” Early Music History 20(2001): 121–2.CrossRefGoogle Scholar
Johnson, Ken. “Lucca in the ‘Signoria’of Paolo Guinigi, 1400–1430.”PhD diss., University of North Texas, 2002.Google Scholar
Leech-Wilkinson, Daniel. “Written and ImprovisedPolyphony.”In Polyphoniesde Tradition Orale: Histoire et Traditiones Vivantes, ed. , Meyer, C, 172–2. Paris, 2003.Google Scholar
Lockwood, Lewis. Music in Renaissance Ferrara,1400–1505. Oxford, 1984.Google Scholar
Long, Michael. “Singing Through theLooking Glass: Child's Play and Learning in Medieval Italy.” Journal of the American Musicological Society 61.2(2008): 253–306.CrossRefGoogle Scholar
Lucchesini, Cesare. Della storia letteraria del ducato lucchese. 2 vols. Lucca,1825–31.Google Scholar
Luiso, Francesco Paolo. La leggenda del Volto Santo. Pescia, 1928.Google Scholar
Manacorda, Giuseppe. Storia della scuola in Italia:Il medio evo. 2 vols. Milan, 1914.Google Scholar
Mansi, Giovan Domenico, ed. Stephani Baluzii TutelensisMiscellanea. 4 vols. Lucca, 1761.Google Scholar
Matteo Civitali eil suo tempo: Pittori, scultori e orafi a Lucca nel tardo Quattrocento. Milan, 2004.Google Scholar
McDonald, Timothy L., ed. John Hothby. La CalliopeaLegale, Corpus Scriptorum de Musica 42. Neuhausen, 1997.Google Scholar
McGee, Timothy. “In the Service of theCommune: The Changing Role of Florentine Civic Musicians, 1450–1532.” Sixteenth Century Journal 30.3(1999): 727–3.CrossRefGoogle Scholar
Meek, Christine. Lucca, 1369–1400: Politicsand Society in an Early Renaissance City-State. Oxford, 1978.Google Scholar
Meek, Christine. The Commune of Lucca underPisan Rule, 1342–1369. Cambridge, MA, 1980.Google Scholar
Memelsdorff, Pedro. “John Hothby, Lorenzoil Magnifico, e Robert Morton in una nuova fonte manoscritta a Mantova.” Acta Musicologica 78(2006): 1–32.Google Scholar
Mirot, Lèon, and , Eugenio, Lazzareschi. “Un mercante di Luccain Fiandra: Giovanni Arnolfini.” Bollettino storico lucchese 12(1940): 81–105.Google Scholar
Nardi, Paolo. L'insegnamento superiorea Siena nei secoli XI–XIV: Tentativi e realizzazioni dalle originialla fondazione dello Studio generale. Milan, 1996.Google Scholar
Nerici, Luigi. Storia della musica in Lucca,Memorie e documenti per servire alla storia di Lucca 12. Lucca, 1880.Google Scholar
Orvieto, Ugolino da. Declaratio musicae disciplinae. Ed. , Seay, A. 3 vols. Rome, 1959.Google Scholar
Owens, Jessie Ann. Composers at Work: The Craftof Musical Composition, 1450–1600. Oxford, 1997.Google Scholar
Percival, W. Keith. “A Working Edition ofthe Carmina Differentialia by Guarino Veronese.” Res Publica Litterarum: Studies in the ClassicalTradition 17(1994): 153–7.Google Scholar
Pirrotta, Nino. “Music and Cultural Tendenciesin Fifteenth-Century Italy.” Journal of the American Musicological Society 19.2(1966): 127–1.CrossRefGoogle Scholar
Pirrotta, Nino. Music and Culture in Italyfrom the Middle Ages to Baroque: A Collection of Essays. Cambridge, MA, 1984.CrossRefGoogle Scholar
Ramos de Pareia, Bartolomé. Musica Practica. Trans. , Miller, C. A. N.p., 1993.Google Scholar
Reaney, Gilbert, ed. John Hothby. De ArteContrapuncti, Corpus Scriptorum de Musica 26. N.p., 1977.Google Scholar
Reaney, Gilbert. “The Manuscript Transmissionof Hothby's Theoretical Works.”In A Festschrift for Albert Seay, ed. , Grace, M. D, 21–31. Colorado Springs, 1982.Google Scholar
Reaney, Gilbert, ed. John Hothby. Opera Omniade Musica Mensurabili . Ed. , Reaney, G, Corpus Scriptorum de Musica31. N.p., 1983.Google Scholar
Reaney, Gilbert. “The Musical Theory ofJohn Hothby.” RevueBelge de Musicologie 42(1988): 119–3.CrossRefGoogle Scholar
Reaney, Gilbert, ed. John Hothby. Opera Omniade Proportionibus . Ed. , Reaney, G, Corpus Scriptorum de Musica39. N.p., 1997.Google Scholar
Regesti carteggiodegli Anziani. 5 vols. Lucca, 1918–43.Google Scholar
Robertson, Anne Walters. “The Savior, the Woman,and the Head of the Dragon, in the Caput Masses andMotet.” Journal of theAmerican Musicological Society 59.3(2006): 537–630.10.1525/jams.2006.59.3.537CrossRefGoogle Scholar
Sachs, Klaus-Jürgen. Der Contrapunctus im 14.und 15. Jahrhundert: Untersuchungen zum terminus, zu Lehre und zuden Quellen. Wiesbaden, 1974.Google Scholar
Scattolin, Pier Paolo. “La regola del grado nella teoria medievale del contrappunto.” Rivista Italiana di Musicologia 14(1979): 11–74.Google Scholar
Scattolin, Pier Paolo. “La teoria del ‘grado’e la sua applicazione nelle pofionie non misurate del codice Washington,Library of Congress ML 171 J 6.”In Le polifonie primitive in Friuli e in Europa: Atti del congressointernazionale (Cividale del Friuli, 22–24 augusto 1980), ed. , Corsi, Cand , Petrobelli, P, 393–415. Rome, 1989.Google Scholar
Schiaparelli, Luigi. Il codice 490 della BibliotecaCapitolare di Lucca e la scuola scitoria lucchese (sec. VIII–IX). Rome, 1924.Google Scholar
Seay, Albert. “The DialogusJohannis Ottobi Anglici in arte musica.” Journal of the American Musicological Society 8.2(1955): 86–100.CrossRefGoogle Scholar
Seay, Albert. “Florence: The City ofHothby and Ramos.” Journalof the American Musicological Society 9.3(1956): 193–5.CrossRefGoogle Scholar
Seay, Albert. “The 15th-CenturyCappella at Santa Maria del Fiore in Florence.” Journal of the American Musicological Society 11.1(1958): 45–55.CrossRefGoogle Scholar
Seay, Albert, ed. The Musical Works ofJohn Hothby, Corpus Mensurabilis Musicae 33. Rome, 1964a.Google Scholar
Seay, Albert, ed. Three Treatises againstBartholomeo Ramos, Corpus Scriptorum de Musica 10. Rome, 1964b.Google Scholar
Seay, Albert. “Gugliemo Roffredi's Summa Musicae Artis.” Musica Disciplina 24(1970): 69–77.Google Scholar
Starr, Pamela. “Rome as the Centre ofthe Universe: Papal Grace and Musical Patronage.” Early Music History 11(1992): 223–2.CrossRefGoogle Scholar
Strohm, Reinhard. “Ein unbekanntes Chorbuchdes 15. Jahrhunderts.” Die Musikforschung 21(1968): 40–42.Google Scholar
Strohm, Reinhard. “Review of DieMessen Heinrich Isaacs. By Martin Staehelin.” Music & Letters 60.1(1979): 458–1.10.1093/ml/60.4.458CrossRefGoogle Scholar
Strohm, Reinhard. Music in Late Medieval Bruges. 2nd ed. Oxford, 1990.Google Scholar
Strohm, Reinhard. “Alte Fragen und neueÜberlegungen zum Chorbuch Lucca (Lucca, Archivio di Stato, BibliotecaManoscritti 238=I-Las 238).”In Musikalische Quellen, Quellen zur Musikgeschichte: Festschriftfür Martin Staehelin zum 65. Geburtstag, ed. , Staehelin, Martin, , Heidrich, Jürgen, , Joachim Marx, Hans, and , Konrad, Ulrich, 51–64. Göttingen, 2002.Google Scholar
Strohm, Reinhard. ed. Mass Settings from theLucca Choirbook, Early English Church Music 49. London, 2007.Google Scholar
Strohm, Reinhard. “John Hothby, the LuccaChoirbook — and Further Dragon's Heads?” Acta Musicologica 80.1(2008a): 59–66.Google Scholar
Strohm, Reinhard, ed. The Lucca Choirbook:Lucca, Archivio di Stato, MS 238; Lucca, Archivio Arcivescovile, MS97; Pisa, Archivo Arcivescovile, Biblioteca Maffi, Cartella 11/III. Chicago, 2008b.Google Scholar
Tacconi, Marica S. Cathedral and Civic Ritualin Late Medieval and Renaissance Florence: The Service-Books of SantaMaria del Fiore. Cambridge, 2005.Google Scholar
The Theory of Music.RISM BIII1–6 . 6 vols. Munich, 1961–86.Google Scholar
Tinctoris, Johannes. Opera theoretica. Ed. , Seay, A. 2 vols. N.p., 1975.Google Scholar
Wegman, Rob C. “From Maker to Composer:Improvisation and Musical Authorship in the Low Countries, 1450–1500.” Journal of the American Musicological Society 49.3(1996): 409–9.CrossRefGoogle Scholar
Wegman, Rob C. “Musical Offerings inthe Renaissance.” EarlyMusic 33.3(2005): 425–7.Google Scholar
Wilson, Blake. “Heinrich Isaac amongthe Florentines.” Journalof Musicology 23.1(2006): 97–152.CrossRefGoogle Scholar
Woodley, Ronald. John Tucke: A Case Studyin Early Tudor Music Theory. Oxford, 1993.Google Scholar
Wright, Craig. “Dufay at Cambrai: Discoveriesand Revisions.” Journalof the American Musicological Society 28.2(1975): 175–229.CrossRefGoogle Scholar
Wright, Craig. Music and Ceremony at NotreDame of Paris, 500–1550. Cambridge, 1989.Google Scholar
Zanovello, Giovanni. “‘Master ArigoYsach, Our Brother’: New Light on Isaac in Florence, 1502–17.” Journal of Musicology 25.3(2008): 287–317.CrossRefGoogle Scholar
Zimei, Francesco. “Music in Small ItalianVillages: A New Source of Fifteenth-Century Polyphony from Rocca diBotte.” Studi Musicali 36.1(2007): 26–63.Google Scholar
F-Pn, lat. 7369 (P)Google Scholar
GB-Lbl, Add. 36986 Google Scholar
I-Fl, Ashburn, 999Google Scholar
I-Fl, Plut. XXIX.48 (F)Google Scholar
I-Fl, Redi 71Google Scholar
I-Fn, Conventi Soppressi, F.III.565Google Scholar
I-Fn, Palatino 472Google Scholar
I-FZc, 117 (“Faenza Codex”)Google Scholar
I-Las, Anziani al tempo della libertà, 532Google Scholar
I-Las, Anziani al tempo della libertà, 535Google Scholar
I-Las, Anziani al tempo della libertà, 616Google Scholar
I-Las, Archivio dei Notari, 829Google Scholar
I-Las, Archivio dei Notari, 830Google Scholar
I-Las, Archivio dei Notari, 1205 Google Scholar
I-Las, Biblioteca Manoscritti, 238Google Scholar
I-Las, Camarlingo Generale, 118Google Scholar
I-Las, Camarlingo Generale, 120Google Scholar
I-Las, Consiglio Generale, 6Google Scholar
I-Las, Consiglio Generale, 7Google Scholar
I-Las, Consiglio Generale, 19Google Scholar
I-Las, Consiglio Generale, 21Google Scholar
I-Las, Spedale di S. Luca,35Google Scholar
I-Lc, Archivio Arcivescovile,Collazioni, RGoogle Scholar
I-Lc, Archivio Arcivescovile,Constitutorum Criminalium Curie, 5Google Scholar
I-Lc, Archivio Arcivescovile,Libri Antichi, 5Google Scholar
I-Lc, Archivio Arcivescovile,Libri Antichi, 50Google Scholar
I-Lc, Archivio Arcivescovile,Libri Antichi, 112Google Scholar
I-Lc, Archivio Capitolare,GG 1Google Scholar
I-Lc, Archivio Capitolare,GG 2Google Scholar
I-Lc, Archivio Capitolare,GG 4Google Scholar
I-Lc, Archivio Capitolare,GG 5Google Scholar
I-Lc, Archivio Capitolare,GG 6Google Scholar
I-Lc, Archivio Capitolare,GG 9Google Scholar
I-Lc, Archivio Capitolare,LL 40Google Scholar
I-Lc, Archivio Capitolare,LL 43Google Scholar
I-Lc, Archivio Capitolare,LL 58Google Scholar
I-Lc, Archivio Capitolare,PP 3Google Scholar
I-Lc, Archivio Capitolare,PP 13Google Scholar
I-Lc, Archivio Capitolare,PP 16Google Scholar
I-Lc, Archivio Capitolare,PP 22Google Scholar
I-Lc, Archivio Capitolare,T+16Google Scholar
I-Lc, Biblioteca Capitolare,608Google Scholar
I-Lc, Biblioteca Capitolare,614Google Scholar
I-Lc, Biblioteca Capitolare,634Google Scholar
I-Lc, Cappellani Beneficiati,A, 1Google Scholar
I-Lc, Cappellani Beneficiati,B, 2Google Scholar
I-Lc, Enti religiosi soppressi,3086 Google Scholar
I-Lc, Opera del Duomo, 4Google Scholar
I-Ma, H. 165 inf.Google Scholar
I-Ma, I. 20 inf.Google Scholar
I-Mac, 518Google Scholar
I-PCc, Biblioteca Capitolare,65Google Scholar
I-Rvat, Ottob. lat. 3025 Google Scholar
I-Vnm, lat. VIII.82Google Scholar
US-DLC, ML 171 J6 Case (W)Google Scholar
Arrighi, Gino, ed. De arithmetica compediosetractata dal Codice 614 (sec. XII) della Biblioteca Capitolare Felinianadi Lucca. Pisa, 1964.Google Scholar
Arrighi, Gino. “La ‘Summa musiceartis’ di Mo Gugliemo Vescovo di Lucca.” Actum Luce 4(1975):105–2.Google Scholar
Balbi, Giovanna Petti. L'insegnamento nella Liguriamedievale: Sucole, maestri, libri. Genoa, 1979.Google Scholar
Balensuela, C. Matthew, ed. Ars cantus mensurabilismensurata per modos iuris. Lincoln, 1994.Google Scholar
Barsanti, Paolo. Il pubblico insegnamentoin Lucca dal secolo XIV alla fine del secolo XVIII. Lucca, 1905.Google Scholar
Barsocchini, Domenico, andDomenico Bertini. Dissertazioni sopra la storia ecclesiasticalucchese. 2 vols. Lucca, 1818–44.Google Scholar
Battaglia, Salvatore. Grande dizionario della linguaitaliana. 22 vols. Torino, 1961.Google Scholar
Bertolotti, Antonio. Musici alla corte dei Gonzagain Mantova dal secolo XV al XVIII: Notizie e documenti raccolti negliarchivi mantovani. Milan, 1980.Google Scholar
Biaggiani, Franco. Organi e organisti nellacattedrale di Lucca. Lucca, 1982.Google Scholar
Black, Robert. Humanism and Education inMedieval and Renaissance Italy: Tradition and Innovation in LatinSchools from the Twelfth to the Fifteenth Century. Cambridge, 2001.CrossRefGoogle Scholar
Blackburn, Bonnie J. “Music Theory and MusicalThinking after 1450.”In Music as Concept and Practice in the Late Middle Ages, ed. , Strohm, Rand , Blackburn, B. J, 301–5. Oxford, 2001.Google Scholar
Blackburn, Bonnie J., , Edward E, Lowinsky, and , Clement A, Miller, eds. A Correspondence ofRenaissance Musicians. Oxford, 1991.Google Scholar
Borders, James. “The Cathedral of Veronaas a Musical Center in the Middle Ages.”PhD diss., University of Chicago, 1983.Google Scholar
Bowers, Roger. “Obligation, Agency, and Laissez-Faire:The Promotion of Polyphonic Composition for the Church in Fifteenth-CenturyEngland.”In Music inMedieval and Early Modern Europe: Patronage, Sources, and Texts, ed. , Fenlon, I, 1–19. Cambridge, 1981.Google Scholar
Boynton, Susan. “Glossed Hymns in Eleventh-CenturyContinental Hymnaries.”PhD diss., Brandeis University, 1997.Google Scholar
Brand, Benjamin. “Liturgical Ceremonyat the Cathedral of Lucca, 1275–1500.”PhD diss., Yale University, 2006.Google Scholar
Brand, Benjamin. “The Development of thePolyphonic Chapel at the Cathedral of Lucca.”In L'istituzione ‘cappella musicale’fra corte e chiesa nell'Italia del Rinascimento. Atti, Convegno internazionaledi studi, Camaiore 20–23 ottobre 2005, ed. , Piperno, F, , Ravenni, G. B, and , Chegai, A, 73–89. Florence, 2007.Google Scholar
Brand, Benjamin. “John Hothby and theCult of St Regulus at Lucca.” Early Music History 27(2008): 1–45.10.1017/S0261127908000272CrossRefGoogle Scholar
Brand, Benjamin, ed. Historia Sancti Reguli. Ottawa, 2010.Google Scholar
Bratchel, M. E. Lucca 1430–1494: TheReconstruction of an Italian City-Republic. Oxford, 1995.10.1093/acprof:oso/9780198204848.001.0001CrossRefGoogle Scholar
Bridgman, Nanie, ed. Manuscrits de MusiquePolyphonique: Italie, XVe et XVIe Siècles,RISM V.IV5 . Munich, 1991.Google Scholar
Bullough, Donald A. “Lescuole cattedrali e la cultura dell'Italia settentrionale prima deiComuni.” In Vescovi e diocesi in Italia nel medioevo(sec. IX–XIII), 111–43. Padua, 1964.Google Scholar
Busse, Berger, , Anna, Maria. Mensuration and ProportionSigns: Origins and Evolution. Oxford, 1993.Google Scholar
Busse, Berger. Medieval Music and the Artof Memory. Berkeley, 2005.CrossRefGoogle Scholar
Cattin, Giulio. “Polifonia quattrocentescaitaliana nel codice Washington, Library of Congress, ML 171 J 6.” Quadrivium 9(1968): 67–102.Google Scholar
Caturegli, Natale. Scuola e archivio della chiesalucchese nel sec. VIII. Pisa, 1950.Google Scholar
Cerù, Domenico Agostino. Cenni storici dell'insegnamentodella musica in Lucca e dei più notabili maestri compositoriche vi hanno fiorito. Lucca, 1871.Google Scholar
Cohn, Samuel K. The Cult of Remembrance andthe Black Death: Six Renaissance Cities in Central Italy. Baltimore, 1992.Google Scholar
Concioni, Graziano. “San Martino di Lucca:La cattedrale medioevale.” Rivista di archeologia, storia, costume 22(1994): 1–453.Google Scholar
D'Accone, Frank. “A Documentary Historyof Music at the Florentine Cathedral and Baptistry during the FifteenthCentury.”PhD diss., Harvard University, 1960.Google Scholar
D'Accone, Frank. “The Singers of San Giovanniin Florence during the 15th Century.” Journal of the American Musicological Society 14.3(1961): 307–8.CrossRefGoogle Scholar
D'Accone, Frank. “The Musical Chapelsof the Florentine Cathedral and Baptistry during the First Half ofthe 16th Century.” Journal of the American Musicological Society 24.1(1971): 1–50.CrossRefGoogle Scholar
D'Accone, Frank. “Music and Musiciansat Santa Maria del Fiore in the Early Quattrocento.”In Scritti in onore di Luigi Ronga, 99–126. Milan, 1973.Google Scholar
D'Accone, 1997D'Accone,Frank. The Civic Muse: Music and Musicians in Siena duringthe Middle Ages and the Renaissance. Chicago, 1997.CrossRefGoogle Scholar
Di Bacco, Giuliano. De Muris e gli altri: Sullatradizione di un trattato trecentesco di contrappunto. Lucca, 1996.Google Scholar
Emden, Alfred Brotherston. A Biographical Register of the University of Oxford to A.D. 1500. 3 vols. Oxford, 1957–59.Google Scholar
Fischer, Kurt von, ed. Handschriften mit mehrstimmigerMusik des 14., 15. und 16. Jahrhunderts RISM V.IV3–4 . Munich, 1972.Google Scholar
Forney, Kristine K. “Music, Ritual and Patronageat the Church of Our Lady, Antwerp.” Early Music History 7(1987): 1–57.CrossRefGoogle Scholar
Frey, Herman-Walther. “Regesten zur päpstlichenKapelle unter Leo X. und zu seiner Privatkapelle.” Die Musikforschung 8(1955): 58–73, 178–99,412–37; 9 (1956): 46–57, 139–56, 411–19.Google Scholar
Fuller, Sarah. “APhantom Treatise of the Fourteenth Century? The Ars Nova.” Journal of Musicology 4.1 (1985–86): 23–50.CrossRefGoogle Scholar
Gallo, F. Alberto. “Cantus PlanusBinatim: Polifonia primitiva in fonti tardive.” Quadrivium7(1966a): 79–89.Google Scholar
Gallo, F. Alberto, ed. Prosdocimi de BelemandisOpera: Expositiones tractatus practice cantus mensurabilis magistriJohannis de Muris. Bologna, 1966b.Google Scholar
Gambassi, Osvaldo. “Pueri cantores”nelle cattedrali d'Italia tra medioevo e età moderna. Le ScuoleEugeniane: Scuole di canto annesse alle cappelle musicali. Florence, 1997.Google Scholar
Gastaldelli, Ferruccio. “Note sul codice 614della Biblioteca Capitolare di Lucca e sulle edizioni del De arithmetica compendiose tractata e della Summadialetice artis.” Salesianum 39(1977): 693–702.Google Scholar
Gehl, Paul F. A Moral Art: Grammar, Society,and Culture in Trecento Florence. Ithaca, 1993.Google Scholar
Giusti, Martino. “L’OrdoOfficiorum della Cattedrale di Lucca.”In Miscellanea Giovanni Mercati, 523–6. Vatican City, 1946.Google Scholar
Godt, Irving, and , Benito, Rivera. “The Vatican OrganumTreatise — A Colour Reproduction, Transcription, and Translation.”In Gordon Athol Anderson, 1929–1981:In Memorium von seinen Studenten, Freunden und Kollegen, 264–345. Henryville, 1984.Google Scholar
Grendler, Paul F. Schooling in RenaissanceItaly: Literacy and Learning, 1300–1600. Baltimore, 1989.Google Scholar
Gualdo, Germano. “Pietro da Noceto e l'evoluzionedella segreteria papale al tempo di Niccolò V (1447–1455).”In Office et papauté: XIVe–XVIIe siècle: charges, hommes, destins, ed. , Jamme, Aand , Poncet, O, 793–804. Rome, 2005.10.4000/books.efr.1238CrossRefGoogle Scholar
Guidi, Pietro, and , Ermenegildo, Pellegrinetti. Inventari del vescovato,della cattedrale e di altre chiese di Lucca. Rome, 1921.Google Scholar
Haar, James, and , John, Nádas. “Johannes de Anglia (JohnHothby): Notes on His Career in Italy.” Acta Musicologica 79.2(2007): 291–358.Google Scholar
Herlinger, Jan W, ed. The Lucidarium of Marchettoof Padua: A Critical Edition, Translation, and Commentary. Chicago, 1985.Google Scholar
Higgins, Paula. “Music and Musiciansat the Sainte-Chapelle of the Bourges Palace, 1405–1515.”In Atti del XIV congresso della SocietàInternazionale di Musicologia, ed. , Pompilio, Angelo, 689–701. Turin, 1990a.Google Scholar
Higgins, Paula. “Tracing the Careersof Late Medieval Composers: The Case of Philippe Basiron of Bourges.” Acta Musicologica 62.1(1990b): 1–28.CrossRefGoogle Scholar
Higgins, Paula. “Musical ‘Parents’and their ‘Progeny’: The Discourse of Creative Patriarchyin Early Modern Europe.”In Music in Renaissance Cities and Courts: Studies in Honor of LewisLockwood, ed. , Ann Owens, Jessieand , Cummings, Anthony M, 169–5. Warren, 1997.Google Scholar
Higgins, Paula. “Musical Politics inLate Medieval Poitiers: A Tale of Two Choirmasters.”In Antoine Busnoys: Method, Meaning, andContext in Late Medieval Music, ed. , Higgins, Paula, 15571. Oxford, 1999.Google Scholar
Hughes, Anselm. “In hoc anni circulo.” The Musical Quarterly 60.1(1974): 37–45.CrossRefGoogle Scholar
Huglo, Michel. “A propos de la Summa artis musicae attribuée à Gugliemo Roffredi.” Revue de musicologie 58.1(1972): 90–94.CrossRefGoogle Scholar
Immel, Steven C. “The Vatican OrganumTreatise Re-Examined.” Early Music History 20(2001): 121–2.CrossRefGoogle Scholar
Johnson, Ken. “Lucca in the ‘Signoria’of Paolo Guinigi, 1400–1430.”PhD diss., University of North Texas, 2002.Google Scholar
Leech-Wilkinson, Daniel. “Written and ImprovisedPolyphony.”In Polyphoniesde Tradition Orale: Histoire et Traditiones Vivantes, ed. , Meyer, C, 172–2. Paris, 2003.Google Scholar
Lockwood, Lewis. Music in Renaissance Ferrara,1400–1505. Oxford, 1984.Google Scholar
Long, Michael. “Singing Through theLooking Glass: Child's Play and Learning in Medieval Italy.” Journal of the American Musicological Society 61.2(2008): 253–306.CrossRefGoogle Scholar
Lucchesini, Cesare. Della storia letteraria del ducato lucchese. 2 vols. Lucca,1825–31.Google Scholar
Luiso, Francesco Paolo. La leggenda del Volto Santo. Pescia, 1928.Google Scholar
Manacorda, Giuseppe. Storia della scuola in Italia:Il medio evo. 2 vols. Milan, 1914.Google Scholar
Mansi, Giovan Domenico, ed. Stephani Baluzii TutelensisMiscellanea. 4 vols. Lucca, 1761.Google Scholar
Matteo Civitali eil suo tempo: Pittori, scultori e orafi a Lucca nel tardo Quattrocento. Milan, 2004.Google Scholar
McDonald, Timothy L., ed. John Hothby. La CalliopeaLegale, Corpus Scriptorum de Musica 42. Neuhausen, 1997.Google Scholar
McGee, Timothy. “In the Service of theCommune: The Changing Role of Florentine Civic Musicians, 1450–1532.” Sixteenth Century Journal 30.3(1999): 727–3.CrossRefGoogle Scholar
Meek, Christine. Lucca, 1369–1400: Politicsand Society in an Early Renaissance City-State. Oxford, 1978.Google Scholar
Meek, Christine. The Commune of Lucca underPisan Rule, 1342–1369. Cambridge, MA, 1980.Google Scholar
Memelsdorff, Pedro. “John Hothby, Lorenzoil Magnifico, e Robert Morton in una nuova fonte manoscritta a Mantova.” Acta Musicologica 78(2006): 1–32.Google Scholar
Mirot, Lèon, and , Eugenio, Lazzareschi. “Un mercante di Luccain Fiandra: Giovanni Arnolfini.” Bollettino storico lucchese 12(1940): 81–105.Google Scholar
Nardi, Paolo. L'insegnamento superiorea Siena nei secoli XI–XIV: Tentativi e realizzazioni dalle originialla fondazione dello Studio generale. Milan, 1996.Google Scholar
Nerici, Luigi. Storia della musica in Lucca,Memorie e documenti per servire alla storia di Lucca 12. Lucca, 1880.Google Scholar
Orvieto, Ugolino da. Declaratio musicae disciplinae. Ed. , Seay, A. 3 vols. Rome, 1959.Google Scholar
Owens, Jessie Ann. Composers at Work: The Craftof Musical Composition, 1450–1600. Oxford, 1997.Google Scholar
Percival, W. Keith. “A Working Edition ofthe Carmina Differentialia by Guarino Veronese.” Res Publica Litterarum: Studies in the ClassicalTradition 17(1994): 153–7.Google Scholar
Pirrotta, Nino. “Music and Cultural Tendenciesin Fifteenth-Century Italy.” Journal of the American Musicological Society 19.2(1966): 127–1.CrossRefGoogle Scholar
Pirrotta, Nino. Music and Culture in Italyfrom the Middle Ages to Baroque: A Collection of Essays. Cambridge, MA, 1984.CrossRefGoogle Scholar
Ramos de Pareia, Bartolomé. Musica Practica. Trans. , Miller, C. A. N.p., 1993.Google Scholar
Reaney, Gilbert, ed. John Hothby. De ArteContrapuncti, Corpus Scriptorum de Musica 26. N.p., 1977.Google Scholar
Reaney, Gilbert. “The Manuscript Transmissionof Hothby's Theoretical Works.”In A Festschrift for Albert Seay, ed. , Grace, M. D, 21–31. Colorado Springs, 1982.Google Scholar
Reaney, Gilbert, ed. John Hothby. Opera Omniade Musica Mensurabili . Ed. , Reaney, G, Corpus Scriptorum de Musica31. N.p., 1983.Google Scholar
Reaney, Gilbert. “The Musical Theory ofJohn Hothby.” RevueBelge de Musicologie 42(1988): 119–3.CrossRefGoogle Scholar
Reaney, Gilbert, ed. John Hothby. Opera Omniade Proportionibus . Ed. , Reaney, G, Corpus Scriptorum de Musica39. N.p., 1997.Google Scholar
Regesti carteggiodegli Anziani. 5 vols. Lucca, 1918–43.Google Scholar
Robertson, Anne Walters. “The Savior, the Woman,and the Head of the Dragon, in the Caput Masses andMotet.” Journal of theAmerican Musicological Society 59.3(2006): 537–630.10.1525/jams.2006.59.3.537CrossRefGoogle Scholar
Sachs, Klaus-Jürgen. Der Contrapunctus im 14.und 15. Jahrhundert: Untersuchungen zum terminus, zu Lehre und zuden Quellen. Wiesbaden, 1974.Google Scholar
Scattolin, Pier Paolo. “La regola del grado nella teoria medievale del contrappunto.” Rivista Italiana di Musicologia 14(1979): 11–74.Google Scholar
Scattolin, Pier Paolo. “La teoria del ‘grado’e la sua applicazione nelle pofionie non misurate del codice Washington,Library of Congress ML 171 J 6.”In Le polifonie primitive in Friuli e in Europa: Atti del congressointernazionale (Cividale del Friuli, 22–24 augusto 1980), ed. , Corsi, Cand , Petrobelli, P, 393–415. Rome, 1989.Google Scholar
Schiaparelli, Luigi. Il codice 490 della BibliotecaCapitolare di Lucca e la scuola scitoria lucchese (sec. VIII–IX). Rome, 1924.Google Scholar
Seay, Albert. “The DialogusJohannis Ottobi Anglici in arte musica.” Journal of the American Musicological Society 8.2(1955): 86–100.CrossRefGoogle Scholar
Seay, Albert. “Florence: The City ofHothby and Ramos.” Journalof the American Musicological Society 9.3(1956): 193–5.CrossRefGoogle Scholar
Seay, Albert. “The 15th-CenturyCappella at Santa Maria del Fiore in Florence.” Journal of the American Musicological Society 11.1(1958): 45–55.CrossRefGoogle Scholar
Seay, Albert, ed. The Musical Works ofJohn Hothby, Corpus Mensurabilis Musicae 33. Rome, 1964a.Google Scholar
Seay, Albert, ed. Three Treatises againstBartholomeo Ramos, Corpus Scriptorum de Musica 10. Rome, 1964b.Google Scholar
Seay, Albert. “Gugliemo Roffredi's Summa Musicae Artis.” Musica Disciplina 24(1970): 69–77.Google Scholar
Starr, Pamela. “Rome as the Centre ofthe Universe: Papal Grace and Musical Patronage.” Early Music History 11(1992): 223–2.CrossRefGoogle Scholar
Strohm, Reinhard. “Ein unbekanntes Chorbuchdes 15. Jahrhunderts.” Die Musikforschung 21(1968): 40–42.Google Scholar
Strohm, Reinhard. “Review of DieMessen Heinrich Isaacs. By Martin Staehelin.” Music & Letters 60.1(1979): 458–1.10.1093/ml/60.4.458CrossRefGoogle Scholar
Strohm, Reinhard. Music in Late Medieval Bruges. 2nd ed. Oxford, 1990.Google Scholar
Strohm, Reinhard. “Alte Fragen und neueÜberlegungen zum Chorbuch Lucca (Lucca, Archivio di Stato, BibliotecaManoscritti 238=I-Las 238).”In Musikalische Quellen, Quellen zur Musikgeschichte: Festschriftfür Martin Staehelin zum 65. Geburtstag, ed. , Staehelin, Martin, , Heidrich, Jürgen, , Joachim Marx, Hans, and , Konrad, Ulrich, 51–64. Göttingen, 2002.Google Scholar
Strohm, Reinhard. ed. Mass Settings from theLucca Choirbook, Early English Church Music 49. London, 2007.Google Scholar
Strohm, Reinhard. “John Hothby, the LuccaChoirbook — and Further Dragon's Heads?” Acta Musicologica 80.1(2008a): 59–66.Google Scholar
Strohm, Reinhard, ed. The Lucca Choirbook:Lucca, Archivio di Stato, MS 238; Lucca, Archivio Arcivescovile, MS97; Pisa, Archivo Arcivescovile, Biblioteca Maffi, Cartella 11/III. Chicago, 2008b.Google Scholar
Tacconi, Marica S. Cathedral and Civic Ritualin Late Medieval and Renaissance Florence: The Service-Books of SantaMaria del Fiore. Cambridge, 2005.Google Scholar
The Theory of Music.RISM BIII1–6 . 6 vols. Munich, 1961–86.Google Scholar
Tinctoris, Johannes. Opera theoretica. Ed. , Seay, A. 2 vols. N.p., 1975.Google Scholar
Wegman, Rob C. “From Maker to Composer:Improvisation and Musical Authorship in the Low Countries, 1450–1500.” Journal of the American Musicological Society 49.3(1996): 409–9.CrossRefGoogle Scholar
Wegman, Rob C. “Musical Offerings inthe Renaissance.” EarlyMusic 33.3(2005): 425–7.Google Scholar
Wilson, Blake. “Heinrich Isaac amongthe Florentines.” Journalof Musicology 23.1(2006): 97–152.CrossRefGoogle Scholar
Woodley, Ronald. John Tucke: A Case Studyin Early Tudor Music Theory. Oxford, 1993.Google Scholar
Wright, Craig. “Dufay at Cambrai: Discoveriesand Revisions.” Journalof the American Musicological Society 28.2(1975): 175–229.CrossRefGoogle Scholar
Wright, Craig. Music and Ceremony at NotreDame of Paris, 500–1550. Cambridge, 1989.Google Scholar
Zanovello, Giovanni. “‘Master ArigoYsach, Our Brother’: New Light on Isaac in Florence, 1502–17.” Journal of Musicology 25.3(2008): 287–317.CrossRefGoogle Scholar
Zimei, Francesco. “Music in Small ItalianVillages: A New Source of Fifteenth-Century Polyphony from Rocca diBotte.” Studi Musicali 36.1(2007): 26–63.Google Scholar