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A central European repertory in Munich, Bayerische Staatsbibliothek, Clm 14274*

Ward, Tom R.; Ward Tom R.; University of Illinois at Urbana-Champaign (Cambridge University Press, 1981)
A COURTLY LOVER AND AN EARTHLY KNIGHT TURNED SOLDIERS OF CHRIST IN MACHAUTʼS MOTET 5 Large portions of this paper were written at the Center for Renaissance Studies, the Newberry Library, Chicago, while I was an Annette Kade Fellow in French Studies in the Middle Ages during 2001–2. I am particularly grateful to Professor Paul Gehl, Custodian, John M. Wing Foundation on the History of Printing at the Newberry Library, who read an earlier version; I greatly benefited from his prudent observations. I would also like to thank Professors Margaret Bent, Amnon Linder and Craig Wright, who read this paper in various stages of writing and made several invaluable comments. I also benefited from the comments of colleagues who attended readings of earlier versions of this paper at the meeting of the International Musicological Society in 2002, at a colloquium held at the Hebrew University of Jerusalem in May 2003, and also at the annual meeting of the American Musicological Society in November 2003. Finally, I am most grateful to Professor Anne Walters Robertson, who accompanied this paper from its inception, and made critical suggestions throughout its development. The epigraph comes from Richard of St Victor, The Twelve Patriarchs, The Mystical Arc, Book Three of the Trinity, trans. and ed. G. A. Zinn (The Classics of Spirituality; New York and Toronto, 1979), p. 76.

Maurey, Yossi (Cambridge University Press, 2020-10-13)
A FEAST OF THE ARTS: JOANNA OF CASTILE IN BRUSSELS, 1496

Tammen, Björn R.; Tammen Björn R.; Kommission für Musikforschung (Cambridge University Press, 2011)
A Florentine chansonnier of the early sixteenth century: Florence, Biblioteca Nazionale Centrale, MS Magliabechi xix 117*

Bernstein, Lawrence F.; Bernstein Lawrence F.; University of Pennsylvania (Cambridge University Press, 1986)
A lost guide to Tinctoris's teachings recovered*

Blackburn, Bonnie J.; Blackburn Bonnie J.; Chicago (Cambridge University Press, 1981)
A mirror of monarchy: Music and musicians in the household chapel of the Lady Margaret Beaufort, mother of Henry VII

Kisby, Fiona; Kisby Fiona; University of London (Cambridge University Press, 1997)
A new look at Old Roman chant

Levy, Kenneth; Levy Kenneth; Princeton University (Cambridge University Press, 2000)
A NEW LOOK AT OLD ROMAN CHANT - II

LEVY, KENNETH; LEVY KENNETH; (Cambridge University Press, 2001)
A newly discovered Trecento fragment: scribal concordances in late-medieval Florentine manuscripts*

Fabbri, Mario; Nádas, John; Fabbri Mario; University of Florence; Nádas John; University of California (Cambridge University Press, 1983)
A perspective on the southern Italian sequence: the second tonary of the manuscript Monte Cassino 318*

Brunner, Lance W.; Brunner Lance W.; University of Kentucky (Cambridge University Press, 1981)
A RIDDLE AND A SONG: PLAYING WITH SIGNS IN A FOURTEENTH-CENTURY BALLADE

Lefferts, Peter M.; Lefferts Peter M.; University of Nebraska (Cambridge University Press, 2020-10-13)
ACCLAIMING ADVENT AND ADVENTUS IN JOHANNES BRASSART’S MOTET FOR FREDERICK III

Saucier, Catherine; Saucier Catherine; Arizona State University (Cambridge University Press, 2020-10-13)
Adrian Willaert and Cardinal Ippolito I d'Este: new light on Willaert's early career in Italy, 1515–21

Lockwood, Lewis; Lockwood Lewis; Hardvard University (Cambridge University Press, 1985)
‘AL GIOCO SI CONOSCE IL GALANTUOMO’: ARTIFICE, HUMOUR AND PLAY IN THE ENIGMI MUSICALI OF DON LODOVICO AGOSTINI Portions of this article were presented at the Conference for Medieval and Renaissance Music, Bristol, July 2002, and the Sixty-Eighth AnnualMeeting of the American Musicological Society, Columbus, Ohio, November 2002. I am grateful to a host of generous scholars who have read and commented upon earlier versions, or who have shared their knowledge with me: Bonnie Blackburn, Cees de Bondt, Jeanice Brooks, Tim Carter, Andrew DellʼAntonio, Flora Dennis, James Haar, Matthew Head, Leofranc Holford-Strevens, Donna Cardamone Jackson, Melanie Marshall, Anthony Newcomb, Patrick Macey, Massimo Ossi, Richard Wistreich, my anonymous readers and the community of the Ficino e-discussion list. I am particularly indebted to Andrew DellʼAntonio and Leofranc Holford-Strevens for their translation assistance; however, any vagaries or errors in the translations I must claim for myself. I am grateful to Dr Ernesto Milano, Director of the Biblioteca Estense, Modena; Prof. Domenico Carboni, Director of the Biblioteca del Conservatorio di Musica ‘Santa Cecilia’, Rome; and the Staatund Stadtbibliothek, Augsburg, for permission to reproduce photographs of books in their collections. Financial assistance for the completion of this research was given by the Arts and Humanities Research Board of Great Britain.

Stras, Laurie (Cambridge University Press, 2020-10-13)
AN ‘EPISODE IN THE SOUTH’? ARS SUBTILIOR AND THE PATRONAGE OF FRENCH PRINCES

Plumley, Yolanda; Plumley Yolanda; University College Cork (Cambridge University Press, 2003)
ANTONIO SQUARCIALUPI: MAN AND MYTH

Haar, James; Nádas, John (Cambridge University Press, 2020-10-13)
ARCHITECTURAL SPACES FOR MUSIC: JACOPO SANSOVINO AND ADRIAN WILLAERT AT ST MARKʼS The first results of this study appeared in my dissertation, ‘Architettura, liturgia e musica a San Marco nell’età del doge Andrea Gritti (1523–38)ʼ, Istituto Universitario di Architettura, Venice, 1999–2000, a project that owes much to the valuable help of Francesco Amendolagine, Claudia Caffagni and David Bryant. I also thank Donatella Calabi and Caroline Bruzelius for inviting me to present the results of my research at the Summer Institute in the Humanities: ‘The Venetian Renaissance: Tradition and the Circulation of Knowledge’, Venice International University, Venice, Island of San Servolo, 7–12 July 2003, where I had the pleasure of meeting Iain Fenlon and Deborah Howard, with whom at various times I have discussed many aspects of my work and to whom I express my warmest thanks: without their help this article would never have been brought to completion. I am also indebted to Bernard Aikema for reading and translating certain passages from the sixteenth-century diary of Arent Willemsz, kindly made available to me by Iain Fenlon. And finally, my deepest gratitude to all those who liberally gave advice, criticism and support (both moral and material): to them all I dedicate this work.

MORETTI, LAURA (Cambridge University Press, 2020-10-13)
Ayres and arias: A hitherto unknown seventeenth-century English songbook*

Johnstone, H. Diack; Johnstone H. Diack; University of Oxford (Cambridge University Press, 1997)
BUXTEHUDE AND THE DANCE OF DEATH: THE CHORALE PARTITA AUF MEINEN LIEBEN GOTT (BUXWV 179) AND THE ARS MORIENDI IN THE SEVENTEENTH CENTURY

Rathey, Markus; Rathey Markus; Yale University (Cambridge University Press, 2010)
Caron, Hayne, Compère: a transmission reassessment

Montagna, Gerald; Montagna Gerald; Levittown, New York (Cambridge University Press, 1987)

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