1a) Music before 1700

Description data TOP

unittitle

{"value"=>"1a) Music before 1700"}

scopecontent

{"value"=>"<p>The analyses in sub-series 1a are drawn mainly from Medieval repertoire, such as the Bamberg Codex, the Magnus Liber, and the Montpellier codex, in addition to other monuments and collected works from his time, such as Historical Anthology of Music. There are also a few analyses of works from the Renaissance, including Gesualdo, Cabezón, and Palestrina. These analyses were either used for the text Counterpoint in Composition, or for some other unidentified purpose.</p>"}

unitid

{"type"=>"local_mss", "value"=>"871784"}

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1. Bamberg Codex [18/1]
2. Antonio Cabezón [1/1]
3. Carlo Gesualdo [1/1]
4. Analyses from the Historical Anthology of Music (HAM, vol. 1) and other sources [5/1]
5. Analyses from Husmann, Die mittelalterliche Mehrstimmigkeit
6. Analyses from the Magnus Liber [4/1]
7. Luca Marenzio [1/1]
8. Claudio Monteverdi [1/1]
9. Analyses from the Montpellier Codex [32/1]
10. Johannes Ockeghem [1/1]
11. Giovanni Pierluigi da Palestrina [1/1]
12. The Counterpoint of the 12th century (and 13th), ex. nos. 30-53
13. Perotin [8/1]
14. Analyses of St. Martial and Santiago de Compostela repertoire (1)
15. Analyses of St. Martial and Santiago de Compostela repertoire (2)
16. Analyses of medieval examples from Waite, The rhythm of 12th century polyphony
17. Sketches; Counterpoint, 13th century (misc. 12th/13th cen. analyses)
18. Facsimiles of Medieval Analyses: Oversize