{"id":1135,"date":"2018-11-21T23:28:24","date_gmt":"2018-11-21T22:28:24","guid":{"rendered":"http:\/\/patrickjullien.de\/Goldbergstiftung\/bibliographietextierung-literature-text-underlay\/"},"modified":"2024-05-01T21:06:39","modified_gmt":"2024-05-01T19:06:39","slug":"bibliographietextierung-literature-text-underlay","status":"publish","type":"post","link":"https:\/\/www.goldbergstiftung.org\/en\/bibliographietextierung-literature-text-underlay\/","title":{"rendered":"Bibliographie zur Textierung \u2013 Literature Text Underlay"},"content":{"rendered":"

SOURCES ANCIENNES – Fac-simil\u00e9<\/strong><\/p>\n

CADEAC, P, Excellentissimi Moteta, Liber Primus<\/em>, Paris, Le Roy & Ballard, 1555.
\nCOCLICO, A, Compendium Musices Descriptum<\/em>, Nuremberg, I. Montani & U. Neuberi, 1552, \u00e9d. Facs. M. F. Bukofzer, Kassel : B\u00e4renreiter, 1954.
\nCONRAD VON ZABERN, De modo bene cantandi choralem cantum<\/em>, Mainz, 1474.
\nGUILLIAUD, M, Rudiments de musique pratique<\/em>, Paris, Du Chemin, 1554.
\nHEYDEN, S, De arte canendi<\/em>, Nuremberg : Petrium, 1540, Ed. Facs., New-York : Broud Brothers Limited, 1969.
\nLANFRANCO, G, M., Scintille di musica di Giovan Maria Lanfranco da terentio par megiano<\/em>, Brescia, Lodovico Britannico, 1553, \u00e9d. Facs. Bologne : Forni, 1970.
\nLE JEUNE, C, Livre de m\u00e9lange<\/em>, Anvers, C. plantin, 1585.
\nMARTIN, C, Elementorum musices pratic\u00e6<\/em>, Paris : Du Chemin, 1550, ed. facs., Gen\u00e8ve : Minkoff-reprint, 1981.
\nMENEHOU, M, Nouvelle instruction familiere<\/em>, Paris : Du Chemin 15581550, ed. facs., Gen\u00e8ve : Minkoff-reprint, 1981.
\nMERSENNE, Marin, Harmonie universelle<\/em>, Paris, 1636-37
\nSTOQUERUS, G, De musica libri duo<\/em>, c.1570, 40 fol., cons. \u00e0 Madrid, BN, c\u00f4te : Ms. 6486.
\nVICENTINO, N, L’antica musica ridotta alla moderna prattica<\/em>, Roma, Antonio Barre, 1555, In-fol., 146 fol, \u00e9d. Facs. Lowinsky, Kassel : B\u00e4renreiter, 1959.
\nZARLINO, G, Le istitutioni harmoniche di Gioseffo Zarlino da Chioggia<\/em>, Venezia, 1558, In-4, 347 p, \u00e9d. Facs. Clercx, Kassel : B\u00e4renreiter, 1969.<\/p>\n

 <\/p>\n

DICTIONNAIRES ET ENCYCLOPEDIES<\/strong><\/p>\n

The New-Grove Dictionary of Music and Musicians<\/em>, \u00e9d. Stanley Sadie, London : Macmillan Publishers Limited, 1980
\nBERNSTEIN, L, \u00abCadeac Pierre<\/em>\u00bb, vol. 3, p. 582a.
\nBERGQUIST, P, \u00abLanfranco<\/em>\u00bb, vol. 10, p. 441b.
\nHARR\u00c1N, D,\u00abStoquerus Gaspar<\/em>\u00bb, vol. 18, p.179a.
\nKAUFMAN, H.W, \u00abVicentino<\/em>\u00bb, vol. 19 p. 699a.
\nPALISCA, C, \u00abZarlino<\/em>\u00bb, vol. 20, p. 646a.
\n–
\nDie Musik in Geschite und Gegenwart Allgemeine Enzyklop\u00e4die der Musik<\/em>, \u00e9d. Friedrich Blume, Kassel : B\u00e4renreiter, 1989
\nPALISCA, C, \u00abLanfranco<\/em>\u00bb, vol. 8, pp. 173-175
\nPALISCA, C, \u00abVicentino<\/em>\u00bb, vol. 13, pp. 1582-1586
\nREESE, G, JONES, G.M, \u00abTextunterlegung<\/em>\u00bb, vol. 16 (sup.), pp. 1843-1851
\nThe Norton history of music<\/em>, \u00e9d. Paul Henry Lang, New-York : Norton,1942-1966
\nREESE, G, Music in the Renaissance<\/em>,1959.
\n–
\nScriptorum de musica medii \u00e6vi nova series a Gerbertina altera<\/em>, 4 vols., ed. Edmond de Coussemaker, Paris : Durand, 1864-76, reprint ed., Hildesheim : Olms, 1963.<\/p>\n

 <\/p>\n

SOURCES MODERNES<\/strong><\/p>\n

ALLAIRE, G, The theory of Hexachords, solmization and the Modal System<\/em>, American institute of musicology, 1972 (\u00abMusicological studies and Documents\u00bb, 24).
\nAPEL, W, The Notation of Polyphnic Music from 900 to 1600<\/em>, Cambridge Mass. : The Medieval Academy of America, 1953.
\nATLAS, A, \u00abPaulo Luchini’s Della musica : A little-known source for text underlay from the late sixteenth century\u00bb, in Journal of musicology<\/em>, 1983, pp. 62-83.
\nBALENSUELA, C.M, Ars Cantus Mensurabilis Mensurata per modos Iuris<\/em>, A new Critical Text and Translation, vol. 10, Lincoln & London : University of Nebraska Press, 1994.
\nBEEBE, E.S, Mode, stucture and text expression in the motets of Jacobus Clemens non Papa<\/em> : A study of style in sacred music, vol 1 et 2, 1976.
\nBENT, M, \u00abMusica recta and musica ficta\u00bb, in Musica disciplina<\/em>, XXVI, 1972, pp. 73-100.
\nBERGER, K, Musica ficta. Theories of accidental inflections in vocal polyphony from Marchetto da Padora to G. Zarlino<\/em>, Cambridge : Cambridge University Press, 1987.
\nBEUVARD, Y, Trois messes de Pierre Cad\u00e9ac, 1558<\/em>, M\u00e9moire de ma\u00eetrise, Paris IV Sorbonne, 1975.
\nBROWN, H.M, \u00abChoral music in the Renaissance\u00bb, in Early music<\/em> 6, 1978, pp. 164-169.
\nCAZEAUX, I, French music in the Fifteenth and Sixteenth centuries<\/em>, Oxford : Blackwell, 1975.
\nCHI, I. S., A comparative study of the mid-sixteenth-century motet in southern France: Pierre Cadeac and Guillaume Le Heurteur<\/em>, Diss. university of Kentucky, U-M-I, 1980.
\nCOLETTE, M.N, Le r\u00e9pertoire des rogations d’apr\u00e8s un Processionnal de Poitiers (XVIe si\u00e8cle)<\/em>, Paris : \u00c9ditions du CNRS, 1976.
\nCRAWFORD, D, Anonymus – Compendium Musices – Venetiis, 1499-1597<\/em>, Corpus Scriptorum de Musica, Vol. 33, Americain Institut of Musicology, Stuttgart : H\u00e4nsler-Verlag, 1985.
\nCRAWFORD, D, \u00ab A chant manuel in sixteenth-century italy \u00bb, in Musica Disciplina<\/em>, xxxvi, Americain Institut of Musicolgy, Stuttgart : H\u00e4nsler-Verlag, 1985, pp. 175-190.
\nDYER, J, \u00abSinging with proper refinement\u00bb, in Early Music<\/em> VI-2, 1978, 207-221.
\nFREEDMAN, R, \u00abLe Second livre<\/em> de Du Chemin (1549) et le commerce de la chanson fran\u00e7aise\u00bb, trad. I. His, Second livre de chansons \u00e0 quatre. Nicolas Du Chemin. Paris, 1549<\/em>, \u00e9d. fac-simil\u00e9, Tours : Centre de Musique Ancienne, 1993.
\nGUILLO, L, Les \u00e9ditions musicales de la Renaissance Lyonnaise<\/em>, Klincksieck : Paris, 1991.
\nHAMELINE, J.Y, Le chant gr\u00e9gorien<\/em>, Cahors : Presses de l’Ile de France, 1963.
\nHARR\u00c4N, D, Hebrew and Humanist Elements in Sixteenth-Century Musical Thought<\/em>, (the American Institute of Musicology), Stuttgart : H\u00e4nssler-Verlag, 1986.
\nHARR\u00c1N, D, \u00abNew light on the question of text underlay\u00bb, in Acta musicologica<\/em> XLV, 1973, pp. 24-56.
\nHARR\u00c1N, D, \u00abVicentino and his rules of text underlay\u00bb, in The musical Quaterly<\/em> XLIX, 1973, pp. 620-632.
\nHARR\u00c1N, D, \u00abIn pursuit of origins : The earliest writing on text underlay (c.1440)\u00bb, in Acta musicologica<\/em> L, 1978, pp. 217-240.
\nHARR\u00c1N, D, Word-Ton relations in Musical Thought. From Antiquity to the Seventeenth Century<\/em>, (the American Institute of Musicology), Stuttgart : H\u00e4nssler-Verlag, 1986.
\nHEARTZ, D, Pierre Attaingnant, Royal Printer of Music, A Historical Study and Bibliographical Catalogue<\/em>, Berkley : University of California Press, 1969.
\nHUDSON, B, \u00ab On the texting of Obrecht’s masses \u00bb, in Musica Disciplina<\/em>, xlii, Americain Institut of Musicolgy, Stuttgart : H\u00e4nsler-Verlag, 1988, pp.101-127.
\nLACORE, B, Compendium Musices d’Adrien Petit Coclico traduction et commentaire<\/em>, M. de ma\u00eetrise, Universit\u00e9 F. Rabelais – CESR – Tours, 1989, (in\u00e9dit).
\nLALOY, L, Aristox\u00e8ne de Tarente<\/em>, (r\u00e8d. de Paris, 1904), Gen\u00e8ve : Minkoff Reprint, 1973
\nLEE, B, Lanfranco’s ‘Scintille di musica’ and its relation to sixteenth century music theory<\/em>, Diss.Cornell U, 1961, (in\u00e9dit).
\nLESURE, F, Musique et musiciens fran\u00e7ais du XVI\u00e8me si\u00e8cle<\/em>, Gen\u00e8ve : Minkoff, 1976.
\nLESURE, F, THIBAULT, G, \u00abBibliographie des \u00e9ditions musicales d’Adrian Le Roy et Robert Ballard (1551-1598), dans Soci\u00e9t\u00e9 Fran\u00e7aise de musicologie<\/em>, Paris : Heugel, 1955.
\nLEWIS, M.S, Antonio Gardano Venetian Music Printer 1538-1569, A descriptive Bibliography and Hystorical Study<\/em>, New-York & London : Garland, 1988.
\nLOMENEC’H, G, Chantres et m\u00e9nestrels \u00e0 la cour de Bretagne<\/em>, Rennes : \u00c9ditions Ouest-France, 1993.
\nLORENZETTI, S., \u00abMusic\u00e6 vis in animum<\/em>. On the Relationship between Vocal and Instrumental Practice in the Pedagogical Treatises of the XVIth Century.\u00bb, dans Le Concert des voix et des instruments \u00e0 la Renaissance<\/em>, Actes du XXXIVe Colloque du C.E.S.R – 1-11 juillet 1991, \u00e9d. J.M. Vaccaro, CNRS- \u00c9ditions : Paris, 1995, pp. 39-50.
\nLOUBES, G, \u00abAu temps de Josquin Desprez : Notes sur l’enseignement de la musique et du chant en Gascogne\u00bb, Bulletin de la soci\u00e8t\u00e9 arch\u00e9ologique, historique, litt\u00e9raire et scientifique du Gers<\/em>, 1975, pp. 334-337.
\nLOWINSKY, E, \u00abA treatise on text underlay by a german disciple of Francesco de Salinas\u00bb, in Festschrift H. Besseler<\/em>, Leipzig, 1962, pp. 231-251.
\nLOWINSKY, E, \u00abThe Probl\u00e8me of Text Underlay\u00bb, in Medici Codex of 1518<\/em>, Monuments of Renaissance Music, Chicago : University of Chicago Press, 1968, vol. 3, p. 90-107.
\nMASS, C, \u00abRules for text underlay\u00bb , in TVNM<\/em> 24,1974, pp. 69-79.
\nMASS, C, \u00abProbl\u00e8me de place du texte dans les polyphonie de Josquin\u00bb, in Saintes<\/em>, 1985, (in\u00e9dit).
\nMASSERA, G, \u00abMusica inspettiva e accordatura strumentale nelle ‘Scintille’ di Lanfranco da Terenzo\u00bb, in Quadrivium<\/em> 6, 1964.
\nMOCQUEREAU, A, Le Nombre Musical Gr\u00e9gorien<\/em>, 2 vol., Paris : Descl\u00e9e & Cie, 1908-1927.
\nOUVRARD, J.P, \u00abLa chanson fran\u00e7aise du XVIe si\u00e8cle, lecture du texte po\u00e9tique\u00bb, dans La chanson \u00e0 la Renaissance<\/em>. Actes du XXe colloque, \u00e9d. J.M Vaccaro, Tours : Van de Velde, 1977, pp.107.
\nOUVRARD, J.P, La chanson polyphonique fran\u00e7aise du XVIe si\u00e8cle, Guide pratique<\/em>, Dijon-Paris :,CAPB-CAPI, 1982, R\u00e9ed : J. Barbier, Tours : Centre de Musique Ancienne, 1997.
\nOUVRARD, J.P, Josquin Desprez et ses contemporains : de l’\u00e9crit au sonore<\/em>, Paris : Actes Sud, 1986.
\nPARRICH, C, \u00abA renaissance music manuel for Choirboys\u00bb, in Aspect of Medieval and Renaissance music : A birthday offering to Gustave Reese<\/em>, New York : W.W Norton and co, 1966, pp. 649-664.
\nPERKINS, L, \u00abToward a rational approach to text placement in the secular music of Dufay’s time\u00bb, in Papers read in the Dufay quincentenary conference : Brooklyn College<\/em>, 6\/7.12.1974, pp. 102-113.
\nPOGUE, S.F, Jacques Moderne, Lyons Music Printer of the Sixteenth-Century<\/em>, Gen\u00e8ve : Droz, 1969.
\nQUADFLIEG, \u00ab\u00dcber textunterlag \u00bb, in Kirchenmurt Jahrbuch<\/em> 18, 1903, pp. 95-138.
\nREANEY, G, \u00abText underlay in early fifteenth-century musical manuscripts\u00bb, in Dragan Plamenac Melanges<\/em>, \u00e9d. G. Reese & R. J. Snow, Pittsburgh : University of Pittsburgh, 1969, pp. 91-126.
\nROTOLA, A, Gaspar Stoquerus, “De musica verbali” : critical edition, translation and commentary<\/em>, Diss. The catholic university of America, D-U-M-I, 1984.
\nROTOLA, A, Two books on verbal music<\/em>, Lincoln & London : University of Nebraska Press, 1988
\nROUTLEY, N, \u00abA pratical guide to musica ficta\u00bb, in Early music<\/em> 13, n\u00b01, 1985, pp. 59-71
\nSTRUNK, O, Source readings in music history<\/em>, New-York : Norton & compagny, 1950.
\nSTEIN, E.E, The polyphonic mass in France and the Netherlands, ca.1525 to ca.1560<\/em>, Diss. university of Rochester, 1941.
\nWOOLDRIDGE, \u00abThe treatment of the words \u00bb, in Man<\/em>, 1910, 91-92.
\nZENCK, H, \u00abZarlino ‘Istitutioni harmoniche’ als Quelle zur Musikanschauung der Italienischen Renaissance\u00bb, in ZfMw<\/em> 12, 1929.30.<\/p>\n

 <\/p>\n

OUVRAGES DIVERS<\/strong><\/p>\n

FRAISSE, P, Psychologie du rythme<\/em>, Vend\u00f4me : PUF, 1974.
\nFEBVRE, L, MARTIN, H, L’apparition du livre<\/em>, Paris : \u00e9d. Albin Michel, 1971.
\nPANSIER, P., Histoire du livre et de l’imprimerie \u00e0 Avignon du XIVe au XVIe si\u00e8cle, tome. I-II-II<\/em>, Avignon : Librairie Aubanel Fr\u00e8res, 1922, reprint : Nieuwkoop : B. de Graaf, 1966.
\nZUMTHOR, P, Le masque et la lumi\u00e8re : La po\u00e9tique des grands rh\u00e9toriqueurs<\/em>, Paris : Seuil, 1978.<\/p>\n

 <\/p>\n

SOURCES \u00c9LECTRONIQUES – septembre 1999<\/strong><\/p>\n

THESAURUS MUSICARUM LATINARUM
\nSchool of Music
\nIndiana University
\nBloomington, IN 47405<\/p>\n

http:\/\/www.music.indiana.edu\/tml\/start.html<\/a>
\nhttp:\/\/www.music.indiana.edu\/tml\/14th\/14TH_INDEX.html<\/a>
\nhttp:\/\/www.music.indiana.edu\/tml\/15th\/15TH_INDEX.html<\/a>
\nhttp:\/\/www.music.indiana.edu\/tml\/16th\/16TH_INDEX.html<\/a>
\nhttp:\/\/www.music.indiana.edu\/tml\/16th\/STODEM_TEXT.html<\/a>
\nhttp:\/\/www.music.indiana.edu\/tml\/16th\/STOMTP_MMBN6486.html<\/a>
\nhttp:\/\/www.music.indiana.edu\/tml\/16th\/STOVERA_MMBN6486.html<\/a><\/p>\n

 <\/p>\n

AGGI MUSICALI ITALIANI
\nAndreas Giger
\nSchool of Music
\nIndiana University
\nBloomington, IN 47405<\/p>\n

http:\/\/www.music.indiana.edu\/smi\/15th.html<\/a>
\nhttp:\/\/www.music.indiana.edu\/smi\/16th.html<\/a><\/p>\n

 <\/p>\n

BIBLIOTHECA CLASSICA SELECTA<\/p>\n

http:\/\/www.fusl.ac.be\/Files\/General\/BCS\/Quint\/quint1Plan.html<\/a><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

SOURCES ANCIENNES – Fac-simil\u00e9 CADEAC, P, Excellentissimi Moteta, Liber Primus, Paris, Le Roy & Ballard, 1555. COCLICO, A, Compendium Musices Descriptum, Nuremberg, I. Montani & U. Neuberi, 1552, \u00e9d. Facs. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[83,84],"tags":[],"class_list":["post-1135","post","type-post","status-publish","format-standard","hentry","category-buecherei-en","category-literature-lists-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/posts\/1135","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/comments?post=1135"}],"version-history":[{"count":1,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/posts\/1135\/revisions"}],"predecessor-version":[{"id":2942,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/posts\/1135\/revisions\/2942"}],"wp:attachment":[{"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/media?parent=1135"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/categories?post=1135"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/tags?post=1135"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}