The absent first gathering of the Chantilly manuscript

IF 0.5 1区 艺术学 0 MEDIEVAL & RENAISSANCE STUDIES
M. Bent
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引用次数: 2

Abstract

ABSTRACT The Chantilly manuscript, probably compiled in the 1410s, is thought to have lost an original first sestern early in its history, as the folio numbers start at 13. Because the table of contents matches the order of pieces in the manuscript and starts with the present first item and at fol. 13, it has been assumed that it post-dates the sestern's loss. But the folio numbers were added to that table not by its original hand, but by a later (Italian) one, and that same hand wrote the foliation for the manuscript; table and foliation were therefore almost certainly provided in the same operation. If the table of contents was post factum, why is its foliation in a hand different from the incipits? This article argues that the table of contents was in fact prescriptive, drawn up by a different (French) person before the contents were copied, and that the foliation was added both to the index and the body of the manuscript after copying, allowing for a new planned gathering to be added at the beginning, perhaps including the two Cordier rondeaux. This was never completed; what we have is what there was, and nothing was lost. This hypothesis raises further questions about the codicological and chronological relation of the Cordier songs to the index, to that planned gathering, and to the early history of the manuscript, questions to which provisional answers are suggested.
尚蒂利手稿缺席的第一次收集
摘要:尚蒂利手稿可能编纂于1410年代,由于对开本编号从13开始,被认为在其历史早期就失去了最初的一本。因为目录与手稿中的片段顺序相匹配,并且从现在的第一个项目开始,在fol。13,据推测,它追溯了赛斯滕的损失日期。但是,对开本的编号不是由它原来的手添加到那张表上的,而是由后来的(意大利)手添加的,而且是同一只手为手稿写下了叶理;因此,几乎可以肯定在同一操作中提供了表观和叶理。如果目录是事后制作的,为什么它在手上的叶理与切迹不同?这篇文章认为,目录实际上是规定性的,在复制内容之前由另一个人(法国人)起草,并且在复制后将叶理添加到手稿的索引和正文中,从而允许在一开始就添加一个新的计划集合,可能包括两个Cordier rondeaux。这从未完成;我们所拥有的就是过去,没有任何损失。这一假设进一步提出了关于科迪尔歌曲与索引、计划收集以及手稿早期历史的编纂学和时间关系的问题,这些问题都提出了临时答案。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.50
自引率
0.00%
发文量
15
期刊介绍: Plainsong & Medieval Music is published twice a year in association with the Plainsong and Medieval Music Society and Cantus Planus, study group of the International Musicological Society. It covers the entire spectrum of medieval music: Eastern and Western chant, secular lyric, music theory, palaeography, performance practice, and medieval polyphony, both sacred and secular, as well as the history of musical institutions. The chronological scope of the journal extends from late antiquity to the early Renaissance and to the present day in the case of chant. In addition to book reviews in each issue, a comprehensive bibliography of chant research and a discography of recent and re-issued plainchant recordings appear annually.
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