A Florentine Chansonnier from the Time of Lorenzo the Magnificent
990 pages
|
Two-volume set
|
© 1983
"Demonstrates the clarity of [Brown's] editorial technique, his thoroughly impressive control of the sources, his exhaustive knowledge of the repertory, and his penetrating stylistic insight. It is a summation of his quarter century of scholarship."—Journal of the American Musicological Society
American Musicological Society: Otto Kinkeldey Award
Won
Contents
Acknowledgments
Part One: The Manuscript
I. Introduction: The Contents of the Manuscript
II. Description of the Manuscript
III. The Illuminators of the Manuscript: Gherardo and Monte di Giovanni
IV. The Frontispiece
V. Tubalcain and the Coat of Arms
VI. The Medallions
VII. The First Owner of the Manuscript: Alessandro Braccesi
VIII. The Choice of Composers
Part Two: Music and Poetry in Florence
IX. Courtly Poetry and Popular Poetry
X. Chansons by Busnois, Agricola, Martini, and Isaac
XI. The Other Chansons in the Manuscript
XII. Compositions with Non-French Texts or Incipits, and Those without Text
Part Three: Analytical and Editorial Problems
XIII. Related Sources and Variant Readings
XIV. Modes and Conflicting Signatures
XV. Text Underlay
Part Four: The Compositions and Their Concordances
XVI. List of Sources with Sigla or Short Titles
XVII. Notes on the Compositions and Their Texts
Index of Composers
Index of Compositions
Part One: The Manuscript
I. Introduction: The Contents of the Manuscript
II. Description of the Manuscript
III. The Illuminators of the Manuscript: Gherardo and Monte di Giovanni
IV. The Frontispiece
V. Tubalcain and the Coat of Arms
VI. The Medallions
VII. The First Owner of the Manuscript: Alessandro Braccesi
VIII. The Choice of Composers
Part Two: Music and Poetry in Florence
IX. Courtly Poetry and Popular Poetry
X. Chansons by Busnois, Agricola, Martini, and Isaac
XI. The Other Chansons in the Manuscript
XII. Compositions with Non-French Texts or Incipits, and Those without Text
Part Three: Analytical and Editorial Problems
XIII. Related Sources and Variant Readings
XIV. Modes and Conflicting Signatures
XV. Text Underlay
Part Four: The Compositions and Their Concordances
XVI. List of Sources with Sigla or Short Titles
XVII. Notes on the Compositions and Their Texts
Index of Composers
Index of Compositions
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