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Anonymous theoretical writings.locked

  • C. Matthew Balensuela

Extract

This article focusses on anonymous music theory texts written during the Western Middle Ages and early Renaissance (to about 1600), currently assumed to be anonymous and not closely associated with a known person, which have been edited and published in modern times.

Numerous artefacts of music have survived to modern times without clearly identifying their author. These include musical works, pictures, court records, theoretical treatises, and other documents. The corpus of anonymous theoretical works, therefore, comprises only a portion of all anonymous works in the history of music. In music theory, anonymous sources primarily span the time from antiquity to the early Renaissance, when texts were copied by hand. After the advent of printing, few theoretical works were transmitted anonymously....

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Milan, Conservatorio di Musica Giuseppe Verdi, Biblioteca
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Michaelbeuern, Benediktinerabtei
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Anzeiger der Österreichischen Akademie der Wissenschaften, philosophisch-historische Klasse (1948-)
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Barcelona, Biblioteca de Catalunya, Seccíon de Música
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Florence, Biblioteca Medicea Laurenziana
Philadelphia, University of Pennsylvania, Van Pelt-Dietrich Library Center
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Florence, Biblioteca Nazionale Centrale, Dipartimento Musica
Leuven, Katholieke Universiteit van Leuven
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Archiv für Musikwissenschaft
Salzburg, Erzabtei St Peter, Musikarchiv
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Tübingen, Eberhard-Karls-Universität, Universitätsbibliothek
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Paris, Bibliothèque Nationale de France
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Geneva, Bibliothèque Publique et Universitaire
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Cesena, Biblioteca Comunale Malatestiana
Berne, Stadt- und Universitätsbibliothek
Vich, Museu Episcopal
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Prague, Státní Ústřední Archiv
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Ghent, Universiteit, Centrale Bibliotheek, Handskriftenzaal
San Marino (CA), Huntington Library
Bologna, Civico Museo Bibliografico Musicale
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Karlsruhe, Badische Landesbibliothek
Brussels, Bibliothèque Royale Albert 1er/Koninlijke Bibliotheek Albert I, Section de la Musique
Galpin Society Journal