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003			ES-MaCDM
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008			181003t20189999enk||||| |||| 00| 0 eng d
040			_aES-MaCDM _bspa _erdc
245			_aThe production of polyphonic manuscripts in thirteen-century Paris _bnew evidence for standardised procedures _cGregorio Bevilacqua; David Catalunya; Nuria Torres
260			_bCambridge University Press, _c2018 _aCambridge
300			_a50 p.
520			_aResumen: Modern understanding of the production and dissemination of thirteenth-century polyphony is constrained by the paucity of manuscript sources that have been preserved in their entirety; the panorama of sources of medieval polyphony is essentially fragmentary. Some of the surviving fragments, however, were torn from lost books of polyphony that were to some extent comparable to well-known extant codices. The fragment of polyphony preserved in the binding of manuscript 6528 of the Biblioteca Nacional de Madrid is illustrative in this respect. This fragment displays a number of codicological and musical features that are strikingly similar to those of the Florence manuscript (F), Both sources share format and mise-en-page, make use of similar styles of script, notation and pen-work decoration, transmit the pieces in the same order, and present virtually identical musical readings. The Madrid fragment thus provides new evidence for a standardised production of polyphonic books in thirteenth-century Paris. This study provides a detailed account of the fragment's codicological and philological features, and explores the hyphotesis that it originated in the same Parisian workshop that produced F.
773	0		_940966 _tEarly Music History _w(ES-MaCDM)91171 _x0261-1279 _gVol. 37, p. 91-139 _091171
903			_a91212 _b91212
942			_2z _cART
999			_c126323 _d126323