WHO ‘MADE’ THE MAGNUS LIBER?

Without question, one of the most familiar texts to students of medieval music is the often-cited passage in the treatise of Anonymous IV that offers an account of the historical development of the Notre-Dame tradition. I introduce my own discussion of the ‘making’ of the Parisian liber organi with...

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Bibliographic Details
Published in:Early music history 2001-09, Vol.20, p.227-266
Main Author: ROESNER, EDWARD H.
Format: Article
Language:English
Subjects:
Gestures
Medieval music
Melody
Musical notation
Musical performance
Musical rhythm
Musical tuning
Polyphony
Treatises
Citations: Items that cite this one
Online Access:Get full text
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Summary:Without question, one of the most familiar texts to students of medieval music is the often-cited passage in the treatise of Anonymous IV that offers an account of the historical development of the Notre-Dame tradition. I introduce my own discussion of the ‘making’ of the Parisian liber organi with a brief consideration of this famous text.The Latin is, with minor adjustments, that of F. Reckow, Der Musiktraktat des Anonymus 4, 2 vols. (Beihefte zum Archiv für Musikwissenschaft, 4-5; Wiesbaden, 1967), i, pp. 45-6. The translation is my own, but it has benefited from suggestions by Leofranc Holford-Strevens (most important among them, the readings of ‘optimus organista’ and ‘optimus discantor’ as ‘an excellent organista’ and ‘an excellent discantor’).
ISSN:0261-1279
1474-0559
DOI:10.1017/S0261127901001061