Spanish Tropes Revisited: University of Sydney Fisher Rare Book Additional Manuscript 351 (Part 2)

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Fisher RB Add. Ms. 351 Inventory of the Manuscript

ASPERGES [fol. 1]1

VIDI AQUAM [fol. 1v]

KYRIE

K1 [fol. 3v] (Clemens rector) Primus tonus

Concordances: Salamanca 9 [fol. 4] primus tonos.2 AHPZa signatura fol. 68 [a] verso.3 Madrid 1361 fol. 179.

1 This manuscript is unfoliated. The folio numbers in square brackets are my own. 2 This manuscript is unfoliated. The folio numbers in square brackets are those assigned by

James Boyce. 3 See Nelson, Zamora, 264. In this book, Nelson provides additional information on all of the

tropes with Zamora or Museo Lázaro Galdiano concordances.

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Chant: Ruiz-Pérez, Vol. I, 185 version 1a.

Additional tropes: There are no additional tropes in Fisher 351.

Notes: This may have been Kyrie 1 in Fisher RB Add. Ms. 370, as the first part of the Kyriale is missing from that manuscript. Ruiz-Pérez, Vol. I, 185 gives ten variants for the opening of this Kyrie trope. The version here is his version 1(a) found in Spanish only sources. Ruiz-Pérez includes a lengthy discussion of Clemens rector under the heading “Liturgia, lenguaje ornamental y estilo musical” where he uses this Kyrie and its trope as an example of the type.4

Bibliography: Ruiz-Pérez, Vol. I, 212: Ruiz-Pérez, Vol. II, 16–23.

K2 [fol. 4v] (Rex virginum) Primi toni

Concordances: Fisher 3275 [fol. 6v] no trope. Fisher 370 fol. 234 K3. Salamanca 1 fol. 131v (in festis beate marie virginis) with trope. Salamanca 9 [fol. 5v] (primi t). Salamanca 53 fol. 127 (in festum beate marie et aliarum virginum). Toledo 52.14 unfoliated. Beinecke 710 fol. 4.

Chant: Ruiz-Pérez, Vol. II, 172–76 (version 1). Melnicki 18.

4 See Ruiz-Pérez, “Transferencias,” Vol. I, 59ff. 5 This manuscript is unfoliated. The numbers in square brackets are mine.

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Additional tropes:6 Christe deus de patre homo natus maria matre (Ruiz-Pérez, Vol. II, 173, D). Christe O paraclite obumbrans corpus marie (Ruiz-Pérez, Vol. II, 174, G, minor variants).

Notes: The two additional tropes are in Fisher 351, and Fisher 370. They appear to be from Spanish-only sources from Santo Domingo de Silos and Mallorca.7

Bibliography: Ruiz-Pérez, Vol. I, 262–63.

K3 [fol. 6] (Cunctipotens genitor)

Concordances: Fisher 327 [fol. 6v] (no trope). Fisher 370 fol. 233. Madrid 1361 fol. 179. Beinecke 710 fol. 3v.

Chant: Ruiz-Pérez, Vol. II, 32–41 (ligature differences only). Hiley K18. Melnicki 18.

Additional tropes: Kyrie Christe dei splendor virtus patris Sophia eleison (Ruiz-Pérez, Vol. II, 34, D). Kyrie Amborum sacrum spiramen nexus amorque eleison (Ruiz-Pérez, Vol. II, 36, G).

Notes: Chant = K2. The additional tropes are in Fisher 370 but not Fisher 351.

6 Under Additional tropes, I have made reference to the chant as found in Ruiz-Pérez. 7 See Ruiz-Pérez, “Transferencias,” Vol. II, 172 ff.

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Bibliography: Ruiz-Pérez, Vol. I, 218.

K4 [fol. 7] (Sume deus qui cuncta creans) Primi toni

Concordances: Fisher 370 fol. 235. Salamanca 1 fol. 127 no trope. Salamanca 9 [fol. 6v] (primi tonus). Salamanca 53 [fol. 119v].8 Beinecke 710 fol. 5. Madrid 1361 fol. 179v. Toledo 52.14 unfoliated (no trope).

Chant: Ruiz-Pérez, Vol. II, 177. Hiley K161. Melnicki 161.

Additional tropes: Kyrie Tu Christe patris speculum (Ruiz-Pérez, Vol. II, 179, D). Christe Qui procedis ab utroque flamme (Ruiz-Pérez, Vol. II, 181, G).

Notes: These additional tropes are in both Fisher 351 and Fisher 370. Ruiz-Pérez lists Spanish-only sources for these tropes.


8 This manuscript’s foliation is incomplete. The folio numbers in square brackets were assigned

by James Boyce.

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K5 [fol. 8] (Jesu fili virginis) Primi toni

Concordances: None identified. But see also Fisher 351 K7.

Chant: Chant like Vat IX cum iubilo.9 Like Melnicki 171.

Notes: Many different tropes with Melnicki 171, but not this text. This trope is not in Ruiz-Pérez.

K6 [fol. 9] (Rector cosmi pie) ii toni

Concordances: Fisher 370 fol. 236. Salamanca 1 fol. 127v (secundus tonus). Salamanca 9 [fol. 8] (secundus tonus). Salamanca 53 [fol. 119v] (variant) (ii toni). Beinecke 710 fol. 7.

9 Where chants are clearly of the same family I have made a value judgement and used the word

like to signal this relationship. This like relationship is looser than one in which one chant simply contains some minor variants of another.

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Madrid 1361 fol. 180. Toledo 52.14 (no trope).

Chant: Ruiz-Pérez, Vol. II, 135–40. Melnicki 198.

Additional tropes: Kyrie Orbis redemptor cruore proprio miseris eleyson (Ruiz-Pérez, Vol. II, 136, D with minor variants). Christe eleyson Qui supra et in firma fomes munimine [sic] eleyson (Ruiz-Pérez, Vol. II, 138, G).

Notes: Qui supra (etc) is most like Salamanca 2637. The additional tropes are in both Fisher 351 and Fisher 370. Ruiz-Pérez lists only Spanish sources and observes that this version of the kyrie and trope is mostly conserved in sources from the peninsula, although its first appearances are related to those from the area influenced by Moissac and Toulouse.10


K7 [fol. 10] (no trope) ii toni

Concordances: Salamanca 9 [fol. 9v] variant.

Chant: Like Melnicki 171. Like Vatican IX cum iubilo.

Notes: Note resemblance to K5 (Jesu fili virginis).

10 See Ruiz-Pérez, “Transferencias,” Vol. I, 198.

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K8 [fol. 10v] (Fons bonitatis) iii toni

Concordances: Fisher 327 [fol. 2] no trope. Fisher 370 fol. 238. Salamanca 9 [fol. 13] (tercius tonus). Salamanca 53 [fol. 125v] (in diebus solemnibus). Beinecke 710 fol. 11. Madrid 1361 fol. 181. Like Fisher 351 K14.


Additional tropes: Fisher 370: Christe unice dei patris genite11 quem de virgine nasciturum mundi pro crimine sancti predixere prophete eleison. Ruiz-Pérez, Vol. II, 79, E: Christe unice dei patris dextera quem de virgine nasciturum mundo mirifice sancti praedixerat prophetae eleison. Fisher 370: Kyrie spiritus alme choeres patri natoque unius unice consistendo fruciis ab utroque eleison. Ruiz-Pérez, Vol. II, 81, G: Kyrie spiritus alme cohaerens patri natoque unius usiae consistendo flans ab utroque eleison.

Notes: This chant and its tropes were very widely dispersed throughout Europe. Ruiz-Pérez gives eleven Spanish sources to which six new ones are added here. The text in Fisher

11 All variants from Ruiz-Pérez are given in italics.

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370 starts Kyries fons bonitatis pater altissime. The two additional tropes found in Fisher 370 (but not Fisher 351) are given in variant versions by Ruiz-Pérez, Vol. II, 79, E and Vol. II, 81, G, and listed by him as only being found in Spanish sources.


K9 [fol. 12] (Cunctipotens domine) Terc toni

Concordances: Fisher 370 fol. 237. Salamanca 1 fol. 128 (tertius et quartus toni). Salamanca 9 [fol. 11v] (tercius ton). Salamanca 53 [fol. 120v] (iii vel iiii tonus). Beinecke 710 fol. 13 (variant). Madrid 1361 fol. 181v.

Chant: Ruiz-Pérez, Vol. II, 67–70 (variants).

Additional tropes: Fisher 351 and Fisher 370. Christe verbum caro factum de virgine eleyson (Ruiz-Pérez, Vol. II, 69, F with minor variants). Fisher 370: Kyrie te celebrantibus una in te sperantibus. (Ruiz-Pérez, Vol. II, 69, G).

Notes: Salamanca 9 has a simpler version of the chant than Fisher 351. Note different modal assignments in Salamanca 1 and Salamanca 53. Fisher 351 has a more elaborate chant than Ruiz-Pérez, Vol. II, 67. In his study, Ruiz-Pérez has listed only four Kyries whose melodies do not appear in Melnicki. He has arbitrarily assigned them numbers Kyrie 1–4. This kyrie is his “kyrie

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3.”12 Ruiz-Perez lists only four other sources for this kyrie and trope, three of which are Spanish. Candelaria (2008) identifies this as a rare melody.13 Five new Spanish concordances are added here.


K10 [fol. 13] (Rex magne) iiii toni

Concordances: Fisher 370 fol. 239v. Salamanca 9 [fol. 14v] (iiii tonus). Beinecke 710 fol. 15. Madrid 1361 fol. 181v. Toledo 52.14 unfoliated (with trope).

Chant: Ruiz-Pérez, Vol. II, 163–69 (minor variants). Melnicki 124 (3). Hiley K145a.

Additional tropes: Fisher 370: O agie infiniteque iudex noster nostras preces suscipe eleison (Ruiz-Pérez, Vol. II, 164, D).14 Christe Consolator qui et flamen cuncta alens vivificans eleison (variant of Ruiz-Pérez, Vol. II, 165, G).

12 See Ruiz-Pérez, “Transferencias,” Vol. II, 604. 13 See Candelaria, The Rosary Cantoral: Ritual and Social Design, 95–96. 14 The source for Ruiz-Pérez, “Transferencias,” Vol. II, 164, D is Toledo 35.10. The Fisher 370

version is a variant of this.

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Notes: No extra tropes in Fisher 351. Additional tropes in Fisher 370 contain some variants from those listed in Ruiz-Pérez, Vol. II. According to Ruiz-Pérez, Vol. I, 200, Rex magne shows three well differentiated traditions, Aquitaine-Meridional, Italian, and Eastern. Our K 10 belongs to the first tradition in which the Spanish peninsular sources accord with those from the Aquitaine-Meridional regions. That is, Mss. Paris 1118, Paris 887, Apt 17, Paris 779, Paris 1871, Paris 903 and Paris 778.

Bibliography: Ruiz-Pérez, Vol. I, 259–60. Ruiz-Pérez, Vol. I, 200.

K11 [fol. 14] (Summe rex) Quintus tonus

Concordances: Salamanca 1 fol. 128v (quintus tonus). Salamanca 9 [fol. 16] (quintus tonus). Salamanca 53 [fol. 121v] (v tonus). Beinecke 710 fol. 17. Madrid 1361 fol. 181v. Toledo 52.14 unfoliated (with trope). Fisher 370 fol. 241v.

Chant: Ruiz-Pérez, Vol. II, 103–7 (minor variants of text and chant). Melnicki 94 (minor variants).

Additional tropes: No extra tropes in Fisher 351. The additional tropes in Fisher 370 are variants of Ruiz-Pérez, Vol. II, 105, F and 105, G. The Fisher 370 versions are as follows: Christe unice ingenite pie necne verbigena eleison. Kyrie sancte spiritus vivifice aspirans supplici tue promptus familie eleison.

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Notes: Ruiz-Pérez only gives three concordances for this Kyries and tropes. All Spanish, these are Toledo 35.10, Salamanca 2637, and Madrid 1361. Seven new Spanish sources are added here.

Bibliography: Ruiz-Pérez, Vol. I, 244. Candelaria (2008), 96.

K12 [fol. 15v] (Iesu redemptor omnium) Sextus tonus

Concordances: Fisher 370 fol. 242 (Fisher). Salamanca 1 fol. 129v (sextus tonus). (Fisher). Salamanca 9 [fol. 18] (sextus tonus)(Fisher). Salamanca 53 [fol. 122v] (vi tonus, variant) (Fisher). Beinecke 710 fol. 22 (Fisher). Madrid 1361 fol. 182 (G).

Chant: Ruiz-Pérez 53–59 (G). Melnicki 64(4) (G).

Additional tropes: Fisher 370: Christe rex tuere hunc gregem emptum tuo sanguine eterne eleison (variant of Ruiz-Pérez, Vol. II, 54, D). kyrie sother agie suplices te nunc mente exoramus eleison (variant of Ruiz-Pérez, Vol. II, 56, G).

Notes: Prado (1934), 6 gives this as “Kyrie VI ex tropario Osensi sxi-xii, V tonus.”15

15 Prado, Supplementum, 6.

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All versions given in Ruiz-Pérez start on G, and the melodic version given by him is from Huesca 4. Prado (1934) Kyrie VI, Salamanca 1, Salamanca 9, Salamanca 53, Beinecke 710, Fisher 351 and Fisher 370 all start on F. There are no extra tropes in Fisher 351. This chant and trope appear to have been much more widely circulated outside Spain than within Spain.16


K13 [fol. 16v] (Christe patris) Septimus tonus

Concordances: Beinecke 710 fol. 24. Madrid 1361 fol. 182 v. Toledo 52.14 unfoliated (with trope).

Chant: Ruiz-Pérez, Vol. II, 13–14.

Additional tropes: No additional tropes in Fisher 351.

Notes: This does not appear in Fisher 370. The chant in Fisher 351 is that of Prado (1934), kyrie 3.17 Ruiz-Pérez, Vol. II, 605 identifies this as kyrie 1. A different chant for this trope text is in Salamanca 1 and Salamanca 53 [fol. 123v]. Candelaria (2008) suggests that the earliest appearance of this trope was in Madrid 1361.18 Apart from the reference in Prado (1934), this is the only concordance supplied by Ruiz-Pérez. However, note the appearance in Toledo 52–14.

16 See Ruiz-Pérez, “Transferencias,” Vol. I, 226–28. 17 See Prado, Supplementum, 5 (ex cantatorio Silensi). 18 See page 96.

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Bibliography: Ruiz-Pérez, Vol. I, 209. Candelaria (2008), 96.

K14 [fol. 17v] (Christe deus decus in evo cum patre fovens cuncta regna) Octavus tonus

Concordances: Fisher 327 [fol. 2] no trope (variant). Fisher 370 fol. 243 (vii tonus). Salamanca 1 fol. 131(octavus tonus) no trope. Salamanca 9 [fol. 22v] (septimus tonus de spiritu sancto), Salamanca 53 fol. 124v (viii tonus). Beinecke 710 fol. 27. Madrid 1361 fol. 182v. Like Fisher 351 K8.


Additional tropes: Fisher 370: Angelici virtutes trementes adorant quem iugiter eleison (variant of Ruiz-Pérez, Vol. II, 8, D). Christe mosque [sic] omnes iuncti sanctis sin sine letemur eleison (possible variant of Ruiz-Pérez, Vol. II, 9, G).

Notes: Fisher 351 K14 and K8 seem to be variants of each other. Note different modal assignments in the concordant sources. No extra tropes in Fisher 351. This composition appears not to have been widely known. Ruiz-Pérez identifies only nine Spanish versions, three Meridional and three Italian. To these can now be added a further seven

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Spanish sources. All of these belong to what Ruiz-Pérez calls the Castilian-Aragonese tradition.19

Bibliography: Ruiz-Pérez, Vol. I, 189–92, 208.

K15 [fol. 18v] (de angelis) See G6, S12, A13.

Concordances: Fisher 327 de angelis [fol. 24]. Salamanca 9 [fol. 17]. Not identified as de angelis. Salamanca 53 [fol. 126v]. Beinecke 710 fol. 20. Fisher 370 fol. 246v.

Chant: Like Melnicki 97.

Notes: The chants de angelis, de angelorum or de los angeles offer an interesting case. Several chants are related in Fisher 351 (K15, G6, S12, A13). Similarly, a cycle of related chants appears in Beinecke 710.20 In Fisher 327 the cycle de angelis (Mass 6) is related but contains variants from the Fisher 351 version.21 The chants are all like Melnicki 97, and not all of the related chants are given in full. Although identified as de angelis, Salamanca 9 [fol. 10v] is a different chant. The version in Beinecke 710 (fol. 20) has the trope O pater immense dux noster.22 This trope is not in Ruiz-Pérez.

K16 [fol. 19v] (Feriales. No trope) See S9.

19 See Ruiz-Pérez, “Transferencias,” Vol. I, 189–92. 20 For a discussion of the related chants in B 710 see Candelaria, “The ‘Rosary Cantorales’ of

Early Modern Spain,” 183–85 and 199, Example 5. 21 The Fisher 327 Gloria de angelis [fol. 24v] is the same as Fisher 351 G6. 22 See Candelaria, “The ‘Rosary Cantorales’ of Early Modern Spain,” 169.

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Concordances: Fisher 327 [fol. 21] in diebus ferialibus (variant).23 Salamanca 9 [fol. 26v] in diebus ferialibus ix l.


K17 [fol. 20] (Conditor kirie omnium ymas) Octavus tonus

Concordances: Salamanca 9 [fol. 20v] (vii tonus et viii). Lázaro Galdiano misal votivo fol. 46.24 Madrid 1361 fol. 182v, Toledo 52.14 unfoliated (with trope). Fisher 370 fol. 245v (octavus tonus).

Chant: Ruiz-Pérez, Vol. II, 24–27. Melnicki 70 (ad lib V).

Additional tropes: No additional tropes in Fisher 351. Fisher 370: Christe patris unice natus de virgine nobis eleison. Christe Spiritus alme tua nos replens gratia eleison.

Notes: For more on this and its appearance in Spanish sources see Prado (1941). Note different modal assignment in Salamanca 9. The two additional tropes in Fisher 370 are given in Ruiz-Pérez, Vol. II, 26–27 as two part tropes from Ms. Las Huelgas.

23 This is the opening of Mass 5 in Fisher 327. 24 See Nelson, Zamora, 264 and 256. According to Nelson this is the Mass for St Ildefonsus 2

January.

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K18 [fol. 20v] (d’aniversario). No trope.

Concordances: None identified.

Chant: Not identified.

K19 [fol. 21] (de Requiem) No trope.



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Additional Kyrie chant in Fisher 370

Fisher 370 [fol. 244v]. (Princeps astrigeram)

Concordances: Salamanca 9 [fol. 24] (viii tonus).

Chant: Ruiz-Pérez, Vol. II, 129. Melnicki 36.

Additional tropes: Qui genus humanum relevas peccamine lapsum eleison (see Ruiz-Pérez, Vol. II, 130, D). Arbor erat magne nobis tunc causa ruinae eleison (see Ruiz-Pérez, Vol. II, 132, G).

Notes: Not in Fisher 351, but a widely distributed trope.


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GLORIA

G1 [fol. 22] (spiritus et alme)

Concordances: Fisher 327 [fol. 22]. Fisher 370 fol. 254v beate marie. Salamanca 1 fol. 136 beate marie gloria. Salamanca 9 [fol. 33v] in solemnibus immaculate. Salamanca 53 [fol. 136]. Beinecke 710 fol. 30v. Madrid 1361 fol. 186v. Toledo 52.14 Unfoliated (variant in intonation. Trope spiritus et alme).

Chant: Ruiz-Pérez, Vol. II, 312. Bosse, 23 (ix). Vatican IX.

Notes: The Gloria trope in Fisher 370 has been scraped from the manuscript, but is still faintly visible. Nothing has been inserted over it. This corrected version has clearly been adapted to the new post Tridentine liturgical usage.25

Bibliography: Ruiz-Pérez, Vol. I, 282 ff. and 307.

25 For a full history and study of this Gloria trope see Bernhold Schmid, Der Gloria-Tropus

Spiritus et alme bis zur Mitte des 15. Jahrhunderts., vol. 46, Münchener Veröfffentlich zur Musikgeschichte (Tutzing: Hans Schneider, 1988).

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G2 [fol. 24]

Concordances: Fisher 370 fol. 249v In diebus duplicibus (variant). Salamanca 1 fol. 132. Salamanca 9 [fol. 27] gloria solemnis. Salamanca 53 [fol. 128v]. Madrid 1361 fol. 184v. Toledo 35.15 (unfoliated). Toledo 52.14 (unfoliated). Possibly Lázaro Galdiano misal votivo fol. 2.

Chant: Vatican IV.

G3 [fol. 26]

Concordances: Fisher 370 fol. 258v ferial. Madrid 1361 fol. 186. AHPZa signatura 68 [b] verso.

Chant: Gloria XV.

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G4 [fol. 27v] (in festis duarum caparum)

Concordances: Fisher 370 fol. 251v. Salamanca 1 fol. 133v In festis ix lectionum (variant). Salamanca 9 [fol. 30] Novem lc (variant). Salamanca 53 [fol. 132] in festis ix lc. Madrid 1361 fol. 185v dos cap.

Chant: Spanish only sources.

Notes: The rubric for nine lessons is given in some concordant sources as here for G4, but in others for G5.

G5 [fol. 29v] (See A12, S7) ix lc

Concordances: Fisher 370 fol. 253. Salamanca 9 [fol. 37v] dominicalis. Salamanca 53 [fol. 130] in dominici diebus.

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Madrid 1361 fol. 185v. Toledo 35.15 (unfoliated). Toledo 52.14 (unfoliated) 9 lessons. AHPZa signatura 68 [b]

Chant: Vatican XIV.

G6 [fol. 31v] (See K15, S12, A13) de angelis

Concordances Fisher 327 [fol. 24v] (variant no intonation).26 Fisher 370 fol. 257 in honorem angelorum (different intonation). Salamanca 1 fol. 134v de angelis. Salamanca 9 [fol. 39v] duplex. Salamanca 53 [fol. 134v] de angelis. Beinecke 710 fol. 62 de angelis. AHPZa signatura 153.

Chant: Vatican VIII.

Notes: The intonation in Fisher 351 is as K15, S12, A13. The Vatican VIII intonation is simple as in Fisher 370 fol. 257, Salamanca 1 fol. 134v and Salamanca 9 [fol. 39v]. The intonation is different again in Salamanca 53. Only Salamanca 9 is not identified as de angelis.

26 This is part of Fisher 327 Mass 7 de angelis. See K15.

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Additional Gloria chant in Fisher 370

Fisher 370 fol. 247v. in nativitate

Concordances: Lázaro Galdiano misal votivo fols. 46v–47v.

Chant: None identified.

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CREDO The Credos and their concordances bring up the question of mensurally-notated sources.27 All of the Fisher 370 Credos are in Fisher 351, but in Fisher 370 none of them are mensurally notated.

C1 [fol. 33] In festivitatibus diebus

Concordances: Fisher 327 [fol. 26]. Here in white mensural notation, with some three-part sections. Fisher 370 fol. 260. Salamanca 1 fol. 146 credo solemne non mensural. Some red notation at et homo factus est. Salamanca 9 [fol. 43]28 non mensural. Salamanca 9 [fol. 48v] solemne mensural. Salamanca 53 [fol. 155] Some red notation at et homo factus est. Beinecke 710 no folio number given. Toledo 52.14 (unfoliated) mensural. Lázaro Galdiano misal votivo fol. 2 (intonation only).29 Toledo 1576.

Chant: Graduale J.Flandrus (Madrid), 1597, 227.30

27 For the most significant recent scholarship on the question of mensural chant see the

following two publications: Marco Gozzi and Francesco Luisi, Il Canto Fratto: L'altro Gregoriano, vol. 7, Miscellanea Musicologica (Rome: Torre d’Orfeo Editrice, 2006), Marco Gozzi, Il Canto Piano nell'era della stampa (Trent: Provincia autonoma di Trento, 1999).

28 Mensurally notated polyphony is added in at the bottom of [fol. 44v–fol. 45] for incarnatus est. Folio [45] cut at bottom.

29 See Nelson, Zamora, 267. 30 For discussion see Salvatore de Salvo Fattor, “Annotazioni sulla tradizione a stampa dei

Credo in canto fratto nei testimoni della Biblioteca musicale L. Feininger di Trento” in Il Canto Fratto: L'altro Gregoriano, ed. Marco Gozzi and Francesco Luisi (Rome: Torre d'Orfeo Editrice, 2006), 430–45.

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Notes: This chant, widely found in Spain and elsewhere, has been called “the Spanish Credo” by Salvatore de Salvo Fattor in the context of a wider discussion of mensural chant.31 Its appearances here in Fisher 351 and Fisher 370 are not mensural. Candelaria (2001) includes this as his Example 6, without giving folio numbers for Beinecke 710, although in discussion he refers to this credo as “now largely hidden beneath…fol. 44v.”32 From the manuscript evidence here, it is clear that Credo 1 in Fisher 351, is indeed the credo commonly known as the credo hispanicum.

Bibliography: Fattor, Salvatore de Salvo. “Annotazioni Sulla Tradizione a Stampa Dei Credo in Canto Fratto Nei Testimoni della Biblioteca Musicale L. Feininger Di Trento.” In Il Canto Fratto: L'altro Gregoriano, edited by Marco Gozzi, 430–45. Rome: Torre d'Orfeo Editrice, 2006. Candelaria (2001), 173, 190–93.

C2 [fol. 36v] In diebus dominicis

Concordances: Fisher 370 fol. 263 fferial. Salamanca 9 [fol. 48v] mensural. Beinecke 710 no folio number given. Toledo 35.15 (unfoliated). Toledo 52.14 (unfoliated) mensural.

Chant: Vatican I.

31 For an extensive discussion of this Spanish Credo see Fattor, “Annotazioni sulla tradizione a

stampa dei Credo.” 32 See Candelaria, “The ‘Rosary Cantorales’ of Early Modern Spain,” 200, Example 6 and 193,

discussion. Unfortunately he does not fully identify his sources or provide folio numbers in this example.

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C3 [fol. 39v] (mensural) Romano

Concordances: Fisher 327 [fol. 17v] simplex (mensural).33 Fisher 370 fol. 265v Romano. Non-mensural. Intonation only. The following two folios are missing from the manuscript. Salamanca 1 fol. 144 mensural. Some red notation at et homo factus est. Zamora 15134 Variant of Salamanca 1. Beinecke 710 fol. 39v.

Chant: Vatican IV.

Notes: Salamanca 1 is like, but not identical to Zamora 151.

C4 [fol. 42v] (mensural) frances

Concordances: Fisher 327 [fol. 3v] mensural. Salamanca 1 fol. 149 credo italiano (different intonation) mensural. Red notation for et homo factus est. Salamanca 9 [fol. 57] mensural. No intonation. Salamanca 53 [fol. 157v] (de la monja). Beinecke 710 fol. 44v. Intonario general para todas las yglesias de España (Zaragoza 1548), folio 29v credo moderno).

33 This is the Credo of Fisher 327 mass 4. This mass 4, [fols. 16–21] has a paired Kyrie/Gloria in

mensural notation. 34 See Nelson, Zamora, 273.

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Chant: Miazga 344.

Notes: This credo labelled frances in Fisher 351 is notated mensurally in Miazga 344. According to Miazga it is from Montserrat XVI century.35 In Fisher 327 added polyphony for the incarnatus est has been written in the top and bottom margins of folios [4v–5v].36 In Fisher 327 the Gloria that is given as part of the same mass is also mensurally notated, and is paired with the Kyrie. Candelaria (2001), following the rubric in the Intonario general para todas las yglesias de España (Zaragoza 1538) fol. 20v–21v, refers to Beinecke 710 fol. 44v as credo moderno (the rubric in the Intonario), or credo hispanicum (possibly the rubric in the Seville Manuale Chori, 1539, folio 184). While I have seen the rubric in Zaragoza 1538, I have not been able to see the rubric or chant in Seville 1539, so cannot verify Candelaria’s statement, which may in any case be erroneous as the credo hispanicum is clearly our credo I and not this credo 4.37

Bibliography: Hardie, Jane Morlet. “Spanish Liturgical Music Manuscripts at the University of Sydney: A Preliminary Report,” Fontes artis musicae 55 (2008): 203–20.

35 See Tadeusz Miazga, Die Melodien des einstimmigen Credo der romish-katholischen

lateinischen Kirche (Graz, 1976), 86. 36 For an introductory discussion of the common Spanish practice of inserting additional

polyphony for the incarnatus est see Candelaria, The Rosary Cantoral: Ritual and Social Design, 106–8. This will be explored further in my forthcoming study of Fisher 327.

37 See “The ‘Rosary Cantorales’ of Early Modern Spain,” 173, 180, 190–93.

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SANCTUS Fisher 370 contains six Sanctus chants, only one of which is in Fisher 351. The additional five Fisher 370 chants have been included here at the end of the section. Only one Sanctus in Fisher 370, (fol. 277 sanctus sancte ingenite genitor sine genitrice) is troped. In his book, Ruiz-Pérez separates sanctus and osanna prosas and tropes. Here they are not separated but are each included under the relevant sanctus.

S1 [fol. 46] Sanctus

Osanna (salvifica o rex angelorum)

Concordances: Fisher 327 [fol. 15].38 Salamanca 1 fol. 141 in festis solemnibus. No trope. Salamanca 53 [fol. 145]. Beinecke 710 fol. 78. Toledo 52.14 unfoliated (different tropes).

Chant: Vatican VIII (de angelis). Thannabaur39 116 variant.

38 In Fisher 327 this is part of mass 3. 39 Peter Josef Thannabaur, Das einstimmige Sanctus der römischen Messe in der

hanschriftlichen Uberlieferung des 11.–16. Jahrhunderts, vol. 1, Erlanger Arbeiten zur Musikwissenschaft (München: Walter Ricke, 1962).

88

Tropes: Osanna. salvifica o rex angelorum. Spes proficiencium salus perfectorum. In huius solempnij de subdante thorum. Clementer constitue sub [spe salvandorum. Erran]tes rectifica rectos fac con]sta[n]tes. Tue matris precibus saluate laudantes. In mu[n]di naufragio rege navigantes. Ne mergantur fluctibus te glorificantes. In excelsis.40

Notes: This is a particularly interesting trope text. Although Candelaria cites it as unique to Beinecke 710, its presence in the concordant sources listed here argues for it being part of a known repertory.41 Its relationship to other Osanna salvifica tropes is not in question, although it is not listed by Castro Caridad or Ruiz-Pérez. While Candelaria assigns the base Sanctus in Beinecke 710 as a variant of Thannabaur 53 known only in Spanish sources, the base Sanctus here in Fisher 351 is a variant of Thannabaur 116.42 More curiously, in Salamanca 53 [fol. 147], there appears an alia prosa that follows Osanna salvifica. This text O iesu salvator dulcis consolator ([fol. 147]) and its chant appear in Beinecke 710 (fol. 81v–83v) as part of a compound Agnus Dei trope that Candelaria had thought was unique. Clearly these chants, their proses and texts need further investigation.43

S2 [fol. 48] (See also S8) Sanctus (de sancta Maria dicatur)

40 Sections in square brackets illegible in source. Text supplied from Candelaria, The Rosary

Cantoral: Ritual and Social Design, 140. Note also a text variant tue matris. In Candelaria’s source this reads Huius sancti.

41 The Rosary Cantoral: Ritual and Social Design, 98–99. 42 See The Rosary Cantoral: Ritual and Social Design, 97–98. 43 See The Rosary Cantoral: Ritual and Social Design, 99–101 and this study Agnus Dei 1.

89

Prosa (te laudant agmina)

Concordances: Fisher 327 [fol. 10]. Salamanca 1 fol. 139 beate marie. Salamanca 9 [fol. 74] (no prosa). Salamanca 53 [fol. 142]. Madrid 1361 fol. 192v. Toledo 52.14 unfoliated (with trope).

Chant: Vatican XII. Ruiz-Pérez, Vol. II, 528–32. Thannabaur 49 variant.

Tropes: Prosa. (Ruiz-Pérez, Vol. II, 528–30). Te laudant agmina iugiter celica. Sol luna sidera humus et maria. Supera et infima qui regis tua potentia nostra dilue contagia. O dei clementia refoue nos tua gratia redimis morte quos propria. Pande superna rex nobis alme spes qui es nostra salus eterna paxque uera. O quam beata est vita celiquae sine meta fruitur44 cuncta per secula. Illuc tuum plasma o iesu magne tendere presta. Inumera namque capere queant ut tua dona atque iocunda iubilet uoce domino.

Notes: On the feasts of the Apostles cunctipotens genitor Deus. Note similarities with S8. Candelaria discusses the possible attempt to impose a sense of unity on a Mass cycle de Apostoles. His mass de Apostoles roughly coincides with Fisher 351 Kyrie 8, Credo 3 and Sanctus 1.45 Note variant celiquae sine meta fruitur. Ruiz-Pérez, Vol. II gives two versions of the chant, the second of which is a two-part version from Las Huelgas.46 Ruiz-Pérez gives eight Spanish only sources.47

44 Text variants from Ruiz-Pérez, “Transferencias,” Vol. II are given here in italics. 45 See Candelaria, “The ‘Rosary Cantorales’ of Early Modern Spain,” 182–83 and 198, Example

4. 46 See Ruiz-Pérez, “Transferencias,” Vol. II, 530–32.

90

S3 [fol. 50] Sanctus (dominicales sanctus)

Prosa (Osanna salvifica tuum plasma qui creasti)

Concordances: Salamanca 9 [fol. 65]. Salamanca 53 [fol. 138]. Madrid 1361 fol. 190 (variant).

Chant: Ruiz-Pérez, Vol. II, 509–12. Thannabaur 226.

Tropes: Prosa. (Ruiz-Pérez, Vol. II, 509–11). Ossanna [sic] salvifica tuum plasma qui creasti simul omnia. Temet laus decet honor et gloria rex eterne in secula. Qui de patris gremio genitus advenisti summo. Redimere perditum hominem sangine proprio. Quem deceperat lucifer fraude nequam calidissime serpentino coniugis dente. Quem expulerat propere hoc innexo crimine paradisi cardine atque lumine. Dunc dignare salvare iesu christe superne.

Notes: Note word order variant: perditum hominem. Ruiz-Pérez gives eleven Spanish, and eight non-Spanish sources.48

47 “Transferencias,” Vol. I, 486. 48 “Transferencias,” Vol. I, 478.

91

S4 [fol. 52] Sanctus iiii caparum

Prosa (clangat hodie vox nostra)

Concordances: Beinecke 710 fol. 81 (fragment).49 Madrid 1361 fol. 192v.

Chant: Ruiz-Pérez, Vol. II, 462–67 (version 2). Thannabaur 112 variant.

Tropes: Prosa. (Ruiz-Pérez, Vol. II, 460–62). Osanna. Clangat hodie uox nostra melodum simphonia. Instant animae iam quia preclara sollemnia. Personet nunc tinnula armonie organa musicorum chorea. Tonorum quam dulcia alternatim concrepet necne modulamina. Diapason altisona

49 See Candelaria, “The ‘Rosary Cantorales’ of Early Modern Spain,” 176 on this trope in

Beineke 710.

92

per vocum discrimina tetracordis figurarum alta concendens culmina. Sustollat nostra carmina ad celi fastigia hymnis angelicis coherenda patri melodia. Quo nos mereamur ampla capere promissa. Sine fruituri meta sanctorum gloria. Ad quorum collegia pia nos ducant merita In excelsis.

Notes: Word order: hymnis angelicis. The chant and prosa here (Madrid 1361) are Ruiz-Pérez version 2. This also appears as Ruiz-Pérez version 3 in two parts from the Las Huelgas manuscript. Ruiz-Pérez gives seven Spanish and seven non-Spanish sources.

S5 [fol. 54v] Sanctus iiii caparum

Osanna (clangat cetus iste letus)

Concordances: Salamanca 1 fol. 138 (prosa only). Salamanca 53 [fol. 140v] (prosa only). Beinecke 710 fol. 50.

93

Madrid 1361 fols. 194–194v sanctus and prosa (variant).

Chant: Ruiz-Pérez, Vol. II, 452–59 Version 1 (Madrid 1361). Thannabaur 53 = Madrid 1361.

Tropes: Osanna. clangat cetus iste letus (Ruiz-Pérez, Vol. II, 452–53). Osanna. Clangat cetus iste letus gloriosa carmina. Angelorum supernorum quae decantant agmina. Felix festum felix dies in qua datur omni mundo gaudium et magna qui es. Felix partus felix natus ad saluandum omne genus est a patre nobis datus O plasmator pater pie mitte filium marie ut primaevae matris culpe condonetur in hac die. Ut precamur sic descendat et a morte nos defendat ut cantando trina uoce sanctus chorus plangat iste. In excelsis.

Notes: The concordant sources give different Sanctus chants but the same Prosa. Word order: pangat iste. Ruiz-Pérez gives nine Spanish sources. Like Prado (1934), 17, Sanctus III.

94

S6 [fol. 56v] Sanctus (Duarum caparum dicantur)

Prosa (plebs tibi mente)

Concordances: Salamanca 1 fol. 140v (no prosa). Salamanca 9 [fol. 73] ix lc (no prosa). Salamanca 53 [fol. 144] ix lc. Madrid 1361 fol. 193v (variant).

Chant: Ruiz-Pérez, Vol. II, 521–22. Thannabaur 52 variant of 54, 96D.

Tropes: Prosa. plebs tibi mente (Ruiz-Pérez, Vol. II, 521–22). Osanna Plebs tibi mente pia genitor dictante sophia iubilet ossanna [sic]. Laudibus intenta tibi plebs quoque Christe redempta iteret osanna. Carminus in meta sis spiritus ut tibi leta triplicet osanna. In excelsis

Notes: Although designated as ix lc in Salamanca 9 and Salamanca; 53, this is not the same chant as G5, S7 and A12, also all designated as ix lc. Ruiz-Pérez gives three Spanish and eight non-Spanish sources, all of which are from his “transitional zone.”

95

Bibliography: Candelaria (2008), 98. Ruiz-Pérez, Vol. I, 483.

S7 [fol. 58] (See A12, G5) Sanctus (De nueve lecciones)

Prosa (carmina plebs sedula)

Concordances: Madrid 1361 fol. 191v.

Chant: Ruiz-Pérez, Vol. II, 487–90. Thannabaur 32, 126 (prosa).

Tropes: Prosa. carmina plebs sedula (Ruiz-Pérez, Vol. II, 487–89). Osanna Carmina plebs sedula concinant in sede regnanti politica. Quem tremunt cuncta concio angelica cherubin ac seraphin nec non ardentia Trinum et unum ecclesia Hunc iure colit catholica Nostra qui sumpsit mortalia larga misertus clementia Natus homo

96

partulit opprobia herens ligno iugia mundi tersit crimina obiens tartarea. destruxit prorsus imperia Morte victa die surgens tertia pluranenpe contulit mundo vite gaudia rediens stelligera suis concessit palacia. Nunc iubilemus illi omnes una Consona voce clangentes cum neuma. Cui semper sit virtus et gloria. In excelsis

Notes: The Fisher 351 version is one tone higher than Ruiz-Pérez, Vol. II, 487, which is the Madrid 1361 version. The prosa texts are the same except for the minor variants noted. Ruiz-Pérez gives twelve Spanish and two non-Spanish sources.50

S8 [fol. 60] (no trope) (See also S2) de setuagesima.

Concordances: Fisher 327 [fol. 20]. Only the opening is the same. Salamanca 1 fol. 139. Similar but at different pitch (beate Marie Sancta with trope Te laudant agmina). See S2. Salamanca 9 [fol. 74] no trope. Salamanca 53 [fol. 142] de beata virgine.

50 Ruiz-Pérez, “Transferencias,” Vol. I, 470.

97

Chant: Vatican XII (Pater cuncta) (like Fisher 327). Thannabaur 177.

Notes: The opening of Fisher 351 S8 is like the opening of S2.

S9 [fol. 60v] (no trope) feriales tempore setuagesima.

Concordances: Fisher 327 [fol. 21] in diebus ferialibus.51 Fisher 370 fol. 283 feriales xl (variant). Salamanca 9 [fol. 76v] in diebus ferialis ix l.

Chant: Vatican XVIII (starts on B). 1614 Graduale de Tempore (606) pro defunctis. Thannabaur 41.

S10 [fol. 61] (no trope) de aniversario

Concordances: Salamanca 9 [fol. 64]. Similar shape, but different pitch, and with variants.

Chant: Not identified. Possible variant of Thannabaur 201.

51 This is from Fisher 327 mass 5, the kyrie of which = Fisher 351 K16.

98

S11 [fol. 62v] See G6, K15, A13. de requiem. Sanctus

Osanna (salvifica concinentes)

Concordances: Madrid 1361 fol. 190 Osanna. In this source the sanctus follows Osanna salvifica.

Chant: Ruiz-Pérez, Vol. II, 507. Thannabaur 216. Variant of Thannabaur 223.

Tropes: Osanna. salvifica concinentes (Ruiz-Pérez, Vol. II, 507–8). Osanna salvifica concinentes in hac aula Et eterna celi premia. Consequemur pleni gratia De culpis expiati celestis gloria. Cum sanctis mereamur Dictari laurea. Letantes sancta Gloria. Super celi palatia In excelsis

Notes: Prosa = Madrid 1361. The Sanctus of Fisher 351 follows the prosa salvifica concinentes in Madrid 1361.

Bibliography: Candelaria (2008), 98 and endnote 25.

99

S12 [fol. 63v] = K15 (de angeles). See G6, A13.

Concordances: Possibly related to Beinecke 710 (ex 5).52

Notes: Salamanca 1(fol. 141v de angelis), Salamanca 9, Salamanca 53, and Fisher 327 [fol. 29] are the same, and are like Fisher 351 and Beinecke 710. For a brief note about relationships see K15. All these de angelis chants are related.

S13 [fol. 64] See A4. Diebus dominicis et lxx

52 See Candelaria, “The ‘Rosary Cantorales’ of Early Modern Spain,” 199, Example 5 and 183–

85, discussion.

100

Concordances: See Madrid 1361 fol. 195v (variant).

Additional Sanctus chants in Fisher 370

Fisher 370 [fol. 277] (Sancte in genite genitor sine genetrix) Beate marie

Concordances:

Chant: See Ruiz-Pérez, Vol. II, 411 (variant). Thannabaur 49.

Fisher 370 [fol. 281] Primus tonus

Chant: Thannabaur 188.

Fisher 370 [fol. 282] primus tonus

Chant: Possible variant of Thannabaur 160.

101

Fisher 370 [fol. 282v] (In sabbatis de beata marie)


Fisher 370 [fol. 283v] Primus tonus

Concordances: Lázaro Galdiano misal votivo fol. 41.

Chant: Vat XV (variant).

102

AGNUS DEI Notes: The Agnus Dei section of Fisher 351 is incomplete as the manuscript ends with an incomplete chant. Fisher 370 has only four surviving Agnus Dei chants, all of which are related in some way to, or are variants of, Fisher 351 chants. Only one troped Agnus Dei (A8) appears in Fisher 351; the opening of A8 is reproduced as the frontispiece (Plate 1) of this book.

A1 [fol. 65] Omnium caparum

.

Concordances: Fisher 370 fol. 284 dobles. Salamanca 1 fol. 143v in festis angelorum (variant). Salamanca 53 [fol. 150v] (variant). Beinecke 710 fol. 81v–83v. The first Agnus Dei in Beinecke 710 is related to Fisher 351.

Chant: Ruiz-Pérez, Vol. II, 572. Possibly Schildbach 114. Vat IX.

Notes: The chants in Salamanca 1 and Salamanca 53 are the same. They start the same as Fisher 351, but then diverge from it. The version in Salamanca 53 is troped (mortis dira ferens ut nostra pia… Ad vitam surgens ut nos …cellos ascendens). The first Agnus Dei of Fisher 351 is like the chant in Beinecke 710. Candelaria discusses this extensively in connection with an extended compound trope in Beinecke 710 (fols. 81v–83v).53 The

53 The Rosary Cantoral: Ritual and Social Design, 99–101.

103

prosa O Iesu salvator dulcis (Beinecke 710) that is part of this Agnus Dei, and regarded by Candelaria as unique, is conserved in Salamanca 53 as an alia prosa to the Osanna salvifica o rex angelorum.54

Bibliography: Castro Caridad 131, 262, 315.55 Iversen 4, #37.56

A2 [fol. 65v] de Sancta Maria

Concordances: Fisher 370 fol. 285 viii tonus (variant). Starts on G. Salamanca 1 fol. 142v de beate marie. Salamanca 9 [fol. 79v] tonus beate marie virginum. Salamanca 53 [fol. 153v] de beate Marie. Madrid 1361 fol. 196 (Starts on G).

Chant: Schildbach 87.57

Notes: Fisher 370 fol. 285 starts on G and is a variant of A2.

54 See S1. 55 Castro Caridad, Tropos y troparios hispánicos. 56 Gunilla Iversen, Tropes de l'Agnus Dei, vol. 4, Corpus troporum (Stockholm: Almqvist &

Wiksell International, 1980). 57 Martin Schildbach, Das einstimmige Agnus Dei und seine handschriftliche Überlieferung

vom 10. bis zum 16. Jahrhundert (Erlangen: Offsetdruck-Fotodruck J. Hogel, 1967).

104

A3 [fol. 66] diebus dominici

Concordances: Salamanca 9 fol. 83v (v toni diebus duppli). Madrid 1361 fol. 196. Toledo 52.14 unfoliated.

Chant: Schildbach 60.

A4 [fol. 66v] (=S13) iiii caparum

Concordances: Madrid 1361 fol. 195v (variant).

Chant: Schildbach 64 (variant).

Notes: This chant, S13, is identified as diebus dominicis et LXX.

105

A5 [fol. 67v] (See A15) iiii caparum

Concordances: Possibly Salamanca 1 fol.143.

Chant: Schildbach 153 var. 1.

A6 [fol. 68] (=A11) iiii caparum


Chant: Possibly Schildbach 121.

Notes: This is the same as A11, but at a different pitch. A11 starts on G.

106

A7 [fol. 68v] (=A13) iiii caparum



A8 [fol. 69v] (Hec solempnia cantantibus tua)58 iiii caparum

Concordances:


Tropes: Agnus Dei qui tollis peccata mu[n]di Hec sole[m]pnia cantantibus tua miserere nobis. Agnus Dei qui tollis peccata mudi (sic), Prece sedula christum nobis placa miserere nobis. Agnus Dei qui tollis peccata mundi, Expuna fideliu[m] corda ab omissa59 culpa dona nobis pacem.

58 See also the frontispiece (Plate 1) of this book for reproduction of fol. 69v. 59 Text in italics is only semi-legible in the manuscript.

107

Notes: The full text of this trope is as follows: Hec solepnia cantantibus tua. Miserere nobis… prece sedula christum nobis placa. Miserere nobis… Expuna fidelium corda ab omnissa culpa dona nobis pacem. This text is not in Castro Caridad, Candelaria (2008), Ruiz-Pérez, or Iversen. It may possibly be a unique trope text even though the chant is Schildbach 3.

A9 [fol. 70v] Duarum caparum


A10 [fol. 71] Duarum caparum



108

A11 [fol. 71v] (=A6) Duarum caparum



Notes: This is A6 at a different pitch. A6 starts on F.

A12 [fol. 72] (See S7, G5) de ix lectiones

Concordances: Fisher 327 [fol. 29] (Like).60 Salamanca 1 fol. 143 (in festis novum lectionum). Salamanca 9 [fol. 80] (v tonus ix lc). Salamanca 53 [fol. 153] opens like VatXVII. Toledo 52.14 unfoliated (novem lect).

Chant: Opens like Vatican XVII. Schildbach 34.

60 This is Fisher 327 mass 6 de angelis. See also Fisher 327 [fol. 24] from mass 5.

109

Notes: Note variants between concordant sources. This is like Fisher 370 fol. 284v.

A13 [fol. 72v] (=A7) De quatuorum caparum

Concordances: Like Salamanca 1 fol. 142v.


Notes: See also S12, G6, K15. It is important to note the family resemblances between A12, A13, and A14.

A14 [fol. 73v] iiii caparum

damaged end of MS.

Concordances: Like Lázaro Galdiano misal votivo fols. 50v–51.

Chant: Schildbach 115 var 1.

110

Notes: This is an added sheet in another hand. Probably added later.

A15 [fol. 74v] (See A5) In festis duplicibus et semiduplicibus

damaged end of MS

Concordances: Salamanca 1 fol. 143.

Chant: Schildbach 15 (var 1).

Notes: The end of the manuscript is damaged, and this Agnus is incomplete. The concordance with Salamanca 1 is uncertain.

Additional Agnus Dei chants in Fisher 370

Fisher 370 [fol. 284v] quintus tonus

Notes: This chant is like A12.

Fisher 370 [fol. 285] octavus tonus

111

Notes: See Fisher 351 A2. This Fisher 370 chant is one tone higher than Fisher 351 A2, and is a variant version.

Appendix: Abbreviations Note: The University of Sydney Fisher Library, Rare Books, Additional Manuscripts 327, 351 and 370 are in the process of digitization, and will be available at the following URL http://sydney.edu.au/library/libraries/rare/.

Manuscripts: Apt 17 Apt Arch. Basilica Ste. Anne 17 (5). Beinecke 710 Yale University, Beinecke Library, Ms. 710. Fisher 327 Sydney University. Fisher RB Add. Ms. 327. Fisher 351 Sydney University. Fisher RB Add. Ms. 351. Fisher 370 Sydney University. Fisher RB Add. Ms. 370. Huesca 4 Huesca Bibl. Cap. 4. Madrid 1361 Madrid Biblioteca Nacional. Ms. 1361. Lázaro Galdiano misal votivo

Madrid Biblioteca Lázaro Galdiano Ms. 662 misal votivo para uso de Zamora.

Montserrat 73 Montserrat, Biblioteca del Monasterio. Ms. 73. Troparium-Prosarium.

Paris 1118 Paris Bibl. nat. lat.1118. Paris 1871 Paris Bibl. nat. lat. n.a. lat. 1871. Paris 778 Paris Bibl. nat. lat. 778. Paris 779 Paris Bibl. nat. lat. 779. Paris 887 Paris Bibl. nat. lat. 887. Paris 903 Paris Bibl. nat. lat. 903. Salamanca 1 Salamanca, Archivo de la Catedral Ms. 1.61 Salamanca 9 Salamanca, Archivo de la Catedral Ms. 9. Salamanca 11 Salamanca, Archivo de la Catedral Ms. 11 Salamanca 53 Salamanca, Archivo de la Catedral Ms. 53. Salamanca 2637 Salamanca Biblioteca. Universitaria. 2637. Toledo 1576 Passionarium… Plaça, Toledo, 1576. Toledo 35.10 Toledo, Bibl. cap. 35.10. Toledo 52.14 Toledo, Bibl. cap. 52.14. AHPZa signatura Zamora, Archivo Histórico Provincial signatura

61 For a catalogue of this and the other Salamanca Cathedral manuscripts see James Boyce,

Catálogo, published by the Cathedral in Salamanca n.d.

112

Printed Works: Bosse Bosse, Detlev. Untersuchung einstimmiger mittelaltlicher

Melodien zum “Gloria in excelsis deo.” Regensburg, 1955. Candelaria (2001) Candelaria, Lorenzo. “The ‘Rosary Cantorales’ of Early Modern

Spain: An Interdisciplinary Study in Attribution.” Ph.D diss., Yale University, 2001.

Candelaria (2008) Candelaria, Lorenzo F. The Rosary Cantoral: Ritual and Social Design in a Chantbook from Early Renaissance Toledo, Eastman studies in music. Rochester, NY: University of Rochester Press, 2008.

Castro Caridad Castro Caridad, Eva. Tropos y troparios hispánicos. Santiago de Compostela: Universidad de Santiago de Compostela, Servicio de Publicacións e Intercambio Científico, 1991.

Hiley Hiley, David. “Ordinary of mass chants in English, North French and Sicilian manuscripts.” Journal of the Plainsong and Medieval Music Society 9, (1986): 1–128.

Iversen 4 Iversen, Gunilla. Tropes de l'Agnus Dei. Vol. 4, Corpus troporum. Stockholm: Almqvist & Wiksell, 1980.

Melnicki Melnicki, Margareta. “Das einstimmige Kyrie des lateinischen Mittelalters.” Ph.D. diss., Erlangen, 1968.

Miazga Miazga, Tadeusz. Die Melodien des einstimmigen Credo der romish-katholischen lateinischen Kirche. Graz, 1976.

Nelson Nelson, Kathleen. Medieval Liturgical Music of Zamora. Ottawa: The Institute of Mediaeval Music, 1996.

Prado (1934) Prado, Germán. Supplementum ad Kyriale. Rome: Desclee, 1934. Prado (1941) Prado, Germán. “El Kyrial español.” Analecta Sacra

Tarraconensia 14, 15 (1941): 97–128;43–64. Ruiz-Pérez Ruiz-Pérez, Arturo Tello. “Transferencias del canto medieval:

Los tropos del ordinarium missae en los manuscritos españoles.” PhD, Universidad Complutense de Madrid, 2006.

Available on line at: http://eprints.ucm.es/7758/1/T29576.pdf. Ruiz-Pérez, Vol. I Ruiz-Pérez, “Transferencias,” Volume I. Ruiz-Pérez, Vol. II Ruiz-Pérez, “Transferencias,” Volume II. Schildbach Schildbach, Martin. Das einstimmige Agnus Dei und seine

handschriftliche Überlieferung vom 10. bis zum 16. Jahrhundert. Erlangen: J. Hogel, 1967.

Thannabaur Thannabaur, Peter Josef. Das einstimmige Sanctus der römischen Messe in der hanschriftlichen Uberlieferung des 11.-16. Jahrhunderts. München: Walter Ricke, 1962.

Spanish Tropes Revisited: University of Sydney Fisher Rare Book Additional Manuscript 351 (Part 2)

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Transcript of Spanish Tropes Revisited: University of Sydney Fisher Rare Book Additional Manuscript 351 (Part 2)