Most of the essays collected in this volume had their origins in
a conference entitled Nouveaux regards sur le manuscript 564 de
Chantilly/New Perspectives on the Chantilly Codex held on 13-15
September 2001 in Tours, under the auspices of the Centre
d’Études Supérieures de la Renaissance
(Université François Rabelais/Centre Nationale de la
Recherche Scientifique). The conference was the last in a series of
meetings held that week marking the tenth anniversary of the
musical research branch, Programme Ricercar. The idea to hold the
conference had emerged in 1999 as we ourselves embarked on a
collaborative project on this most fascinating of music sources
from the late Middle Ages. Our own extended scrutiny of the codex
and its contents, which has culminated in the publication of a
detailed study and the first colour reproduction of the manuscript
made us keenly aware of the significance of this source and its
repertory to our understanding of the history of music before 1600.
The Chantilly codex is beyond doubt one of the most important
sources for late medieval secular polyphony.
Yolanda Plumley and Anne Stone, Introduction
I . Reading the Repertory
Virginia Newes, Deception, Reversal, and Paradox. The
Rondeaux of the Chantilly Codex in Context – Gilles
Dulong, En relisant Solage – Elizabeth Eva Leach,
Dead Famous: Mourning, Machaut, Music, and Renown in the
Chantilly Codex – Gilles Dulong and Agathe Sultan,
Nouvelles lectures des chansons notées dans le
codex Chantilly – Elizabeth Randell Upton, Editing
Chantilly Chansons: Scribal Procedures for Text Placement and
Larger Questions of Musical Style
II . Reading the Notation
Jehoash Hirshberg, Criticism of Music and Music as Criticism
in the Chantilly Codex – Dorit Tanay, Between the
Fig Tree and the Laurel: Or voit tout Revisited
– Jason Stoessel, The Interpretation of Unusual
Mensuration Signs in the Ars subtilior – Margaret Bent,
The Myth of tempus perfectum diminutum in the
Chantilly Manuscript
III. Sources and Questions of Provenance
Reinhard Strohm, Diplomatic Relationships between the
Chantilly Codex and Cividale Fragments? – Maricarmen
Gómez, French Songs in Aragon de Terence Scully
révisé – Thomas Brothers, Flats and
Chansons in MS Florence, Biblioteca Nazionale, Panciatichi 26
– Mark Everist, A New Source for the Polyphony of the Ars
subtilior. Paris, Bibliothèque nationale de France,
nouvelles acquisitions françaises 22069 – Yolanda
Plumley and Anne Stone, Cordier’s Picture-Songs and the
Relationship between the Song Repertories of the Chantilly Codex
and Oxford Manuscript – Guiliano Di Bacco, The Myth
of Philipoctus de Caserta?
Abbreviations