PRoMs - The Production and Reading of Music Sources
Mise-en-page in manuscripts and printed books containing polyphonic music, 1480—1530
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Date
Locations of Origin
Countries
Austria
9
Belgium
11
Czech Republic
1
England
1
France
2
Germany
21
Great Britain
5
Italy
34
Italy (North)
1
Portugal
1
Spain
4
Switzerland
11
Cities
Antwerp
1
Arundel
2
Augsburg
3
Austria
1
Basel
10
Bologna
2
Brussels
9
Burgundy
1
Cambrai
1
Casale Monferrato
3
Coimbra
1
England
1
Eton
1
Ferrara
7
Florence
8
Fossombrone
2
France
3
Freiburg
1
Germany
6
Germany (South)
5
Glarus, Switzerland
2
Halberstadt
1
Hradec Králové
1
Innsbruck
1
Italy (North)
4
Leipzig
1
London
1
Mantua
2
Mechelen
10
Munich
10
Munich, Germany
1
Naples
3
Northamptonshire
1
Padua
1
Paris
1
Rheinfelden
2
Rome
5
St Gall
1
Staffarda
1
Stirling
1
Tarazona
4
Torgau
1
Turin
1
Venice
1
Verona
2
Vienna
8
Wittenberg
4
Production method
Manuscript
106
Printed work
3
Physical type
chant book with polyphony
1
choirbook
80
choirbook (fragment(s))
2
choirbook (fragment)
2
choirbook (single quire(s))
5
composite manuscript with interpolated polyphony
1
monophonic manuscript with interpolated polyphony
1
music treatise(s) containing polyphony
2
partbook (single)
2
partbooks (complete set)
5
partbooks (incomplete set)
5
printed book with interpolated polyphony
1
printed treatise with added polyphony
1
single leaf
1
Material
paper
72
paper (with parchment)
5
parchment
28
parchment (with paper)
2
parchment and paper (mixed)
2
Format
oblong
16
upright
93
Size (height in mm)
Preparation
Size of Music Text Area
Pricking
always
28
n/a
4
never
18
none visible
41
normally
7
occasionally
2
often
5
rarely
1
sometimes
9
Height of Staves
Colour of Staves
black
58
brown
37
dark brown
9
gold
1
light brown
3
n/a
1
red
6
reddish brown
3
Ruling Medium
double and single rastra
2
double rastrum
3
freehand
8
printed staves
1
quadruple rastrum
1
single rastrum
80
straightedge
17
triple rastrum
5
Number of staves
1
4
10
41
11
21
12
15
13
6
14
4
15
3
16
2
17
2
2
17
3
19
4
31
5
34
6
47
7
38
8
41
9
42
Disposition of Voice Parts
1-part single page
29
10-part opening
1
19-part opening
1
2-part consecutive
4
2-part opening
45
2-part single page
22
3-part consecutive
8
3-part opening
63
3-part score
1
3-part single page
22
4-part consecutive
5
4-part opening
84
4-part single page
25
5-part consecutive
6
5-part opening
44
5-part single page
2
6-part consecutive
1
6-part opening
20
7-part consecutive
1
8-part consecutive
1
8-part opening
5
9-part consecutive
1
9-part opening
1
n/a
2
Indentation for Initials
all staves indented
1
double
35
none
51
quadruple
2
single
70
triple
10
varies
1
Extra Space Between Voice Parts
empty ruled staves on grid
68
left below voice parts as part of grid
5
left between voice parts as part of grid
5
none
16
staves not ruled
1
staves not ruled on grid
19
variable space, not on grid
24
Space Provided for Separate Text
no separate text
79
not in dedicated space
22
provided, in dedicated space
18
Adhoc Adaptation
Indentation for initials filled in
7
made for complete additional staves
27
none
2
notation and staves extended into margin
60
notation extended into margin
31
other
3
partial additional staves
28
staveline added
12
staves extended into margin
7
Copying of Music
Colour of Notation
black
81
brown
32
dark brown
7
gold
1
light brown
1
red
7
Type of Notation
German hufnagel
2
chant (Gothic)
1
chant (square)
8
full mensural
8
strene notation
1
void mensural
101
Monophonic Notation
absent
84
present
30
Level of Calligraphy
fair
48
high
38
n/a
3
poor
14
very high
11
very poor
1
Non-verbal Performance Instructions
coronae
8
end symbol
12
none
5
numbers to indicate note lengths
1
pointers
5
repeat signs
16
signa congruentiae
38
signes-de-renvoi
43
Copying of Text
Language
Czech
1
Dutch
4
English
1
Flemish
2
French
23
German
8
Italian
14
Latin
101
Spanish
10
Presence or Absence of Text
fully texted and provided with incipit
1
fully texted with one or two texts
11
fully texted with one text
98
fully texted with two or more texts
10
fully texted with two texts
5
partially texted with one or two texts
2
partially texted with one text
19
provided with multiple incipits
2
provided with one or two incipits
10
provided with single incipit
30
provided with two incipits
3
untexted
33
varies
1
Type of Script
antiqua
2
cursive
13
cursive (Anglicana)
5
cursive (German)
12
cursive (bastarda)
21
cursive (humanistic)
16
cursive (italic)
4
display script
24
humanistic
1
roman
2
rotonda
2
textura
39
various
2
Level of Calligraphy
fair
46
high
43
n/a
3
poor
12
very high
14
very poor
1
Colour of Text
black
77
blue
6
brown
37
dark brown
7
dark red
1
gold
1
green
1
light brown
1
red
42
Multiple Texts
no
75
yes
42
Decoration
Miniatures Frequency
always
2
never
7
often
1
rarely
19
sometimes
1
Borders Frequency
never
8
occasionally
3
rarely
14
sometimes
1
Borders Size
full borders
3
partial borders: one- and two-sided
2
partial borders: one-sided
6
partial borders: two-sided
7
Painted Initials Frequency
always
4
never
4
normally
4
occasionally
5
often
4
rarely
13
sometimes
4
Painted Initials Type
calligraphic
1
calligraphic with decoration
4
decorated
14
decorated with grotesque heads
7
flourished
7
historiated
5
plain initials
2
trompe l'oeil
1
zoomorphic initial
4
Penned Initials Frequency
always
14
never
2
normally
34
occasionally
18
often
5
rarely
13
sometimes
14
Penned Initials Type
calligraphic
57
calligraphic with decoration
17
calligraphic with grotesque heads
18
decorated
2
decorated with grotesque heads
2
flourished
26
littera notabilior
4
plain initials
16
zoomorphic initial
1
Planned Initials Frequency
always
3
never
3
normally
7
occasionally
11
often
10
rarely
15
sometimes
4
Planned Initials Type
Guide letters only
1
Other Decoration Frequency
always
2
never
6
normally
10
occasionally
9
often
9
rarely
7
sometimes
9
Other Decoration Type
Voice-names
2
banner
1
decorated letters
3
decorative final long
17
diagrams
1
embellished final barline
2
end-symbol
6
littera notabilior
9
ornament
2
signes-de-renvoi
2
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Planned initials frequency: never
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1
Seville, Spain, Biblioteca Capitular y Colombina, MS 5-5-20 (olim Z Tab. 137, N.° 25), Early 16th century, 39-66
1