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
8
Belgium
20
Czech Republic
4
France
3
Germany
13
Great Britain
8
Italy
29
Netherlands
1
Silesia
3
Spain
3
Switzerland
2
Cities
Antwerp
1
Arundel
1
Augsburg
1
Basel
2
Bologna
2
Bruges
2
Brussels
14
Burgundy
1
Cambrai
1
Catalonia
1
England
1
Eton
1
Ferrara
7
Florence
7
Fossombrone
2
Germany (South)
2
Girona
1
Glarus, Switzerland
1
Halberstadt
1
Hradec Králové
4
Italy
1
Italy (North)
2
Leipzig
1
London
5
Lyons
1
Mantua
1
Mechelen
16
Milan
3
Munich
9
Munich, Germany
1
Naples
4
Netherlands
1
Padua
1
Paris
1
Rome
3
Schonenberg nr. Bocholt
1
Seville
1
Siena
1
Torgau
1
Utrecht
1
Venice
4
Vienna
8
Zagan
3
Zaragoza
1
Production method
Manuscript
93
Printed work
8
Physical type
chansonnier
1
chant book with polyphony
1
choirbook
66
choirbook (fragment)
2
choirbook (single quire(s))
1
composite manuscript with interpolated polyphony
1
monophonic manuscript with interpolated polyphony
1
music treatise(s) containing polyphony
3
non-music manuscript with interpolated polyphony
1
partbook (fragment(s))
1
partbook (single)
6
partbooks (complete set)
14
poetry collection with some notated music
1
polyphonic music manuscript appended to polyphonic music print
1
Material
paper
59
parchment
38
parchment (with paper)
3
parchment and paper (mixed)
1
Format
oblong
21
upright
80
Size (height in mm)
Preparation
Size of Music Text Area
Pricking
always
24
n/a
8
never
16
none visible
34
normally
5
occasionally
2
often
8
rarely
1
sometimes
8
Height of Staves
Colour of Staves
black
68
brown
29
dark brown
3
light brown
2
red
5
reddish brown
2
Ruling Medium
double rastrum
6
freehand
4
printed staves
4
quadruple rastrum
1
single rastrum
75
straightedge
7
triple rastrum
3
Number of staves
1
4
10
40
11
21
12
17
13
8
14
2
15
2
16
2
17
2
2
17
3
23
4
29
5
32
6
43
7
36
8
41
9
36
Disposition of Voice Parts
1-part single page
33
2-part consecutive
7
2-part opening
36
2-part single page
18
3-part consecutive
4
3-part opening
54
3-part single page
16
4-part consecutive
2
4-part opening
70
4-part single page
16
5-part consecutive
4
5-part opening
44
5-part single page
3
6-part consecutive
1
6-part opening
20
7-part consecutive
1
7-part opening
2
8-part consecutive
1
8-part opening
3
9-part consecutive
1
9-part opening
1
n/a
4
Indentation for Initials
all staves indented
1
double
47
none
37
quadruple
5
single
69
triple
19
varies
3
Extra Space Between Voice Parts
empty ruled staves on grid
65
left below voice parts as part of grid
4
left between voice parts as part of grid
6
none
11
staves not ruled
3
staves not ruled on grid
25
variable space, not on grid
18
Space Provided for Separate Text
no separate text
81
not in dedicated space
16
provided, in dedicated space
13
Adhoc Adaptation
Indentation for initials filled in
2
made for complete additional staves
24
none
1
notation and staves extended into margin
53
notation extended into margin
24
other
3
partial additional staves
32
staveline added
8
staves extended into margin
7
Copying of Music
Colour of Notation
black
101
brown
12
dark brown
3
red
7
reddish brown
1
Type of Notation
German hufnagel
2
chant (Central European)
1
chant (square)
7
full mensural
6
void mensural
95
Monophonic Notation
absent
82
present
25
Level of Calligraphy
fair
34
high
37
n/a
8
poor
4
very high
21
Non-verbal Performance Instructions
coronae
13
custodes
1
end symbol
11
none
1
pointers
5
repeat signs
12
signa congruentiae
37
signes-de-renvoi
46
space-filler
1
Copying of Text
Language
Czech
7
Dutch
2
English
1
Flemish
6
French
28
German
8
Italian
8
Latin
95
Spanish
5
Presence or Absence of Text
fully texted with one or two texts
10
fully texted with one text
89
fully texted with two or more texts
18
fully texted with two texts
5
partially texted with one or two texts
3
partially texted with one text
16
partially texted with two or more texts
1
provided with multiple incipits
1
provided with one or two incipits
11
provided with single incipit
24
provided with two incipits
2
untexted
30
varies
1
Type of Script
antiqua
2
cursive
15
cursive (Anglicana)
2
cursive (German)
6
cursive (bastarda)
30
cursive (humanistic)
8
cursive (italic)
2
display script
32
humanistic
3
hybrida
3
roman
2
rotonda
7
textura
28
Level of Calligraphy
fair
33
high
40
n/a
8
poor
4
very high
24
Colour of Text
black
92
blue
5
brown
16
dark brown
4
gold
1
grey
1
red
43
reddish brown
1
yellow
1
Multiple Texts
no
60
yes
47
Decoration
Miniatures Frequency
always
3
never
7
none visible
1
normally
1
rarely
26
sometimes
1
Borders Frequency
never
7
occasionally
2
rarely
25
sometimes
2
Borders Size
full and partial borders
2
full borders
4
partial borders: one- and two-sided
3
partial borders: one-sided
10
partial borders: two- and three-sided
1
partial borders: two-sided
9
Painted Initials Frequency
always
4
never
6
normally
3
occasionally
3
often
7
rarely
24
sometimes
2
Painted Initials Type
calligraphic
1
calligraphic with decoration
3
decorated
18
decorated with grotesque heads
7
flourished
7
historiated
7
plain initials
3
trompe l'oeil
1
zoomorphic initial
4
Penned Initials Frequency
always
11
never
1
normally
37
occasionally
14
often
10
rarely
16
sometimes
9
Penned Initials Type
calligraphic
41
calligraphic with decoration
11
calligraphic with grotesque heads
15
decorated
7
decorated with grotesque heads
2
flourished
20
littera notabilior
2
plain initials
17
Planned Initials Frequency
always
4
never
11
normally
6
occasionally
5
often
5
rarely
16
sometimes
2
Planned Initials Type
Guide letters only
1
Other Decoration Frequency
always
2
never
16
normally
7
occasionally
3
often
9
rarely
7
sometimes
7
Other Decoration Type
banner
4
decorated letters
3
decorative final long
11
diagrams
1
embellished final barline
3
end-symbol
3
littera notabilior
9
ornament
1
signa congruentiae
1
signes-de-renvoi
1
vignette
1
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Colour of notation: black
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101
Contrapunctus seu figurata musica super plano cantu missarum solennium totius anni, Lyons, France, 1528, , August 1528, 90
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