The Calligraphy of Medieval Music

John Haines
Introduction 7
Part I. Writing medieval music
1. Michel Huglo / Toward a scientific palaeography of music 13
2. Albert Derolez / The codicology of late medieval music manuscripts: some preliminary observations 23
3. Getatchew Haile / Manuscript production in Ethiopia: an ongoing practice 37
Part II. Early medieval notations
4. Susan Rankin / Calligraphy and the study of neumatic notations 47
5. Jean-Luc Deuffic / La notation neumatique bretonne: manuscrits et centres de diffusion (Xe-XIIe siècle) 63
6. Susana Zapke / Dating neumes according to their morphology: the corpus of Toledo 91
7. Giacomo Baroffio / Music writing styles in medieval Italy 101
8. Margot Fassler / Liturgical books and book production in the thirteenth-century diocese of Chartres: the case of Biblioteca Apostolica Vaticana, Vat. Lat. 4756 125
9. David Hiley / Some characteristic neumes in North French, Sicilian and Italian chant manuscripts 153
10. Michel Huglo / The earliest developments in square notation: twelfth-century Aquitaine 163
Part III. Later medieval notations
11. Olivier Cullin / Notation in Carthusian liturgical books: preliminary remarks 175
12. Michel Huglo / Dominican and Franciscan books: similarities and differences between their notations 195
13. John Haines / On ligaturae and their properties: medieval music notation as esoteric writing 203
14. Lawrence Earp / Interpreting the deluxe manuscript: exigencies of scribal practice and manuscript production in Machaut 223
15. Anna Maria Busse Berger / The consequences of Ars Nova notation 241
16. Barbara Haggh / The meeting of chant and polyphony in monophonic square notation from Cambrai Cathedral 1250-1550 253
Table of illustrations 273