Edward Leon Kottick-The Music of the Chansonnier Cordiforme, Paris, Bibliotheque Nationale Rothschild 2973 Ann Arbor: University Microfilms (UM order no. 64-539), 1962. (335 pp. in 2 vols., University of North Carolina diss.) Henrietta Schavran Among the great song manuscripts of the 15th century, the small but elegant, heart-shaped Chansonnier Cordiforme is a particularly appealing mirror of contemporary cultural tastes. As though to preserve for musical posterity some of the best-loved songs of the time, its repertoire of 44 pieces includes delightful favorites such as 0 rosa bella, J'ay pris amours, Man seul plaisir, De taus biens plaine, and Tout a par mtry, the melodies of which were re- peatedly paraphrased and all of which were set with contrafactum texts at least once. The collection spans the periods of Dufay and Ockeghem, and includes afair sprinkling of works by contemporary English composers active on the Continent. Of singular interest are the fourteen Italian songs. Sixteen works appear to be unica. Edward Kottick's dissertation, orgapized into three main divisions, pre- sents historical and descriptive studies of the manuscript (Vol. I, Chapters I through III), detailed analyses of the music (Vol. I, Chapters IVthrough VIII), and modern transcriptions of thf songs with critical commentary (Vol. II).I primary purpose, as stated in the Introduction, is the stylistic analysis of the music. In Chapter I, we are led along the bibliographical trails explored by Kottick during his search for facts relating to the manuscript and the identity of its first owner, Jean de Montchenu. Fixing the compilation of the Chan- sonnier at between 1460 and 1476,2 Kottick offers socio-historical reasons why it may have originated in Savoy. A lengthy biography narrates some of Montchenu's Machiavellian exploits; that the gentleman was a scoundrel of the first order is made clear, but that a knowledge of him "helps to establish a picture of the society for which Dufay, Busnois, Binchois, Ockeghem, and Morton were writing their chansons" (p. 13) is questionable. The sections of Chapters II and III dealing with the physical and nota- tional characteristics of the Chansonnier and the nature of its illuminations are generally thorough and informative. Cursory, however, is the section in Chapter II devoted to the repertoire and its composers. Kottick divides the compositions into those in Italian style and those in Franco-Burgundian style, the latter including some songs with Italian texts. The former pieces are those syllabically set, with short phrases, repeated notes, and clearly-marked 92 cadences; the Franco-Burgundiai.l songs are described as having "longer phrases with concealed cadences, more frequent use of imitation, and a melis- matic style" (p. 33). A stylistic distinction is also made between the earlier and later generations of the Franco-Burgundian school; triple meter, a more use of hemiola, and a tendency toward smaller rhythmic values mark the earlier songs, while the later works tend to have duple and triple meter with about equal frequency, more straightforward rhythm, and larger note values (p. 36). Although Kottick's main objective is the analysis of the repertoire as a whole, it is regrettable that he does not provide some sort of historico-analytical commentary on each individual piece. The few general observations that he does make are limited to such rudimentary remarks as "Chiarafontana is a duet in which the voices are almost equal in importance" (p. 40); "Ma bouche plaint . .. like the first half of Ockeghem's Ma bouche rit, ends in a phrygian cadence" (p. 40); and "De tous biens plaine . .. was a famous and often paraphrased chanson" (p. 39). Kottick might have re- ported, for example, that fully one-fourth of the pieces in the Cordiforme repertoire were provided with contrrifactum texts in late 15th- and early 16th- century collections oflauda poems by Feo Belcari and others,S thus attesting to the diffusion not only of the more famous French songs, but likewise of some of the lesser-known Italian ones (lesser-known, that is, to modern re- searchers). Lauda texts, with the directions cantasi come, are found for the following Cordiforme I talian songs: Hora cridar oyme (Belcari LX); 0 pelegrina luce (Belcari LXXXIX) ; Morte, merce, gentile aquela (Belcari XLV and CCV) ; o rosa bella (Belcari CLXVI) ; Ben 10 sa Dio (Belcari LIV and XXXIX) ; and Gentil madona (Belcari LXIV and CXLV). The French songs sung as laude include Tout a par moy, J' ay pris amours, Le serviteur hault guerdonne, De tous biens plaine, and Mon seul plaisir. In his all-too-brief discussion of pieces in Cordiforme that parody or para- phrase other songs, Kottick fails to note obvious similarities between the melodies of Chiara fontana (No.5) and J'ay pris amours (No. 18), particularly their identical openings. In his edition of the unica, Kottick draws a similarity between Chiara fontana and Ockeghem's Ma bouche rit (No. 32) "with its characteristic descending fifth" (p. XII), but the argument is unconvincing. Style characteristics of the individual composers are reported in a some- what desultory fashion. Biographical data are meager or not forthcoming; the reader is referred to the Bibliography for references which, for the most part, turn out to be articles in MGG. Bypassed altogether is the question whether or not the names Barbingant and Barbireau represent the same man, the latter name not appearing in the body of the dissertation at all. (Nor does the Bibliography cite studies on Barbingant-Barbireau, such as Du Saar's 1946 investigation of Barbireau's compositions, which includes a chapter on No. 25, L' omme bany de sa plaisance, and C. W. Fox's important "Barbireau and Barbingant: A Review" in JAMS [1960] 13:79-101.) The study lacks a composer index. Composer attribution is less precise than one might wish. While, for ex- 93 ample, Kottick mentions that Cent mille eseus (No. 23) "is attributed to Busnois in one source, but to Caron in two others" (see also Appendix to this review), he fails to point out conflicting or uncertain attributions for Tout a par mqy (attributed to Frye in Mellon and Wash. 252 but to Binchois in Nivelle de la Chaussee); 0 rosa bella (bearing Dunstable's name in Rome 1411, but Bedyngham's in Porto 714); andJe ne veis oneques lapareille (bearing name in Nivelle de la Chaussee and Dufay's in one of the two places where it is copied into Montecassino, but coming down anonymously in the other sources). Kottick names Dufay as the composer of No. 27, Le serviteur hault guerdonne (he does so also in his recent articles), in keeping with most prior opinion. But Heinrich Besseler, who had questioned Dufay's authorship on stylistic grounds,4 has recently pointed out that, by virtue of evidence in the manuscript Porto 714, the composer of this chanson is most likely Robert Morton. 5 In the section on poetry (Chapter III), Kottick identifies the text of one song: 0 rosa bella, the poem of which is by Leonardo Giustiniani. As a matter of fact, other songs in Cordiforme are likewise set to poems attributed to Giustiniani in contemporary literary sources or in modern literary writings: No.9, Perla my a eara (not Per la my a eara, as transcribed), and Nos. 6 and 13, which are two different settings of 0 pelegrina, a luee. 6 In the second, larger division of the dissertation, Kottick treats the "music of the Chansonnier as a statistical unit, of which the elements of modality, melody, rhythm, polyphony, etc., are separately scrutinized. For classifica- tion purposes, the repertoire falls into four categories: the Italian-style songs, the Franco-Burgundian songs, songs of the earlier generation, and songs of the later generation. The latter two categories take as a starting point works whose composers are known (a confusing error in the footnote on p. 86 labels the later songs as being those of the earlier generation). Among the later pieces are the two anonymous songs, Marte, meree (No. 10) and Amor eon l'areo tesso (No. 12), both of which paraphrase Juan Cornago's Marte, merce (which survives in Montecassino and in Escorial IV, a. 24). Why, we wonder, does Kottick omit from this category Ma bouehe plaint which, as he points out, is fashioned upon Ockeghem's Ma bouehe rit? Moreover, if a song like Le serviteur hault guerdonne, now believed to be by Morton, a later composer than Dufay, is transferred to the category of the later generation, Kottick's find- ings would be subject to revision. In the process of analysis by classification, the individual songs unfor- tunately lose their identity, and their interior characteristics often become engulfed in a sea of figures and percentages. In the chapter on modal practices, for example, Kottick examines beginning signatures and the modes of central and final cadences. His findings show that the Dorian scale pattern occurs at the final cadence in 19 of the 44 songs and that the "tonic-tonic and dominant-tonic relationship occurs between central and final cadences almost two-thirds of the time" (p. 70). Regrettably, these statistics are not broken down for the four categories of songs set up by Kottick; it remains for 94 the reader to investigate, for example, whether the Dorian scale pattern is more prevalent in the Italian-style or the Franco-Burgundian songs, or if the supertonic-tonic relationship (found seven times) is more characteristic of the earlier or later songs. More interesting is Kottick's discussion, in the same chapter, of the re- lationship between modality and the use of flats. Mter briefly summarizing the investigations of Apel, Lowinsky, and Hoppin on the question of partial signatures, Kottick presents statistics showing the frequency and the kind of flat signatures 27 pieces, as found in Cordiforme and 29 other sources. He points out (p. 76) that, when a song occurs in different manuscripts with varying signatures, one of two things can happen to its modal structure: either the internal flats (that is, flats occurring in the course of the music) and/or the requirements of musica fleta can produce a reading in accordance with a source having a fuller signature, or the modal structure of the piece can change from a transposed to a non-transposed mode (or from a mode transposed by two flats to one transposed by one flat). Kottick discusses Gentil madona (No.4) to illustrate the first possibility and Le serviteur (No. 27) to show the second. He concludes that the modal system of the time was not rigid and that a "change of modal scalic pattern may occur in a song as it appears in one or several MSS" by reason of varying signatures and internal accidentals, application of musica fleta, etc. (p. 83).7 In his Introduction, Kottick states (p. 4) that the "melodies, derived from such diverse sources as folksong, dance music, and plainchant, show subtle interior motivic relationships." But the melodic derivations are left for the reader to find. In the chapter on melody (V), Kottick studies, among other aspects of this element, the frequency of occurrence of five types of melodic curves, the pitch climax notes at the phrase and song levels, the melodic range of phrases, and the over-all range of the individual voices. His findings show that songs in the Italian style have undulating and descehding phrase contours, while the Franco-Burgundian songs are predominantly undulating; pitch climaxes in the Italian songs oCCUl: within the first half of the phrase and toward the middle of the phrase in the Franco-Burgundian songs. This in- teresting information would be more meaningful to the reader if Kottick had provided specific musical examples from each song category. The section on rhythm (Chapter V) and the chapter concerned with poly- phonic aspects of the music (VI) similarly supply detailed statistics as well as examples of patterns and formulae. The discussion in Chapter VI relating to cadence structures and types of dissonance found in the songs make worth- while reading. Disappointing, however, are the comments on the vertical aspects which, within four pages, reiterate the single idea that songs of the later generation and those in the Italian style tend to use fewer perfect con- sonances than those of the earlier generation (see pp. Ill, 112, 114). Although Kottick divides melodies functionally into vocal style (on the basis of the superius) and filler style (mostly on the basis of the contratenor), he does not, in his analytical discussions, probe into the changing role of the 95 F F contratenor. We have historical accounts of the performance a 2 of both Je ne veis oncques la pareille (No. 43) and Tout a par moy (No. 31);8 we 'find, in this very manuscript, a substitute contratenor for Comme jemme desconjortee (No. 30). The contratenors of these earlier songs may well function as har- monic fillers, the superius and tenor voices forming an autonomous duet. In songs like Vostre bruit (No. 22), where the upper voices enter imitatively over a supporting lower part, the contratenor in the main retains its subordinate position. On the other hand, if we look at Cent mille escus (No. 23), the first half of 0 pelegrina (No. 13), and the first part of Est-il mercy de quoy (No. 29), we find that the contratenor rather consistently joins the upper two parts in presenting the phrases in imitation, an indication of the increased melodic, rather than merely filler, function of this voice in the later songs and a gentle hint of the technique of pervading imitation that soon was to be widely applied. Indeed, a conclusion, such as we read at p. 120, that "there appears to be little distinction in either the class, nature, or frequency of imitation between the songs of the earlier and later generations" is a question- able generalization and could lead the reader to make one or more of his own. The isometric, Italian-style pieces, like Perla my a cara (No.9), probably are examples of the 15th-century giustiniana, or vini;:;iana, a song type often men- tioned in contemporary sources and traditionally associated with Leonardo Giustiniani and other poets who improvised melismatic ornamentation to simple discants during actual performance. This aspect of the Italian re- pertoire receives no mention; furthermore, the Bibliography lists too few writings on any aspect of Italian quattrocento music, such as Rubsamen's article on the giustiniana previously cited. A short commentary relating the Chansonnier Cordiforme to its concord- ant sources might help future investigators to trace the repertoire in general and the Italian songs and those ascribed to the English composers in par- ticular. Turning to Volume II, where Kottick presents a modern edition of the music, the following comments may be noted. The critical apparatus has several serious shortcomings. An examination of the lists has revealed, first of all, a number of citation errors and omissions, rendering suspect their use for scholarly reference. Secondly, the method of reporting concordances for songs that come down in several versions is confusing and misleading. Here, Kottick could have limited his concordances to substantially identical pieces (but including those with added si placet parts) and could have referred the reader to modern sources where citations for related works are available. What he does do, however, is toss into his concordance lists a random number of citations for different but re- lated songs without clearly explaining their relationship to the Cordiforme settings or to each other. In some instances Kottick gives incomplete citations for such related pieces and reports folio numbers for the voice or voices based upon the version that occurs in Cordiforme, but not for the other parts. To add to the confusion, concordances purporting to be identical with Cordi- 96 forme sometimes turnout to have unrelated contra tenors. Of the nine con- cordances for Commefemme desconfortee (No. 30), for example, none is identical with Cordiforme; yet Kottick's list indicates that only one of the nine citations differs in any way from the version in this manuscript. The concor- dances given for J' ay pris amours (No. 18) include citations for several versions of the song; Kottick's list does not make this distinction clear. Appended to this review is a partial list of corrections, additions, and remarks applicable to Kottick's concordance citations.9 Except for the song Gentil madona, Kottick fails to report different or contra- factum text incipits, a surprising omission, since he goes to some length to give minor spelling changes in his lists of variant text readings. This is particularly regrettable when French songs come down with Italian texts (see Nos. 18,23, and 27 of the List of Corrections). As stated earlier, contrafacta intended to serve as laude are nowhere cited. Aside from differences in signatures and flats occurring in the course of the music, Kottick supplies few variant musical readings. Not reported, for example, is the fact that at least nine sources for De tous biens plaine show variant readings for the first few notes of the contratenor, which omit the octave leap in that voice found in the Cordiforme version. A spot check of the first few notes of Je ne veis oncques La pareille in Cordiforme and four other sources has revealed the following musical variants: Superius: In all sources except Cordiforme, the Bb breve (meas. 2 in the edition) appears as a dotted semibreve, minim (Bb, A). Contratenor: The opening note in Cordiforme, a dotted breve, appears in the other sources as breve and semibreve (the latter being followed in three of these sources by a dot of imperfection). Among the sources consulted by the reviewer was Nivelle de la Chaussee, not included among Kottick's concordances for this piece. A casual comparison of the modern edition with the manuscript has shown that the musical transcriptions are generally accurate and clearly notated. Kottick provides text for the superius part only since, he asserts, it is "almost always the only voice with full text" (Vol. II, p. 4); earlier, he states that "only the superius is supplied with a full text" (Vol. I, p. 33). In the Chan- sonnier itself, however, in the group consisting of Nos. 25 through 44, nine songs, besides having full text under the superius, have it also under the tenor, three have it also under the contratenor part, and most of the others have at least a substantial quantity of text under both lower voices. The two- part song, Chiara fontana (No.5), has text under both voices. Such scribal preoccupation with text placement for so many songs in this carefully pre- pared manuscript once again conjures up that phantom question which haunts editors of manuscripts of this period: How many voices should be provided with text? A check of the text of Ben [0 sa Dio (No.2) revealed that the opening lines probably should be scanned: 5+ C•M • 97 rather than Ben 10 sa Dio se sum verginea pura Che in ben fare spero Che falsa infama non renove el vero, Ben 10 sa Dio se sum verginea Pura che en ben fare spero, etc. This reading would improve the text underlay, so that the word che of the second line could be set under the F (first note of me as. 8 in the edition) and the cluster of syllables under the small-note values in meas. 9 would be eliminated. The line of text, ben quel pensare dolore me sia, appears on folio Iv in the manuscript and belongs in place of the words a tollere grande sospecto del mal pensare, which erroneously appear as the third line of the B section in the edition (meas. 15-19). On the whole, the dissertation contains much worthwhile information about the manuscript and about aspects of style in 15th-century song com- position. Furthermore, it makes available in modern notation a number of songs heretofore unpublished. But the historical and stylistic significance of the repertoire of the Chansonnier Cordiforme still awaits elucidation. APPENDIXIO Piece No. and Name 4 Gentil madona 7 0 rosa bella Kottick Citation MC871,114v Dij 517, 93v-95 MC 871N, 102 (C only) Par 4379, 30v (S only) Sev 5.1.43,50 (T and C only) Corrections, Additions, Remarks Text incipit in MC N87111 : Fortune las. C different; T octave higher. Sand T lacking. These two sources should be cited together, since the former and the relevant portion of the latter are scattered parts of a single MS. 18 J'ay pris amours (The reviewer has rearranged the order of Kottick's citations to show which of several versions they represent) 98 Version I: Identical with Cordiforme Dij 517 Version II: Bol Q16, 122v-123 Flo 27, 41V Par 15123, 21v-22 Per 431,83 (Not cited) (Not cited) ME: Trois Chans, 3 WolfObr,94 Par 4379, 27v-28 Wash 252, 3lv-32 Intarsia: Wooden inlay ..• Slacking. Text: Canti ZOIOSI e dolce melodia/ Tutti cantiamo al umile maria. Wolf, 38v-39. Nivelle, 71v-72. C different from Version I. C like Par 4379. C like above 2 citations. Plate in Ligi, Note d' archivio II (1925) , PI. VII Piece No. and Name Version II: contd Other Versions: Kottick Citation ME: Rie-SIMG, 139 (Not cited) (Not cited) Lon 31922, 4IV-42. (variant C) Paris 504, I, 17 Flo XIX, 59, 189v (S & T only) Tr 1947-4, 7-8 (variant C, no text) (Not cited) Corrections, Additions, Remarks Gives 4 versions, one of which is Version II. ME: DTO, Bd. 28, 29, p. 185. Wolf Obr, p. 92. C different from Versions I and II. S only. Unable to identify version because T and Clacking. Should read 189v-190. A third voice, on fol. 190, has the direc- tions: "Canon: J. pre sequar" in- -dicating a 4-part piece. The name "Johannes Martini" is at the top of fol. 190. C different from above versions. MEofTr 1947-4inRMI, XLVIII, p.20. (Numerous other versions a 2, a 3, and a 4 borrow one or more voices of the Cordiforme set- ting. See Hew Odh, 139-141. See also G. Reese, "Musica;I Compositions in Renaissance In- tarsia," in Medieval and Renaissance Studies, Proceedings of the Southeastern Inst. of Medieval and Renaissance Studies, Summer, 1966 (Durham: 1968), pp. 76-80, for a recent study of this chanson that includes a modern edition of Version ,II and a plate of the intarsia.) 23 Cent mille escus Par 15123, lov-II Name of composer partly cut off. 24 Le souvenir 27 Le serviteur C changes after first 3 notes. Per 431, 58 C begins the same but then changes; different from Par 15123 version. (Not cited) ME: Ambros II, 554 Per 431, 88 Cop 291,888 (S & TonIy) *Jardin, 62 (initial verse only) , Par 15123, 92v-93 Flo XIX, 59, 278v (Not cited) Text incipit: Cento milia scuti. Bol Q16, 145v-I46; text incipit: Cento milia escute. Has Dufay attribution. (Par 15123, followed in this ME, was trimmed in binding and the top of the attri- bution cut off. The remaining frag- ment was read as "Dufay" by Fetis, but, as Plamenac claims in MQ (1951) 27 :111, the name was probably "Busnoys" in the un- maimed original.) A 4; fourth voice added under C. Slacking. Should read p. 68. Text: 10 sol tuo servitor dona gentile. Should read 278v-279. This is a 3-part version attributed to Heinri- cus Isaac; uses S of Cordiforme. ME of Flo XIX, 59 in DTO, Bd. 28, p. 31. 99 Piece No. and Name 28 Fortune 30 Comme femme 31 Tout a par moy 32 Ma bouche rit 33 Mon seul plaisir 39 Terriblement 100 Kottick Citation (Not cited) EP: Odh 37v-38 (a, 4, variant C) ME: Hewitt, 294 (variant C) Trois Chans, no. 3 (Not cited) BolQ16, 116v-117 (a 4) Bol Q18, 37v-38 (a 4) NH Mel, 62-63, Binchoys Dij 517, 41v-42 (variant C) EsclV.a.24, 131v-132 Flo XIX, 176, 123v-124 Mun 328-331, 121 Par 1597, 29v Par 4379, 13v-14 Rome XIII, 27, 88V-89 Wolf287,31v-32 (Not cited) ME: Rehm, 53 Trois Chans, 9 (Not cited) (Not cited) (Not cited) Mun 351a, 22v-23 *EP:Jardin, 62 ME: DTO, XVII, 112 Corrections, Additions, Remarks The very next opening of Flo XIX, 59 (279V-280) contains an anon. 4-part version using S of Cordi- forme. A different piece, attributed to Busnois in the Bologna Odh; uses S and T of Cordiforme version. Gives Odh 4-part version. This piece is not in Trois Chans. Per 431, 94v-95 (old 104); text in- cipit: Fortuna vincenecta. Music miss- ing in C for meas. 9 through 16 in Kottick mod. edition. A added. A added, different from Q16. Different C. Same C as NH Mel. Same C as NH Mel. Same C as NH Mel. An anon. 4-part version using T of Cordiforme. Should read 29v-30. A 3-part ver- sion attributed to Agricola in Flo Basevi 2439 and elsewhere, using T of Cordiforme version. Same C as NH Mel. Same C as NH Mel. Same C as NH Mel. Wash 252, 17v-18 (T and Conly, S lacking). Same C as NH Mel. Same C as NH Mel. and other sources listed above. Should read p. 70. Same C as NH Mel and other sources listed above. ME: Kenney, Frye 00, No.1. Dij 9v-11 (v-vi). Cop 1848, 431. Text incipit: Mansieul. Facs., after Mun 351a, in ApelN, p. 137. Not the text set in Cordiforme but a quodlibit text beginning the words, "Mon seul plaisir." It is found in an unrelated musical monophonic setting in Par 12744, and appears in a setting by Nino LePetit in Flo Basevi 2439 and elsewhere. Should read Bd. 22, p. 112. Piece No. and Name 43 Je ne veis oncques NOTES Kottick Citation Me 871, 29v (Not cited) (Not cited) Wash 252, 45v-46 ' Paris 1597,41 * (Not cited) * (Not cited) Corrections, Additions, Remarks Has attribution to Dufay. MC N871, p. 377 (fol. ISO); it is also at fol. 29v in this MS as cited by Kottick. Nivelle, 51"'-52. Has attribution to Binchois. Should read 43v-44. Should read 40v-41. *Lansdowne, 246. *ME: Wallis, CCXII. 1 Since 1962, Kottick has published a summary of the contents of Vol. I in Journal of the American Musicological Society (1967) 20: 10-27 and an edition of the unica (American Institute of Musicology, 1967). His recent article, "Flats, Modality, and Musica Ficta in Some Early Renaissance Chansons," Journal of Music Theory (1968) 12: 2, deals with some of the material investigated in Chapters IV and VIII of the dissertation (see footnote 7 of this review). 2 Page 11, but on p. 12 he suggests 1468-1476; in his edition of the unica, he proposes 1470--1477. 3 See Laude spirituali di Feo Belcari ••• e di altri neUe quattro piu antiche raccolte ••• (Florence, 1863). 4 Guillelmi Dufay, Opera Omnia, VI: Cantiones, 1964, pp. IV and XIV. 5 "Falsche Autornamen in den Handschriften Strassburg und Montecassino," Acta Musico- logica XL (1968), 203. Some of the conflicting attributions mentioned above are, in fact, shown in Kottick's list of concordances, but that information is not made use of in the body of the dissertation. W. Rubsamen, in "The Justiniane or Viniziane of the 15th Century," Acta Musicologica (1957) 29: 177, reports that Perla my a cara appears with Giustiniani's name in the manuscript 1091 (dated 1460) of the Riccardiana in Florence; A. D'Ancona, in Poesia populare italiana, 1906, p. 488, lists 0 pelegrina as a strambotto by Giustiniani. 7 Kottick's article in Journal of Music Theory, cited earlier, essentially covers this material and includes ten guidelines, or principles, for the application of musicaficta. These guidelines, which, he states, are derived mostly from the evidence of internal accidentals in Cordiforme, are discussed in the dissertation in Chapter VIII, pp. 175--78. The melodic principles enu- merated by Kottick are very satisfactory; the harmonic ones do not take into consideration the rule expounded by Ugolino d'Orvieto and other theorists of the time that a third expand- ing stepwise to a fifth, or a sixth to an octave, should be major and that a third contracting stepwise to a unison should be minor. S G. Reese, Music in the Renaissance, 1954, p. 58, and S. Kenney, Walter Frye and the Conten- ance Angloise, 1965, p. 153, respectively. 9 The reader might keep these emendations at hand'when consulting Kottick's Inventory printed in JAMS XX, which contains material almost identical with that given in the dis- sertation. 10 Abbreviations and symbols used by Kottick include: EP (early printed works), ME (modern editions), and * (text only). Modern editions appearing since the dissertation date have generally not been included by the reviewer. 11 Kottick lists Montecassino as two separate manuscripts (MC 871 and MC 871N) and cites concordances with either one or the other siglum. In the column of corrections, the re- viewer cites this source as MC N871. See Isabel Pope's recent study of this manuscript in Anuario Musical (1964) 19:123-53. 101