Did Tinctoris Listen to Okeghem?: Notes
1 '… illi etenim [sc. Gallici] in dies novos cantus novissime inveniunt, ac isti [sc. Anglici] (quod miserrimi signum est ingenii) una semper et eadem compositione utuntur.' (Woodley 1982, i. 168; Seay 1975, iia. 10).
2 See, for instance, Perkins & Garey 1979, i. 17–20, and Woodley 1988: 188–90.
3 See within the present online edition, Biographical Outline : Life : Early years and education.
4 Du Bruecquet also surfaces as one (just-) plausible candidate for the copying of the source of Tinctoris's treatises surviving as Brussels, Bibliothèque Royale, MS II 4147: see Woodley 2007a. From a palaeographical point of view, however, the two sources are almost certainly mutually exclusive.
5 Proportionale musices, Book 3, Chapter 2 (Woodley 1982, i. 198–9; Seay 1975, iia. 44–5).
6 For instance, in Blackburn 1998, esp. 603–12; Bent 1998, 2000a and 2000b; Busse Berger 1990, 1993 and 1997; Wegman 1992 and 2000.
7 (i) Paris, Bibliothèque Nationale de France, MS Rothschild 2973 (I.5.13) [Chansonnier Cordiforme], fols. 24v–25; (ii) Paris, Bibliothèque Nationale de France, MS f. fr. 15123 [Chansonnier Pixérécourt], fols. 32v–35. For recent summary descriptions of provenances and datings, and further bibliography, see Fallows 1999.
8 The note-spacing in the Contratenor part, allowing room during the original copying process for the mi sign, is clearly visible in the bottom left-hand staff of Example 4 (fol. 7v).
9 Liber de arte contrapuncti, Book 2, Chapter 33; Seay 1975, ii. 143–4.
10 The version in Q16 apparently belongs to that part of the manuscript (perhaps also of Neapolitan provenance) copied by 'Marsilius' and indexed by him in 1487 (Fallows 1999: 6–7).
11 See present online edition, lines 164–5.