Nabokov, Nicolas [Nikolay]

polyphony to c1260: studies

G. Jacobsthal: Die Mensuralnotenschrift des zwölften und dreizehnten Jahrhunderts (Berlin, 1871/R)

W. Niemann: Über die abweichende Bedeutung der Ligaturen in der Mensuraltheorie der Zeit vor Johannes de Garlandia (Leipzig, 1902/R)

F. Ludwig: Repertorium organorum recentioris et motetorum vetustissimi stili, i/1 (Halle, 1910/R), 42–57

A.M. Michalitschke: Theorie des Modus: eine Darstellung der Entwicklung des musikrhythmischen Modus und der entsprechenden mensuralen Schreibung (Regensburg, 1923)

J. Handschin: ‘Zur Notre Dame-Rhythmik’, ZMw, vii (1924–5), 386–9

A.M. Michalitschke: ‘Zur Frage der Longa in der Mensuraltheorie des 13. Jahrhunderts’, ZMw, viii (1925–6), 103–9

A.M. Michalitschke: ‘Studien zur Entstehung und Frühentwicklung der Mensuralnotation’, ZMw, xii (1929–30), 257–79

H. Sowa: ‘Zur Weiterentwicklung der modalen Rhythmik’, ZMw, xv (1932–3), 422–7

H. Husmann, ed.: Die drei- und vierstimmigen Notre-Dame-Organa: kritische Gesamtausgabe, Publikationen älterer Musik, xi (Leipzig, 1940/R)

W. Apel: The Notation of Polyphonic Music, 900–1600 (Cambridge, MA, 1942, rev. 5/1961; Ger. trans., rev., 1970)

R. von Ficker: ‘Probleme der modalen Notation (zur kritischen Gesamtausgabe der drei- und vierstimmigen Organa)’, AcM, xviii–xix (1946–7), 2–16

M. Bukofzer: ‘Rhythm and Meter in the Notre Dame Conductus’, BAMS 1948, 63–5

F. Gennrich: ‘Perotins Beata viscera Mariae virginis und die “Modaltheorie”’, Mf, i (1948), 225–41

W. Apel: ‘From St. Martial to Notre Dame’, JAMS, ii (1949), 145–58

J. Handschin: ‘Zur Frage der Conductus-Rhythmik’, AcM, xxiv (1952), 113–30

W. Waite: ‘Discantus, Copula, Organum’, JAMS, v (1952), 77–87

C. Parrish: ‘Some Rhythmical Problems of the Notre Dame Organa and Conductus’, JAMS, vi (1953), 89–90

H. Husmann: ‘Das System der modalen Rhythmik’, AMw, xi (1954), 1–38

W.G. Waite: The Rhythm of Twelfth-Century Polyphony: its Theory and Practice (New Haven, CT, 1954/R)

H. Husmann: ‘Les époques de la musique provençale au Moyen Áge’, Actes et mémoires du ler congrès international de langue et littérature du Midi de la France: Avignon 1955 (Avignon, 1957), 197–201

C. Parrish: The Notation of Medieval Music (New York, 1957, 2/1959/R), chaps.3–4

H. Tischler: ‘Ligatures, Plicae and Vertical Bars in Premensural Notation’, RBM, xi (1957), 83–92

H. Tischler: ‘A propos the Notation of the Parisian Organa’, JAMS, xiv (1961), 1–8

E.H. Sanders: ‘Duple Rhythm and Alternate Third Mode in the 13th Century’, JAMS, xv (1962), 249–91

B. Stäblein: ‘Modale Rhythmen im Saint-Martial-Repertoire?’, Festschrift Friedrich Blume, ed. A.A. Abert and W. Pfannkuch (Kassel, 1963), 340–62

E.F. Flindell: ‘Aspekte der Modalnotation’, Mf, xvii (1964), 353–73

F. Reckow: Der Musiktraktat des Anonymus 4, ii: Interpretation der Organum purum-Lehre (Wiesbaden, 1967)

F. Reckow: ‘Proprietas und perfectio: zur Geschichte des Rhythmus, seiner Aufzeichnung und Terminologie im 13. Jahrhundert’, AcM, xxxix (1967), 115–43

G.A. Anderson: ‘Mode and Change of Mode in Notre Dame Conductus’, AcM, xl (1968), 92–114

G.A. Anderson, ed.: The Latin Compositions in Fascicules VII and VIII of the Notre Dame Manuscript Wolfenbüttel Helmstadt 1099 (1206), pt.i: Critical Commentary, Translation of the Texts and Historical Observations (New York, 1968–76)

R. Flotzinger: Der Discantussatz im Magnus liber und seiner Nachfolge (Vienna, 1969)

S. Fuller: Aquitanian Polyphony of the Eleventh and Twelfth Centuries (diss., U. of California, Berkeley, 1969)

R.A. Rasch: Iohannes de Garlandia en de ontwikkeling van de voor-Franconische notatie (New York, 1969) [with Eng. and Ger. summaries]

H.H. Eggebrecht and F. Zaminer, eds.: Ad organum faciendum: Lehrschriften der Mehrstimmigkeit in nachguidonischer Zeit (Mainz, 1970)

W. Frobenius: ‘Zur Datierung von Francos Ars cantus mensurabilis’, AMw, xxvii (1970), 122–7

J. Stenzl: Die vierzig Clausulae der Handschrift Paris, Bibliothèque nationale latin 15139 (Saint Victor-Clausulae)(Berne, 1970)

H.H. Eggebrecht: ‘Organum purum’, Musikalische Edition im Wandel des historischen Bewusstseins, ed. T.G. Georgiades (Kassel, 1971), 93–112

W. Frobenius: ‘Longa–Brevis’, ‘Minima’, ‘Modus (Rhythmuslehre)’, ‘Perfectio’, ‘Prolatio’, ‘Proprietas (Notationslehre)’, ‘Semibrevis’, ‘Semiminima’, (1971–4), HMT

R. Flotzinger: ‘Zur Frage der Modalrhythmik als Antike-Rezeption’, AMw, xxix (1972), 203–8

E. Reimer: Johannes de Garlandia: De mensurabili musica, ii: Kommentar und Interpretation der Notationslehre (Wiesbaden, 1972)

G.A. Anderson: ‘Magister Lambertus and Nine Rhythmic Modes’, AcM, xlv (1973), 57–73

G.A. Anderson: ‘The Rhythm of cum littera Sections of Polyphonic Conductus in Mensural Sources’, JAMS, xxvi (1973), 288–304

R. Baltzer: Notation, Rhythm, and Style in the Two-Voice Notre Dame Clausula (diss., Boston U., 1974)

K.-J. Sachs: ‘Punctus’ (1974), HMT

G.A. Anderson: ‘The Notation of the Bamberg and Las Huelgas Manuscripts’, MD, xxxii (1978), 19–67

G.A. Anderson: ‘The Rhythm of the Monophonic Conductus in the Florence Manuscript as Indicated in Parallel Sources’, JAMS, xxxi (1978), 480–89

J. Knapp: ‘Musical Declamation and Poetic Rhythm in an Early Layer of Notre Dame Conductus’, JAMS, xxxii (1979), 383–407

E. Roesner: ‘The Performance of Parisian Organum’, EMc, vii (1979), 174–89

L. Treitler: ‘Regarding Rhythm and Meter in the Ars Antiqua’, MQ, lxv (1979), 524–58

E.H. Sanders: ‘Consonance and Rhythm in the Organum of the 12th and 13th Centuries’, JAMS, xxxiii (1980), 264–86 [see comments by Reckow and reply, ibid., xxxiv, 1981, pp.588–9]

H. Tischler: ‘Versmass und musikalischer Rhythmus in Notre-Dame-Conductus’, AMw, xxxvii (1980), 292–304

J. Yudkin: ‘The Copula According to Johannes de Garlandia’, MD, xxxiv (1980), 67–84

C. Morin: ‘Mise en place de l'écriture polyphonique: l'école de Notre-Dame’, EG, xx (1981), pp.69–76

R. Rastall: The Notation of Western Music: an Introduction (New York, 1982)

E.H. Roesner: ‘Johannes de Garlandia on organum in speciale’, EMH, ii (1982), 129–60

H. Tischler: ‘A Propos Meter and Rhythm in the Ars Antiqua’, JMT, xxvi (1982), 313–30

L. Treitler: ‘Regarding “A Propos Meter and Rhythm in the Ars Antiqua”’, JMT, xxvii (1983), 215–22

J. Yudkin: ‘The Rhythm of Organum Purum’, JM, ii (1983), 355–76

M. Haas: ‘Die Musiklehre im 13. Jahrhundert von Johannes de Garlandia bis Franco’, Geschichte der Musiktheorie, ed. F. Zaminer, v (Darmstadt, 1984), 91–158

D. Hiley: ‘The Plica and Liquescence’, Gordon Athol Anderson, 1929–1981, in memoriam, ed. L.A. Dittmer (Henryville, PA, 1984), 379–92

E.H. Sanders: ‘Sine littera and Cum littera in Medieval Polyphony’, Music and Civilization: Essays in Honor of Paul Henry Lang, ed. E. Strainchamps, M.R. Maniates and C. Hatch (New York, 1984), 215–31

H. Tischler: ‘Gordon Anderson's Conductus Edition and the Rhythm of Conductus’, Gordon Athol Anderson, 1929–1981, in memoriam, ed. L.A. Dittmer (Henryville, PA, 1984), 561–73

J. Yudkin: ‘The Anonymous of St. Emmeram and Anonymous IV on the Copula’, MQ, lxx (1984), 1–22

E.H. Sanders: ‘Conductus and Modal Rhythm’, JAMS, xxxviii (1985), 439–69

L.C.H. Spottswood: Accents in Texted Ligatures: the Influence of Old French on the Rhythm and Notation of the Polyphonic Conductus (diss., U. of Maryland, 1985)

J. Yudkin: The Music Treatise of Anonymous IV: a New Translation (Neuhausen-Stuttgart,1985)

B. Gillingham: Modal Rhythm (Ottawa, 1986)

H. Ristory: ‘Ein Kurztraktat mit Binärmensuration und praefranconischem Gepräge’, Studi musicali, xv (1986), 151–66

E. Apfel: Die Lehre vom Organum, Diskant, Kontrapunkt und von der Komposition bis um 1480 (Saarbrücken, 1987, 4/1997)

M.E. Fassler: ‘Accent, Meter, and Rhythm in Medieval Treatises “De rithmis”’, JM, v (1987), 164–90

M. Huglo: ‘La notation franconienne: antécédents et devenir’, Cahiers de civilisation médiévale, xxxi (1988), 123–32

M. Lütolf: ‘Les notations des XIIe–XIIIe siècles et leur transcription: difficultés d'interprétation’, Cahiers de civilisation médiévale, xxxi (1988), 151–60

M. Pérès: ‘L'interprétation des polyphonies vocales du XIIe siècle et les limites de la paléographie et de la sémiologie’, Cahiers de civilisation médiévale, xxxi (1988), 169–78

H. Tischler, ed.: The Parisian Two-Part Organa (New York, 1988)

G. Le Vot: ‘La notation et l'oralité des musiques polyphoniques aux XIIe et XIIIe siècles’, Cahiers de civilisation médiévale, xxxi (1988), 133–50, 179–81

M.E. Wolinski: The Montpellier Codex: its Compilation, Notation, and Implications for the Chronology of the Thirteenth-Century Motet (diss., Brandeis U., 1988)

C.M. Atkinson: ‘Franco of Cologne on the Rhythm of Organum Purum’, EMH, ix (1989), 1–26

L. Lera: ‘Grammatici della notazione di Notre-Dame’, AcM, lxi (1989), 150–74

R.L. Crocker: ‘Rhythm in Early Polyphony’, CMc, nos.45–7 (1990), 147–77

N.E. Smith: ‘The Notation of Fractio modi’, CMc, nos.45–7 (1990), 283–304

J. Knapp: ‘Polyphony at Notre Dame of Paris’, NOHM, ii (2/1990), 557–635

E.H. Roesner: ‘The Emergence of Musica mensurabilis’, Studies in Musical Sources and Style: Essays in Honor of Jan LaRue, ed. E.K. Wolf and E. Roesner (Madison, WI, 1990), 41–74

L.C.H. Spottswood: ‘The Influence of Old French on Latin Text Settings in Early Measured Polyphony’, Beyond the Moon: Festschrift Luther Dittmer, ed. B. Gillingham and P. Merkley (Ottawa, 1990), 163–82

H. Tischler: ‘Words and Music in the Middle Ages: a Critique of John Stevens' “Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050–1350”’, De musica hispana et aliis: miscelánea en honor al Prof. Dr. José Lopez-Calo, ed. E. Caseres and C. Villanueva (Santiago de Compostela, 1990), 181–96

J. Yudkin, ed. and trans.: De musica mensurata: the Anonymous of St. Emmeram: Complete Critical Edition, Translation, and Commentary (Bloomington, IN, 1990)

S. Pinegar: Textual and Conceptual Relationships among Theoretical Writings on Measurable Music from the Thirteenth and Early Fourteenth Centuries (diss., Columbia U., 1991)

J. Yudkin: ‘The Anonymous Music Treatise of 1279: Why St. Emmeram?’, ML, lxxii (1991), 177–96

T. Karp, ed.: The Polyphony of Saint Martial and Santiago de Compostela (Oxford, 1992)

S. Pinegar: ‘Exploring the Margins: a Second Source for Anonymous 7’, JMR, xii (1992), 213–43

E.H. Roesner, ed.: Les quadrupla et tripla de Paris, Le magnus liber organi de Notre-Dame de Paris, i (Les Remparts, 1993) [see esp. ‘Introduction: the Interpretation of Rhythm’]

E.H. Sanders: ‘The Earliest Phases of Measured Polyphony’, Music Theory and the Exploration of the Past, ed. C. Hatch and D.W. Bernstein (Chicago, 1993), 41–58

M. Huglo: ‘The Origin of the Monodic Chants in the Codex Calixtinus’, Essays on Medieval Music in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA,1995), 195–206

E.H. Sanders: ‘Rithmus’, Essays on Medieval Music in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 415–40

A.M. Busse Berger: ‘Mnemotechnics and Notre Dame Polyphony’, JM, xiv (1996), 263–98

T.B. Payne, ed.: Les organa à deux voix du manuscrit de Wolfenbüttel, Herzog August Bibliothek, cod. Guelf. 1099 Helmst., Le magnus liber organi de Notre-Dame de Paris, vi (Les Remparts, 1996) [incl. ‘Introduction: the Interpretation of Rhythm’]

C. Page: Latin Poetry and Conductus Rhythm in Medieval France (London, 1997)

For further bibliography seeOrganum and discant: bibliography.

Notation, §III: History of Western notation