~ REVIEWS 0

Gordon K. Greene, ed. Polyphonic Music of the Fourteenth Century, XVIII-XX, French Secular Music: Manuscript Chantilly, Mus&e Cond6 564, Second Part, Nos. 5i-roo; Ballades and Canons. Texts edited by Terence Scully. Les Remparts, Monaco: Editions de l'Oiseau-Lyre, 1981-82. XViii, 164 pp.; xiv, 199 pp.; xiv, 264 pp.

THANKS TO THE GROUNDBREAKING WORK of Friedrich Ludwig and Johannes Wolf at the turn of the century, the era of the Ars nova and Ars subtilior became a fallow field for musicological research. In the eighty years since the publication of their historical studies, an ever-increasing number of scholars has contributed toward a more complete understanding of this exciting and crucial period. Complementing their studies are the editions of music from this era. Again, it was Ludwig who broke the ground by preparing his enviable edition of Machaut's works.' Leo Schrade followed Ludwig's example by editing Machaut's compositions as well as those of Vitry.2 In view of these publications, it has become a general editorial policy to exclude the works of Machaut and Vitry from collections of fourteenth-century French music, presenting instead the secular repertoire, the Mass move- ments, or the motets. This policy is reflected in two series that are well known for their editions of medieval music, namely, Corpus mensurabilis musicae (CMM) and Polyphonic Music of the Fourteenth Century (PMFC). The edition reviewed here will eventually include all French secular compositions of the fourteenth century, excepting Machaut's contributions to the reper- toire-which are in Schrade's volumes within the same series.

In 1950 a selection of French secular compositions of the fourteenth century was assembled and published by Willi Apel.3 Such an edition was a desideratum, and its publication was greeted with merited enthusiasm. Apel's solutions to various problems of transcription (reduction, barring, indications for coloration and syncopation, etc.) confronted scholars with the difficulties of translating the late medieval into the modern musical language. However, the edition included only eighty-one works and, hence, did not provide a representative picture of musical composition in fourteenth- century France. Apel was duly criticized for attempting to give a chronology

1 Friedrich Ludwig, ed., Guillaume de Machaut: Musikalische Werke, 4 vols. (Leipzig, 1926-54). Volume IV was completed by Heinrich Besseler.

2 Leo Schrade, ed., Polyphonic Music of the Fourteenth Century, I-III, The Works of Philippe de Vitry and The Works of Guillaume de Machaut (Monaco, i956-57).

3 Willi Apel, ed., French Secular Music of the Late Fourteenth Century (Cambridge, Mass., 1950), hereafter, ApelF.

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of style periods that was based on his selections, and the dates of his three periods were immediately deemed untenable.4

Between 1950 and 1970, Apel continued to investigate the fourteenth- century repertoire, studied the many scholarly publications that appeared, and reevaluated his proposals regarding the three style periods. The fruit of his time-consuming and almost single-handed effort was a complete edition of the secular works, published in CMM as French Secular Compositions of the Fourteenth Century.s For over ten years, this three-volume edition, containing 304 works, served students, scholars, and performers as the standard repository for the impressive secular output of the era.

During this decade, new sources were discovered, and medieval scholars had the opportunity to scrutinize Apel's editions and to evaluate their shortcomings. Gordon K. Greene, who courageously accepted the task of editing the same repertoire for PMFC, has been fortunate to have had Apel's work as a basis. Three of his five volumes have now appeared: Volumes XVIII and XIX contain the secular works of the Chantilly manuscript F-CH 564,6 while Volume XX includes ballades and canons. PMFC, XXI, will contain virelais, while Volume XXII will conclude the edition with rondeaus and miscellaneous works.

Four different aspects of Greene's edition beg for comment, and the discussion of these points will make up the body of this review. Briefly, they are (i) the choice of source that serves as the basis for a transcription, (2) the quality of the transcriptions, (3) the dependability of the Critical Apparatus, and (4) the insights given and conclusions drawn in the Introduction.

Before proceeding to these points, however, some general observations concerning Greene's first three volumes will be noted. Most welcome is the fact that the many works written in tempus perfectum diminutum are now available in transcription with the correct reduction.7 Apel had not fully accepted this notational idiosyncrasy and had, therefore, reduced some of the works in question by 4: I rather than 8:1. Greene's transcriptions are, thus, in accord with Ursula Giinther's research on this specific aspect of late medieval French notation.8

Greene is cautious and diplomatic in his discussion of musica ficta. The principles governing the application of ficta are those introduced for PMFC, XII.9 Although one could quibble over specific passages and the many obvious inconsistencies, Greene's course of action is certainly the safest, considering that no unequivocal solutions to the problems of musica ficta are recognized. In view of all the tricky passages in this repertoire, I prefer to

4 See Otto Gombosi's review of ApelF in The Musical Quarterly, XXXVI (1950), 607-608; Heinrich Besseler, "Hat Matheus de Perusio Epoche gemacht?" Die Musikforschung, VIII (i955), 19; and Ursula Giinther, "Das Ende der Ars nova," Die Musikforschung, XVI (1963), I I2-I3.

s Corpus mensurabilis musicae, 53/1-3 (Rome, 1970-72), hereafter, CMM, 53/1-3. 6 Excluding numbers 14, 78, and 88, which are works by Machaut. 7 Among them are "Corps feminin," "En un peril," "He, tres doulz roussignol," "Sans vous ne

puis," and "Se je cuidoie" from the Chantilly manuscript. 8 Giinther, "Die Anwendung der Diminution in der Handschrift Chantilly 1047" and "Der

Gebrauch des tempus perfectum diminutum in der Handschrift Chantilly o1047," Archiv fiir Musikwissenschaft, XVII (i960), 1-21 and 277-97.

9 Italian Sacred Music, ed. Kurt von Fischer and F. Alberto Gallo (Monaco, 1976).

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refrain from getting involved in a lengthy and enervating battle over this issue.

Because these sumptuous volumes include incipits, voice ranges, and indications for coloration and ligatures, I, for one, would have been very appreciative if mensuration signs had also been incorporated in the transcrip- tions. They are given in the commentary, but, especially in works such as "Dame d'onour en qui tout" by Anthonello de Caserta (XX, I 1-13), Matheus de Perusio's "Le Greygnour bien" (XX, 6o-64), and the anonymous "En un peril" (XVIII, I20-2 i), the inclusion of mensuration signs in the transcrip- tion would be a time-saving boon to those wishing to study the music in detail.

Performers of this repertoire will applaud the fact that Greene has set all strophes of the text to music. Depending on the source used, text underlay poses problems of varying degrees of severity, and Greene's solutions are, in general, sensitive and sensible. Strict adherence to the original-which quite often gives music overlay instead of text underlayl0-is frequently ill advised if not impossible. Bearing this in mind, Greene wisely decided to "preserve the manuscript version as far as it is possible to determine this" (XVIII, xv). The exact deviations from the original are not mentioned in the Critical Apparatus, and Greene advises performers to feel free to experiment with the text-note relationships.

Greene's decision to present the manuscript F-CH 564 in its entirety warrants comment. Greene gives various reasons for this decision, among them the visual splendor of the manuscript, the unusually high number of ascriptions, and the system of compilation within the source (three- and four- voice secular works, then motets). " He notes that some of the compositions have been transcribed by scholars who preferred to present them from a concordant source. Greene, however, "preserves, as far as possible, the CH 564 version" (XVIII, ix). If Greene were merely preparing an edition of F- CH 564, his decision would be more than acceptable. However, since he is presenting F-CH 564 within the context of the entire fourteenth-century secular repertoire, his decision is bound to cause problems whenever F-CH 564 does not transmit the best version of a composition. One case in point is Matheus de Sancto Johanne's ballade "Inclite flos" (XIX, 37-39). This work, transmitted in F-CH 564 and I-MOe 5.24, has been edited by Ursula Guiinther according to I-MOe 5.24,12 by Greene according to F-CH 564. Gunther's transcription is preferable, because F-CH 564 has incorrect mensuration signs and superfluous coloration, and is missing an extended passage in the contratenor, which must be supplied from I-MOe 5.24. An example that has more serious consequences when the edition is prepared according to F-CH 564 is Jacob de Senleches's ballade "En attendant, Esperance conforte" (XIX, 58-61). This work, likewise transmitted in F-CH

10 See Margaret Bent, "Text Setting in Sacred Music of the Early 15th Century: Evidence and Implications," Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, G6ttinger musikwissenschaftliche Arbeiten, io (Kassel, 1984), pp. 291-326.

11 The motets are in PMFC, V, Motets of French Provenance, ed. Frank Ll. Harrison (Monaco, 1968).

12 Giinther, Zehn datierbare Kompositionen der Ars nova, Schriftenreihe des musikwissenschaftli- chen Instituts der Universitat Hamburg, 2 (Hamburg, 1959), no. 9; hereafter, GiintherZ.

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564 and I-MOe 5.24, had already been edited by Willi Apel on three different occasions,13 but Apel was never completely satisfied with his transcriptions.14 Greene presents a transcription that differs considerably from those of Apel, but even Greene does not seem to be convinced of his solution: "The assumption that notes of a certain colour and shape have consistent meaning whenever they appear may not be true in this work. The transcr[iption] here differs from Apel's; note values have more consistent meaning here than in his [CMM] edition, though the results do not seem satisfactory in all cases" (XIX, I87). In spite of the visual complexity of the notation of this work (including various notae caudatae as well as full red, hollow red, and white notes), it is, in fact, possible to transcribe the entire piece so that each note of a specific form and color has a consistent value throughout. The elimination of one minim rest in the cantus is the only emendation that need be undertaken. It is mandatory, however, that the edition be prepared according to the manuscript I-MOe 5.24 and not F-CH 564. Greene should have realized that Chantilly is much less dependable than Modena-if not on the basis of his own manuscript study, then certainly after an examination of Apel's work.15

After a thorough study of the 167 compositions in Greene's three volumes, I was able to find 13 works that have been published in more reliable transcriptions elsewhere. This is surprising because twelve of the thirteen editions were published at least ten years before Greene's volumes. Apel's editions are admittedly lacking indications for ligatures, and his critical commentaries are less than satisfactory, but his transcriptions of seven works are more faithful to the original than are Greene's.16 Giinther's editions of "Inclite flos," "En la saison," and "Par les bons Gedeons" are preferable to Greene's, 7 and Gilbert Reaney presents the most acceptable solutions to "En Albion" and "Se doit il plus."'8 Even the above-mentioned publications are in need of corrections (mostly slight), which Greene could have made by comparing his transcriptions with previously published editions, then dou- ble-checking the deviations against the original. The only preferable edition of a work that has appeared since the publication of Greene's volumes is my own solution to Olivier's "Si con cy gist."'19

In addition to the thirteen works just mentioned, there are seven composi- tions that have not been edited satisfactorily by Greene or by any other

13 Historical Anthology of Music, ed. Archibald T. Davison and Willi Apel, I (Cambridge, Mass., 1946), no. 47; ApelF, no. 49; CMM 53/I, no. 88.

14 See ApelF, p. 31i; and CMM 53/i, p. xl.

xl. Apel noted that I-MOe 5.24 is the more reliable source in ApelF, p. 31; and CMM, 53/I, p. xl.

16 "Fumeux fume," in ApelF, p. 64; "Joieux de cuer," in ApelF, p. 62; "Laus detur multipharia," in CMM, 53/3, P. 202; "Robin muse," in CMM, 53/3, p. I3o; "Sans joie avoir," in CMM, 53/2, p. 92; "Se Galaas," in CMM, 53/I, p. 33; and "Se vos me voles," in CMM, 53/3, p. 138.

17 "Inclite flos" is in GiintherZ, p. 2 i; "En la saison" in Ursula Gunther, "Zwei Balladen auf Bertrand und Olivier du Guesclin," Musica disciplina, XXII (1968), 29; and "Par les bons Gedeons" in GiintherZ, p. 24.

18 "En Albion" is in Gilbert Reaney, "The Manuscript Chantilly, Mus&e Conde 1047," Musica disciplina, VIII (I954), 1o4; and "Se doit il plus" is in Early Fifteenth-Century Music, ed. Gilbert Reaney, CMM, 11/2 (Rome, 1959), p. 34-

19 Laurie Koehler, "Subtilitas in musica: A Re-examination of Johannes Olivier's Ballade 'Si con cy gist,' " Musica disciplina, XXXVI (1982), 112.

REVIEWS 637

scholar, and that therefore warrant completely new editions. The seven works are "En attendant, Esperance conforte" (discussed above), "De tous les moys," "En nul estat," "I1 n'est nulz homs," "Puis que je suis fumeux," "L'Orques Arthus," and "Tout par compas." A brief examination of three of these compositions will serve to illuminate the kinds of problems that Greene was unable to solve satisfactorily.

The anonymous ballade "De tous les moys" has been edited by Apel and Greene.20 Whereas Apel transcribed the black notation consistently in tempus imperfectum prolatio maior, Greene assumes an ambiguity in the notation that requires employment of both it and tempus perfectum prolatio maior. As a justification for this interpretation, Greene states that Apel "finds it neces- sary to make many editorial changes particularly in the first part" (XIX, 189). Apel does, in fact, emend measures I-I 2 and i6 of the cantus, and he indicates these changes in his commentary. After a careful study of Greene's transcription, I was able to find no fewer than eight passages where Greene himself found it necessary to emend the original.21 Unfortunately, none of these emendations is cited in the critical commentary. Both Apel and Greene recognize a strong similarity in the mensuration signs and coloration employed in "De tous les moys" and "En Albion," which are adjacent to each other in F-CH 564. It is Apel's edition, however, and not Greene's, that reflects this resemblance; yet even the former is flawed. Bearing in mind the notational similarities between the two works, it is possible to transcribe both with the black notation interpreted in tempus imperfectum prolatio maior and with all other mensuration signs and coloration given a consistent meaning.

The solutions to "En nul estat" that have been published to date have all been rather wide of the mark in one respect or another. Those of Apel22 and Wilkins23 were valiant attempts with disastrous results. Nors Josephson put many pieces of the puzzle in place,24 and Greene, although basing his edition on Josephson's, presents a version that differs from all others (XIX, 25-27). Unfortunately, all these editions fail to recognize that each mensuration sign, as well as each nota caudata within those mensurations, has a distinct and unique meaning, and that the principle of consistency of meaning and value can be adhered to when transcribing the work. By insisting on acceptance of this principle, an edition can be prepared that demands only the correction of one semibreve into a long and the addition of one punctus.

The fluidity of the cantus-the result of numerous and extended syncopa- tions-is a characteristic of Cuvelier's works, and it is a predominant feature in his ballade "L'Orques Arthus." The manuscript is unequivocal about this, as witnessed by the many punctus sincopationis. Some of the punctus have been either misinterpreted or deemed superfluous, judging by the available editions of Apel and Greene.25 Syncopations in conjunction with sequences

20 CMM, 53/2, p. 31; PMFC, XIX, 89. 21 Seven editorial corrections in the cantus and one in the contratenor were discovered:

cantus, mm. 2, 8-io, 11, 25, 28, 31I, and 45-46; contratenor, m. 32. 22 CMM, 53/I, p. 63. 23 Nigel Wilkins, A Critical Edition of the French and Italian Texts and Music Contained in the Codex

Reina, II (Nottingham, 1964), 248. 24 Nors Josephson, "Vier Beispiele der Ars subtilior," Archiv fir Musikwissenschaft, XXVII

(1970), 51-53, with commentary in "Die Konkordanzen zu 'En nul estat' und 'La Harpe de melodie,' " Die Musikforschung, XXV (1972), 292-95.

25 CMM, 53/1, p. 30; PMFC, XIX, 32.

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abound in this repertoire, and "L'Orques Arthus" includes many such passages. Measures 78-83 in Greene's edition are unambiguously notated in the original and must be rendered

and not as Greene has interpreted them:

The Critical Apparatus of the PMFC series, like most commentaries to critical editions, should be approached only by the most patient of scholars. Even in this lavish series, I assume that cost considerations have determined the format of the Apparatus, which is somewhat marred by an unduly muddled arrangement-particularly in the "Variants" section. Most of the shortcomings in Greene's Apparatus are obviously the result of general editorial policy, which was not of his own making. Some of the vexing problems, nevertheless, deserve comment.

Greene usually lists the variants within each individual concordance, arranging them according to voice (in descending order), as for "En atendant, souffrir m'estuet" (XVIII, i6o). Sometimes, however, and for inexplicable reasons, he lists all concordant sources together, as for "Ma douce amour, je me doy" (XVIII, i6o). Consistency in his principles of organization would have been desirable, but neither of his methods of presentation shows much consideration of or compassion for the scholar who intends to study the repertoire.

Greene has no way to indicate individual notes in the "Variants" section, so he often cites the original notation for a complete measure of the transcription--even when this is not necessary.26 Sometimes he gives the original notation for two measures of the transcription, skipping over some of the information and reentering somewhere in the midst of it all. The commentary for "Ma douce amour, je me doy" (XVIII, i6o) exemplifies the reader's problem. Under cantus, measures 32/33, Greene offers the follow- ing: "MOe: prop. dupla continues for 2 bars (no quadrupla), SB e' for M e' (32), Mr for 2 Mr (33), 8 M e' d' e'f g' a'g'f for last two-thirds of bar (first third: M f of bar 32, SB e' and Mr)." Before consulting a microfilm, I was totally puzzled by this information, especially since the last two-thirds of measure 33 are given before the first third and since the minimf making up the last note of measure 32 in F-CH 564 must be shifted one minim to the right when transcribing according to I-MOe 5.24 (because of the semibreve e' that replaces the minim e' of F-CH 564 in measure 32). In such cases, Greene's indications are confusing rather than informative.

A further problem for the scholar studying the repertoire regards acciden- tals. In PMFC, accidentals and variants are listed separately, although the

26 This problem has been solved in PMFC, XXIV, The Works of]ohannes Ciconia, ed. Margaret Bent and Anne Hallmark (Monaco, 1985). In this volume, each attack is given as a note, so that ties are discounted. In this manner, each note within a measure can be determined.

REVIEWS 639

former should ideally be included together with the latter. Greene also fails to give the exact location (which line or space? and before which note?) of sharps, flats, and natural signs, indicating, instead, simply the measure. If, as many assume, the location of accidentals has a bearing on the application of musica ficta, then a critical commentary must indicate precise locations.

I believe that most of these problems, which stem from the unsatisfactory format of the Critical Apparatus, could be alleviated if the commentary for "Variants" and "Accidentals" were combined and given in tabular form. A table with the following arrangement27 would greatly facilitate the compari- son of variants between sources or the examination of a single source. It contains the beginning of the Critical Apparatus for my own transcription of "En atendant, Esperance conforte" (see Ex. I and n. 34 below).

Example i

The beginning of the Critical Apparatus for the reviewer's transcription of "En atendant, Esperance conforte"

Measure Manuscript I-MOe 5.24 F-CH 564

Cantus: 32-4 w. (•

) w.(• ) o101-2 h.r.(Mde) r.(Mde) 132 2(C) no#

143-5 w. ( ) w. ( ) )

146-152 h.r. ( aMag) h.r. ( bga) 223 (c) no#

If we examine the content of the Critical Apparatus, it is the "Variants" section that, once again, proves most disappointing. Following a random check of Volumes XIX and XX, I found enough errors to warrant suspicion regarding the dependability of the Critical Apparatus. A list of some of the errors found in Volume XX will bear witness to this claim:

No. 3, "Beaut6 parfaite": Variants: I-MOe 5.24: C:48-49 should read "SBdottSB for SB SBdott"

C:5o:SB dott for SB Mr (missing in Greene's commen- tary)

No. 4, "Dame d'onour en qui tout": Variants: C:44':Md (missing in Greene's commentary)

No. i i, "Cortois et sages": Variants: I-MOe 5.24: C:39 (should be eliminated, as I-MOe 5.24 = F-Pn

6771) C:45 should read "SB M SB agf" Ct:45b (should be eliminated, as Mr is legible in I-MOe

5.24)

27 The abbreviations used include B= breve; S= semibreve; M= minim; a, b, c, d, e, f, g=pitches; r.=red; h.r. =hollow red; and w.=white. The raised numbers following the measure number indicate individual notes. (Each attack counts as one note.) Following an abbreviation for coloration, any notes or signs of that color are given within parentheses. The #(c) means a # on the pitch line or space for c. The same method of presentation can be seen in the Critical Apparatus to my transcription of "Si con cy gist" (see n. I9 above).

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No. 24, "Amour doi je servir": Variants: I-MOe 5.24: T:SB d missing should read "T:35:SB d missing"

No. 28, "Bont6 de corps": General remarks: Greene has misunderstood Ursula Giinther's article, "Zwei

Balladen." Although the work must be identified with Bertrand du Guesclin, the man in question is not "the famous military leader" (XX, 253) but rather the son of Olivier du Guesclin, seigneur de la Roberie. The Bertrand du Guesclin honored in "Bont6 de corps" died before May i 397 but not in 1380.

Variants: D-Mbs 156i I: C:no Mr should read "C:5:no Mr" Ct:Mc for dot should read "Ct:2:Mc for dot"

No. 32, "Dame vailans/Amis de tant/Certainement": Variants: CI:53 should read "CI:55"

CIII:39 should read "CIII:4I" No. 42, "Fuiies de moy, envie":

Accidentals: None for the source Melk are given by Greene Variants: A-M 39i:T:37':Br (missing in Greene)

T:21 -22:4Mbagf (missing in Greene) T:4 :2 SBag (missing in Greene)

No. 42a, "Wolauff, Gesell!": Variants: A-Wn 2777:Ct:5:c' for d' (incorrect; A-Wn 2777 = A-IuWo)

The core of an edition is the music, but introductory notes also provide nourishing material. The Introduction to Volume XVIII is the most informative and detailed in these three volumes, giving a resum6 of research on the Chantilly manuscript and supplementing past scholarship with Greene's own hypotheses. Ursula Giinther's work on the dating and provenance of the manuscript has remained the most convincing to date, placing the source's origins at Foix during the reign of Mathieu de Foix, the successor to Gaston Phebus.28

Greene offers new ideas regarding Baude Cordier's relationship to the manuscript. Chantilly begins on folio i1i with Cordier's "Belle, bonne, sage," followed by his famous "Tout par compas." The missing first fascicle and the fact that Cordier's works are in a different hand than the body of the source-although this hand also added composers' names elsewhere in the manuscript-have defied explanation. Greene suggests that Cordier himself made these additions in Avignon, after the first fascicle had been "deliberate- ly removed, rather than inadvertently lost, because it contained some politically embarrassing texts perhaps extolling Pope Benedict [XIII]."29

Greene admits that his account, however enticing, is purely speculative. It would be a feather in Greene's cap if he could substantiate his suspicions, but I rather doubt that he will be able to. He himself notes the main problem: "Inherent in this view is the assumption that F-CH 564 is the original source and not an Italian copy of the original" (XVIII, xi). Although Greene supports his claim by reminding us that Nigel Wilkins does not find the text "particularly corrupt,"30 he admits that confusions between the letters o, c,

28 See Gunther, "Eine Ballade auf Mathieu de Foix," Musica disciplina, XIX (1965), 69-8I. 29 PMFC, XVIII, xi. Cordier was in Avignon with Philip the Bold in May i395; Greene

speculates that Mathieu de Foix, the owner of the manuscript, might also have been there. 30 Nigel Wilkins, "Some Notes on Philipoctus de Caserta," Nottingham Mediaeval Studies, VIII

(1964), 90-91.

REVIEWS 641

and e "produce jibberish in any of the French dialects" (XVIII, xi). Food for thought was also presented in Giinther's discussion of the manuscript's corrupt transmission of the text for "En la saison."3'

On the whole, Greene's volumes are certainly an improvement over the editions by Apel. However, having the advantage of Apel's editions for consultation and comparison, Greene should have been able to prepare not merely a better edition but an eminently dependable one. In this respect, his publication is disappointing. In addition to the twenty works that have major errors, there are many other works with minor mistakes that mar the publication. 32 The Critical Apparatus is not dependable, and typographical errors (such as those cited above for the Critical Apparatus to "Bont6 de corps" and "Dame vailans/Amis de tant/Certainement") betray a certain laxity in proofreading. 33

A new edition of the problematic pieces is nearing completion.34 Its publication, which will supplement and augment the work of Apel and Greene, should bring us closer to an understanding of notational practice, rhythmic complexities, and style development in the French repertoire of the fourteenth and early fifteenth centuries.

LAURIE KOEHLER London, England

1 Gunther, "Zwei Balladen," pp. 24-28. 32 One example is mm. 8-17 of "Toute clerte," in XVIII, 7-8. My own transcription of this

passage can be found in Ursula Gunther, "Sinnbezuge zwischen Text und Musik in Ars nova und Ars subtilior," Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, G6ttinger musikwissenschaftliche Arbeiten, io (Kassel, 1984), p. 233. Greene also fails to explain in detail the inconsistencies in his transcription of Rodericus's "Angelorum psalat" (XIX, 93-96), although he openly states that there are inconsistencies in his version (XIX, 189). See also (I) "Cortois et sages" (XX, 38), where the contratenor, m. 222, should read a, notf, and the tenor, m. 52, should read: 7 J J. ;(2) "Le Grant desir" (XX, 57), where the cantus, mm.

22-233, should read: J • ~ and (3) "Le Greygnour bien" (XX, 62-63), where the contra-

tenor, mm. 512-52, should read • •r , the cantus, m. 66, should read m _

and the cantus, mm. 71-74, should read ,/

•J. J J. J. . These errors were found as the result of a spot check of PMFC, XX. More were discovered, but this short list is indicative of the types and regularity of errors in this volume.

In the body of the edition, I also found typographical errors. Indications for ties are sometimes missing, as in "Notes pour moi" (XX, 19), cantus, mm. 153-i6'; and in "Cortois et sages" (XX, 39), contratenor, m. 47 . Other typographical errors include the following: in "Du val perileus" (XX, 17), cantus, m. 6o', the dot following the b should be deleted; in "Le Greygnour bien" (XX, 6o-63), cantus, m. i I', the indication for red notation should commence after the rest; in m. 534, the indication for red notation (missing completely in Greene) finishes before the finalg; and in m. 562, the indication for red notation should commence after the rest.

14 The first volume of the combined efforts of Ursula Giinther, Irmgard Lerch, and myself should appear this year. This first volume will include editions of and critical commentaries for those secular and sacred works of the French fourteenth- and early fifteenth-century repertoire that are presently only available in unsatisfactory editions. My own contribution, the secular repertoire in the volume, will include the seven works discussed in this review: "En atendant, Esperance conforte"; "De tous les moys"; "En nul estat"; "I11 n'est nulz homs"; "Puis que je suis fumeux"; "L'Orques Arthus"; and "Tout par compas." The second volume of the Gfinther/ Koehler/Lerch publication will contain works in need of minor corrections. With the aid of Dr. Norbert B6ker-Heil of the Staatliches Institut fur Musikforschung Preussischer Kulturbesitz in Berlin, it is hoped that a computer analysis of various parameters will result in a comprehensive account of style development in this repertoire.