The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021639384 ML IZoiTRir"'"""""""^ ^''"'inSii.iJ^u.K'fSSir^P'i'ca' notes on earl 3 1924 021 639 384 Critical anti 35ibIiogiap6icaI NOTES ON EARLY SPANISH MUSIC Critical Sc asttliograp^iral NOTES ON EARLY SPANISH MUSIC. By JUAN F. RIANO, MEMBER OF THE ROYAL ACADEMIES OF HISTORY AND OF FINE ARTS OF MADRID. WITH NUMEROUS ILLUSTRATIONS. LONDON BERNARD QUARITCH, 15 PICCADILLY. M.DCCC.LXXXVII. LONDON : WYMAN AND SONS PRINTERS, GREAT QUEEN STREET, LINCOLN'S-INN FIELDS, W.C. CONTENTS. Preface... '' Manuscripts containing Musical Annotations :— Manuscripts of the Xth or Xlth century Manuscripts of the Xlth or Xllth century Manuscripts of the Xlllth century Manuscripts of the XlVth century Manuscripts of the XVth century Manuscripts of the XVIth century Printed works on Theoretical Music . . . Printed Missals, Rituals, and Ceremonials of the containing Music Printed Instrumental Music ... Fan Roman Church 23 32 43 51 63 68 70 83 95 APPENDIX. • I. Specimens of Signatures written in Visigothic Cypher ... 103 II. Musical Instruments of the Xlth century ... ... ... 108 III. Musical Instruments of the Xlllth century... ... ... 108 IV. Libro de los juegos de agedrez, dados y tablas, que mandd escribir el rey D° Alonso el Sabio' ... ... ... 122 V. Musical Instruments of the XI Vth century 123 VI. Names of the Musical Instruments which appear in a poem by Juan Ruiz, Arcipreste de Hita ... ... ... 123 vi Notes on Early Spanish Music. APPENDIX — continued. P^S^ VII. " Leges Palatinas " ^3° VIII. Manuscripts with Musical Notes belonging to the Monastery of Silos 132 IX. Coleccion del Padre Burial i33 X. " Memorias y disertaciones," on music in the Cathedral of Toledo , ^2,^ XI. Choir-books of the Cathedral of Seville 136 XII. Choir-books belonging to the Monastery of San Lorenzo del Escorial ... .,, 137 XIII. Missa Gothica seu Mozarabica, &c., with explanations of the Muzarabic notes used in music at Toledo, by Arch- bishop Lorenzana and Bishop Fabian y Tuero 138 XIV. Breviarium Gothicum secundum regulam Beatissimi Isidori, with the explanation given by Don Jeronimo Romero of the Muzarabic chants ... ' 141 XV. Musical Instruments" on Spanish Porticos 145 LIST OF ILLUSTRATIONS. 1. Fiicsimile of Gothic Missal, Xth or Xlth century ... Page 23 2. Facsimile of Gothic Missal, Xth or Xlth century 24 3. Facsimile of Muzarabic Breviary, Xth or Xlth century To face page 25 4. Facsimile of Muzarabic Breviary, Xth or Xlth century 25 5. Facsimile of Gothic Manual, Xlth century ... 28 6. Facsimile of Antiphonary of King Wamba, Xlth century To face page 29 7. Facsimile of Gothic Missal, Xlth century ... To face page 29 8. Facsimile of Gothic Missal, Xlth century ... To face page 30 9. Facsimile of Muzarabic Manual, Xlth ceritury ... To face page 30 10. Reduced facsimile of the same Manual .. . ... To face page 30 11. Facsimile of Liber Evangeliorum, Xlth century 31 12. Facsimile of Breviary and Liturgy, Xlth or Xllth century To face page 32 13. Facsimile of Breviary and Liturgy, Xlth or Xllth century ... 33 14. Facsimile of Antiphonary and Roman Responses, Xlth or Xllth century 34 15. Facsimile of Gothic codex containing several offices, Xllth century ... ... ... ... •.• ... ... 35 16. Facsimile of Muzarabic Ritual, Xllth century .. . To face page 36 17. Facsimile of Verses and Neums, Xllth century 37, 38, & 39 18. Facsimile of Roman Missal, Xllth century 40 19. Facsimile of Greek Breviary, Xllth century ... To face page 41 20. Facsimile of Breviary, XII Ith century To face page -43 21. Facsimile of Breviary 44 22. Facsimile of Breviary ... To face page 43 23. Facsimile of Antiphony and Responses ,. 45 24. Facsimile of Roman Missal To face page 46 25. Facsimile of Breviary ., ... 46 26. Facsimile of Codex containing Music 46 viii Notes on Early Spanish Music. 27. Reduced facsimile of " Cantig. is de Santa Maria " To face page 48 28. Facsimile of Codex ... 52 29. Facsimile of Ancient Evangelistary -•• S3 3°- Facsimile of Ritual --- S3 31- Facsimile of Roman Missal . To face P^i^ 54 32- Facsimile of Missal . To face J>^ge 54 33- Facsimile of Codex ... 56 34- Facsimile of Codex containing the Breviary ... 56 35- Facsimile of Codex containing the Ordinary of the Mass •■• 57 36. Facsimile of Prefaces ... 63 37- Facsimile from " Octo toni Artis Musice " , , , , ... 72 38, Facsimile of an Alphabet of Visigothic Cypher, and Specii Tiens of Signatures ... 104, I OS, 106, 107 39- Facsimile of Musical Instruments of the XI th century... ... 109 40. Facsimile of Musical Instruments of the Xlllth century ... no 41. ditto ditto ... Ill 42. ditto ditto ... 112 43- ditto ditto ... 113 44- ditto ditto ... 114 45- ditto ditto ^' ... lis 46. ditto ditto ... 116 47- ditto ditto ... 117 48. ditto ditto ... 118 49. ditto ditto ... 119 SO- ditto ditto ... 120 SI- ditto ditto ... 121 52- Facsimile of Moorish Girl Playing Harp ... 122 53- Facsimile of Musical Instrument ofthe XlVth century To face page 123 54- ditto ditto ... 124 55- ditto ditto ... 125 56. ditto ditto ... 126 57- ditto ditto ... 127 58. ditto ditto ... 128 59- ditto ditto ... 128 60. Neums from Gothic Missal ... ,. . ... ... 139^ 61. Facsimile of Gothic Breviary ... ■•- 143 62. Musical Instruments on the Santiago Portico of the Cathedral of ... 144 PREFACE. THE Gaceta Musical de Madrid published thirty years ago, in its number of the i8th of March, a quotation from M. Adrian de la Fage, in which he says : "How numerous are the difficulties and how obscure is the history of music, and how many points remain yet to be cleared up ! .... A proof of this is the almost complete ignorance which we are in concerning the ancient school of Spanish music before Palestrina." These words of the French critic are applicable to the present day, for modern authors who have written on the subject barely allude to musical annotations or com- positions by Spanish authors. This causes a sad break in the history of musical art ; it is justified in a measure by the silence of Spaniards themselves, who have hitherto shown little interest in collecting materials for a complete history of Spanish music from the earliest times. This reason has induced me to think that a real service will be done by facilitating information to those who have undertal^n the study of music in the Middle Ages in Spain, i have collected the bibliographical information in the different libraries to which I have had access, so that students may be aware of the existence of a great number of Spanish manuscripts from the tenth to the sixteenth Notes on Early Spanish Music, ■" 2 Notes on Early Spanish Music. century which have musical annotations. I also give a catalogue of early-printed books on music up to 1600 by^ Spanish authors, which, owing to their extreme rarity, are ; bibliographical treasures, and constitute a group of works of the greatest interest for the history of the development: and progress of European music in the Middle Ages and beginning of the Renaissance. The names of Spanish painters, sculptors, and architects are well known out of the country, thanks to Ford,; Stirling, Viardot, Layard, Street, Curtis, and many others; thanks to them, Velazquez, Murillo, Berruguete, Alonso Cano, Herrera, and Juan de Toledo are popular and familiar to every civilised country. Spanish musicians, on the contrary, are hardly ever alluded to in any modern, publication. Even in F61ix Clement's " Histoire de la Musique," 1885, in the " R6sum6 Nominal" (chap, xxiv.^ p. 789), in which he gives a list of composers, theoretical writers and musical historians, not a single Spanish musi- cian of the fifteenth century is mentioned, and the names of only two of the sixteenth are given, Guerrero and Victoria. There is not a word on Spanish books on music, or the music composed during these two centuries, although thesei works are by far superior to those on the kindred arts. Barely a dozen authors of any importance have written in the sixteenth and seventeenth century on painting, sculp-; ture, and architecture, while more than fifty have done so on music, some with great judgment and discretion. i There are very few examples of painters, sculptors, or architects who have emigrated from Spain, while musicians] in large numbers are known to have settled in Italy in the fifteenth and sixteenth centuries and competed with the best: masters of the time. Some idea may be formed of this by: referring to Don Francisco Asenjo Barbieri's " Discurso " at the Royal Academy of San Fernando, (Madrid, 1874.) Preface. 3 The learned writer tells us that during the lifetime of Lorenzo de Medici, a professor of music of the University of Salamanca, called Bartolomd Ramos de Pareja, went to Italy and founded at Bologna a musical professorship ; he printed in 1482 a didactic work in which he developed his new theory of temperamento, which produced a most important revolution in the art of music. The Spanish composer Cristobal Morales belonged in the first half of the sixteenth century to the Sixtine Chapel ; the Italian author Adami da Bolsena, says he was a marvel of art. He composed a number of musical works before the time of Palestrina, which must have been very popular, for in Italy alone thirteen editions appeared in the same century. There are six editions of the same' century of the works of another Spanish composer who was no less celebrated, who also belonged to the same Chapel — Tomds Luis de Victoria. Juan de Tapia, a Spanish musician, by begging from door to door, collected a sufficient sum to found in Naples in 1537 the Conservatorio della Madonna di Loreto, the first school of music, which has been the model of all similar institutions since created in Europe. Upwards of thirty Spanish composers flourished in Italy during the sixteenth century, as Adami da Bolsena ( " Observazioni per ben regolare il coro della Capella Pontificia " ) and Schelle ( " die Papstliche Sangerschule in Rom genannt die Six- tinische Capelle " ) tel} us. Their names are as follows : — , Juan Escribano. D. Juan Palmares (Palomares ?). D. Pedro Perez. ' D. Bias Nunez. Antonio Ribera. Juan del Encina. Bernardo Salinas. B 2 ^ Notes on Early Spanish Music. Geronimo Ardujeo (?). Antonio Calasanz, de Lerida Cristobal Morales. Bartolomd Escobedo. Pedro Ordonez, tesorero de la Capilla Francisco Talavera. Esteban de Toro. Juan Sanchez de Tineo. Francisco Montalvo. Francisco Bustamante. Juan Sanchez. Antonio Villadiego. Francisco Torres, de Priora, toledano. Francisco Soto, de Langa, diocesis del Burgo de Osma. Juan de Figueroa. Cristobal de Ojeda. Tomas Luis de Victoria, de Avila. Tomas Gomez, de Palencia. Juan de Paredes, saguntino. Gabriel Carleval, de Cuenca. Juan Santos, toledano. Diego Vazquez, de Cuenca. Francico Espinosa, toledano. Pedro Montoya, de Coria. It is not my intention to praise Spanish musicians and far less to discuss their scientific theories. I confinei myself to giving an account of the Spanish musical MSS. of the Middle Ages and early printed books, and some observations which I consider interesting relative to Visigothic neums which have never been appreciated by any author who has written on the subject. The history of music in Spain begins with San Isidoro (VII cent"). In the second book of his " Etimologiarum " he defines music in the following manner: " Musica est disciplina quae de numeris loquitur, qui ad aliquid sunt his qui inveniuntur in sonis." Preface. 5 In the third book of the same work, " De Musica," he devotes the following nine chapters to the subject : — " De musica et ejus nomine " chap. xv. " De inventoribus ejus " „ xvi. " Quid possit musica " „ xvii. "De tribus partibus mubicae" „ xviii. " De triformi musicae divisione " „ xix. " De prima divisione musicae quae harmonica dicitur" , xx. " De secunda divisione quae organica dicitur''... „ xxi. " De tertia divisione quae rhythmica nuncupatur " „ xxii. " De musicis numeris " „ xxiii. San Isidoro does not allude to musical annotations, but describes the following instruments : Organum, Tuba, Tibia, Fistula, Sambuca, Pandura, Cithara, Psalterius, Lyra, Tympanum, Cymbala, Sistrum, Tintinnabulum, Symphoniam. In another part of his works, entitled " de Officiis," he speaks of " De choris," " de canticis," "de psalmis," "de hymnis," " de antiphonis," " de lectoribus," and " de psalmistis." ("Divi Isidori, Hispal. Episcopi,. Opera," i vol. fol. Madrid, 1599.) San Isidoro was chiefly a compiler of science and classical literature, not, as is supposed by many, an original author. He was able to extract many MSS. which have disappeared since his time. In his theories on music, he appears to have followed exclusively the system of Boetius. For this reason, he has been considered the author of the ancient mode of chant used in Spanish churches ; others affirm that it was invented by San Eugenio. The words which describe the music of this period are Isidoriano, Eugeniano, Visigodo, melodico, and Muzarabe or Mosarabe chants. Melodico is in contraposition to Gregoriano, and Muzarabe, because its method had been preserved by the Christians living in towns under the domination of the 6 Notes on Early Spanish Music. Moslims ; these Christians were known by the name of Muzarabs, which means " Arabes non puri, sed gentesf inter Arabes habitantes et cum iis conjuncti." (Freytag, "Dice") The ritual Eugeniano has, thanks to this, existed during the domination of the Mahometans in Spain. When Toledai was conquered by King Alfonso VI. in 1085, the Roman] or Gregorian breviary substituted it in the greater part of the- churches of the Peninsula, owing to the principal ecclesias- tical appointments having been conferred on French monks j who used the Roman ritual. This was not brought about j without great difficulties, for the mass of people, accustomed as they were to the tradition of the Visigothic or Muzarabic ritual, rose in Toledo, and, as we read in the chronicles, it was granted to them that both rituals should be submitted! to a holy ordeal. A combat took place in the Vega of Toledo between two champions; the proof of fire was made,] and the rituals were both thrown into the flames, thai Visigothic one emerging triumphant. The king, notwith-l standing, decided in favour of the Gregorian breviary, although he gave permission that, in some churches in Spain, the Muzarabic ritual should be allowed tp continue.| This custom, which was favoured by Cardinal Ximenesde = Cisneros, in the sixteenth century, and other archbishops who succeeded him, continues in the present day. There J is a chapel in the Cathedral of Toledo, in which the Mu- zarabic service is daily performed, the necessary personnel of clergy and musicians are devoted exclusively to this ritual, which continues exactly the same as in the Middle Ages. The ceremonial is taken from old manuscripts, but the music has suffered since then radical reforms in its annotation, as well as in the theory and practice of the chant. To discover what this music originally was, is a problem which modern students are called upon to Preface. 7 resolve ; the study of the manuscripts which exist with Visigothic mums will be of great help towards this. From the seventh to the end of the twelfth century, tradition has handed down to us the names of several important persons who distinguished themselves by their musical compositions ; besides San Isidoro and San Eugenio, already referred to, we have, Pedro, Bishop of Lerida; Juan, Bishop of Zaragoza ; San Fulgencio ; San Leandro; Tonancio, Bishop of Palencia; and Salvus, abbot of the monastery of Albelda. In the monastery of Ripoll (Cataluna) there existed formerly a Latin poem on music, composed in the eleventh century by a monk named Oliva, which is supposed to have been a composition founded on Boetius's book (Villanueva, " Viaje Literario," Valencia, 1821, tom. viii. p. 57). It is probable that the music written by these authors accommodated itself to the system and tonality of the Visigothic chant, for the greater part of the Spanish musical MSS. which have reached us up to the twelfth century are written with Visigothic neums. This love of tradition constituted in Spain almost an historic law, but during the eleventh and twelfth centuries there may be distinctly traced in the Spanish Fine Arts a direct and immediate French influence, which reached Spanish music, and must have produced a period of transition before it became submitted to the new schools which were imported from France and other parts of Europe. This, as I have already observed, was brought about by the number of monks of Cluny who came to Spain, and to whom the highest ecclesiastical posts were given. It must not be forgotten that, after the conquest of Toledo in 1085, the Roman breviary was imported by the French, and the Gregorian chant was the only one officially recognised by the Church. This French influence 8 Notes on Early Spanish Music. continues without interruption during the Middle Agesi? and from the thirteenth century the neums and other signs which are to be found in Spanish MSS. are similar to the French ones. Among the numerous works of Raimundo Lull, a native of Mallorca (1235), is " Ars Magna," which treats of different subjects. In the chapter, " Arbor Scientiae," he speaks of music in the following manner : " Musica est ars inventa ad ordinandum multas voces concordantes in unum cantum, sicut multa principia ad unum finem." Lull's musical system is explained in detail by the commentators of his works, in the edition which appeared at Mayence in 1 72 1 (" Beati Raimundi Lulli Opera," etc., 10 vols, in fol; the seventh and eighth were not published). If the explanation given is exact, we may infer that he modified with advantage the musical theories of Guido d'Arezzo;' but Lull's study, like San Isldoro's, is more the work of a philosopher than an artist, it belongs to the didactic or scientific school. The celebrated " Cantigas " by King Don Alonso el Sabio (thirteenth century) is one of the most interesting collections of practical music of its time. The "Cantigas de Santa Maria" consist of 401 poems written on devotional subjects in Gallego dialect ; they were composed for singing, and each of them has a different music. The melodies are written with the key of do and fa on all the lines ; sometimes with a flat, sometimes with- . out. Tradition supposes that the king -himself was the author of the poems and the music ; but, as other works which have appeared with his name have been proved to be written by the learned men that he so generously protected, it is highly probable that the " Cantigas " are simply a compilation of songs of the thirteenth century, written by different composers ; this will doubtless be ascertained when'. Preface. 9 the melodies are deciphered, but the king will always have the merit of having collected and known how to appreciate what otherwise would have been irretrievably lost. The three manuscripts which have reached us of the "Cantigas" are most interesting, not only on account of their poetry and music, but also owing to the splendid illuminations they contain. There are innumerable figures playing on different instruments ; facsimiles of fifty of the most inter- esting ones are given from the most important of these manuscripts (vide Appendix). As no study has yet been made of the names of these instruments (because the "Cantigas" have never been published), it may be useful to refer to a poem by the Arcipreste de Hita, a poet of the fourteenth century, in which he names about thirty musical instruments used in his time (vide Appendix). Manuscripts with musical notes have reached us of the fourteenth century ; we fiod also in the " Leges Palatinas " of Don Jaime III de Aragon (^ide Appendix) that musi- cians were employed in the king's service before his time ; they are mentioned in accounts of the household of Don Sancho, the son of Don Alfonso el Sabio (i 296). Hitherto no didactic work on music of the fourteenth century has been found ; we must look for them in the second half of the fifteenth. In Padre Villanueva's " Viaje Literario," already quoted (tom. xiv. p. 176), he mentions a treatise, " De Musica Instrumentali," composed in Barcelona by Fernando del Castillo, the Cuchillero, (lo Rahoher in Catalan); he tells us himself that he wrote it in 1497. This manuscript formerly belonged to the Capucine convent of Gerona ; its whereabouts is no longer known. Another manuscript was bound up with this one, " De pulsatione Lambuti et aliorum similium Instrumentorum," which was supposed to lo Notes on Early Spanish Music. have been written by a Moor of the kingdom of Granada, called Fulan, We find at the end of it the following note: " Omnia ista de pulsatione lambuti, ego habui a fratre ■ Jacobo Salvd ordinis Predicatorum filio den Bemoy de Linariis diocesis Barchinone, qui charitate devinctu$| revelavit mihi ista." I have mentioned these manuscripts that they may be known and looked for in the library of some collector, but printed books of an earlier date exist which are of much greater importance. Such are the works, " De Musica,", by Bartholomd Ramos de Pareja (1482), "Lux Bella;" by Domingo Marcos Duran (1492), " De Proprietatibus Rerum," by Fray Vicente de Burgos (1494), and Guillermo 1 Podio's " Ars Musicorum" (1495). The golden age of Spanish music begins with these authors, and, as I do not intend to comment or discuss the works of Spanish musi- cians, but simply to give an idea of what they have pub- ! lished, I end here my historical account of Spanish music before the Renaissance. An idea of the history of this second period will be had by looking through the biblio- graphy of early books on music by Spanish authors which accompanies this Introduction. I have added to this list another of the manuscripts j with musical notes which I know to exist in Spain. Such a list appears now for the first time ; I not only consider , it of the highest interest that these manuscripts should be known, but I expect that those possessing Visigothic neums will cause many theories hitherto established to be modified concerning the musical signs used in the Middle! Ages. I describe and give facsimiles of the most important of the eighty manuscripts dating from the tenth to the fourteenth century. The fine choir-books of the Escurial or Cathedral of Seville are not included : the music they contain is not sufficiently varied to require a special Preface. 1 1 description, although they number in all more than four hundred volumes. It is most probable that other musical manuscripts of the Middle Ages exist in Spain, hidden away in churches and other places of the kind. This Catalogue is followed by an Appendix of the documents of different kinds which illustrate the history of musical annotations and musical instruments. The only two modern Spanish works which have appeared in Spain on music are, " Historia de la Musica Espanola desde la Venida de los Fenicios hasta el ano de 1850," by Mariano Soriano Fuertes (4 vols. 4°, Madrid, 1885), and "Historia de las Ideas Esteticas en Espana," by Don Marcelino Menendez y Pelayo (3 vols. 8°, Madrid, 1883). The first of these works is written with little criticism, especially in the study of music in the middle ages ; Soriano is obscure and deficient in accurate in- formation : the second is by far superior, it is an admirable study as far as it goes, but he only gives the names of thirty printed books of the early period, while I double the number. As I consider Visigothic neums so important, I will make some remarks upon their study, which I consider interesting, beginning with an explanation of their paleo- graphical character. More than twenty years ago, Don Manuel de Goicoe- chea, librarian of the Royal Academy of History of Madrid, informed me that he had discovered a close connexion between the signs of Muzarabic or Visigothic music and certain characters of small letters {cursivae) sometimes used in signatures of documents of the tenth, eleventh, and twelfth centuries. Later on, in 1867, Don ]os€ Foradada published an article on this subject with facsimiles in "El Arte en Espana" (torn. vi. p. 105, Madrid), but both these authors merely discussed the 12 Notes on Early Spanish Musu. problem under a palfeographical point of view. Nobody has since, to my knowledge, continued these investigations. ; By a minute examination of the signatures of the manuscripts mentioned by Sefior Goicoechea, and com- paring the letters, which are always small or cursivae, with the Visigothic neums of different manuscripts, the result * undoubtedly appears to be that the musical Visigothic annotation is composed of : (a) letters belonging to this special alphabet. ()3) of accents, points, and other purely musical signs, (y) of combinations of these signs with these letters. At first sight, the neums appear as if they could easily 'i be deciphered ; but, notwithstanding this, the music is not - easily read, nor can it be transposed to modern notes. More competent judges than I are of the same opinion.* The musiccd Visigothic annotations are so curiously formed, that they do not at first sight appear to be letters at all. The only manner of ascertaining that they are letters is by comparing them with the different fac- similes {vide Appendix) of the signatures of contem- porary documents which I have already mentioned. By doing this, the connexion between them is apparent, and the similarity of many of the signs met .with in the text. The reason of this similarity in the case of an alphabet which was so little in use can only be explained by attributing its use to a traditional custom, which it is difficult in the present day to trace. The principal diffi- culty arises from the fact that there are very few manu- scripts of an earlier date than the tenth century, and in none of these are any music or signatures with these ciphered characters to be found : this prevents us from * Don Francisco Asenjo Barbieri, Conde de Morphy, and Don Mariano Vasquez. Preface. 1 3 knowing what the early neums originally were. Manu- scripts of the tenth, eleventh, and twelfth centuries are very numerous with or without music ; our arguments, therefore, must be confined to these three centuries. The form of letter used by the Visigoths, before their monarchy was destroyed in the eighth century by the Arabs, ■ft'as used by the Christians, with some few excep- tions, until tlie end of the twelfth century, in which the French manner of writing was introduced. Visigothic characters may be divided in two groups — common writing, and cipher : (a) Capital letters {magistrales), used in manuscripts ; and small letters (cursivae), employed in public or private documents. (3) Documents written in cypher, of which three dif- ferent kinds are known. A sufficient number of documents illustrating these groups will be found in "Paleografia Visigoda," by Don Jesus Mufioz y Rivero (Madrid, 1881, p. ']']). Three systems of cipher existed : — (i) To substitute vowels by points or by some of the letters representing Roman numbers, (ii) To write Latin words with Greek characters, (iii) To use a special alphabet different to any other known, a few of the letters of which have some similarity to the Visigothic small {cursivae) letters. This alphabet is the one used for music ; it is supposed to have been derived from the old Roman cursiva character {vide this Alphabet in Appendix copied from Seiior Munoz's "Paleografia"). Two curious facts must be observed, to which attention must be drawn: ist, that these letters were invariably used in musical manuscripts, and in signatures during the tenth, eleventh and twelfth centuries; in the thirteenth 14 Notes on Early Spanish Music. they disappear at the same time in both cases ; 2nd, that in the "Antiphonary of Montpellier," and other con- temporary examples in which the whole system of alpha- betical annotation appears, the same letters are found in the music as in the text, while in Spanish Visigothic manuscripts the letters are represented by a differently ciphered alphabet. The only reason I can give to explain this is the traditional custom of writing musicin this manner without any reference to the forms of letters used in the texts of the manuscripts ; and, although the doubt occurs whether musicians transcribed their music merely by signs without reference to its alphabetical value, it seems pro- bable that they did not ignore the cipher, as it was used simultaneously by the high clergy and men of letters who exclusively had to intervene in this kind of music. My opinion is that the neums which are to be found in Visigothic musical manuscripts derive their origin from an earlier date than the tenth century ; we may even sup- pose that the same system was extended and carried into practice in other different countries where it was set aside much before it was in Spain, where it continued to be used until the end of the twelfth century. I believe that, in this century, and perhaps in the previous one, Visigothic neums were in use only in the Spanish peninsula, and that they were unknown elsewhere ; at any rate, they were not familiar to the monks of Cluny, learned as they were in matters of music. The interesting manuscript {F, 224) at the Library of the Royal Academy of History, which be- longed at the end of the tenth century (or beginning of the eleventh) to the monasterio de San Millan, makes this fact most palpable. This monastery was occupied during the twelfth century by friars proceeding from Cluny, and when they found this manuscript so necessary for the ceremonies of the church, it is to be inferred that the Visi- Preface. 1 5 gothic neums were unknown to them, for they erased the music of the Antiphons of daily use, and substituted the Visigothic signs by neums of points similar to those used in France at the same period. We find in this manuscript, incomplete as it is, fourteen erasures in which the music has been substituted by the French points; it is of great interest that one of the anthems has been left with the two musical annotations ; this circumstance may be useful for the in- terpretation of the music. Three facsimiles are given which will illustrate this point. In comparing the neums of Visigothic music with other contemporary musical annotations, which have been given by authors who have written on the subject, some resemblance appears at first sight between them. In the signs of Greek musical annotation which mark the measure of time, and in others of greater importance called iTroo-Tarijff, three or four forms are met with which are similar to some of the Visi- gothic neums (Fetis, "Hist, de la Mus.," vol. iv. pp. 43 et seqq.) ; they vary, however, in their relative positions, and may perhaps be connected with the value that they repre- sent. In the explanation of the Greek method by means of its alphabet given by David and Lussy (" Hist, de la Not," p. 27), they consider the Greek kappa (x) as a complementary sign and characteristic of the third fourth ; it must be stated here that in Visigothic neums the c frequently appears in its natural form or in this manner, x, similar to the Greek kappa. This same c either in its natural form or inverted is also to be met with in Armenian annotation (David and Lussy, pp. 66, 67). In looking through the tables of neums published by different authors, it appears at first sight that a number of the signs are similar to those of the Visigoths, but very few have any resemblance with them. I consider that the best and most complete tables are given in the works of Hugo 1 6 Notes on Early Spanish Music. Riemann("Studienzur Geschichte der Notenschrift)," and in the Rev. P. Pothier's " Les Melodies Grdgoriennes " ; from these tables the following signs may be considered! to have a certain resemblance with some of -the letters of the Visigothic cipher : scandicus, epiphonus, quilisma, podatus, salicus, trigon, and porrectus. Where the closest resemblance is to be found with the Visigothic neums is in the " Gradual de Saint Gall," generally called the " Antiphonaire de Saint Gr^goire,-", and in the "Antiphonaire de Montpellier." Both these manuscripts have been the source of most heated dis- cussions amongst musical critics. The authors who have discussed this subject consider these manuscripts to belong to the tenth or beginning of the eleventh century (Fetis, torn. iv. pp. 207, 223 ; David and Lussy, p. 54). No author has hitherto suspected the possibility that any connexion should exist between the musical signs of these manuscripts and the Visigothic neums, but by looking at the facsimile published by Fetis, which begins, " Ostende nobis " which is taken from the " Gradual de Saint Gall," small points may be observed which are undoubtedly musical signs and are similar to the Visigothic ones ; among them I believe I have discovered the following six letters of the ciphered Visigothic alphabet : » C - N — /— t^ ^ ^ — c*^- {c-e-i—m-n-t). By examining also the facsimile giveri by Fetis of the "Antiphonaire de Montpellier," which begins, " Puer natus est nobis," it seems to me that other six letters will be found, three of them are very clear u/ — O. ,^ S (l-o-s) and three more doubtful j[ S ■^^ etivy — {i-p-t). This study can never be Preface^ 1 7 successful unless made on the manuscripts themselves or on good photographic facsimiles of the same, for I fear the letters may lose part of their character by being repro- duced by engravings. There is no doubt that in the manuscripts of Saint Gall and Montpellier the Visigothic cypher is an important element ; and this circumstance in- duces me to think that this manner of writing music must have been general in Europe in the tenth century, and that these manuscripts and the Visigothic ones proceed from the same source. Some authors who have distinguished themselves in these studies are inclined to deny the importance of the letters used in musical annotation. I think that Cousse- maker was the first to say this in his " M^moire sur Hucbald " ; his idea has met with numerous supporters. The Rev. P. Dom Joseph Pothier says that the form of the neums " n'a de rapport avec les caracteres d'aucun alphabet" ("Les M^l. Gr6g.," p. 31); that the musical annotations in which seven or fifteen of the first letters of the alphabet are to be found, are purely didactic, and were only written for the use of the schools (p. 25); lastly, explaining his idea that he considers the Antiphonary, "comme un livre, non de choeur mais d'^cole," and discussing the system of Herman Contract (pp. 28, 29), he says that " les lettres a lui ddterminent non les degres de I'dchelle, mais les intervalles que la voix doit franchir en allant d'une note h. 1 autre." In my opinion he is right in this as in many other points of his interesting book, but in some of his ideas there is evidently great exaggeration. David and Lussy (" Hist, de la. Not. Mus.," p. 43) admit these theories, and Felix Clement, in his " Histoire de la Musique" (p. 256), goes even further when he says: " Cette sorte de preference donn^e aux neumes a sa source dans le sentiment musical des accents combines avec le rhythme, que les lettres n'exprimaient pas." n Notes on Early Sfanish Music, ^ 1 8 Note& on Early Spanish Music. I have examined with the greatest care the Visigothic neums in the facsimiles which accompany this study, and find in them the following letters : b-c-d-e-f-g-i~l—m-n-o-p-s-t-r. The/ only appears once (in the Manuscript of Toledo (32, 2), but I find a sign often repeated Jn the facsimiles which I suspect represents an r. I by no means consider this interpretation: to be the right one ; but, as there is no doubt that these letters are to be found in the manuscripts, | more competent students may be able to clear up this point. We find here a system of mixed annotation composed^ of letters and neums similar to the one adopted by Hermann Contract in the eleventh century. A specimen taken from a manuscript of the Royal Library at Munich was pub-' lished by David and Lussy in their " Hist, de la Mus.,"p. 'jd. I do not find the same resemblance between them and the other annotations of single letters which are discussed by different authors, such as Hucbald's method, Odon de Cluny's, Reginon's, the two or three annotations published by anonymous authors, and, lastly,, the one discovered by M. Nisard ("Revue Archeologique," 1852). All thesp methods are contemporary with those that appear in the Visigothic manuscripts ; the difference between them is that the letters are exclusively used without a combina- tion of neums. The fifteen or sixteen letters which I find in Visigothic music suggest to me a direct connexion with the Greek system, with Boetius's, or any other contemporary , one, such as Odon de Cluny's, who, in the tenth century, settles the tone of the fifteen diatonic tones which form " the two octaves by adopting a formula by which sixteen letters are included in the same way as in the Visigothie system. Preface. 1 9 I set aside these discussions, as I do not consider that the facts I have collected are sufficient to establish a fundamental system. I must mention two small Spanish works which were written for the purpose of interpreting Visigothic musical neums ; one by Don Francisco Fabrian y Tuero, Canon of the Cathedral of Toledo, Bishop of Puebla de los Angeles (Mexico) ; the other by Don Geronimo Romero. Extracts from both these works will be found in the Appendix (" Missa Gothica, Breviarium Gothicum"). The first of these studies is unknown to the modern authors who have written on music. Romero's study has been extracted and quoted by Fetis (" Hist, de la Mus.," vol. iv. pp. 194, 265) ; both these authors carry out a system of interpretation, which is founded on the traditional system of the Cathedral of Toledo of chant- ing this music from the earliest times. This enables these authors to establish the differences which they think ought to exist between the Gregorian and Visigothic melodies, Eugenianus, as Romero calls them, and also obliges them to explain, and give value to Visigothic neums. I am not sure they are right in their theories, but there is no doubt that they must not be passed by without notice ; they are, besides, a faithful representation of Spanish traditions. Bishop Tuero publishes an example roughly copied from a fragment of Visigothic music, and, considering it as a type, he practically interprets {;vide Appendix) each of the signs represented, and places them in the key to which they correspond. The chapel-master Romero developes his theory, which consists of four rules explaining the value of Visigothic musical signs, and establishes a system of proportion of time and musical measures. Fetis does not consider the system a perfect one : but, even as it standS; he thinks it of great importance when he says : " Ainsi se c 2 20 Notes on Early Spanish Music. trouve &lairci un des points les plus obscurs dans rhi&toi're de la muslque, et nous avons acquis la certitude que I'origine de cette notation proportionelle du Moyen Age sur laquelle tant d'erreurs se sont r^pandues, se trouve dans les neumes Saxons ou Gothiques et Lombards" (p. 271). Fetis insists on calling these musical annotations by the; name of Lombard (pp. 186, 187), exaggerating, in my opinion, the Gothic influence of the first period of the Middle Ages, and forgetting the classical elements which may at the same time have formed them. I have nothing to add to these observations, for my object is fulfilled by making known the ciphered alphabet,' which is the principal element of Visigothic music, and giving the theories that I think may be useful for its interpretation. Before ending, however, it is necessary that I should make a special mention of the eminent Spanish composer, Don Francisco A. Barbieri ; without his valuable help it would have been perfectly impossible to me to make this study. Sefior Barbieri possesses the most extensive information on all matters connected with musical| literature and art, especially on ancient Spanish music; he has the finest musical library in Spain, and has collected a great number of copies of manuscripts and historical notices which are most precious for the history of music. Sefior Barbieri, with the generosity which characterises him, has placed all these materials at my disposal, and I aril most happy to be able to express my gratitude towards him. MANUSCRIPTS CONTAINING MUSICAL ANNOTATIONS. MANUSCRIPTS OF THE X™ OR XI™ CENTURY. Gothic Missal containing St. Ildefonso's De Per- petua Virginitate, and various parts of the Mass. Written on vellum. The handwriting and illuminations appear to belong to the Xth or Xlth century. It consists of 122 leaves, measuring so""*- by 25'^'^-. MM. laod^ CC^co^ Fig. I. 24 Notes on Early Spanish Music. There is an index at the beginning, which was probably written by Manuel Salazar, a scribe of choir-books. It is stated therein that this volume is one of the most remarkable MSS. which exist at the Cathedral of Toledo. The tradition there was that the masses this volume contained were composed by St. Ildefonso (A.D. 606- 668). Cath. Toledo, 35, 7. II. Codex containing a Gothic Missal wiih the Offices and Masses from the last prayer of matins of the first Sunday in Lent until the second vespers of the third day K^ of the Easter festivities. M 1> The Lamentations of Jeremias are at the « j end. This volume is written on vellum in fl • writing of the Xth to the Xlth century. It f j consists of 194 leaves, measuring 3o'"'" by /* j? 2 5^'=-. Cath. Toledo, 35, 5. / / '% Fig. 2. /J 'J>ni / ■$no au p.cL-Si^letxvi'hs^ft U u^ {Tone ],/ i * ^ itivne-dio axil' y S'^^y^l^U'^] : J I Ti /( N -'V - )J - *' • I if '4,0 miner cjuonitttn Ao-ubii ^ aU^ticce^dcmttium in^ttn Inf « ! • * f T 1 i i< .-) ifo Inotnxit. Ldi^tC 1^7 J ^1 •^ r *■ 3c .-Jr'^:.^ r^jt u H.ttf tA-lLe-i-Lutt*..-. u iL _H^a.«^* ^lic:: Unt*-i^U** ■ To/xicejage 25. ^\1]^ Manuscripts of the Xth or Xfth Century. 25 ^' ' HI. Musarabic Breviary. Written on vellum in handwriting of the Xth or Xlth century. It consists of 230 leaves, measuring sg"**' by 28""^-. The beginning and end are missing, and it is badly mutilated in the middle. On the leaves, which are left in good condition, there is a great quantity of music written with Visigothic annotation. It belonged to the monastery of San Millan in la Rioja. Bibl. de la Real Academia de la Historia, F, 190. Fig, 3.' IV. Muzarabic Breviary. Written on vellum in writing of the Xth or Xlth cen- tury. It consists of 174 leaves, measuring 33^- by 26"^- It H®jHTC*MIC']kr: mmWHiDUlf ^ '^ ' ' ' " /. <\%XAA^JLl f C I CC^^^ C«a( ^ . Fig. 4. 26 Notes on Early Spanish Music. contains Psalms, Chants, and Hymns, and a great quantity of music written with Visigothic notes. Some 9f the music has been erased. On two capital letters on p. 150 may be read Abundan- tius presbiter librwm. The end is missing, A brief description of this MS. and a photographic facsimile appeared in Exempla scripturae visigoticae. Ewaldand G. Loewe, Heidelberg, 1883, fol. 27. Formerly at the Cathedral of Toledo ; now Bib. Nac. de Madrid, C, 35, I. Codex, which contains De Reprimenda Avaritia; De Perfecta Concordia ; De Abstinentia Occulfanda ; the office of Litanies with its Music : Passio Beatissimorum Martyrum Cosme et Damian, with Music; the Book of Sentences, and several Sermons by St. Augustin. Written on vellum, in characters of the end of the Xth or beginning of the Xlth century. It consists of 95 leaves, measuring Kf^- by i4'='=-. Without beginning or end. The music is given in one of the Litanies, and in the mass dedicated to San Cosme. The music is written with dots upon a line marked with a puncheon. It belonged to the Monastery of San Millan, Rioja. Bibl. de la Real Acad, de la Historia, F,. 228. VI. Liber Psalmorum David, known by the name of " Diurno del rey Don Fernando i°." Written on vellum in the Xlth century. The leaves measure 29^"'- by i8^'="-. Marm^rijits of the Xth or Xlth Century. 27 It contains the! Calendar, the Psalms, and several Noctiirns and Responsories. The music is given on the respojisories ; it is written without lines and in dots in some instances on the text on a red line. On the page before the nocturns and responsories, appears the name of the artist and scribe who illustrated this MS. "Era millena no vies Dena quoque terna Petrus erat Scriptor Frictosus deniq. pictor." This date corresponds to era 1098, A.D. 1055. Bibl. of the University of Santiago de Galicia. VII. Gothic Manual. Written on vellum in the Xlth century. It consists of 173 leaves, measuring 2i|'="'- by I4"^ It begins in this manner : — " In nomine domini noster iesu christi incipit liber canticorum de toto circulo anni era millesima honagesima septima :" this corresponds to A.D. 1059. The date and author's name is repeated at the end : " Explicit liber canticorum et orarum deo gratias. Amen. In XVI 1° Kalendas Junias era MXLVII* christoforus indignus scripsit mementote." It contains music written with Visigothic signs. A slight description of this MS. is given in " Exempla Scripturae Visigoticae," by P. Ewald and G. Loewe, Heidelberg, 1883. Fol. Tab. XXXII. King's Library, Madrid, 2, 7, 5. Fig. 5, p. 28. 28 , Notes on Early Spanish Music. • - • • . • .f . :\ .• ]» *''*/ J , • •v'^ . . ^ . «H ^ ;-V »n\»i {*? 6>^ &. — *S C '^^. i C. V- -^«Lcfif uicnoij^etcWv^ntiwc^ cnbimd* f^fufr^cTjont f . eta f octaffif - ab6f(xo f ut^wcacnoni & tif if ecrfube- uocof mimiilitiTif 'Oucva^Jiuncau muLum aiiitm pufificttfrjeuftwiim t>^a^ f t>tti5fioti«^ fci Itf iibffc^;r«»tcaUi ^ ,n^Cmtn4^T Jf miQutaiumtnCPanm auafum:auaartu«ifCu6irttttfif BP«WfuLc4reafirua = - ' 1 ■ r nb^^f- Fig. 9 Tofaeefageio E -3 > I if" i'U Will 1 rr i 1 A J?" — "asr. ;!! 4^ *r •< U .»; 0— * I LU I u 1 II r I bo ■r3 iS? § t^- ^^ "^ ^ ^"^ ,.-.|.r^*- Manuscripts of the Xth or Xlth Century. 31 XII. Liber Evangeliorum. Written on vellum in the Xlth century, finely orna- mented with miniatures and letters painted in gold and colours. It consists of 94 pages, measuring a;"*^- by i6"'-. Inside the binding are the following memorandums : — ",Codex MS. perantiqum magna cura pretioque maximo in urbis direptione redemptus S. Ecclesiae Toletanae dono datus a suo Praesule Card'^ de Lorenzana. " Hie codex redolet seculum X sive XI ; nulla etenim in hoc Evangeliario festivitas reperitur seculo XI posterior." On several of the pages there are passages of music marked with points on a black line. Between these lines, which are marked with ink, three and four lines are sometimes marked with a puncheon, . this generally occurs between the words of the chant. Bibl. Nac. de Madrid, Reservado, 6% 2. GGNEMTlONlS ifiitl ^T t > J J ' - > 1 — •— 4 » ' * * ^ I — » ' •■ — 1» — >- Fig. II. . 32 MANUSCRIPTS OF THE XI™ or XIP CENTURY. Codex containing a Breviary for the use of the Choir, with the Liturgy in Solfa written without lines. This volume is written on vellum in characters of the end oftheXIthor beginning of the Xllth century. It consists of 1 76 leaves, measuring 38'"^' by 2i^-. There is an Index" at the beginning written on vellum, apparently in the XVIIIth century. It belonged to the Cathedral of Toledo, and is at present in the Bibl. Nac. de Madrid, 44, G, s. Fig. 12. n. Codex containing a Breviary for the use of the Choir, and a complete Liturgy written in Solfa without lines. Written on vellum in characters of the Xlth or begin- ning of the Xllth century. It consists of 176 leaves measuring 38"^- by 24"^-. The whole of this MS. contains music. At thebeginning . of the volume there is an Index written on vellum in the XVIIIth century. Cath. Toledo, 44, i. >5. •^ i*^ te ;% * « ■^ is ^^. i J"* J. 1 -"^ I • « I * I •^ ^ Manuscripts of the Xlth or Xllth Century. 33 Fig- 13- III.. A splendid Codex very richly ornamented, pro- bably in the Xlth or Xllth Century. It contains the Antiphonary and Roman Re- sponses written in ancient Sol/a. The whole of the volume contains musical notes written upon a single line. The other lines are marked with a puncheon. Two leaves have been added in the middle of the MS. at a later period. The vellum is painted red, and the handwriting is different in colour ; the music is already written on a tetragram of coloured lines, with neums and points denoting the period of transition in musical writing. The volume consists of 302 leaves, measuring 43""- by si"'^'. Twelve or fourteen leaves have been torn out of the volume. It belonged to Cardinal Zelada ; it is at present in the Cath. Toledo, 48, 14. Notes on Early Spanish Music. ^ 34 Notes on Early Spanish Music. jti\ ^ r^ -/*^4«t? r l - ^ -. g'C^ ecc^tti-iW^o Fig. 14. IV. Choir Book. Written on vellum in handwriting of the end of the Xlth to beginning of the Xllth century. It consists of 189 leaves, measuring -i"]^^- by 17"^-. The beginning and end are wanting. Several of the fine miniatures have been coarsely torn out of the volume; only one remains complete, which represents our Lord inside the vesica piscis. The music is on a line marked with a puncheon, with points in the French manner of the time. It contains a number of varieties of Glorias and Antiphons. This MS. belonged to the Monastery of San Millan. Bibl. de la Real Academia de la Historia, F, 219, Manusci'ipts of the Xlth or Xllth Century. 35 V. Commentary on the Apocalypse and St. Jeromes Treatise on the Book of the Prophet Daniel. Written on vellum in characters of the end of the Xlth and beginning of the Xllth century. It consists of 269 leaves, measuring sS***- by 23'''^-. This volume is at the British Museum ; it is described in " Paleographia Sacra Pictoria" by J. O. Westwood, London, 1855. " The first leaf," says Mr. Westwood, " is extraneous, being evidently taken from a coeval choral book, the lines being marked with musical notes." He gives a specimen of the music, which belongs undoubtedly to the Visigothic period. Mr. Westwood's remarks on the MSS. written in Spain in the Visigothic character are highly interesting. British Museum, Add. MS. 11, 695. VI.- Gothic Codex, which comprises : The office of St. Martin, with an account of his life written by Severus Sulpicius ; the office of St. Millan ; the office of the Assumption of the B. Virgin, with chants utU« '■ i-'UiiA'» y- a>iAnuf cim>tntv. D 2 Fig. 15. 36 Notes on Early Spanish Music. and musical notes ; and the life of St. Millan (Emilianus) written by St. Braulio- I vol. 8vo. illuminated in colours on vellum in the Xllth century, consisting of 99 leaves. Cath. Toledo, 33, 2. vir, Gothic Breviary, containing the office of Lent according to the Muzarabic Ritual. Written on vellum with black and red ink, measuring 2 7^='=- by i9i'^'=-. It contains 122 leaves, and was probably written in the Xllth century. It is not illuminated, but is full of musical notes. It belonged to the parish of Santa Justa y Rufina of Toledo, from whence it was taken to the Cathedral. At present this Breviary is at the Bibl. Nac. Madrid, 35, 2. At the end : — " Finit . Deo gratias . hie liber per manus Ferdinandum Joannes presbiter ecclesiae sanctarum Justae et Ruffinae civitatis Toleti in mense Aprilis. Offeratur quiquis legerit. Ora pro me. Emenda eum prudenter et noli me maledicere si Dnum nostrum Jesum Christum abeas protectorem." A slight description of this codex and a facsimile in photograph is given in " Exempla Scripturae Visigothicae," by P. Ewald and G. Loewe, Heidelberg, 1883. Fol. Plate XXX. Kg- i6- VIII. St. Augustin. Commentaries on the first fifty Psalms. I vol. fol. written on vellum in characters of the Xlltb century. \ \ .o •^ v^ \1? i V^' v^^ ^ ^ 1.^ 54- viol - •\f MP- Manuscripts of the Xlth or Xllth Century. 2)7 It formerly belonged to the Library of the Cathedral of Toledo, and is at present in the Bibl. Nac. Madrid, 14. I. .- • .T ^ ; fr^s^ *!*'*• Fig. 17. f .-1 . . This volume also contains the following composition in Sapphic and Adonic verses written by a friar who appears to have been called Osbertu. The stanzas are full of musical notes. MetrU Saphicpm : constans ex trocheo . spondeo . dactilo ultimus indifferenter ponitur quod quidam cecinit in hylaritate sue infra por- tas filie Syon coram. Dum cibis corpus modicus fouetur Pinguis aruina stomacus macrescit ! Dum ne non pinsat puteal palati Crapula putris ! Cordis ignescat generosus ardor. Mentis excrescat pia fortitudo Longuis prisca tetrici fugata Criminis obba : 38 Notes on Early Spanish Music. « • . J^ f I I H » ' Mittis ut frondes zephirus uirentes /V *V^ r / . . / / / veris accessu reuehit tepentis /? / y 7 • * . / . J^r seu uelut tellus liquefacta sulcis Signit orexim Mollibus sic nos moderans habenis Suggerat uires uitio carentes Dedat et fletus nimios ocellis Spiritus almus : Hoc Agustini studiu uolum ! //" / / V /-> - //-//./ Dum ego rudis normse modulis docerer. Turn pia frates Aderaldus abbas Lege regebat : Ac regat glisco diuturnus seuo Dis mori proquo paterer libenter Si ut undenos sibi lucis auctor adderet annos : Cui Deus fidum sotians alumnum Quern pie sorti coniuet priorem Corrigens segnes • pietate mittes Temperat omnes : Manuscripts of the Xlth or Xllth Century. 39 Qualis aurorae rutilans ab ortu Phebus albescit radio micanti : Noctis incusas spetiosus alas Rumpere curat : Talis est huius penetrat libelli Intus augustuna recreans ocellutn Luminis pulpae scabiem fugantis Dote salubri : Fletibus largis auet immolari Intimum cuius liber hie uibrauit Sepia nexus habiles notaui Sirmatis ampli : / ; • A- /; / / // Hunc tenens loca ab manibus podagra /? • -T '^^ / / ' } 1 } Fratris tDOgWPAy memor hortor adsis Intui saltim precibus cubilis Flectibus apti. Vt dei cernas sabaoth tribunal Ccetibus sacre mercar iungi Cum quibus possis pie dytirambi .... atis uti . amen. IX. Roman Missal. Written on vellum in writing of the Xllth century. It consists of 364 leaves, measuring 37'='=- by 25"=-. The 40 Notes on Early Spanish Music, beginning and end are missing, some of the leaves are in bad condition. This MS. has a great quantity of music written on a line marked with a puncheon, the words are separated by red lines. It belonged to the Monastery of San Millan, Rioja. Bibl. de la Real. Acad, de la Historia, F, 185. o^y • .' • • • \\ . • •••** \\ii0^ — n^Kcinx yJl AcL* ^i jji}LjiL-.l by Abu Nazar Mo- hammed ben Mohammed ben Tarjan Al- farabi. Written on paper. It contains 91 leaves, measuring 20"^- by 14"^- 22 lines per page. Written in Arab «^j/^2 letters which are rather larger in the titles than the text. Anno- tations on the margin written in Arabic in different hand- writings. On several of the pages there are drawings of musical instruments, and figures with annotations in numbers and letters. The first folio and some of the others are in bad condition. Al Farabi in this book studies the elements of music, the composition of different voices and musical instruments, and the different styles of harmonic com- positions and musical annotations. This Codex is divided in parts {jjr^ and these in chapters [*SU.«J ending with part iii. In the first folio the title of the book is given ^J^y> cjli^ 42 Notes on Early Spanish Music. " Book on Music," " Libro de Musica." The same given by Casiri in the list he gives of the works of this author. Alfarabi was a Turk; he died a.d. 951 to 955. The following authors have written his biography : — Aben Hahcan, "Trans. Slane," vol. iii. p. 307, idem, text of Wiistenfeld, num. v. 17 ; Rossi, " Diz. Historico," p. 71 ; Casiri, " Bibl. Arabica Escurialense," p. 190; Wiistenfeld, "Geschichte der Arabischen Aertze," p. 53 ; Munk, " Me- langes " ; Andre's " Orig. e - Progresso d'ogni Letterat," vol. vii. The best description of this MS. will be found in T. P. N. Land, "Recherches sur I'Histoire de la Gamme arabe," Leyde, 1884. Land describes the three Codes which are known written by Alfarabi which are at Milan, Leyden and Madrid ; he considers the one at Madrid the most important and finest of the three. This MS. has a note in which it is stated that it was copied for Aben Bachcha of Zaragoza in the Xllth century. Land publishes a plate of the musical instruments which are to be found in the Madrid MS. Bibl. Nac, G, g, 86. BO 43 MANUSCRIPTS OF THE Xlir CENTURY. Codex which contains the Breviary adopted at Toledo after the Muzarabic Ritual was dis- used. This volume is written on vellum in handwriting of the beginning of the XI I Ith century. It consists of 143 leaves, measuring 24"'- by 17"'-. Cath. Toledo, 33, 5. Fig. 20. II. Codex containing the Breviary which was adopted at Toledo after the Muzarabic Ritual had been abolished. The Antiphones are written in Solfa for the use of the Choir. This MS. is of the XI I Ith century, on vellum; the leaves measure 34'"^' by 2&^-. It consists of 149 leaves. Written by different hands. Cath. Toledo, 35, 9. Fig. 21 (seepage 44). III. Codex containing a Breviary for the use of the Choir. Written on vellum in the XI I Ith century. It consists of 122 leaves, measuring i^Y^^' ^y 28"'-. This MS. is in bad condition. Fig. 22. 44 Notes on Early Spanish Music. atijafi'f ftCfJc -y ''\y Fig 21. s k t ft 7 5 I bo Manuscripts of the Xlllth Century. 45 The music is on a single line marked with a puncheon. The Invitatories are written in a curious way, the vowels only are given ; this manner was adapted afterwards. Seculorum Amen. Abbreviated into Euouae. Cath. Toledo, 44, 2. IV. Codex which contains Antiphons, Responses, and Lessons. The music is on one line. The beginning and end of this MS. are missing. The neums are very legible. Written on vellum in the Xlllth century. It consists of 198 leaves, measuring 35°*^- by 25"'-. It belonged to Cardinal Zelada, and passed after his death to the Cathedral of Toledo, 48, 15. Fig. 23. 46 Notes on Early Spanish Music. Codex of a Roman Missal. Written on vellum. The ornamentation and writing is of the end of the Xllth or beginning of the Xlllth century. It consists of 150 leaves, measuring 35'="- by 26'^'^-. The music is written on four lines ; the lower one is marked with a puncheon, the second is painted red, it contains the key of Fa ; the third is painted yellow, on this is the key of Do ; the upper line is simply marked with a puncheon. Cath. Toledo, 39, 3. Fig. 24. VI. Codex containing the Breviary which was adopted at Toledo after the Muzarabic Ritual was abolished. Written on vellum in handwriting of the Xlllth cen- tury. It consists of 91 leaves, measuring 25"'- by 15^"''. Some are very much deteriorated. Cath. Toledo, 33, 4. Fig. 25. VII. Codex containing Music, written in the Xlllth Century. This volume contains chants for one, two, three and four voices. The five lines are used. Written on vellum. It consists of 142 leaves, measuring i b^^- by 11 ■^'^'^• This MS. is of the highest interest. Cath. Toledo, 11^ 23. Fig. 26. s 48 Notes on Early Spanish Music. VIII. Cantigas de Santa Maria, attributed to the King Don Alonso el Sabio. This work is also known by the title of " Loores et Milagros de Nuestra Senora" ; the tradition exists, although it is an impr6bable one, that it was written by the King himself. It consists of a collection of 401 poems, written in the dialect of Galicia, and indifferent metres, upon miracles, sanctuaries, images, and other subjects referring to the life of the Blessed Virgin. They were written to be sung, so that each cantiga has at the beginning the music which corresponds to it. This interesting work has never been published. Some facsimiles of the music and the poems have been given as specimens in books relating to literature. For some years past the Spanish Royal Academy has been preparing an elaborate edition of this work, which will shortly appear with numerous notes, by the Marquis of Valmar. The learned Spanish composer, Barbieri, has been working at the music in order to publish it with modern annotation. Three most important MSS. exist of the Cantigas. One belonged to the Library of the Cathedral of Toledo, and is at present at the Bib. Nac, Madrid ; the other two are at the Library of the Escorial. All three 'are written on vellum in the second half of the XII Ith century, contemporary to Don Alonso. This MS., now at Madrid, is the most interesting of the three, it contains 100 Cantigas. It is written with the utmost care, finely illuminated and corrected apparently by the author's hand. This circumstance has led many to consider it the original MS, It measures 31"'- by 21^^'. It contains 160 leaves. 3^«iai\xn wso cpjftti a TwmvrfaitgianK ir4nngticqmn>[((U B cget^lE^na ptcmeu .qtttv»i^(imi6sVfe\ (ftrLiuivcom Actjct (Utie em tmvie vttevs ^n^enws 4)ira9iv$ Uq "w gs6 emures i fees-^ rM-ifiibsu&s "K exnnv- ■\ -#ifra CA piimctra canngjtclooRCf que oMiic K Tcu ftllo. omm.cnqTgp <|fc»rng filter <»«!> -«iry- X ^^ 7fagr«»a.p» nog "pargwrn lihm. ncfCtt-acftu)TnosJ!>grtan|»tfe^ 9: i=t :»a ^^PFFy " am 92 Hl wafnm-oi xtm^o^intJk Fir. 27- To face page 48. Manuscripts of the Xlllth Century. 49 The two MSS. at the Library of the Escorial contain many more compositions, and are far more richly illuminated. The one at this Library (j, T, i) consists of 256 leaves, measuring 48^'"^- by ss""^'. It contains 292 Cantigas, with a number of fine miniatures which represent the events related in the poems. They contain numerous most interesting archaeological and artistic details, arms, costumes, buildings, and music. The number of miniatures and ornamented letters amount to 1,292. The second MS. of the Cantigas at the Library of the Escorial (j. 6, 2) consists of 361 leaves, measuring 4oJ"^- by i']^^-. It contains 401 Cantigas, It is not as finely decorated as the former one, but many of the miniatures are beautiful. The music is placed at the beginning of each of the songs. It is the most complete of the three. The name of the scribe, Juan Gonzalez, appears in the last composition. The music is written in square notes on five lines ; these are sometimes black, and at times there are four, three, two, or one which are painted red, and the series of vignettes or drawings representing fifty-one musicians of the Xlllth century, each one playing a different in- strument. It is the most complete representation known of Spanish music and musicians of the time ; these miniatures have been published by Sefior Aznar in his interesting work, " Indumentaria Espanola." Philip II. took these two MSS, to the Library of the Escorial from the Cathedral of Seville, where they had been bequeathed by Don Alfonso himself. {See facsimile of the first page of MS. j. 6, 2, and in Appendix the figures of musicians.) IX. Missae Manuale cum Notts Musicalibus. Written on vellum in handwriting of the Xlllth century. It consists of I'] leaves, measuring i6"^- by 9"'-. Without Notes on Early Spanish Music. ^ 50 Notes on Early Spanish Music. beginning or end. It contains music written in small square points on a red line. Bibl. Nac. de Madrid, C, 145- X. Liber Cantus Chori. MS. written on vellum in the XI 1 1th century. It con- sists of 1 1 6 leaves, measuring 2 7'''*- by i ']''^- and musical compositions for two voices. The neums appear without coloured lines ; there are traces of tetragrams marked with a compass. Bibl. de Don F. A. Barbieri. 51 MANUSCRIPTS OF THE XIV^" CENTURY. Codex which contains an Antiphonary of th-e Sundays and Feasts for the Year. The volume is written on veUum, probably in the XI Vth century. It consists of 153 leaves, measuring 2']"^- by \']'^\ The whole of the MS. is full of music, which is written on four lines, one of which is painted red. This line varies sometimes in its position. This MS. is highly interesting, it belonged to Cardinal Zelada. It is at present in the Cathedral of Toledo, ZZ' 24. (Fig. 28, p. 52.) II. Ancient Evangelistary according to the Missal ^ of Toledo. Written on vellum in character of the XI Vth century. It contains 165 leaves, measuring 26'"^- by \'j^^-. Finely illuminated in gold and colours. The music is written on a single line, which appears to have been marked with lead. In several pages the musical notes have been left out, although the places have been marked by the scribe who wrote the text. Cath. Toledo, 35, 19. (Fig. 29, p. 53.) E 2 52 Notes on Early Spanish Music. -f&^ftf^rr 1 Ml' " ^' con/l Jro n 2, 4- Printed Works on Theoretical Music. 73 Gutllermi de Podio prejsbyteri Commentariorum Muj sices, ad reverendissimum illlustrissimum- que Alphonsum defAragonia Episcopum Derj tussensem. Incipit prologus. Impressum in inclyta urbe Valentma Impensis | magnifici Jacobi de Villa : per Petrum Hagembach et Le I onardum Hutry alemanos. 1495. 68 leaves. HI. ^Esta es vna introducio muy vtil : 7 breue de Canto llano, dirigida al muy magnifico senor do Jua defonseca obispo de Cordoua. Compuesta por el bachiller alonso spanon. At the end : C " Vista 7 esaminada la presente obra: por el reueredo senor doctor hernado de la fuete prouisor 7 veedor de las obras q. se iprime en el argobispado de Seuilla. C Empremida por pedro brun. s." 4"'-, Black letter. 12 unnumbered leaves, no title-page or title at the beginning. Bibl. de Toledo, 3", 2, 4. A treatise on the theory of music, in which the elements of singing are explained with great minuteness. It is illustrated by numerous wood engravings. This book must have been printed at the end of the XVth century, perhaps in the last year, the same in which Don Juan Rodriguez Fonseca was appointed Bishop of Cordova. The printer, Pedro Brun, was settled in Seville in 1492. IV. Lux Bella. " Ars cantus plani coposita breuissimo compendio lux bella nucupata per baccalariu dominicu duranciu : 7 clarissimo diio petro ximenio curiensi episcopo reveren- 74 Notes on Early Spanish Music. dissimo : atq^ sacratissime theologie peritissimo dedicata feliciter incipitur ad laudem dei." 4'°. Black letter. 6 unnumbered leaves. Written in Spanish, with some Latin words, wood engravings of music. It ends : " Explicit lux bella : metru 7 / mensura cantus plani." This important and very rare book is supposed to have been printed at Salamanca at the end of the XVth century. Pedro Ximenes, to whom it is dedicated, was appointed Bishop of Coria in 1489. The only copy known is at the Biblioteca de Toledo, 3% 2, 4- Two other editions are known of Lux Bella, one " Sevilla por quatro alemanes 1492." Sevilla, Jacobo Cronberger. 15 18. 4'°. Black letter. V. Sumula de Cdto / de Organo ; Contrapunto y Com- pojsicion vocal y instrumental : practical y speculativa. On the verso : " Siguese una sumula del canto de organo • contrapunto y coposicion • vocal 7 instrumental con su theorica y practica. Copuesta por el bachiler [sic] domingo marcos duran fijo legitimo de juan marcos 7 isabel fernadez que ayan sancta gloria ■ cuya naturaleza es la noble villa que se dize de alconetar o de las garrouillas ■ va dirigida al reuerendissimo y muy magnifico senor don alfonso de fonseca argobispo de Santiago mi senor." 4'°. Black letter. 23 leaves. Bibl. de Toledo, 3*, 2, 4. A study of the theory and practice of music illustrated by numerous interesting examples of wood engravings. At the end there is a note, stating it was printed by order of Don Alfonso de Castilla, Rector of the studies of Printed Works on Theoretical Music. 75 Salamanca. This circumstance allows us to suppose that Archbishop Fonseca, to whom this work was dedicated, was a native of Salamanca. There are three Archbishops of Santiago who follow each other with the same name and surname ; if so, he was Archbishop from 1463 to 1506, the date when this book was probably printed. VI. Ars magna. Detis cum tua summa perfectione. Incipit ars generalis ultima edita a magistro Raymundo lull. Barchne impressum per Petru posa completumq^ Anno Domini M.D. primo decima mensis Aprilis dies Sabbato Santo I fuit opus istud. Folio. Black letter. 92 leaves. At the end there is a printed note in which it is stated that Lull wrote this book in 1308, shortly before his death. There is a chapter which treats exclusively of music. VII. <[ Port^ ; Music e cor red us seu emendatus in quo nemo periclitabitur. At the verso : " Ars cantus plani portus musice vocata siue organice cum proportionibus seu contrapunti cum duodecim gammis siue compositionis trium vel quattuor vocum cum intonationibus psalmorum officiorum seu responsoriorum aut manualis cum duabus figuris aspericis . seu lune aut mensium incipiendorum cum quattuor tpibus et nonis idibus et kalendis seu nuptiis celebrandis ' que vela vocantur • composita per didacum a portu cantorem capellanum que collegii diui Bartholomei siti in nobili civitate Salamantina • beneficiatum ecclesia sancte marie 76 Notes on Early Spanish Music. oppidi de Laredo burgensis diocesis • correcta seu emendata per reuerendissimum dominum Alfonsum de ca:stilia." At the end : " Impressum fuit hoc opus salamantiae pridie kalendas septembris . anno a natiuitate domini • m.ccccciiij." 4'°. Black letter. 12 unnumbered leaves, Latin text. The marginal notes are in Spanish. Numerous examples of wood engravings of chants, and organ music, counter- point, and composition. This book is very rare and very interesting. Bibl. de Toledo, 3^ 2, 4. VIII. Arte de Canto llano Lux videntis dicha. Copuesjta Por el egregio frey Bartholome de molina de la orde de los / minores . bachiller en sanda theologia. Dirigida al muy reuejrendo y magnijico senor don Pedro de ribera, obispo / de Lttgo, y por el dicho senor obispo aprovada. At the end : " Fue empremida la presente Arte en la noble villa de Valladolid por Diego de Gumi. El a 25 dias del mes de Novembre ano del Seiior de Mil qnietos y vj. 4'° gotico. 12 leaves. IX. Content o sobre Lux Bella. " Comienca una Glosa del Bachiller Domingo Marcos Duran, fijo legitimo de Juan Marcos e Isabel Fernandez, sobre el arte de Canto llano conipuesta por el mesmo llamada Lux Bella." " Esta obra fue empremida en Salamanca a xvij de Junio Printed Works on Theoretical Music. 77 del ano de nro senor de mill 7 quatrocietos y nouenta y ocho anos." 4'°-. Black letter. 38 unnumbered leaves. The title is engraved on the first page. Biblioteca de Toledo, 3% 2, 4. This work treats, principally of the theory of vocal and instrumental music, and is full of interesting details. A number of contemporary authors are mentioned: — Juan de Londres, Pedro de Osma, Bartolomfe de Pareja, Alberto de Rosa, &c. It contains numerous examples of music, engraved on wood. X. Arte de Cdto llano 7 Co / trapimto j Canto de organo c6 pro jporciones 7 modos breuemente CO I puesta por Go^alo marlines de bizjcargui: endregada al muy magnifilco 7 Reuerendo senor do fray Pasjqual obispo de Burgos mi senor. At the end : C " Esta presente arte de canto llano nueuamente corrigida 7 anadida ciertas consonancias : signos 7 muta9as por el mesmo Gongalo martinez de Bircargui. Fue empressa en la muy noble y leal cibdad de Burgos por Fadrique aleman de Basilea, a iij dias de abril. Ano de nro saluador Jesu xpo de mill y d-y-xj anos." 4'°-. Black letter. 20 unnumbered leaves. Bibl. de Toledo, 3% 2, 4. A treatise of Theoretical Music. It contains a number of wood engravings; among them the geometrical figure of the division of the Diapason, also the explanation of the intensity of the Diatessaron, and several others. Don Fray Pascual de la Fuensanta, to whom this book was dedicated, was Bishop of Burgos from 1497 to 15 14. 78 Notes on Early Spanish Music. XI. Arte de Canto llano y Contrapunto y Canto de Organo con proporciones y modos breuemente compuesta : y nuevamente anadida, y glosada por Gonqalo martinez de Bircargui enderecada al Illustre y muy R. Seiior don Juan Rodri- guez de Fonseca Argobispo de Rosano y obispo de Burgos mi senor. 8"°-. Black letter. 84 leaves. At the end : " Intonaciones segun uso de los modernos que hoy cantan y intonan en la yglesia Romana. Corregidas y remiradas por Gon9alo Martinez Bircargui. Imprimidas en Caragoija, Ano de 1549." The music is printed on a red tetragram. There is another edition, "Burgos, por Fadrique Aleman de Basilea, iij dias de Abril, 15 11." XII. Tractado breue de prin / cipios de Canto llano. Nuevamente comjpuesto por Joannes despi- nosa : racionero / en la sancta yglesia de Toledo. Dirigido al / muy reuerendo y magnijico seiior el I senor don Martin de Mendoga Arcedia / no de Talauera y Guadalajara. 8™-. Black letter. 24 leaves. No year or place is given where this book was printed. XIII. Cursus quatuor Mathejmaticarum Artium Liberal- Hum : quas collegit / atque correxit majgister Petrus / Ciruelus Darojcensis j Theologus si- m.ul et philosophus. 1526. Printed Works on Theoretical Music. 79 XIV. Arte de principios de Canto llano en Espaiiol nuevamente emmendada e corregidapor Caspar de Aguilar, con otras muchas reglas necesa- rias para perfectamente cantar, dirigido al muy ilustre senor Don Pedro Manrique, obispo de Ciudad Rodrigo, y capellan mayor de la capilla de los Reyes nuevos de la santa iglesia de Toledo. 8™. Black letter. 16 leaves. XV. Arte de Canto llano y contra j punto : e canto de organo : con propor I clones e modos : breuemente compueslta: por Gongalo martinez de Bir- cargui, enderecada al muy magnifico e reue- rendo Senor don Fray Pascual: obispo de Burgos mi Senor. Carag09a, 1527. 8™. 24 pages. Music engraved on wood. XVI. Comienga el libro primero de la declaracion de instrumentos, dirigido al clementissimo y muy poderoso don Joan tercero deste nofnbre, Rey de Portugal. Impresso en Ossuna, por Joan de Leon. 1549. 4 Black letter. 145 pp. to 8o Notes on Early Spanish Music. XVII. Commenga el arte Tripharia, dirigida, a layllustre y muy reverenda sehora D"^ Isabel Pacheco, abadessa en el monasterio de Sancta Clara de Montilla, por el Reif" padre Fray Joan Bermudo. Impresso en Ossuna, por Juan de Leon. 1550. XVIII. Manae Cantica, vulgo Magnificat dicta, Psalmata octo tetraphona, per Christ ophorum Moralem, aliosque Musicos. Adiecta tonorum octo singulorum symphona isometra cantus per quatuor voces Harmonia ad Psalmum quern libet accomodabile. Impressum Lugduni per Jacobum Modernum. Mil. D. L. {sic) Folio. Printed music on 33 leaves. There are 5 motets by Morales ; two motets by Jacquet ; one motet by Richafort. XIX. El Prima Libra de Diega Ortiz Talletana, net qual si tratta delle glase sopra le cadenze et altre sorte de punti, in la Musica del Vio- lane nuovamente posta in luce. Roma, 1553. Printed Works on Theoretical Music. Si XX. Comienga el libro llamado declaracion de instru- mentos musicales, compuesto por Juan Ber- muda de la orden de menores . . . examinada y aprovada por los egregios musicos Bernardino de Figueroa yChristoval de Morales. 1555. Impressa en la villa de Osuna, por Juan de Leon. I'SSS- Folio, 1 50 pp. XXI. Arte de Canto llano . . . puesta y reducida mieva- mente en ent era perfection, segun la practica del Canto llano. Va en cada una de las reglas un exemplo pintado con las intonaciones pun- tadas. Ordenado por Juan Martinez. First edition, Alcala de Henares. 1512. Another is quoted, Seville, 1560. XXII. Francisci Sajlinae Burgensis / Abbatis Sancti Pancratii de Rocca Scaligna in regno Na- politano et in Academia Salmanticensi / Musicae Professoris de Musica libri septem, in quibus eius doctrinae / Veritas tarn quae ad Harmoniam quam quae ad Rhythmum per- tinet, juxta sensus et rationis judicium ostenditur et demonstratur . Salamanticae / Excudebat Mathias Gastius, 1578. Folio, 445 pp. Notes on Early Spanish Music, ^^ 82 Notes on Early Spanish Music. XXIII. Arte y somma de Canto llano compuesta y adornada de algunas curiosidades por Juan Francisco Cervera Valenciano. Dedicada a D" Philippe de Austria, tercero desto nombre, Principe de las Espafias nuestro seiior. Valencia : en casa de Pablo Patricio. 1595. XXIV. Vergel de Musica espiritual, speculativa y activa, del qual muchas, diversas y suaves flares se Pueden coger. Autor el Bachiller Tapia Numantino. Tratase lo primero con grande artificio y profundidad las alabanzas, las gracias, la dignidad, las virtudes y prerogativas de la musica, y despues las artes de Canto llano, Organo y Contrapunto en suma y en theorica. Burgo de Osma. Diego Fernandez de Cordova. 4'°. (XVIth Century.) 83 PRINTED MISSALS, RITUALS, AND CEREMONIALS OF THE ROMAN CHURCH, CONTAINING MUSIC. Incipit liber processionum secundum ordine fratru Predicatorum. At the end: "In alma Hispalensi urbe hispanie civi- tatum est impressum per Meynardum ungat Alamanum et Stanislaum Polonum socios. Anno a Christi natali MCCCXCIIII." 4*°. Black letter, printed in black and red music on tetragram. 114 leaves. II. C Missale secundum morem ecclesie Cesaraugustn. At the end : <[ " Finit missale : scdm morem ecclesie Cesaraugustan : Regnate Illustrissimo : ac Reueredissimo dno : Diio Alfonso de Aragone : eiusde3 Metropolis Antistite : accurate : diligeterq emedatu : ac impressum Cesaraugustii : lussu T: impensis Pauli Hurus Constantini- ensis : Germanici. Anno salutis : Millesimo quadrige- tesimo nonagesimo octauo. Nono Kalendas Decembris." G 2 84 Notes on Early Spanish Music. 4'°. Black letter, i6 leaves with the title-page and preliminaries. CCX folios + CXXXV. Numerous engravings representing figures of saints. Printed in black and red, the examples of music are placed in the tetragram. Bibl. de Toledo. Sala reservada. E, i, C, 4. III. Missale mixtum alme / ecclesie toletane. Fol. At the end : " Finit missale mixtum alme ecclesie Toletane : magna cu dili/getia perfectu T; emendatu : per diputatos a capitto eiusde} / sancte ecclesie, in eadem regali ciuitate impressum Jussu / ac impensis nobilis Melchioris gorricij de Nonaria arte/ac industria magistri petri haghebach alemani. Anno sa/lutis nostro, 1499." It contains 320 leaves vellum. IV. Missale mixtum secundum regulam beati Isidori dictum Mozarahes. Fol. Black letter. At the ea:id : " Ad laudem omnipotentis dei. Expletum est missale mixtum . . maxima cum diligentia perfectum et emidatu per . . doctorem dominum Alfonsum ortiz." Impressum in regali ciuitate Toleti Jussu dni d Francisci ximenes. Impensis nobilis Melchioris gorricij Nouariensis,! Per magistrum Petrum hagembach, alemanum. Anno 1500. It consists of 478 leaves. Printed Missals, Rihials, and Ceremonials. 85 C Breviarum secundum regulas beati hysidori. At the end : " Ad laudem omnipotentis dei necno virginis marie matris eius : olm sanctoru sanctaruq, Expletu est breuiariu secundu Vegula beati ysidori dictu mozarabes : maxia cu diligetia pfectu 1 emendatu p reuerendu I vtroq iure doctore dii} alfonsum ortiz canonicu toletanu. Impssum I regali ciuitate Toleti. Jussu reueredissimi 1 xpo pris diii. D. fracisci ximenes : eiusde ciuitatis Archiepi : Impesis nobilis Melchioris goricii Nouariensis. Per magistru • Petru hagembach Alemanu. Anno salutis nre Millesimo quingetesimo secundo die v° vicessima quita mesis octobris." Folio. Black letter. 8 unnumbered leaves + CCCCXXXII leaves, and two of index at the end. Printed on vellum in two columns. Black and red ink, 42 lines in each page. Bibl. de Toledo, 3% 15, 2. VI. Manuale Chori. At the "end : " Fuit ante impressum hoc opusculum politissimum in nobilissima civitate Salmaticensiu in ofiicina venerabilis viri Joanis de Porras, finituq 1 decima nona die novebris anno a nativitate Christiana MD.vj. multa cura ac diligentia semel iterum atq iteru revisum et castigatu p fratres minores de obsvatia covetus eiusde civitat qui e in pvincia Sci iacobi." 8™. Black letter. Printed in red and black. Music on a pentagram. 240 leaves. 86 Notes on Early Spanish Music. VII. Missale toletanmn. 4". At the end: " Impressum est hoc missale opus Burgis in officina Frederici ex basilea Germai : ducta at auspicijs perq Reueredi in christo patris ac nobilissimi domini Do Francisci Ximenes. S. R. E. H. Sancti Balbini Cardinalis hispani ac Toletani Archiepl et Arnaldus guillelmus brdcarius faciendu curauit. Absolutu est pridie K'- maij Anno christiane salutis M. D. xij," It consists of 341 leaves, black letter, printed red and black. VIII. Intonavium Toletanmn. At the end: "Explicit compendiu intonationu toti|us anni secundu consuetiidine scti ec|clesie Toletane studio- sissime corre|ctum et emedatum. lussu revere | dissimi ac illustrissimi diii D. F. Fracisci Ximenes de Cisneros Cardinal Hispanie : atq eius|de ecclie Toletani archi- pre|sulis. Impressus atq abso|lutum in preclarissima universitate coplute | si idustria atq soler|tia Arnaldi guil|lelmi Brocarii |. Anno drii M. |d. XV. die vero XVII. Martii." Folio. Black letter, printed red and black. Music on pentagram. 1 20 leaves. IX. Passionarium Toletanum. At the end : " Explicit Passionariu cum Lamentationibus jeremie atq Benedlctione cerei paschalis et Euageliis nativitatis T; epiphanie diii : scdm usum alme ecclesie Printed Missals, Rituals, and Ceremonials. 87 Toletane metropolis verissime correctum : jussu illustrissimi dni D, F. Francisci Ximenes de Cisneros Cardinalis hispanie et ejusdem ecclesie archipresulis Hispaniarum primatis. Impressum atq absolutu in egregia, academia Complutensi in officina Arnaldi guillelmi Brocarii. Anno a nativitate christi millesimo qngetesimo decimo sexto quinto nonas Julii." Folio. Printed on vellum, black letter ; red and black. Music on pentagram, "ji leaves. Missale alme ecclesie Toletane cU multis addi- tionibus et quotationibus. 4'°. At the end : " Explicit missale mixtum magna cu diligentia perfectu et castigatu ipresu^ iussu ac Ipensis nobilis Melchioris Gorricij de Nouaria 151 7." It consists of 308 leaves. Black letter, two columns, red and black. XI. Guillelmus Croianus Cardinalis Archiepiscopus Toletanus Hispaniarum primal. Episcopus Camaracensis. Diurnum dnicale vel poti^ ordinarium secundum usum alme ecclesie Toletane. Absolutu in academia coplutensi: & in officina Arnaldi Guillelmi Brocarii artis impressorie artijiciossimi.' Anno dni MD. xix. pridie kal. Julii, Folio. Vellum, black letter, printed in black and red. 142 leaves. 88 ' Notes on Early Spanish Music. XII. Ordinariu de administratione Sacramentoru cum pluribus additionibus adeo necessarias scdm ritu alme sedis maioricensis. At the end : " Ad cunctipotentis eiusq matris et spose honore ordinarium sive manuale ad ritu indite maioricensis sedis explicit Excussum Valentie ex officina Johanis loffre. Anno incarnationis salvatoris domini nostri Jesu Christi MDXVI. die vero xiij mensis novembris." 4'°-. Printed on vellum, black letter, black and red. Music on tetragram, 8 leaves of preliminaries, 138 pages of text. XIII. Missale mixtum secundum ordine Primatis eccle- siae : eliminatMs q. antea : ac iam nulla ex parte confusum : cm accesit ordo celebrandi Missam cum officio Diaconi et Subdiaconi : ac de vsu et distinctione colons ornamentorum omnia per viros in rebus ac Ceremoniis eccle- siasticas peritos composita. Folio. " Finit Missale iussu Reuerendissimi Diii D. Alfonsi de Foseca Impressu Copluti. In edib^ Michaelis de Eguia. Anno salutis nre 1530. It consists of 278 leaves. Black letter, printed in red and black. XIV. Manuale Sacramentorum secundum vsum alme ecclesie Toletane Noviter ipressum cum qui- busdd additionibus vtilissimis. 4'°. At the end : " Explicit Manuale Impressum in preclara Compluten. achademia. In aedibus Michaelis de Eguia. Anno domini 1530 pridie kalendas Januarii." Printed Missals, Rituals, and Ceremonials. 89 It consists of 137 leaves, black letter, printed in red and black. XV. Missale Romanum. At the end : " Cesar august, in officina Georgii Coci Anno Christiane salutis 1531, XV, idibus novembris." 4'°. Black letter in red and black, printed in two columns. The music on the tetragram with 14 pages of preliminaries and 260 leaves. There are several engravings in the text. XVI. Missale Romanum. At the end : " Georgius Coci Teutonicus Caesaraugustae, 1532 quinto kalendas Junii ad finem usq foelici sydere perduxit." 4'°. Black letter, red and blacky printed in two columns. The music on a tetragram. 9 pages of preliminaries, and 242 pages. Engravings in the text. XVII. Passionarium. A volume in folio, black letter, printed in red and black. The music is on a tetragram of red lines. This volume consists of 68 pages. At the verso of the last page : " Accipe I devote lector | nunc denuo impressam veram passionis diii nri Jesu Christi historia.: suo cu multu copetenti catu ornata. ... In insigni Cesaraugustana ciuitate | cura opaq Georgij coci Teuthonici, Anno Christi 1538." 90 Notes on Early Spanish Music. xvin. Missale mixtmn secudu ordifie ahne Primatis ecclesie Toletane : elimin^ q. antea ac iam nulla ex parte confusum : cui accesit ordo celebrddi Missam cu officio Diaconi et Sub- diaconi : ac de vsu et distintione colons ornamentorum omnia per vivos in rebus ac ceremonijs ecclesiasticis peritos composita, 4'°. At the end : " Finit missale Impressum copluti : In edibus Joannis Brocarij 1539." It consists of 350 leaves. Black letter, two columns, red and black. XIX. Missale secundum ordine Primatis Ecclesie Toletane. Fol. At the end : " Finit missale . . . iussu Illustrissimi ac Reuerendissimi dni D. Joannis Martinij Silicci : Impressum Compluti. In edibus Joannis Brocarij Anno M.D.L quarto Caledas Octobris." It consists of 384 leaves, printed on vellum, two columns. XX. Manuale Saramentorum secundum consuetudine sancte Ecclesie Garnaten. accuratissime eme- datU. Anno ^n.d.X.Lij. At the end : " Apud inclytam garnatam Anno salutis nostri' millesimo quingentesimo secudo x die mensis novebris." 4'°. Printed in black and red, the music on a penta- gram, 132 leaves. Black letter, numerous engravings in the text. Printed Missals, Rituals, and Ceremonials. 91 XXI. Missale Cesaraugustanum. At the end : " Ad eius gloriam et honorem qui sibi sacrificium laudis jussit immolari : qui in sui memoriam fieri voluit quoties cuq veri, vivi ac immaculati illius agni fierit oblatio : absolutum est hoc libri Missalis opus quo veram sacrificii offerendi rationem presbyteri docetur passu it auctoritate illustrissimi ac reverendissimi domini d Ferdinand! ab Aragonia Cesaraugusti Archiepiscopi, ipsiusq oculatissimi presulis cura et examine ad alioru multorum collationem non paucis in locis castigatum Typis deniq Petri Bernuy chalcographi diligetissimi excusam Cesarauguste Idibus Augusti, Anno domini 1552." 4'°. Black letter, the music on a tetragrarn, 242 leaves, and 22 of preliminaries, XXII. Manuale Sacramentorum secundum vsum alme ecclesie Tolelane nouiter impressmn, cum, quibusdam additionibus vtilissimis. 4'°. At the end : " Apud inclytam granatam, 1554." It consists of 151 pages. XXIII. Agenda Defunctorum. On the verso of the title-page : " El Rey. Por quanto per parte de vos Juan Vazquez musico natural de la ciudad de Badajoz me ha sido hecha relacion que vos aveys hecho un libro de musica en que se contiene los maytines de difuntos y otras obras compuestas por punto de organo intitulado Agenda Defunctorum." This, volume contains all the Psalms used in the office 92 Notes on Early Spanish Music. for the dead. Folio, 62 leaves. On the last page: " Excudebat Hispali Martinus a Montedoca aiio [sic] domini M.D.L. vj." XXIV. Enchiridion sive Manuale Chori quo brevitate ac elegdtia delucida, non solum divinum officium, sanctae so lent tat is, annuae Processiones, sta- tutae gratulationes, funebris exequiae, piaesa- creque ceremoniae, pro ut communiter Romana praecipit Ecclesia, continentur ; sed omnia prorsus quae ad ejusdem ritum pertinentia non paucos latebant & diffusi vagabantur, miro ordinestudiosoq. labor e congest a habentiir. Salamanticae apud Joannem a Canova. MD.LVII. XXV. Processionarij Toletani prima pars. Ad -vsum huius alme ecclesie cum processionibus et qfficijs nempe dominicarum- / festorUq. mo- bilium : et aliorum. Diligenter ordinata per Joannem Rincon. 4'°. Toleti. Exc. Joannes de Ayala 1562. 200 leaves, black letter, black and red. xxvr. Manuale Chori secundum usum sanctae Romanae ecclesiae. Salamanticae. Apud Joannem a Canova M.D.LXIIII. 8™. Black letter, red and black. Music on pentagram. 297 leaves, 7 of Index. Printed Missals, Rituals, and Ceremonials, 93 XXVII. Liber processionarius regularis observantiae ordinis Cisterciensis in Hispaniarum regnis jussu capituli provincialis nuper correct us. Salatnanticae. Apud Johannem Baptistam a Terranova. Anno Domini 1569. XXVIII. Ordinarium Barcinonense Gulielmi Cassadori Episcopi iussu aeditum & in sex libros digestum, quibus ea continentur, quae potis- simum ad parochi munus spectant Barcinone. Apud Claudium Bornat. Anno 1569. 4'°. XXIX. Processionarium monasticum secundum consuetu- dinem congregationis Sancti Benedicti Val- lisoletani. lam denuo auctum & etnendatum. Salmanticae. Excussum cum licentia per Mathiam, Gastium. Anno 1571. 8™. Black letter, printed in red and black. Music on a pentagram, 8 leaves of preliminaries, and 247 of text. XXX. Manvale ad Sacrament a Ecclesiae ministranda. 4'°. Salmanticae. Ap. haered. Math Gastij. 1583. It consists of 331 leaves, printed in red and black. 94 Notes on Early Spanish Music: xxxi. Passionarium cum officio maioris hebdomade juxta formam missalis et Breviarii Romanii ex de- creto sacro Sancti concilii Tridentini restituti, cum canto Sancti Ecclesie Toletane: Joannes Roderici de Villamaior Portionarii Claustriq. in eadem ecclesie prefecti industria et labore recognitum. Toleti. Excudebat Joannes a PIa9a Typographus Sancte Ecclesie Toletane. Anno incarnationis dni MDLXXVI. Folio. Black letter, printed in red and black. Music on a pentagram, 208 leaves. XXXII. Officium et coeremoniae ad dedicattonem seu consecrationem Ecclesiae & ad consecrationem Altaris quae sit sine dedicatione Ecclesiae et ad reconciliationem Ecclesiae et Coementerii. Omnia desumpta ex pontificiali Romano Matriti apud Thomam Juntam, 1595. 4'°. Printed in Roman letters in two tints, red and black, 210 leaves. Music on pentagram. Printed on purpose for the consecration of the Escorial. 95 PRINTED INSTRUMENTAL MUSIC. I. Libro de mulsica practica. Compuesto por j Mos^ francisco Touar: dilrigido al illustrissimo yj reverendissimo senyor / do Enrique de Cardoaj Obispo de Barcelona jy a su insigne / capitulo. La presente obra fue compuesta por mosen Francisco to|uar de la villa de Parcia. Imprimida en la insigne] cibdad de Barcelona por maestro Johan Rosen |bach aleman a V, de Janero anyo do mil y quinientos y diez. II. Libro de musica de vihuela de mano, intitulado el Maestro. El qual trahe el mesmo estilo y orden que un maestro traheria con un disci- pulo principiante: mostrandole ordinadamente desde los principios toda cosa quepodria ignorar para entender la presente obra. Compuesto por Luys Millan. 1535. Valencia por F, Diaz Romero. Folio, black letter. TII. Tract ado de canto mensurable: y conjtrapuncto : nueuamente compuesto por Matheo / de ardda maestro en musica. Dirigido al mui / alto y illustrissimo sennor don Alonso 96 Notes on Early Spanish Music. Cardinal / Infante de Portugal, Arcobispo de Lixboa/ Obisco Denora. At the end : " Fue impressa la presente obra. En la muy noble y semp. leal ciudad de Lisboa por German Gailhard, Emprimedor. Acabose a los quatros dias del mes de Setiembre. De mil y quientos : y treynta y cinco." IV. Tractado a'cato llano nueuamente / compuesta por Matheo de ardda maestro / en musica. Dirigido al muy alto y illustrissi/mo senor don Alonso Cardinal Infante de / Portugal, Arcobispo de Lixboa, Obispo / Denora comendatario de Alcoba9a / com priuilegio real. • At the end : " Fue impressa la presente obra en la muy noble cibdad de Lixboa por German Gallarde : a veynte y seys de Setiembre anno de mil y quinientos y treynta y tres." V. Los tres libros de musica de cifra para viguela. Alfonso Mudarra. Sevilla. 1 546. VI. Libro de musica de vihuela intitulado Silva de Sirenas. Valladodid. Francisco Fernandez de Cordova. i547.. Folio, 1 13 pp. Printed Instrumental Music. 97 VII. Libro de musica de mkuela, agora nuevamente com- puesto por Diego Pisador vecino de la ciudad de Salamanca, dirigido al muy alto y poderoso senor D" Philippe, principe de Espana. Folio. Impresso en casa de Diego Pisador. 1552. VIII. Libro de musica para vihuela, intitulado Orphe- nica lyra. En el qual se contienen 7nuchas y diversas obras. Compuesto por Miguel de Fuenllana. Dijrigido al muy alto y muy poderoso seizor D" Philippe, principe de Espana, rey de Inglaterra, &c. Sevilla, por Martin de Montesdoca. 1554. Folio. IX. Libro de cifra nueva para tecla harpa y vihuela, en el qual se ensena brevemente cantar canto llano y algunos avisos para contrapunto. Compuesto por Luis Venegas de Henestrosa. Alcala: en casa de Joan de Brocar. 1557. Los seys libros del delfin de Musica para taner viguela. Por Luis Narvaez. Valladolid. 1558. Notes on Early Spanish Music, g8 Notes on Early Spanish Music. XI. Libro llamado Arte de taner Fantasia, assi para Teda como para vihuela y todo instrmnento en que sepudiere taner a tres y a quatro voces y a mas. Compuesto por el muy reverendo Fr. Thomas de Santa Maria. Valladolid, por Francisco Fernandez de_ Cordova. 1565. Folio, black letter. XII. Libro de musica en cifra para Vihuela intitulado el Parnasso, en el qual se hallara toda diversidad de Musica, assi Motetes, Sonetos, Villanescas en lengua castellana. Hechos por Estevan Daga vecino de Valladolid, Por Diego Fernandez de Cordova. 1576. XIII. Magnificat / M oralis Ispani I cum quatuor vocibtts. Venetiis. Apud Angelum Gardanum. 1583. 4'°. Printed music, containing 8 Magnificat and 8 Et Exultabit in each of the 8 volumes. Cantus, Altus, Tenor, Bassus. XIV. Guitarra Espanola y vandola. Por Carlos Amat. Barcelona. 1586. Printed Instrumental Music. 99 XV. Cancionesy Villanescas Espirituales, de Francisco Guerrero, Maestro de Capilla y Racionero de la sancta yglesia de Sevilla a tres y a quatro y a cinco voces. Venetia: en la emprenta de lago Vincentio. 1589. I vol. in 4'°, 41 pages with index of songs. XVI. Motecta Francisci Gverreri in hispalensi Ecclesia Musicorm-k praefecti. Qve parti m quaternis, Partim Quinis, alia Senis, alia Octones Con- cinuntur vocibus. Liber secundus. Venetiis. Apud lacobum Vincentium. 1589. 4'°, printed in black and red. XVII. Motectorum quinque vocum D. D. Sebastiani Raval nobilis hispani Ordinis Obedientice S. Joannis Baptistae hirosolymitani. Liber Primus, to Romae. Apud Franciscum Coattinem. i vol. 4' At the verso of the title-page is the list of the 28 motets the volume contains, and the dedication to Cardinal Alejandro Peretti, dated 1593. Printed music for Altus, Quintus, Bassus. H 2 lOO Notes on Early Spanish Music. XVIII. Guerrero Francisco. Motecta / Francisci Gverreri, in Hispalensi Ecclesia, musicorum PraefecH, Qvae partim qvaternis Partim Quinis, alia Senis, alia Octonis, & de Diio\denis concinuntur vocibus. Venetiis. Apud lacobum Vincentium, 1597. 5 volumes of music. Cantus, Altus, Tenor, Bassus, & Quintus. At the verso of the title-page there is a wood engraving representing the Crucifixion, and three figures. On the second page appears the Index Motectorum. QUATUOR VOCIBUS. Per signum Crucis i Sancta Maria 2 Canite tuba in Sion 3 Ibant Apostoli 4 Iste Sanctus 5 Istorum Est 6 Similabo Eum 7 Virgines prudentes 8 Exaltaba est 9 Petre ego pro te rogavi 10 Dedisti Domine 11 Quasi Stella matutina 12 Beatus est 13 Gloriose confessor Domini 14 Sancta et inmaculata 15 Dum aurora finem daret ... 16 Dulcissima Maria 17 Alma Redemptoris mater ... 18 Ave Regina coelorum 19 Salve Regina 20 Erunt signa in Sole 21 Cum audisset Johannes 22 Beatus Johannes 23 Ego vox clam antis 24 Simile est regnum coelorum 25 Cum turba plurima 26 In illo tempore 27 Ecce nunc tempus 28 Ductus est Jesus 29 Clamabat autem 30 , In illo tempore 31 Accepit Jesus 32 Docebat Jesus 33 Regina coeli 34 O Domine Jesu Christe ... 35 Caro mea vere estcibus ... 36 Printed Instrumental Music. lOI QUINQUE Hoc est praeceptum meum 37 Hie est discipulus 38 O crux splendidior 39 Ave Virgo Sanctissima 40 Ambulans Jesus 41 Trahe me post &c 42 Prudentes virgines 43 In conspectu Angelorum ... 44 Recordare Domini 45 Virgo divino nimium 46 Elizabeth Zachariae 47 Magne pater Agustini 48 Dum esset Rex 49 VOCIBUS. O virgo benedicta 50 Gaudent in coelis 51 Hie vir dispiciens mundum 52 Signasti Domine 53 Quomodo cantabimus 54 Gloria et honore 55 Quisvestrumhabebitamicum 56 Ascendens Christus in altum 5 7 Dum complerentur 58 Et post dies sex 59 Cantate Domino 60 Post dies octo 61 Beatus es 62 SEX VOCIBUS. Tota pulchra es Maria 63 Hei mihi Domine 64 Simile est regnum coelorum 65 O sacrum convivium 66 OCTO VOCIBUS. Laudate Dominum de coelis 67 I O Altitudo divitiarum 68 DUODECIM VOCIBUS. Duo Seraphin 69 | Missa, Seculorum, Amen, A, 470 HYMNA. Te Deum laudamus 71 Ave maris Stella 72 Veni Creator optime 73 Pange lingua 74 Magnificat Primi 75 Each of the books, Alius, Cantus, Tenor, and Bassus, contain 60 leaves. Cath. Seville, Bibl. Columbina. Est. G, G, Fab. 175, Nos. 22, 23, 24, 25, and 26. lO.- APPENDIX. specimens of Signatures written in Visigothic Cypher. It has already been stated in the Introduction that Visigothic writing consisted of different alphabets, which were used in MSS. They consisted of small letters without capitals, generally adapted in drawing up docu- ments, letters, etc., and three distinct cyphers, one of which was used at the same time for music and signatures. It is possible this cypher existed previously to the Xth century ; but the specimens which have reached us appear in signatures attached to documents of the Xth, Xlth, and Xllth centuries ; the signs which appear in Visigothic music of the time are exactly the same. Facsimiles are given of these signatures taken from documents proceeding from the monasteries of Sahagtm and Eslonza, Castilla la Vieja, existing in the Archivo Historico, Madrid {see p. 103). Many of the letters are different to the Visigothic writing. This has led students to suppose they proceed from the Roman alphabet. Facsimiles are here given of the specimens hitherto known. One of them is a note, written probably in the Xlth century, to a document existing in the Cathedral of Leon, which contains a Miscellany of Spanish Councils, Treatises by Holy Fathers, Letters, etc. This memorandum states that the I04 Notes on Early Spanish Music. book belonged to the monastery of S° Cosme & San Damian, in the province of Leon, in the valley of Abeliar, near the river Torio. It is written with red ink, and in characters similar to those used in cypher, and in music. Some letters belonging to a known alphabet are to be found among them. In order to understand these facsimiles, an alphabet of this cypher is given, copied from " Paleografia Visigoda," by D" Jesus Murioz y Rivero. Madrid, 1881. Fig. 38. ALPHABET OF VISIGOTHIC CYPHER. — a u\ "X m U ^ A^ A n :> c -^ J- / ^ /i /_..._^ -f T . ^ ■ s i^ ■g / k Y^f- J / t u-v x f — ■f y 3 ^ Appendix. 105 //// " PElagus." (Bishop of Leon, a.d. 1081.) " Petrus." (Bishop of Astorga.) "Petrus." ■ (In a document of A.D. 1081.) "Pelagus." (Bishop of Lugo, a.d. 995.) gundisalbus notuit adaulfus presuiter notuit io6 Notes on Early Spanish Music. dominigus prs [presbiter |notuit pelagio notuit esnodavit [notavit] // I //" ^ /\^ fz:,/ petrus prs [presbiter] scripsit didacus notuit agila dens [diaconus] exarauit Joannes titulauit Singifre'd^ [singifredus] Appendix. 107 hJ .-:/n / .)/"]-= '1 ariulfo presuiter notuit Scorum cosme et damiani sum liber in territorio legionense in flumen toriu in valle abeliare . ibi est io8 Notes on Early Spanish Music. monasteriu" fundatum : et qui ilium extraneum inde fecerit extraneus fiat '; V a fide sea . cathoHca et ad s^cm. paradisum et ad regno celoru"". Et qui illu" aduxerit aut indigaverit abeat partem in regus xpi . et dei . s.s II. Musical Instruments of the XI th Century. Tractatus de Apocalipsi Johannis. Item : Explanatio Danielis Prophetae. Written on vellum in writing of the Xlth century. It consists of 312 leaves, measuring 2,7^"'- by ig'"- At the end appears the name of the scribe, Facundus scriptor, with the date, Era 1085, corresponding to A.D. 1047. O"^ the verso of folio 272 may be seen the seven musicians with instruments represented in the facsimile, Fig. 39. There are, besides, other musicians playing stringed instruments similar to the third in this plate in folios 6 verso and 202. Bibl. Nac. de Madrid, Reservado, B, 31. III. Musical Instruments of the XII It h Century. The musicians with their instruments, which are repre- sented in the following facsimiles (Figs. 40-51), are taken from the Codex of the Cantigas de Santa Maria. The description will be found of this Codex among Manuscripts containing music. [ 1=''^'^ J The plates are taken from Don F. Aznar's " Indumen- taria Espaiiola," now coming out in Madrid. 1880. Appendix. 109 o !Z td U K Id Cd K H tn O (d P oi Eh O O I lO Notes on Early Spanish Music. D E- r, o K H Z a a H S S BO Appendix. II I Z K 7. td M E- 5 H z; u s o en 112 Notes on Early Spanish Music. Appendix. 1 1 Notes on Early Spanish Music. 114 Notes on Early Spanish Music. Appendix. 115 C) E- Z M U M H 5 !- ■ M M i- b O E-i « ii6 Notes on Early Spanish Music. & H 2 U O W O CO H H Appendix. 117 H Z O w is td s ii8 Notes on Early Spanish Music. wm^ Appendix. 119 H is O u E I20 Notes on Early Spanish Music. H 3 H Id s H M P? Appendix. 121 & H Z U » ;5 H Id X H s 122 Notes OH Early Spanish Music. IV. Libro de los juegos de agedrez, dados y tablas que mando escribir el rey D" Alonso el Sabio. Written on vellum in characters of the 13th century, gr, folio. There is a contemporary memorandum at the end, stating that this MS. was written in Seville, by order of D" Alfonso, and was finished in 1283. It contains a number of miniatures representing the different games mentioned in the title ; among them is a Moorish girl playing the harp. ( Vide facsimile No. 52, Bibl. del Escorial, j, T, 6.) Fig- 52. e5 a z K H Z Id Id H OS Q O O Z s Appendix. 123 V. Musical Instruments of the XlVth Century. At the Real Acad, de la Historia, Madrid, there is a very interesting altar-piece which was used to keep relics proceeding from the Cistercian monastery of Nuestra S" de Piedra, Aragon. It consists of a sort of cupboard with two doors, 2 metres by 3 metres, decorated with an ornamentation in relief, a mixture of Gothic and Arabic, and paintings in the Italian manner. Outside the doors are painted twelve subjects of the life of Jesus Christ and the Virgin ; above, several sacred subjects, and coats of arms of D° Alonso II. of Aragon, and the Abad of the Monastery, D° Martin Ponce, who ordered this reliquary to be made. Inside the doors there are eight figures of angels standing and playing instruments. On two bands on the upper and lower parts of the doors there is an inscription in Latin, in Gothic letters, stating it was " de- pictum anno MCCCXC." (1390.) The figures or facsimiles which are here given represent one of the angels (Fig. 53) painted on the doors, and six of the instruments held by the others (Figs. 54-59). These plates are published in " Indumentaria Espanola," by D" Francisco Aznar. Vol. I. Madrid. 1880. 124 Notes on Early Spanish Mttsic. Appendix. 125 & H Cd O K H !?:. M H M O b Id B H Z H S D el M (^ 126 Notes on Early Spanish Music. Fig. 56. — MUSICAL INSTRUMENT OF THE FOURTEENTH CENTURY. m m Appendix. 127 Fig. 57. — MUSICAL INSTRUMENT OF THE FOURTEENTH CENTURY. 128 Notes on Early Spanish Music. 00 M \fi to O ti a VI. Nantes of the musical instruments which appear in a poem by Juan Ruiz, Arcipreste de Hit a. Juan Ruiz wrote towards the middle of the XlVth cen- tury, as we may gather from the MS, copy of his poems in the Library of the Cathedral of Toledo.* The date is given in the last verse. * Vide " Coleccion de poesias castellanas anteriores al siglo XV." Por D" Antonio Sanchez. Madrid : Antonio de Sancha. 1790. Appendix. 129 Era de mil h tres cientos e sesenta e ocho anos fue aca- bado este libro por muchos males h. danos (1330). These verses by Juan Ruiz are similar to a poem by Guillaume de Marchant, "Prise d'Alexandrie," written also in the XlVth century, in which a great number of musical instruments are given.* Dia era muy santo de la pascua mayor, El Sol era salido muy claro k. de noble color, Los omes, e las aves, et toda noble flor, Todas van rescebir cantando el Amor. Rescibenlo las aves, gayos, et ruysenores, Calandrias, papagayos, maiores k. menores Dan cantos placenteros, h. de dulces sabores. Mas alegria facen los que son mas mejores. Rescibenlos los arbores con ramos et con flores De diversas maneras, de fermosas colores. Recibenlo los omes, et duenas con amores. Con muchos instrumentos sal en los atambores. Alii sal gritando la guitarra morisca, De las voces aguda d de los puntos arisca, El corpudo laud que tiene punto a la trisca, La guitarra latina con esos se aprisca. El rabi gritador con la su alta nota, Cabel el garabi taiiendo la su rota. El salterio con ellos mas alto que la Mota. La vihuela depSnola con aquestos sota. Medio cano et arpa con el rabi morisco, Entre ellos alegranza el galipe Francisco. XjdL rota dis con ellos mas alta que un risco, Con ella el tamborete, sin el no vale un prisco : La vihuela de arco fas dulces bayladas, Adormiendo a veces muy a las vegades. * Vide the interesting pamphlet by Emile de Travers, " Les Irjstru- ments de Musique au XIV Sifecle." Paris. 1882. 4'°. Notes, on Early Spanish Music. 130 Notes on Early Spanish Music. Voces dulces, sabrosas, claras, et tambien pintadas, A las gentes alegra, todas las tiene pagadas. Dulce cano entero sal con elpanderete, Con sonajas de azofar fasen dulce sonete, Los drganos dizen chansones 6 motete. La citola albordada entre ellos se entremete. Gayta et exabeba et el finchado albogon Cinfonia et baldosa en esta fiesta son. 'E\ francos odrecillo con esto se compon, La reciancha bandurria alii fase su son. Trompas et anafiles salen con atambales, Non fueron tiempo ha plasenterias tales, Tan grandes alegrias, nin atan comunales, De juglares van llenas cuestas e eriales. (De como Clerigos 6 Legos h. Flayres k. Monjas e Dueiias h. Joglafes salieron d recebir a Don Amor.) VII. Leges Palatinas. King D" Jaime the third, of Aragon and Mallorca, published in 1337 a collection of laws in order to organise the members of his household. They are extremely inter- esting, for they give a good idea of the king's household, from the highest to the lowest, the duties incumbent to every one. From eighty to a hundred persons were employed by him. In the public library at Brussels there is a splendid MS. of these Leges Palatinas, with miniatures which represent eighty-seven members of the royal household, each one with his different attributes. There are, besides, many more illustrations, which are given at the heads of the different chapters which divide the four parts of this collection of laws. This MS. was published with com- Appendix. 131 mentaries in the " Thesaurus Ecclesiasticae Antiquitatis," by the Jesuit Father Bollando, and exists in vol. i. page 421, of the work. Praefationes, tractatus, diatribae, etc. a Joanne Bollakdo edita. In folio. Venetiis. 1749. The facsimile given of the king's musicians is taken from this edition. In the last chapter (No. 28) of the first part of these Laws, there are the following instructions to musicians. DE MIMIS ET JOCULATORIBUS. R. XXVIII. In domibus Principum, ut tradit antiquitas, mimi seu joculatores licite possunt esse : nam illorum officium tribuit Isetitiam, quam Principes debent sum me appetere, et cum honestate servare, ut per earn tristitiam et iram adjiciant, et omnibus se exhibeant gratiores. Quapropter volumus et ordinamus, quod in nostra curia mimi debeant esse quinque: quorum duo sint tubicina- tores et tercius sit tabelerius ad quorum spectet officium, quod semper Nobis, publice concedentibus, in principio tubicinent ; et tabelerius suum officium simul cum eis exerceat, ac etiam idem faciant in fine comestione nostrae ; nisi mimi extranei vel nostri qui tantum instrumenta sonant in fine mensae vellent Nobis volentibus instrumenta sua sonare. Ceterpm nolumus quod in Quadragesima nee in diebus veneris nisi festum magnum esset, dicti tubicinatores et tabelerius suum officium faciant in principio mensse nee in fine. Alii vero duo mimi sint, qui sciant instrumenta sonare ; et isti, tam diebus festivis quam aliis prout oppor- tunum fuerit, instrumenta sua sonare debeant coram nobis : Diebus tamen veneris Quadragesima, eo modo quo supra dictum est, dumtaxat exceptis. Jubemus etiam quod tempore guerrae, tam tubicinatores quam alii (nisi esset mimus de tali instrumento quod tunc sonari non conveniret) plus solito sint diligentes in officio, et ita nobis prope K 2 132 Notes on Early Spanish Music. existentes, quod cum opus erit promptos inveniamus ad suum officium peragendum Majores etiam dotnus sive Magistros hospitii ne vilipendant imo firmiter (eis) obediant. ^iiA/iciJicfil VIII. MSS. with musical notes belonging to the monastery of Silos. The ancient monastery of Santo Domingo, of Silos, in the province of Burgos, has been completely abandoned since the expulsion of the friars in 1835. A few years ago some French Dominican friars settled there, who have reorganised the archives and library. By verbal informa- tion given to me by one of the friars they possess the three following MSS. Liber de virginitate Sanctae Marie et varia officia, written on vellum in the Era 1097, which corresponds with A.D. 1059. It contains music written with Visigothic signs. Liber ordinum, written on vellum in the Era 1090, which corresponds with A.D. 1052. It contains music with Visigothic signs. Ritus et Missae, written on vellum in the Era 1077, which corresponds with A.D. 1039. It contains music also with Visigothic signs. Appendix. 133 The Bibl. Nationale de Paris possesses forty-two MSS. which were brought, in 1878, from the monastery of Silos. They have been minutely described by Leopold Delisle in " Mdlanges de Paleographie et de Bibliographie." Paris. 1880. Part of these MSS. belong to the Xlth and Xllth cen- turies, and it is probable that the greater part have musical notes ; but Mr. Delisle does not seem to have taken much notice of this, and to have principally studied their paleo- graphy. He only mentions " Legons des Epitres et des Evangiles des dimanches et des f^tes de I'annde," p. 667, MS. on vellum, Xlth century : " Antiennes, avec notation neumatique." This MS. contains a memorandum written in 1067, stating it was given to the monastery of Silos. The donatario says he gives among others this pneumato anti- funario: " Les Collations de Cassien," page 78, MS. on vellum, Xth to Xlth century, " on a ajoutd une priere a Saint Martial, noi^e en neumes." " Missal a I'usage de I'abbaye de Silos." MS. written on vellum at the beginning of the Xlllth century, page 113. " L'office de la messe pour le jour de la Conception est fort developpe et contient des parties noUes en neumes, telles que le Kyrie avec farcissures." IX. Coleccion del Padre Buriel. There is a series of 252 volumes in folio MSS. at the Biblioteca Nacional, Madrid, which was formed towards the middle of the XVIIIth century, by the learned Jesuit Padre Buriel. It contains copies of masses, breviaries, rituals, and a great number of ecclesiastical works taken from ancient MSS. of the Cathedral of Toledo, illustrated 134 Notes on Early Spanish Music. with commentaries and critical notes by Father Buriel, with the object of publishing an ecclesiastical library, which was never printed. In order to give an idea of the writing of the original MSS., there are facsimiles by Palomares, a remarkable paleographer of the XVIIIth century. Many of these reproductions have been copied from the originals without tracing. In eight of these volumes there are facsimiles of music ; all the specimens given are of the Visigothic period, and belong to MSS. of the Xlth and Xllth centuries. As the originals exist in the Cathedral of Toledo, it is as well to know their titles and marks. Officium totius quadragesimae. Bibl. Nac. Madrid, Dd, 66, Cath. Toledo, 30, 8. Ofificia et Missae de Tempore a Paschate usque ad adventum Domini. Bibl. Nac. Madrid, Dd, 67, Cath. Toledo, 30, 3. Psalterium integrum. Bibl. Nac. Madrid, Dd, 69, Cath. Toledo, 30, i. Missale Muzarabe quadragesimale. Bibl. Nac. Madrid, Dd, 71, Cath. Toledo, 30,- 4- Officia et Missae, Xlth century. Bibl. Nac. Madrid, Dd, 72, Cath. Toledo, 30, 5. Breviarumcum Psalterium. Item officium S. Leocadiae. Bibl. Nac. Madrid, Dd, 73, Cath. Toledo, 30, i. Hymns for the whole year. Bibl. Nac. Madrid, Dd, 75, Cath. Toledo, 30, i. Officia S. Martini et aliorum. Bibl. Nac. Madrid, Dd, 79, Cath. Toledo, 29, 26. Appendix. 135 X. Memorias y disertaciones que podran servir al que escriba la historia de la Iglesia de Toledo desde el ano 108^ en que , la conquistd el Rey Don A Ions VI. de Cast ilia. MS. in folio of 707 pp. The author was Don Felipe Fernandez Vallejo, canon of the Cathedral of Toledo, and afterwards Archbishop of Santiago. He wrote this MS. in 1785. It is divided in " Disertaciones." In the Vth and Vlth he treats of the history of the music in the cathedral of Toledo. In the Vth chapter he says he has an objection to enter into the study of the ancient musical notes, but he gives interesting details on the manner of chanting Canto llano, the Eugeniano or Gregoriano, and the organs used from the Xlth century until his time. The details that he has collected for the history of music are taken from the archives of the cathedral. In chapter VI. he writes : Sobre las Representaciones poeticas en el Templo y Sybila de la noche de Navidad. He copies an interesting poem translated from the Latin in Spanish verse of the end of the Xlllth century on the Sybil and Shepherds on Christmas eve, with its music. Several examples are also given of the music which served in the dramatic representations which were given in olden times in the Cathedral of Toledo. Although this MS. was written in the last century, the details it gives are so valuable that it has been included in this collection. Biblioteca del Marques de San Roman, Madrid. 136 Notes on Early Spanish Mttsic. XI. Choir-books of the Cathedral of Seville. They contain the music for the masses and feasts of the year, and form a most interesting collection, owing to the artistic beauty of the miniatures, borders, and fine capital letters. They are even more varied and beautiful than the collection of books at the Escorial. All of them are written on vellum. There are upwards of 100 volumes, which may be divided into three groups : — ist. A collection of 107 volumes, which belong, by the character of their ornamen- tation, to the Gothic style used in Spain at the end of the XVth century : to the Renaissance of the XVI th century, and the decline of art in the XVI I th century. They measure 97'''^' by 66'='^-, Those that belong to the Gothic style are the finest; they are 52 in number. 2nd. Another collection of 84 volumes, ornamented with fine Moorish designs combined with Gothic letters. They are 63""- by 44"''. XVth century. 3rd. Several volumes which correspond to a later date, and less important. All the music is written in black on pentagrams of red lines. The chapter ordered, in 161 3, that a priest at Seville, Sebastian Vicente de Villegas, should correct the music in the manner of the Missal and Breviary reformed by Pope Clement VIII. He was two years doing it, and corrected 140 volumes of chants. Some of the names of the artists who illuminated these volumes are known. They were Bernardo de Orta and his son Diego, Luis Sanchez, Andres Ramirez, and Padilla. Appendix. 1 3 7 XII. Choir-books belonging to the Monastery of San Lorenzo del Escorial. They contain the music for the masses and feasts of the year. The collection is very important and numerous, and is splendidly ornamented. The music and liturgy is copied from the rituals of Toledo. King Philip II. ordered these books to be written in 1572, seventeen years were employed in writing and illuminating these volumes. They were finished in 1589. They consist of 216 volumes on splendid vellum, measuring i"- 15'^'^by 84'='=-. They are bound in wood, covered with leather, and fine gilt brass ornaments ; 5,500 pounds of bronze were used, and forty pounds of gold to gild these ornaments. Each volume consists of seventy leaves, making a total of 15,000. The pages on which the music is written have only four lines, those without music ten lines. Every leaf is splendidly illuminated. At the beginning of some of the Introits and Antiphons there are fine illuminations which measure thirty and forty centimetres. The volumes are full of ornamented letters and borders. The artists and scribes who wrote and illuminated these volumes were Cristobal Ramirez, Fray Andres de Leon, Fray Julian de Fuente de el Saz, Ambrosio Salazar, Fray Martin de Palencia, F'rancisco Hernandez, Pedro Salavarte, and Pedro Gomez. The canon of the Cathedral of Toledo, Juan Rodriguez, undertook to correct the chants in 1581, and the red dots were added in the XVIIIth century by Fray Diego del Casar, master of singing in the Monastery. Another corrector, Fray Ignacio Ramoneda, who lived also in the XVIIIth century, wrote an Index of these 138 Notes on Early Spanish Music. Choir-books, in which numerous details are given of the cost of these volumes, bindings, cases to hold them, &c. This Index exists in the Library of the Monastery. H, iii, 2 6. One vol. 4'°. XIII. Missa Gothica sen Mozarabica et officium iiidem Gothicum diligenter ac dilucide explanata ad Msum percelebris Mozarabum sacelli Toleti a Munijlcentissimo Cardinali Ximenio erecti et itt obsequim III""' perinde ac venerab. D. Decani et Capituli Sanctae Ecclesiae Toletanae His- paniarum et Indiarum primatis. I vol. fol. Angelopoli, 1770 (Puebla de los Angeles), 198 pp. Here follow the "Explanations ac Dilucidationes" of this volume by D" Francisco Antonio Lorenzana, Archbishop of Mexico, and D° Francisco Fabian y Tuero, Bishop Angelopolitanus ; both proceed from the Cathedral of Toledo. They were written during the stay of Cardinal Lorenzana at Toledo, who was anxious to imitate Cardinal Cisneros in giving importance to the Muzarabic ritual over the French or Roman one. This voliime is extremely rare. Page 79 gives an explanation of the Muzarabic notes which are used in music. It cannot be affirmed that the opinions of the author are the exact and correct ones ; but this study, and one by D"Jeronimo Romero, are the only two which have come to my knowledge, made in the XVI Ith century, to interpret this music; they always must serve as a foundation for. modern studies on this subject, for they are based on the traditions of the Cathedral of Toledo. Appendix. 139 This explanation is headed by a rough engraving which is referred to in the text (vide facsimile, Fig. 60). •^^^^^^^^ ordt ancce Uje reicao ascenan Fig. 60. Verba hsec cum Notis Musicae et Caracteribus Gothicis excerpta fideliter sicut ex Missali Muzarabum manuscripto, quod asservatur in Bibliotheca Toletana'Scrinio 30, Num. 2, in Missa, quae denominatur Mediante die Festo ad con- fractionem Panis. Et ut figurae Musicae cognoscantur, simulque ad Notas nostri temporis eodem valore reducantur, advertendum prius est, saeculo nono (quod redolere videntur tam ipsi Caracteres, quam Notae) Cantum Clave et tempore caruisse, et Cantores ad Vocis concentum dirigi a Systemate maximo certis signis, quibus dignoscebantur quando ascensus, vel descensus Vocis fieri deberet : Aliquando lineis rubri, et caerulei coloris utebantur, et aliquando absque lineis, jam per ipsam Notarum distantiam, jam per Magistri Vocem prius auditam dirigebantur : Ob hoc fatendum merito est, cantum illis temporibus non ad certas Regulas, Lineaset Claves ut hodie, fuisse adstrictum, imo rudem et informem dici posse quoad Notas, licet cantus revera melodicus et suavis esset. His igitur praelibatis, clavis Fifaut assignatur cantui Missge Mediante Festo hac scilicet ratione, quia cantus ascendit ultra La, Mi, Re. Et ob hoc in tertia linea collocatur, ut detur locus absque augmento ascensui de Cc, Sol, Faut. 140 Notes on Early Spanish Music. Primum punctum hujuscemodi figurae 'k aequivalet Fa semibrevi, quia antiquitus ita figurabatur semibrevis solutus. Secundum punctum hujuscemodi figure y aequivalet Mi semibrevi soluto, ita etenim appingebatur. Tertium et quartum sequentis figurse c^/y^ sequivalent quinque punctis ligatis, ex iis primum et secundum sunt Fifaut, Gesolreut, et Fifaut. Quatuor priora minima sunt propter ligamen, quintum seu ultimum est semibreve propter descensum et syllabse finem. Quintum hujus figurae \A^ supponit tres seminimas, scilicet, Elami, Fifaut, et Elami. Sextum hujus figurse \ est semibreve Elami. Septimum hujus figurae •»»• aequivalet tribus punctis ligatis, scilicet, semibrevi Fifaut, et Gesolreut, et Fifaut seminimis, ex eo quia statim sequuntur alia quatuor seminina. Supra verbum Festo decem et septem puncta ( ^^^ ^ r enumeramus in sequen- V^ \ ^ (y C-^ * tibus figuris. ^^ Primum est Elami, secundum Fifaut, tertium Gesolreut, quartum Elami, omnia h^c semimina, quintum est cum nota semibrevis, et aequivalet tribus punctis, videlicet, Fifaut semibrevi, et Gesolreut, et Fifaut seminimis Sextum *ir* aequivalet alls tribus punctis ligatis, scilicet, Gesolreut s.Q.xmmm.o, Fifaut m'mimo, et Gesolreut seminimo. Septimum O aequivalet quatuor punctis ligatis, scilicet, Alamire, Gesolreut, Alamire, et Befabemi, omnibus seminimis. Octavum et ultimum hujus figurae C/ aequivalet tribus punctis ligatis, scilicet, Cesolfaut, Befabemi seminimo, et Cesolfaut semibrevi. Appendix. 1 4 1 Nimis longum esset caeteras figuras explicare ; sat sit aliquas indicasse : Libenter recognoscimus nostram imbecillitatem ad Notas tarn obscuras, et a nostro saeculo remotas declarandas : Nonulla etiam_vitio et defectui scriptorum tribuenda sunt, et ignorantiae nostrae parcendura. XIV. Breviarium gothicumsecundum regulam Beatissimi Isidori, archiepiscopi Hispalensis, Jmssu Car- dinalis Francisci Ximenii de Cisneros prius editum ; nunc opera Exc"" D. Francisci Antonii Lorenzana sanctce Ecclesice Toletancs Hispaniarum primatis Archiepiscopi recog- nitum. Ad usum Sacelli mozarabum. Matriti, M.DCCLXXV, i vol., in folio. The introduction, written by Lorenzana, follows the title. It is written with great learning, and gives most interesting details on ancient ecclesiastical rituals from the earliest times, pp. i to 25. The explanation given by D" Jeronimo Romero of the Muzarabic chants will be found from p; 26 to 31. Fetis quotes this in his fourth volume of " Hist, de la Musique," p. 266. Romero dis- cusses the theory of the Grecian tetrachord, and proves the necessity of using signs in every period, and the value of some of the Visigothic signs. He resolves the difficulties which might occur, and establishes the four rules here copied to understand the Muzarabic chants. His study is accompanied by the following facsimile : — 142 Notes on Early Spanish Music. ! i:''rrrfn' | iit?' ■*-!-» J E^tpcc Z&#<-j e^fiec ToA/i "JJontinm^n Ct r~e^ M- e.Jsh. i.j. W-^"/-^ "-if: h ^ m • §0 — 0- I TTfrlffWir Fig. 61. mi^e/yte Cantus Eugeniani seu melodici explanatlo. Facta a D. Hieronymo Romero, S. Ecclesiae Toletanae Hispaniarum primatis Portionario, et Cantus melodici Magistro. Regula p. Muzarabicus seu Gothicus cantus semper est mixtus, regiturque sub consideratione temporis, sive mensurse binariae, praeter hymnos, qui sunt sub ternaria mensura : et ad pleniorem intelligentiam aspice signa textus superius assignati. 11". Omnes figurae solutae, licet diverse modo adpunctae, ut in num. i et 2, semibreves sunt, et uniuscujusque valor unum est tempus, seu mensura. IIP. Figurae aliis duabus aut quatuor ligatae, ejus valorem diminuunt, et dimidiant ; ita ut duae ligatae unam semi- Appendix. 1 43 brevem componant : hoc patet in nostro textu, ubi num. 3, 4, 6, et 7, et in letteris M et Q, ea tantummodo dififerentia, quae cernitur in num. 4, ubi ligat quatuor sequales figuras, quocumque modo sit locata ; et licet figurse litterarum M et Q alias quatuor figuras singulae ligent ; intelligendum est duas priores minimas, et alias duas semibreves esse : hoc apertius intelligitur sequenti exemplo. Quando nos hodie in tempore minori figuras duabas semibrevibus aequaliter ligatas videvimus, valorem duplicatum eis damus. IV". Figura quae est sub num. 12 brevis est : primo quia ibi mediat versus : secundo, ut ibi requies aliquantulo fiat ad prosequendum cantum. Vltima figura, quae est sub littera Q, etiam brevis est ; quia in ea finitur opus. His accedit, me apuerulo instructus fuisse regulis cantus non solum plani, et figurati, sed etiam Eugeniani, seu melodici, ut vocant, qui usque ad nostram setatem in liac Alma Toletana Ecclesia, Hispaniarum primate perdurat ita ut alternatim cum cantu Gregoriano mirabili con- sonantia permiscatur. Romero is of opinion that the author of this mode of chant was Eugenio III., Archbishop of Toledo in the Vllth century, in arte Musica peritissimus, and ends by saying that whoever doubts his explanations ought to go to the Cathedral of Toledo, and will judge for himself how the system of chanting has been preserved from the earliest times. 144 Notes on Early Spanish Music. Appendix. 145 XV. Musical Instruments on Spanish Porticos. Numerous examples exist in Spain of porticos of romanesque churches of the eleventh and twelfth centuries, on which may be seen the twenty-four elders holding musical instruments. One of the finest examples is at Santiago, vide Fig. 62. A reproduction of this portico, built by Maestro Mateo, may be seen at the South Kensington Museum. Worthy of special mention are the porticos of Ripoll and Toro. The portico of the church of Ripoll (Cataluna) is one of the most splendid specimens of sculpture in Spain. The twenty-four elders hold lyres in one hand and chalices in the other. To the right of the portico there are five large statues of musicians, four of which are playing the flute, the horn, cymbals, and the violin. The fifth central figure appears to direct the others, and the whole composition represents the text of the 1 50th Psalm. The northern doorway of the collegiate church of Toro (Castille) is also built in the romanesque style, twelfth century. The arch of this doorway is built in the wall, and contains four zones of ornamentation and figures which decorate the archivolts. The last zone, which is also the largest, is decorated with a series of figures which are placed on each side of the representation of our Lord, which «is in the centre on the keystone. These twenty-six figures are arranged, thirteen on each side of our Lord, Two figures which are on the right and left are apparently local saints. The remaining twenty-four figures wear crowns, and hold musical instruments, and represent the elders of the Apocalypse, Notes on Early Spanish Music. ^ GENERAL INDEX. Abundantius presbiter librum. On two capital letters in Muzarabic Breviary, 26 Adaulfus, presbiter, in Visigothic cypher, 105 Agila, diaconus, in Visigothic cypher, 106 Agricola, a musician of the isth century, 66 Aguilar, Caspar de, author of " Arte de Principios de Canto llano," 79 Albogon, musical instrument used in Spain in the 14th century, 130 Alemanes, quatro, printers in Seville in 1492, 74 Alfarabi, Abu Nazar Mohammed ben Mohammed ben Tarjan. " Elements of the Art of Music," loth century, 41 Alfonso, Cardinal, Infante de Portugal, Archbishop of ^Lisbon. Aranda dedi- cates his " Tractado " to him, 96 Alfonso de Aragon, Archbishop of Zara- goza, 1498, 83 ATonso II. of Aragon, his coat of arms is to be found on an altar-piece at the Royal Academj^ Madrid, 123 ■ Alonso VI. de Castilla, nth century, 135 Alonso X. el Sabio, his "Cantigas" and "Libro de agedrez," 48, 122 Amat, Carlos, author of "Guitarra Espano- la y vandola," 1583, 98 Andre, "Orig. e Progresso d'ogni Lette- rat," 42 Andres de Leon, Fr., illuminates the choir- books of the monastery of the Escorial, 137 " Antiphonaire de Saint Gregoire," 16 " Antiphonary of Montpellier," 14, 16 Antiphonaryand Roman Responses written in Solfa, nth or 12th century, 33 Antiphonary of King Wamba, nth century, 28 Antiphonary of the Sundays and Feasts of the year, 14th century, 51 Antiphons, Responses and Lessons, 13th century, 45 Aragon, Ferdinand ot. Archbishop of Toledo, 91 Aranda, Matheo de, author of "Tractado de canto mensurable," &c., 95, 96 Arbor Scientiae, by Lull, 8 Ardujeo, Geronimo, Spanish musician of the l6th century, 4 Arezzo, Guide d', 8 Arias, scribe who wrote the Antiphonary of King Wamba, 29 Ariulfo, presbiter, in Visigothic cypher, 107 " Ars Musicae mensurata," by Marchetti de Padua, 67 " Ars Musicorum," by Podio, 149S, 10 Ars, quomodo debet fieri Motteta, 67 " Ars Magna," by Lull, 8 Atambales, musical instrument used in Spain, in the 14th century, 130 Atambores, musical instrument, 129 Angustin, Saint, 26 Ayala, Joannes, printer at Toledo, in 1562, 92 Aznar, F., author of " Indumentaria Espanola," 49, 108, 123 Bachcha, Aben, a native of Zaragoza. The MS. of Alfarabi was copied for, 42 Barbieii, F. A., modem Spanish com- poser, 2, 12, 20, 48, 5°, 59, 64 Bandurria, musical instrument used in Spain in the 14th century, 130 Baptista a Terranova, Johannes, prints at Salamanca in 1569, 93 Bermudo, Joan, author of ' ' Arte Tripharia " and " Declaracion de In- strumentos," 80, 81 Bernuy, Petrus, prints at Toledo in 1552, 91 Biblioteca del Liceo Rossini, a copy of " De Musica Practica " is to be found at the, 70 Boetius, " Rationes Tonorum," Secundum, s. 67 Bollando, Father, author of " Thesaurus Ecclesiasticae Antiquitatis," 131 Bolsena, Adami da, Italian author, 3 Borcio, Nicolas, publishes a pamphlet en- titled ''Adversus quemdam Hispanum veritatis praevaricatorem," 70 148 Notes on Early Spanish Music. Bornat, Claudius, prints at Barcelona in 1569, 93 Breviarium cum cantu Scripturae luxta methodum Gregorianum, 12th century, 40 Breviary, Roman. It substitutes the Eugeniano Ritual, 6 Breviary, Muzarabic, written in the loth or nth century, 25 Breviary for the use of the Choir, with Liturgy in Solfa, nth or f 2th century, 32 Breviary and the office of Lent according to the Muzarabic Ritual, 12th century, 36 Breviary of the Feasts of the 1 Summer Months, I2th century, 41 Breviary for the use of the Choir, 13th century, 43 ' Breviary adopted at Toledo after the Muzarabic Ritual was abolished, 13th century, 43, 46 Breviaries and Roman Missals, 14th cen- tury. 55 Breviary with the Antiphons and Respon- sories, 14th century, 55 Brocarij, Joannis. Prints at Alcala in 1539-57. 90, 97 Brocarrius, Arnaldus Guillelmus, a printer at Alcala, 86, 87 Brun, Pedro, a printer in Seville in 1492. 73 Buriel, Padre, a collection of 252 vols, in folio. MSS. exist formed by him at the Biblioteca Nacional, Madrid, 133, 134 Busnoie, the name of a musician which occurs in a MS. of the 15th cen- tury, 66 Bustamante, Francisco, a Spanish musician of the l6th century, 4 Calasanz, Antonio, a native of Lerida and Spanish musician of the l6th cen- tury, 4 Canciones Amorosas, l6th century, p. 68 Canova, Joannem a, prints at Salamanca in I5S7, 1564, 92 " Cantigas de Santa Maria,". a collection of songs of the 13th century compiled by Don Alonso el Sabio, 8, 48 Cantigas. Facsimiles of musicians with their instruments, 108 to 121 Cantoral Monastico, 14th century, 59 Cantoral of the 14th century, 59 Cantoral of Dominicas and Ferias, 14th century, 62 Cantos, Libro de, 15th century, 64 Caiio entero, musical instrument used in Spain in the 14th century, 130 Capua, Jacobelo de, a scribe who writes a MS. in 1483, 65 Cardona, Enrique de, bishop of Barce- lona. "Touar dedicates his Libro de Musica practica " to him, 95 Carleval, Gabriel, a native of Cuenca and musician of the 1 6th century, 4 Casar, Diego del, singing master at the monastery of the Escorial, 137 Casiri, " Bibl. Arabica Escurialense," a commentator of Alfarabi, 42 Caspae, a musician of the 15th century, 66 Cassadori, Gulielmi, Bishop of Barcelona, 93 Castilla, Alfonso de. Rector of the studies of Salamanca, 75 Castillo, Fernando del, author of a treatise "De Musica," 1497, 9 Ceremonial used at the anointment and benediction of the King, 14th century, 60 Ceremonial and Manual for the use of Bishops, 14th century, 61 Ceremonial, Roman, 14th and 15th cen- turies, 59, 61, 64 Cervera, Juan Francisco, author of "Arte y somma de Canto llano," 82 Choir-book, the nth or 12th century, 34 Chori, Liber Cantus, 13th and 14th cen- turies, 50, 58, 59 Christoforus, the scribe's name which occurs in a Gothic Manual at the King's Library, Madrid, 27 Cinfonia, musical instrument use'd in Spain in the 14th century, 130 Ciruelus, Petrus, author of ' ' Cursus quatuor Mathematicarum Artium Liberalium," 78 Cithara, 5 Citola albordada, musical instrument used in the 1 6th century in Spain, 130 Clement, Felix, author of " Hist, de la Not. Mus.," 2, 17 Cluny, monks of, their arrival in Spain, 7, 3° Coattine, Franciscus, prints m Rome m 1593. 99 Coci, Georgius, prints in Toledo m 1S3I1 89 Commentary on the Apocalypse and St. Jerome's Treatise on the Book of Daniel, I ith or I2th century, 35 Conservatorio della Madona de Loreto at Naples, 3 Constancio de Monte Olivas, Fr., writes a Roman Missal in 15 12, 68 , Contract, Herman, a musical author, 17, 18 Cordova, Fernandez de, prints in Vallado- lid in 1565, 98 Cosme et Damian, Saints, 26 Coussemaker, author of " Memoire sur Hucbald," 17 General Index. 149 Coustas, a musician mentioned in a MS. of the isth century, 65 Croce, Fr. Bernardus de S., musical works, 67 Cronberger, Jacobo, a printer in Seville in 1518. 74 Crosanus, Guillelmus, superintends the printing of a missal at Toledo, 87 Cymbala, 5 Daya, Estevan, author of " Libro de Musica para Vihuela," 98 David and Lussy, ' 'Hist, de la Not. Mus. , " 15, 16, 17, 18 Delisle, Leopold, author of "Melanges de Paleographie et de Bibliographie," 133 Doctrina finali, by Silva, 67 Domingo de Silos, Santo, monastery in the province of Burgos, 132 Dominigus, name in Visigothic cypher, 106 Dufay, a musician mentioned in a MS. of the 15th century, 65 Durancium, Dominicus, author of " Lux Bella," 73 Dustable, a musician mentioned in a MS. of the 15th century, 65 Ecclesia, Canon de Edificanda, 14th century, 58 Egina, Michaelis de, prints in Alcala in 1530, 88 Encina, Juan del, Spanish musician of the 1 6th century, 3 Epiphonus, 16 Escobedp, Bartolome, a Spanish musician of th^ i6th century, 4 Escribano, Juan, Spanish musician o( the l5th century, 3 Eslonza, monastery of, in Castille, from whence proceed a number of Visigothic documents, 103 Espinosa, Francisco, a native of Toledo and musician of the l6th century, 4 Espinosa, Joannes, the author of " Tract- ado breve de principios de Canto Uano, Eugeniano, chant, 5 Eugenio, San, a musical composer of the 7th century, 5, 7 Evangeliorum, Liber, nth century, 31 Evangelistary, according to the Missal of Toledo, 14th century, 51 Exabeba, musical instrument used in Spain in the 14th century, 130 Ewald and G. Loewe, writers on Visi- gothic neums, 26 "Exempla scripturae Visigoticae, " 26, 27, 36 Fabian y Tuero, Bishop Angelopolitanus, author of " Explanations ac Dilucida- tiones,"^i9, 138 Facundus, Scriptor, the scribe who wrote Tractatus de Apocalipsi in 1047, 108 Fadrique Aleman de Basilea, a printer in Burgos in 1511, 77, 78 Fage, Adrian de la, critic on music, I Fanguens, Willelmus, a musician men- tioned in a MS. of the 15th century, 65 Fernandez de Cordova, printer in Burgo de Osma and Valladolid in the i6th century, 82, 96 Fernandez, Isabel, mother of Mai-cos Duran, author of " Sumula de Canto," 74 Fernandez Vallejo, author of a MS. " Disertaciones," 135 Fernando 1°, Diurno del Rey Don, MS. Liber Psalmorum David, 26 Fetis, " Hist, de la Mus.," 15, 16, 19, 141 Figueroa, Bernardino de, Spanish musician of 1555,81 Figueroa, Juan de, a Spanish musician of the i6th century, 4 Fistula, 5 Fonseca, Alfonso de. Archbishop of Santiago in 1463-1506. Marcos Duran dedicates his Sumula de Cato to him, 74, 88 Fonseca, Juan de, Bishop of Cordova. Alonso Sp^on dedicates to him his work on Canto llano, 73 Foradada, Jose de, author of an article on Visigothic facsimiles, 1 1 Fredericus ex basilea, printer at Burgos in 151,2 Frictosus, artist and scribe, nth century, 27 Fuenllana, Miguel de, author of "Libro de musica para vihuela," 97 Fuente de el Saz, Fray Julian, illuminated the choir-books at the Escorial, 137 Fulan, a Moor from Granada, and writer on music, 10 Fulgencio, San, a musical composer of the 6th century, 7 Gaffurio, the enemy of Ramos de Pareja, who attacked his theory of Tempera- mento, 70 Galipe francisco, a musical instrument used in Spain in the 14th century, 129 Gallarde, German, prints at Lisbon in IS33. 96 Garabi, a musical instrument used in the 14th century, 129 Gardanus, Angelus, printer in Venice in 1583, 98 I50 Notes on Early Spanish Music. Gastius, Mathias, a printer of Salamanca of 1571-78. 81, 93 Gay, the name of a musician which occurs in a MS. of the isth century, 66 Gayta, musical instrument used in Spain in the 14th century, 130 Georgius, the name of a musician of the 15th century, 66 Goicoecheii, Manuel, discoverer of the Visigothic cypher, II, 12 Gomez, Tomas, a native of Palencia and musician of the 1 6th century, 4 Gonzalez, Juan, the scribe who wrote the Cantigas, 13th century, 49 Gorricij de Nouaria, prints a missal at his expense in 1499, 84, 85, 87 " Gradual de Saint Gall," 16 Gregoriano, chant, S Gregorio, Saint, octo toniArtis Musice, 72 Gumi, Diego de, a printer in Valladolid in 1506, 76 Gundisalbus in Visigothic cypher, 105 Guerrero, Francisco, author of " Canciones y Villanescas Espirituales," and Motets, 99, ICO Guitarra morisca, Spanish musical instru- ment, mentioned in a poem by Hita of the 14th century, 129 Guitarra latina, musical instrument used in Spain in the 14th century, 129 Hagembach, Petrum, a printer in Valencia and Toledo, 1495-99, 73, 84, 85 Hahcan, Aben, writer on Alfarabi's "Elements of Music," 42 Hernandez, Francisco, illuminates the choir-books at the monastery of the Escorial, 137 Hurus, CoDstantiniensis Paulus, prints at his expense in 1498 a Missal, 83 " Historia de la Musica Espaiiola," by Soriano Fuertes, 1 1 Hita, Arcipreste de, a poet ot the 14th century who wrote a poem on music, 9, 129 Hutry, Leonardus, a German printer who printed in Valencia in 1495, 73 Ildefonso, St., Gothic Missal containing St, Ildefonso's ' ' De Perpetua Virgini- tate," 23, 24 Incerti Authoris, " Tractatus de Musica," 67 " Indumentaria Espanola," vide kxasx. loffre, Johannis, prints in Valencia in 1516, 88 Isidoriano, chant, 5 Isidore, San, an author of works on music in the 7th century, 4, 5, 7, 141 Jacquet, a motet by him is to be found in " Manae Cantica," by Morales, 80 Jaime III. de Aragon, King, publishes in 1337, a collection of laws, " Leges Palatinas," 9, 130 Joan III., King of Portugal. The " Libro primero de la declaracion de in- strumentos " is dedicated to him, 79 Joannes, Ferdinandum , presbiter, the writer of a Gothic Breviary formerly at Toledo, 36 Juan, Bishop of Zaragoza, a jnusical composer, 7 Junta, Thomas, prints at Madrid in 1595. 94 "Lambuti, De pulsatione," a. musical manuscript of the 15th century, 9 Land, T. P. N.,"Recherchessur I'Histoire de la Gamme arabe," Leyde, 1884, 42 Laud, musical instrument mentioned in a poem of the 14th century, 129 Leandro, San, a musical composer of the 6th century, 7 Leges Palatinas, 9, 130 Leon, Joan de, printer in Ossuna in 1549- .1555. 79, 80 Library of the Escorial, 48, 49 Library of the Royal Academy of History, Madrid. Interesting MS. with Visi- gothic neums at the, 14 Lombard, Fetis calls these musical annotations " Lombard," 20 Londres, Juan de, a musical composer mentioned in Marcos Duran's commen- tary on " Lux Bella," 77 Loores et Milagros de Nuestra Senora, vide Cantigas, 48 Lorenzana, Don Francisco Antonio, Archbishop of Toledo, author of " Explanationes ac Dilucidationes," 29, 31, 138, 141 " Lucidarium in Arte planae Musicae," by Marchetti de Padua, 67 Lull, Raimundo, a native of Mallorca, 1235, and writer of numerous works, 8.75 Lux Bella, vide Marcos Duran, 10 Lyra, 5 Manrique, Pedro de. Bishop of Ciudad Rodrigo, to whom Aguilar dedicates his " Canto llano," 79 Marchant, Guillaume de, author of "Prise d'Alexandrie," 129 Marchetti di Padua, musical works, 67 Marcos Duran, Domingo, author of a work on music entitled, " Lux Bella," 1492, 10, 74, 76 Marcos, Juan, father of Domingo Marcos, the author of " Sumula de Canto," 74 Martin, Saint, life of, by Severus Sulpicius, 35 ' General Index. 151 Martin de Palencia, Fray, illuminates the choir-books of the monastery of the Escorial, 137 Martinez de Bircargui, Gon9alo, author of " Arte de Canto llano y Contra- punto," 77. 78. 79 Martinez, Juan, author of " Arte de Canto llano," 81 Martini, Johannes, a musician mentioned in a MS. of the 15th century, 65 Martini] Silicci, Joannes, prepares a Missal which is printed in 155°, 90 Mateo, Maestro, architect of the Cathe- dral of Santiago, 145 Medio caiio, musical instrument used in Spain in the 14th century, 129 Melcdico, chant, 5 " Melodies Gr^goriennes," Les, by Pothier, 17 Mendoza, Diego de, owner of a MS. en- titled " Canciones Amorosas," l6th cen- tury, 69 Mendoza, Martin de. Archdeacon of Tala- vera and Guadalajara, to whom Espinosa dedicates his "Canto llano," 78 Menendez y Pelayo, Marcelino, author of "Historia de las Ideas Esteticas en Espana," Madrid, 1883, 11, 72 Meynardus Ungat Alamanus, printer in Seville in 1494, 83 Millan, Luys, author of " Libro de Musica de vihuela de Mano," 1535, 95 Millan, Saint, life and monastery of, 25, 26, 30. 35. 40 Missae Manuale cum notis Musicalibus, 13th and 15th centuries, 49, 65 Missa Gothica, Breviarium Gothicum, vide Romero, 19 Missal, containing St. Ildefonso's " De Per- petua Virginitate, " supposed to have been composed A.D. 606-668, 23 Missal, with the Office and Masses from first Sunday in Lent, loth to nth cen- tury, 24 Missal containing the Dominicas after Easter and offices of the Saints, nth century, 29 Missal of the Liturgy of Toledo, 14th century, 54 Missal, prefaces and Masses dedicated to our Lord, the B. Virgin, and faithful departed, 14th century, 60 Missal for the use of choir, 14th century, .54 Missal belonging to Cardinal Ximenez de Cisneros, 7 volumes, i6th century, 69 Missale mixtum secundum Ordinem Cartusiensem, 15th century, 64 Missals, Roman,; 1 2th, 13th, 14th, isth,and l6th centuries, 39, 46, 54, 63, 68 Modernus, Jacobus, printer in Lyons in 1550, 80 Molina, Bartholome de, author of " Arte de Canto llano. Lux videntis dicta," 76 Montalvo, Francisco, a Spanish musician of the l6th century, 4 Montesdoca, Martin de, prints at Seville in 1550-54. 92, 97 ^ . J Montoya, Pedro, a native of Coria, and musician of the i6th century, 4 Montpellier, Antiphonaire de, 17 Morales, Cristobal, a Spanish musician of the l6th century, 3, 4, 80, 81, 98 Morphy, Conde de, a Spanish musical author, 12 Morton, the name of a musician which occurs in the 15th century, 66 Mudarra, Alfonso, author of a work on music, 1546, 96 Munk, " Melanges," a commentator of Alfarabi, 42 Music, written in the 13th century for one, two, three, and four voices, 46 Musica de Canto llano y organo, 15th century, 65 Musica, De, a work written in 1482, by Ramos de Pareja, 10 Musica Instrumentali, De, vide Castillo, 9 Muzarabe, chant, 5 Muzarabic Manual, containing ceremonies of the Church and Masses, i ith century, 30 Muiioz y Rivero, Jesus, author of " Paleo- grafia Visigoda," Mad., 1881, 13, 104 Narvaez, Luis, "Losseyslibrosdeldelfin," 1558. 97 Nisard, M., discovers an annotation, 18 Nuiiez, Bias, Spanish musician of the i6th century, 3 Obeghem, Johannes, master of the chapel of the king of France, mentioned in a MS. of the 15th century, 65 Odon de Cluny, a critical writer on Visi- gothic annotations, 18 Odrecillo, musical instrument used in Spain in the 14th century, 130 Offices of St. Martin, St. Millan, and the Assumption of the Virgin, 12th century, 35 Officium praesentationis Brnae Virginis Mariae ex praecepto Sixti IV., 14th century, 62 Officium transfixionis, seu septem dolorum Beatissimae Virginis Mariae, 14th cen- tury, 61 Ojeda, Cristobal de, a Spanish musician of the 1 6th century, 4 Oliva, a writer on music of the nth cen- tury, 7 Ordinary of the Mass with Prayers, Gos- pels, and Prefaces in Solfa, 14th century, 57 152 Notes on Early Spanish Music. Ordonez, Pedro, treasurer of the chapel, and a musician of the i6th century, 4 Organo, Canto de, written in the 15th century, 66 Organos, mentioned in Hita's poem on music written in the 14th century, 130 Organum, S Orta, Bernardo de, illuminates in the choir-books of the Cathedral of Seville, 136 Orta, Diego de, illuminator, in Seville his name occurs in the choir-books of the cathedral, 136 Ortiz, Alfonsum, edits a Missal in iSCkd, 84 , Ortiz, Diego, a native of Toledo, an author on music of violin, 80 Osbertu, a friar who wrote a composition in Sapphic and Adonic verses, 37 Osma, Pedro de, a musical composer mentioned in Marcos Duran's commen- tary on "Lux Bella," 77 Pacheco, Dna. Isabel, abbess in the monastery of Santa Clara de Montilla, to whom Bermudo dedicates his ' ' Arte Tripharia," 80 Padilla, an illuminator of the choir-books of the Cathedral of Seville, 136 " Paleographia Sacra Pictoria," vide Westwood, 35 "Paleografia Visigoda," vide Munoz y Rivero, 13, 104 PaWographie, Melanges de, et de Biblio- graphie, by Delisle, 133 Palmares or Palomares, Juan, Spanish musician of the l6th century, 3 Palomares, a remarkable paleographer of the l8th century, 135 Panderete, musical instrument used in Spain in the 14th century, 130 Pandura, S Paredes, Juan de, a native of Sagunto, and Spanish musician of the l6th century, 4 Pareja, Bartholome Ramos de, a writer on music of the 15th century, 3, 10, 77 Patricio, Pablo, a printer at Valencia in 1 595, 82 Pascual de la Fuensanta, Bishop of Burgos from 1497, to 1 5 14, 77 Pedro, Bishop of Lerida, a musical com- poser, 7 Pelagio, a name in Visigothic cypher, io6 Pelagus, Bishop of Lugo in Visigothic signature in 995, 105 Pelagus, Bishop of Leon, occurs in a Visigothic signature in 1081, 105 Peretti, Cardinal Alejandro, Sebastian Raval dedicates his volume of motets to him, 99 Perez, Pedro, Spanish musician of the i6th century, 3 Perugia, Ritual of the Congregation of, 14th century, 53 Petrus, occurs in a MS. 1055, at the Library University, Santiago, 27 Petrus, appears in a document in Visigo- thic cypher in 1081, 105, 106 Petrus, Bishop of Astorga, occurs on a document in Visigothic cypher, 105 Philippe, principe de Espana , rey de Inglaterra. Fuenllana dedicates his " Libro de Musica" to him, 97 Philip the Second takes the MSS. of the " Cantigas " to the Library at the Escorial, 49 Philippe IIL de Austria, King, 82 Philip the Fifth, Kjng, private library of, 58.65 Piedra Nuestra S" de, Aragon, Cistercian monastery from which proceeded the altar-piece now at the Acad, of History, 123 Pisador, Diego,author of "Libro de Musica de vihuela," 1552, 97 Plaja, Joannes a, prints at Toledo in 1576, 94 Podio, Guillermi de, author of "Com- mentariorum Musices" and "Ars Musicorum," 1495, 10, 73 Ponce, Martin, orders a reliquary to be made, now at the Acad, of History, 123 Podatus, 16 Portico de la Gloria of the Cathedral of Santiago, 145 Porras, Joanis de, prints at Salamanca in 1506, 85 Porrectus, 16 Posa Petrus, a printer in Barcelona in 1500. 75 Pothier, Rev. P. Dom Joseph, author of " Les Melodies Gregoriennes," 17 Pres, Phillipet de, the name of a musician of the 15th century, 66 Prefaces for different Feasts in the year, 15th century, 63 Proprietatibus Rerum, De, by Fray Vicente de Burgos, in 1494, 10 Psalmorum, David, known as Diurno del Rey Don Fernando 1°, nth century, 26 Psalms, St. Augustin's commentaries on the first fifty, 12th century, 36 Psalterius, 5 Psaltery with Antiphonaries, Hymns, and Litanies, 14th century, 64 Quilisma, 16 Rabe, musical instrument mentioned in a poem of the 14th century, 129 Ramirez, Andres, appears as an illuminator of the choir-books of Seville, 136 General Index. 153 Ramirez, Christobal, illuminates the choir- books of the monastery of the Escorial, 137 Ramoneda, Ignaao, corrects the chaunts in 1581 at the monastery of the Escorial, 137 Ramos de Pareja, Bartholome " De Musica Practica " by, 70 Raval, Sebastiani, composes a motet for five voices, 99 Raymundus de, Silva, Fr., " De doctrina finali fragmentum " by, 67 Reginon, a writer on musical annotations, 18 Ribera, Antonio, Spanish musician of the 1 6th century, 3 Ribera, Pedrode, Bishop of Lugo, to whom Molina dedicates his book " Lux viden- tis," 76 Riemann, Hugo, author of " Studien znr Geschiqhte der Notenschrift," 16 Rincon, Joannem, edits a volume on the ceremonies used in processions, 92 Ripoll, Cataluna, Monastery of, where a Latin poem on music existed in the nth century, 7, 145 Ripoll, Cataluna, musical instruments on the Portico of Santa Maria de, 145 Ritual of the congregation of Perugia, 14th century, 53 Ritual, the Visigothic or Eugeniano, 6 Romero, Diaz F., printer at Valencia in IS3S. 95 Romero, Jetenimo, an interpreter of Visi- gothic musical neums, 19, 138, 141, 143 Rosa, Alberto de, a musical composer mentioned in MarcosDuran's comment- ary on "Lux Bella," 77 Rossi, " Diz. Historico," commentator of Alfarabi, 42 Rota, musical instrument used in Spain in the 14th century, 129 Royal library, Berlin, a MS. copy of Ramos de Pareja written in the isth century, 72 Royal Library at Munich, MS. with neums in the, l8 Ruiz Juan, Arcipreste de Hita, writes a poem in the ^ 14th century in which the names of musical instuments are given, 123, 129 Sacraments, instructions for the admini- stration of, i6th century, 68 Sahagun, monastery of, from whence a number of documents with Visigothic signatures proceed, 103 Saint Gall, Antiphonaire, 17 Salavarte, Pedro, illuminates in the choir- books of the monastery of the Escorial, «37 Salazar, Ambrosio de, one of the scribes of the choir-books of the monastery of the Escorial, 137 Salazar, Manuel de, writes in 1775, an Index by order of Cardinal Lorenzana and the choir-books at Toledo, 24, 29 Salicus, 16 Salinae Burgensis, Francisci, author of a work on music, 81 Salinas, Bernardo, Spanish musician of the 1 6th century, 3 Salterio, musical instrument mentioned in a poem of the 14th century, 129 Salva, Jacobo, Fratre, " De pulsatione Lambuti," 10 Salvus, Abbot of Albelda:, a musical composer, 7 Sambuca, 5 Sanchez de Tineo, Juan, a Spanish musi- cian of the 1 6th century, 4 Sanchez, Luis, an illuminator of the choir- books of the Cathedral of Seville, 137 Sancho, Don, 9 Santa Maria, Fr. Thomas de, author of "Arte de taner Fantasia," 1565, 98 Santiago, Cathedral of, musical instru- ments on the Portico of the, 144 San Lorenzo del Escorial monastery, choir-books belonging to the, 137 San Roman, Marquis of, owns a fine library at Madrid, 135 Santos, Juan, a native of Toledo and musician of the 1 6th century, 4 Scandicus, 16 Schelle, German critic on music, 3 Senis, Fr. Nicolaum de, musical works, 67 Silva, Fr. Raymundus de, musical works, 67 Singifred, Singifredus Joannes, in a docu- ment in Visigothic cypher, 106 Sistrum, 5 Sonajas de Azofar, musical instrument used in the 14th century in Spain, 130 Soriano Fuertes, Mariano, author of " Historia de la Musica Espafiola des de la Venida de los Fenicios hasta el ano . dei85o, Madrid, i88j, 11 Soto de Langa, Francisco, a Spanish musician of the l6th century, 4 Spanish Royal Academy, is preparing an edition of the " Cantigas," 48 Spanon, Alonso, author of a work on Canto llano, 75 Stanislaus Polonus, printer in Seville in 1494, 83 " Studien zur Geschichte der Notenschrift," vide Rieniann, 16 Sulpicius, Severus, 35 Symphoniam, 5 Talavera, Francisco, a Spanish musician of the 1 6th century, 4 Notes on Early Spanish Music. M 154 Notes on Early Spanish Music. Tamborete, musical instrument used in Spain in the 14th century, 129 Tapia, Juan de, Spanish musician of the i6tli century, 3 Tapia, Numantino, author of " Vergel de Musica Espiritual," 82 "Thesaurus Ecclesiasticae Antiquitatis,'' vide Bollando, 131 Tibia, 5 Toledo, Cathedral of, chapel where the Muzarabic service is performed, 6 Tintinnabulum, S Toledo, Vega of, combat between two champions in the, 6 Tonancio, Bishop of Zaragoza, a musical composer, 7 Toro, colegiata de, musical instruments on the Portico of, 145 Torres de Priora, Francisco, a Spanish mu sician of the i6th century^ 4 Toro, Esteban de, a Spanish musician of the 1 6th century, 4 Touar, Francisco, composes " Libro de Musica practica," 1510, 95 Trigon, 16 Trompas, musical instrument used in Spain in the 14th century, 130 Taba, S Tympanum, 5 Valmar, Marquis of, edits the " Cantigas," 48 Vazquez, Diego, a native of Cuenca and musician of the i6th century, 4 Vazquez, Juan, a musician, a native of Badajoz, 91 Vazqufez, Don Mariano, a Spanish musical critic, 12 Venegas de Henestrossa, Luis, composes " Libro de cifra nueva " in 1557, 97 Vicente de Burgos, Fuay; a musical author of the 15 th century, 10 Vicente de Villegas, Sebastian, corrects the music for the Missal reformed by Clement VIII., 136 Victoria, Tomas Luis de, a Spanish musician of the i6th century, 3, 4 Vihuela de arco, musical instrument used in Spain in the 14th century, 129 Vihuela de pfoola, musical instrument used in Spain in the 14th century, 129 Villa, Jacobi de, Guillermi de Podio's " Commentaries " were printed at his expense, 73, Villadiego, Antonio, a Spanish musician of the l6th century, 4 Villamaior, Roderici de, 94 Villanueva, Padre, mentions in his " Viaje " a treatise on Music, 9 Vincentio, lago, prints in Venice in 1589, .15. 97. 99. 100. Vinchois, a musician mentioned in a M.S. of the 15th century, 65 Visigodo, chant, S Wamba, King, Antiphonary of, 28, 29 Westwood, J. O., 3S Wiistenfeld, "Geschichte der Arabischen Aertze," writes on Alfarabi, 42 Ximenes, Pedro, Bishop of Coria, "Lux Bella " is dedicated to him, 74 Ximenez de Cisneros, Cardirikl, 6, 69, 86, 87, 138, 141 Zelada, Cardinal, 33, 41, 45, 51, 57, 66 Zuny, a musician of the 15th century, 66 WYMAN AND SONS PRINTERS, GREAT QUEEN STREET, LONDON, W.C. l^