Skip to main content Accessibility help
×
Hostname: page-component-84b7d79bbc-c654p Total loading time: 0 Render date: 2024-07-29T20:27:48.782Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  05 May 2015

Katelijne Schiltz
Affiliation:
Universität Regensburg, Germany
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2015

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Aaron, P., Libri tres de institutione harmonica (Bologna: Benedetto di Ettore, 1516), facsimile edn Monuments of Music and Music Literature in Facsimile, II.67 (New York: Broude, 1976).Google Scholar
von Fulda, Adam, Musica, ed. Gerbert, M., in Scriptores ecclesiastici de musica sacra (St Blasien: Meyerhoff, 1784), vol. III.Google Scholar
Agricola, A., Opera omnia, ed. Lerner, E. R., 5 vols., CMM, 22 (n.p.: American Institute of Musicology, 1961–70).Google Scholar
Agricola, M., Musica instrumentalis deudsch (Wittenberg: G. Rhau, 1529), facsimile edn (Hildesheim: Olms, 1969).Google Scholar
Agricola, M. Rudimenta musices (Wittenberg: Rhau, G., 1539).Google Scholar
Alfonso Ferrabosco II: Manuscript Songs, ed. Spink, I., The English Lute-Songs, Second Series, 19 (London: Stainer and Bell, 1966).Google Scholar
Anon., Missa L'homme armé, ed. Feininger, L., Documenta Majora Polyphoniae Liturgicae S.E.R., no. 1 (Trent: Societas Universalis Sanctae Ceciliae, 1964).Google Scholar
Anonimi Magnificat, ed. Fano, F., AMMM, 7 (Milan: Veneranda Fabbrica del Duomo di Milano, 1965).Google Scholar
Anonymous Pieces in the MS Escorial IV.a.24, ed. Southern, E., CMM, 88 (Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1981).Google Scholar
Aristotle, , Poetics. Translation by Fyfe, W. H., The Poetics (London: Heinemann, 1927), online via The Perseus Digital Library Project, www.perseus.tufts.edu.Google Scholar
Aristotle, Rhetorica. Translation by L. Honeycutt, Aristotle's Rhetoric, online via www.public.iastate.edu/~honeyl/Rhetoric/index.html.Google Scholar
Auctoritates Aristotelis, Senecae, Boethii, Platonis, Apuleii et quorundam aliorum, ed. Hamesse, J., 2 vols. (Louvain: Publications du Cetedoc, Université catholique de Louvain, 1972–4).Google Scholar
Augustine, Confessiones. Translation: Confessions and Enchiridion, trans. and ed. Outler, A. C. (London: SCM Press, 1955), online via www.ccel.org/ccel/augustine/confessions.titlepage.html.Google Scholar
Augustine De civitate Dei. Translation by M. Dodds, online via www.ccel.org/ccel/schaff/npnf102.iv.html.Google Scholar
Augustine De doctrina christiana. Translation by J. F. Shaw, online via www.ccel.org/ccel/schaff/npnf102.v.html.Google Scholar
Banchieri, A., Canoni musicali (Venice: G. Vincenti 1613), facsimile edn Bibliotheca musica Bononiensis, II.26 (Bologna: Forni, 1968).Google Scholar
Banchieri, A. Cartella musicale (Venice: G. Vincenti, 1614), facsimile edn Bibliotheca musica Bononiensis, II.26 (Bologna: Forni, 1968).Google Scholar
Bargagli, G., Dialogo de’ giuochi che nelle vegghie sanesi si usano di fare (Siena: L. Bonetti, 1572).Google Scholar
Berardi, A., Documenti armonici (Bologna: G. Monti, 1687), facsimile edn Bibliotheca musica Bononiensis, II. 40 (Bologna: Forni, 1970).Google Scholar
The Berkeley Manuscript: University of California Music Library, MS. 744 (olim Phillipps 4450), ed. Ellsworth, O. B., Greek and Latin Music Theory (Lincoln, NE and London: University of Nebraska Press, 1984).Google Scholar
Bicinia gallica, latina, germanica. Tomus I, II 1545, ed. Bellingham, B. and Rhau, G.. Musikdrucke aus den Jahren 1538–1545 in praktischer Neuausgabe, 6 (Kassel: Bärenreiter, 1980).Google Scholar
Blount, Sir T. P., De re poetica: Or, Remarks upon Poetry with Characters and Censures of the Most Considerable Poets, Whether Ancient or Modern (London: Bently, 1694).Google Scholar
Boccaccio, , Genealogia deorum gentilium. (Genealogy of the Gentile Gods), trans. Osgood, C. B. in Boccaccio on Poetry (Princeton University Press, 1930).Google Scholar
Boethius, , Anicius Manlius Severinus, Fundamentals of Music, trans. Bower, C. M., ed. Palisca, C. V. (New Haven and London: Yale University Press, 1989).Google Scholar
Briccio, G., Canoni enigmatici musicali (Rome: P. Massoti, 1632).Google Scholar
Brumel, A., Opera omnia, ed. Hudson, B., 6 vols., CMM, 5 (n.p.: American Institute of Musicology, 1969–72).Google Scholar
Bruno, G., De imaginum, signorum et idearum compositione (Frankfurt am Main: J. Welchel & P. Fischer, 1591); English translation (On the Composition of Images, Signs and Ideas) by Doria, C., ed. Higgins, D. (New York: Willis, Locker & Owens, 1991).Google Scholar
Burtius, N., Musices opusculum (Bologna: U. Ruggeri, 1487), facsimile edn Bibliotheca musica Bononiensis, II.4 (Bologna: Forni, 1969).Google Scholar
Busnoys, A., Collected Works, Part 2 : The Latin-Texted Works, ed. Taruskin, R., Masters and Monuments of the Renaissance, 5 (New York: Broude Bros., 1990).Google Scholar
Camerarius, Joachim the Younger, Symbola et emblemata tam moralia quam sacra: die handschriftlichen Embleme von 1587, ed. Harms, W. and Heß, G. (Tübingen: Niemeyer, 2009).Google Scholar
Cancionero de la Catedral de Segovia (Segovia: de Piedad, Caja de Ahorros y Monte, 1977).Google Scholar
Canons in the Trent Codices, ed. Loyan, R., CMM, 38 (n.p.: American Institute of Musicology, 1967).Google Scholar
Un canzoniere musicale italiano del Cinquecento (Bologna, Conservatorio di Musica “G. B. Martini” Ms. Q 21), ed. Gallico, C., ‘Historiae musicae cultores’ Biblioteca, 13 (Florence: Olschki, 1961).Google Scholar
Carmina carissima: Cantica selecta bohemica saeculi XVI. Coro a cappella, ed. Snížková, J., Musica antiqua bohemica, II.11 (Prague: Supraphon, 1984).Google Scholar
Caron, P.(?), Les Œeuvres complètes, ed. Thomson, J., Collected Works, vi/1–2 (Brooklyn: Institute of Mediaeval Music, 1971–6).Google Scholar
Carpentras (Elzear Genet), Opera omnia, ed. Seay, A., IV, CMM, 58 (n.p.: American Institute of Musicology, 1972).Google Scholar
Castiglione, Baldassare, Libro del cortegiano (Florence, 1528). Translation The Courtier of Counte Baldessar Castilio, trans. Hobby, T. (London: Thomas Creede, 1603).Google Scholar
Cerone, P., El melopeo y maestro (Naples: G. B. Gargano and L. Nucci, 1613), facsimile edn Bibliotheca musica Bononiensis, II.25 (Bologna: Forni, 1969).Google Scholar
Cerone, P. Le regole più necessarie per l'introduttione del canto fermo (Naples: G. B. Gargano and L. Nucci, 1609)Google Scholar
Cerreto, S., Della prattica musica (Naples: G. J. Carlino, 1601), facsimile edn Bibliotheca musica Bononiensis, II.30 (Bologna: Forni, 1969).Google Scholar
The Chansonnier El Escorial IV.a.24, ed. Hanen, M. K., 3 vols., Musicological Studies, 36 (Henryville, PA, Ottawa, Ont., and Binningen: Institute of Mediaeval Music, 1983).Google Scholar
Cicero, De oratore. Translation On the Ideal Orator, trans. May, J. M. and Wisse, J. (Oxford University Press, 2001).Google Scholar
Cima, G. P., Partito de ricercari e canzoni alla francese (1606), ed. Rayner, C. A., Corpus of Early Keyboard Music, 20 (Rome: American Institute of Musicology, 1969).Google Scholar
Clemens non Papa, J., Opera omnia, ed. Bernet Kempers, K. Ph., 21 vols., CMM, 4 (n.p.: American Institute of Musicology, 1954–76).Google Scholar
Coclico, A. Petit, Compendium musices (Nuremberg: Berg and Neuber, 1552), facsimile edn Documenta musicologica, I.9 (Kassel: Bärenreiter, 1954).Google Scholar
Coclico, A. Petit Musical Compendium (Compendium musices), trans. Seay, A., Colorado College Music Press Translations, 5 (Colorado Springs, CO, 1973).Google Scholar
Codex Chantilly: Bibliothèque du Chateau de Chantilly, Ms. 564, ed. Plumley, Y. and Stone, A. (Turnhout: Brepols, 2008).Google Scholar
The Combinative Chanson: An Anthology, ed. Maniates, M. R., RRMR, 77 (Madison, WI: A R Editions, 1989).Google Scholar
Compère, L., Opera omnia, ed. Finscher, L., 5 vols., CMM, 15 (n.p: American Institute of Musicology, 1958–62).Google Scholar
Cotin, Charles, Recueil des énigmes de ce temps (Rouen: J. Cailloüé, 1655).Google Scholar
Crecquillon, T., Opera omnia, XIX, ed. Hudson, B. and Youens, L. with Winn, M. B., CMM, 63 (Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 2000).Google Scholar
Danckerts, G., The Vocal Works, ed. Jas, E., Exempla Musica Zelandica, 5 (Middelburg: Koninklijk Zeeuwsch Genootschap der Wetenschappen, 2001).Google Scholar
De Orto, M., Latin Compositions, ed. Davison, N.: I (Missa Ad fugam); VI (Missa Mi mi) and VII (Individual Mass Movements), Antico Edition RCM 43, 48 and 49 (Moretonhampstead, Newton Abbot: Antico Edition, n.d.).Google Scholar
De Silva, A., Opera omnia, ed. Kirsch, W., 3 vols., CMM, 49 (n.p.: American Institute of Musicology, 1970–2012).Google Scholar
De tous biens plaine: Twenty-eight Settings of Hayne van Ghizeghem's Chanson, ed. Cyrus, C. J., RRMMAER, 36 (Madison, WI: A-R Editions, 2000).Google Scholar
Du Fay, G., Opera omnia, ed. Besseler, H. III, CMM, 1 (Rome: American Institute of Musicology, 1951).Google Scholar
d'Amerval, Éloy, Missa Dixerunt discipuli, ed. Magro, A. and Vendrix, P., Collection Ricercar (Paris: Honoré Campion, 1997).Google Scholar
Erasmus, D., Les Adages, ed. Saladin, J.-C., 5 vols. (Paris: Les Belles Lettres, 2011).Google Scholar
Faber, G., Musices practicae erotemata (Basel: H. Petri, 1553).Google Scholar
Faber, H., Ad musicam practicam introductio (Nuremberg: J. Berg & U. Neuber, 1550).Google Scholar
Facsimiles from Sources of Compositions Attributed to Josquin, ed. Elders, W., NJE, 2 (Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 2007).Google Scholar
Fayrfax, R., Masses Tecum principium and O quam glorifica, ed. Bray, R., Early English Church Music, 45 (London: Stainer and Bell, 2004).Google Scholar
A Ferrarese Chansonnier: Roma, Biblioteca Casanatense 2856, “Canzoniere di Isabella d'Este”, ed. Lockwood, L. (Lucca: Libreria Musicale Italiana, 2002).Google Scholar
Festa, C., Hymni per totum annum, ed. Haydon, G., Monumenta Polyphoniae Italicae, 3 (Rome: Pontificium Institutum Musicae Sacrae, 1958).Google Scholar
Festa, C. Opera omnia, ed. Main, A. and Seay, A., 8 vols., CMM, 25 (n.p. and Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1962–78).Google Scholar
Févin, A., Les Œuvres complètes d'Antoine de Févin, ed. Clinkscale, E., Collected Works, 11/1 (Henryville, PA, Ottawa, Ont., and Binningen: Institute of Mediaeval Music, 1980).Google Scholar
Févin, R., The Collected Works: Masses and Motet, ed. Clinkscale, E., Collected Works, 13 (Ottawa, Ont.: Institute of Mediaeval Music, 1993).Google Scholar
Finck, H., Hermann Finck: Canon, ed. Sohns, E. (Buenos Aires: Eduardo Sohns Libros de Musica, 2008).Google Scholar
Finck, H. Practica musica (Wittenberg: G. Rhaus Erben, 1556), facsimile edn Biblioteca musica Bononiensis, II. 21 (Bologna: Forni, 1969).Google Scholar
Flaccus, V., Argonautica, ed. and trans. Mozley, J. H., Loeb Classical Library, 286 (Cambridge, MA and London: Harvard University Press, 1928).Google Scholar
A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale MS Banco Rari 229, ed. Brown, H. M., 2 vols., MRM, 7 (University of Chicago Press, 1983).Google Scholar
Florentius de Faxolis, Liber musices (c. 1485–92). Translation: Book on Music, ed. and trans. Blackburn, B. J. and Holford-Strevens, L. (Cambridge, MA and London: Harvard University Press, 2010).Google Scholar
Forestier, M., Opera omnia, ed. Josephson, N. S. and MacCracken, T. G., CMM, 104 (Neuhausen-Stuttgart: American Institute of Musicology and Hänssler Verlag, 1996).Google Scholar
Fortuna desperata: Thirty-Six Settings of an Italian Song, ed. Meconi, H., RRMMAER, 37 (Madison, WI: A-R Editions, 2001).Google Scholar
French Chansons for Three Voices (ca. 1550), ed. Adams, C. S., RRMR, 36–7 (Madison, WI: A-R Editions, 1982).Google Scholar
Gafurio, F., Apologia Franchini Gafurii musici adversus Joannem Spatarium et complices musicos Bononienses (Turin: A. de Vicomercato, 1520).Google Scholar
Gafurio, F. Practica musicae (Milan: G. Le Signerre, 1496).Google Scholar
Gafurio, F. Practica musicae, trans. and transcr. Miller, C. A., Musicological Studies and Documents, 20 (n.p.: American Institute of Musicology, 1968).Google Scholar
Galilei, V., Dialogo della musica antica, et della moderna (Florence: Marescotti, 1581), facsimile ed. F. Fano (Rome: Reale Accademia d'Italia, 1934).Google Scholar
Gellius, A., The Attic Nights, trans. Rolfe, J. C., 3 vols., Loeb Classical Library, 195 (Cambridge, MA and London: Heinemann, 1927).Google Scholar
Ghiselin-Verbonnet, J., Opera omnia, ed. Gottwald, C., 4 vols., CMM, 23 (n.p.: American Institute of Musicology, 1961–8).Google Scholar
A Gift of Madrigals and Motets, ed. Slim, H. C., 2 vols. (University of Chicago Press, 1972).Google Scholar
Giraldi, L. G., Libelli duo, in quorum altero Aenigmata pleraque antiquorum, in altero Pythagorae Symbola, non paulo quam hactenus ab alijs, clarius faciliusque sunt explicata (Basel: J. Oporinus, 1551).Google Scholar
Glarean, H., Dodecachordon, trans. Miller, C. A., 2 vols., Musicological Studies and Documents, 6 (Dallas, TX: American Institute of Musicology, 1965).Google Scholar
Glarean, H. Dodekachordon (Basel: H. Petri, 1547).Google Scholar
Das Glogauer Liederbuch, ed. Ringmann, H. and Klapper, J., 4 vols., Das Erbe deutscher Musik, 1st ser., 4, 8, 85–6 (Kassel: Bärenreiter, 1936, 1937, 1981).Google Scholar
Gracián, B., Agudeza y arte de ingenio (Huesca, 1648; enlarged edn of Arte de ingenio: Tratado de la agudeza, 1642).Google Scholar
Grammatici latini, ed. Keil, H. (Leipzig: Teubner, 1868).Google Scholar
The Greek Bucolic Poets, ed. and trans. Edmonds, J. M., Loeb Classical Library, 28 (London and New York: Heinemann, 1919).Google Scholar
Gumpelzhaimer, A., Ausgewählte Werke, ed. Mayr, O., Denkmäler der Tonkunst in Bayern, 10.2 (Leipzig: Breitkopf & Härtel, 1909).Google Scholar
Harmonice Musices Odhecaton A, ed. Hewitt, H. and Pope, I. (Cambridge, MA: Mediaeval Academy of America, 1942).Google Scholar
Heyden, S., De arte canendi (Nuremberg: J. Petreius, 1537 and 1540).Google Scholar
Heyden, S De arte canendi, trans. and transcr. Miller, C. A., Musicological Studies and Documents, 26 (n.p.: American Institute of Musicology, 1972).Google Scholar
Hothby, J., Dialogus Johannis Ottobi anglici in arte musica (c. 1473). Florence, Biblioteca Nazionale Centrale, Magl. XIX. 36, ed. Seay, A. in Johannis Octobi Tres tractatuli contra Bartholomeum Ramum, Corpus Scriptorum de Musica, 10 (Rome: American Institute of Musicology, 1964), 6176.Google Scholar
Isaac, H., Opera omnia, ed. Lerner, E. R., 11 vols., CMM, 65 (n.p. and Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1974–2011).Google Scholar
Isidore of Seville, Etymologiae. Translation: The Etymologies of Isidore of Seville, ed. Barney, S. A., Lewis, W. J., Beach, J. A. and Berghof, O. (Cambridge University Press, 2006).Google Scholar
Isselburg, P., Emblemata politica (n.p., 1617).Google Scholar
des Prez, Josquin, Opera omnia, ed. Smijers, A., I/1: Missa L'homme armé super voces musicales (Amsterdam: G. Alsbach & Co., 1957).Google Scholar
des Prez, Josquin Werken, ed. Smijers, A., Missen, V. Missa L'homme armé sexti toni (Leipzig: Fr. Kistner & C. F. W. Siegel, 1931).Google Scholar
Der Kodex Berlin 40021: Staatsbibliothek Preußischer Kulturbesitz Berlin Mus. ms. 40021, ed. Just, M., 3 vols., Das Erbe Deutscher Musik, Abteilung Mittelalter, 1416 (Kassel: Bärenreiter, 1990–1).Google Scholar
Der Kodex des Magister Nicolaus Leopold: Staatsbibliothek München Mus. mc. 3154, ed. Noblitt, T. L., 4 vols., Das Erbe Deutscher Musik, Abteilung Mittelalter, 1720 (Kassel: Bärenreiter, 1987–96).Google Scholar
La Rue, P., Opera omnia, ed. Davison, N. St. J., Kreider, J. E. and Keahey, T. H., 9 vols. to date, CMM, 97 (Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1989–).Google Scholar
Lauterbach, J., Aenigmata (Frankfurt: E Collegio Musarum Paltheniano, 1601).Google Scholar
Liber Missarum: An Editorial Transnotation of the Manuscript Capella Sistina 51, Biblioteca Apostolica Vaticana, Città del Vaticano, ed. Eakins, R., 6 vols., Collected Works, 17 (Ottawa, Ont.: Institute of Mediaeval Music, 1999–2005).Google Scholar
Lorichius, J., Aenigmatum libri tres (Frankfurt: Egenolphus, 1545).Google Scholar
Maessens, P., Pieter Maessins, um 1505–1562. Sämtliche Werke, ed. Wessely, O. and Eybl, M., Denkmäler der Tonkunst in Österreich, 149 (Graz: Akademische Druck und Verlagsanstalt, 1995).Google Scholar
Maillard, J., The Masses, ed. Rosenstock, R. H., Collected Works, 16/1 (Ottawa: Institute of Mediaeval Music, 1997).Google Scholar
Maillard, J. Modulorum Ioannis Maillardi: The Five-, Six-, and Seven-Part Motets, 2 vols., ed. Rosenstock, R. H., RRMR, 95–6 (Madison, WI: A-R Editions, 1993).Google Scholar
Manlius, J., Locorum communium collectanea (Basel: Oporinus, 1562).Google Scholar
Martini, J., Secular Pieces, ed. Evans, E. G. Jr, RRMMAER, 1 (Madison, WI.: A-R Editions, 1975).Google Scholar
The Medici Codex of 1518: A Choirbook of Motets Dedicated to Lorenzo de’ Medici, Duke of Urbino, ed. Lowinsky, E. E., MRM, 3–5 (University of Chicago Press, 1968).Google Scholar
Ménestrier, C. F., La philosophie des images énigmatiques (Lyons: Guerrier, 1694).Google Scholar
Monte, P., New Complete Edition, Series A, Motets, Vol. III (Leuven University Press, 1978).Google Scholar
Morales, C., Opera omnia, ed. Anglés, H., V and VII (Barcelona: Consejo Superior de Investigaciones Científicas, Delegación de Roma, 1959 and 1964).Google Scholar
Morley, T., A Plaine and Easie Introduction to Practicall Musicke (London: Short, 1597), facsimile edn (London: Dent, 1952).Google Scholar
The Motet Books of Andrea Antico, ed. Picker, M., MRM, 8 (University of Chicago Press, 1987).Google Scholar
Mouton, J., Fünf Motetten zu 4 und 6 Stimmen, ed. Kast, P., Chorwerk, Das, 76 (Wolfenbüttel: Möseler Verlag, 1959).Google Scholar
Mouton, J. Opera omnia, ed. Minor, A. C. and MacCracken, T. G. III, CMM, 43 (n.p.: American Institute of Musicology, 1969).Google Scholar
Obrecht, J., Collected Works, ed. Maas, C., Hudson, B., Noblitt, T., Staehlin, M. and Ward, T. R., 18 vols., New Obrecht Edition (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983–97).Google Scholar
Occo Codex (Brussels, Royal Library Albert I, MS. IV.922). Facsimile edn, ed. Huys, B. (Buren: Vereniging voor Nederlandse Muziekgeschiedenis, 1979).Google Scholar
Ockeghem, J., Collected Works, I, ed. Plamenac, D. (2nd corr. edn, n.p.: American Musicological Society, 1959); III, ed. R. Wexler with D. Plamenac (New York: Galaxy Music Corporation, 1992).Google Scholar
Ornithoparchus, A., Musice active micrologus (Leipzig, 1517), facsimile edn (Hildesheim and New York: Olms, 1977).Google Scholar
Ornithoparchus, A. Andreas Ornithoparcus His Micrologus, or Introduction: Containing the Art of Singing (London: Thomas Adams, 1609).Google Scholar
Ottaviano Petrucci, Canti B numero cinquanta. Venice, 1502, ed. Hewitt, H., MRM, 2 (University of Chicago Press, 1967).Google Scholar
Ottaviano Petrucci, Motetti de Passione, de Cruce, de Sacramento, de Beata Virgine et huiusmodi B, ed. Drake, W., MRM, 11 (University of Chicago Press, 2002).Google Scholar
Ovid, Metamorphoses, trans. More, B. (Boston: Cornhill Publishing, 1922).Google Scholar
Palatino, G. P., Libro … nel qual s'insegna à scrivere ogni sorte lettera, antica, et moderna (Rome: A. Blado, 1545).Google Scholar
Palestrina, G. P., Opere complete, XVI, ed. Casimiri, R. (Rome: Edizione Fratelli Scalera, 1943).Google Scholar
Peacham, H., Garden of Eloquence (London: H. Jackson, 1577; 2nd edn 1593).Google Scholar
Petrarca, F., Invective contra medicum, ed. Ricci, P. G., Storia e letteratura. Raccolta di studi e testi, 32 (Rome: Storia e Letteratura, 1978).Google Scholar
Pico della Mirandola, De hominis dignitate, trans. Caponigri, A. R. (Chicago: Regnery, 1956).Google Scholar
Pipelare, M., Opera omnia, ed. Cross, R., 3 vols., CMM, 34 (n.p.: American Institute of Musicology, 1966–7).Google Scholar
Podio, G., Ars musicorum (Valencia: P. Hagenbach and L. Hutz, 1495), facsimile edn Colecciones de Joyas Bibliográficas / Viejos libros de música, 4 (Madrid: Joyas bibliográficas, 1976).Google Scholar
Pontio, P., Dialogo … ove si tratta della theorica et prattica di musica (Parma: E. Viothi, 1595).Google Scholar
Porphyrii Isagoge translatio Boethii, Aristoteles Latinus, I/6–7: Categoriarum supplementa, ed. Minio-Paluello, L. (Bruges and Paris: Desclée De Brouwer, 1966).Google Scholar
Porta, G. B., De occultis literarum notis (Strasbourg: L. Zetzner, 1606).Google Scholar
Porta, G. B. Magiae naturalis sive de miraculis rerum naturalium libri IV (Naples: M. Cancer, 1558).Google Scholar
Puttenham, G., The Art of English Poesy, ed. Whigham, F. and Rebhorn, W. A. (Ithaca, NY and London: Cornell University Press, 2007).Google Scholar
Quintilian, Institutio oratoria. Translation: The Orator's Education, ed. and trans. Russell, D. A., 5 vols. (Cambridge, MA and London: Harvard University Press, 2001).Google Scholar
Ramis de Pareia, B., Musica practica (Bologna, 1482), ed. Wolf, J., Publikationen der Internationalen Musikgesellschaft, 2 (Leipzig: Breitkopf & Härtel, 1901).Google Scholar
Ramis de Pareia, B. Musica Practica, trans. Miller, C. A., Musicological Studies and Documents, 44 (Neuhausen-Stuttgart: Hänssler, 1993).Google Scholar
Reusner, N., Aenigmatographia (2nd edn, Frankfurt am Main: Palthenius, 1602).Google Scholar
The Riddles of Heraclitus and Democritus (London: Arn. Hatfield, for Norton, Iohn, 1598).Google Scholar
Ringhieri, Innocenzio, Cento giuochi liberali, et d'ingegno (Bologna: A. Giaccarelli, 1551).Google Scholar
Rodio, R., Regole di musica (Naples: G. G. Carlino and C. Vitale, 1609), facsimile edn Bibliotheca musica Bononiensis, II.56 (Bologna: Forni, 1981).Google Scholar
Rossi, G. B., Organo de cantori (Venice: B. Magno, 1618), facsimile edn Bibliotheca musica Bononiensis, II.57 (Bologna: Forni, 1984).Google Scholar
S. Bernardi opera, VII: Epistulae I: Corpus Epistularum 1–180, ed. Leclercq, J. and Rochais, H. (Rome: Editiones Cistercienses, 1974).Google Scholar
Sacred Music from the Cathedral at Trent: Trent, Museo Provinciale d'Arte, Codex 1375 (olim 88), ed. Gerber, R., MRM, 12 (University of Chicago Press, 2007).Google Scholar
Scaliger, Julius Caesar, Poetices libri septem (Lyon: A. Vincentius, 1561).Google Scholar
Schönwetter, J. G., Clypeus Pietatis, Das ist, Schildt der Andacht: In welchem Alte und Newe, jedoch Andächtige, zu der Gottseligkeit und Liebe Gottesdienstliche, auch schöne Gebet … begriffen seynd; Weyland von der … Frawen Anna, Römische Keyserin … für Ihrer Majestät selbst eigne Andacht zusammen verfasset (Frankfurt am Main: J. G. Schönwetter, 1642).Google Scholar
Schwenter, D., Steganologia et steganographia (Nuremberg, c. 1620).Google Scholar
Selections from Motetti A numero trentatre (Venice, 1502), ed. Sherr, R., Sixteenth-Century Motet, 1 (New York and London: Garland Publishing, Inc., 1991).Google Scholar
Selections from Motetti libro quarto (Venice, 1505), ed. Sherr, R., Sixteenth-Century Motet, 3 (New York and London: Garland Publishing, Inc., 1991).Google Scholar
Selenus, G., Cryptomenytices et cryptographiae libri IX (n.p., 1624).Google Scholar
Senfl, L., Sämtliche Werke. Band X. Motetten. Vierter Teil: Kompositionen des Proprium Missae III, ed. Gerstenberg, W. (Wolfenbüttel and Zürich: Möseler).Google Scholar
Six Anonymous L'Homme armé Masses in Naples, Biblioteca Nazionale, MS VI E 40, ed. Cohen, J., CMM, 85 (Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1981).Google Scholar
Sixteenth-Century Bicinia: A Complete Edition of Munich, Bayerische Staatsbibliothek, Mus. Ms. 260, ed. Bellingham, B. and Evans, E. G. Jr, RRMR, 16–17 (Madison, WI: A-R Editions, 1974).Google Scholar
Spataro, G., Errori de Franchino Gafurio di Lodi (Bologna: Benedetto di Ettore, 1521).Google Scholar
Standley, , Missa ad fugam reservatam, ed. Feininger, L., Documenta Polyphoniae Liturgicae S. Ecclesiae Romanae, Series 1, no. 6 (Rome: Soc. Univ. S[anctae] Ceciliae, 1949).Google Scholar
Stomius, J., Prima ad Musicen Instructio (Augsburg: P. Ulhard, 1537).Google Scholar
Straparola, G., Le piacevoli notti, ed. Pirovano, D., I novellieri italiani, 29 (Rome: Salerno, 2000).Google Scholar
Strassburger Rätselbuch (Straßburg, 1505), ed. Butsch, A. F. (Straßburg: Trübner, 1876).Google Scholar
Stucki, J. W., Antiquitatum convivialium libri tres, In Quibus Hebraeorum, Graecorum, Romanorum Aliarumque Nationum Antiqua Conviviorum Genera … explicantur (Zürich: Christoph Froscher, 1582).Google Scholar
Symphosius, C. F., Ænigmata Symposii. cum scholiis Iosephi Castalionis Anconitani (Rome: F. Zannetto, 1581).Google Scholar
Symphosius, C. F. Aenigmata Symposii: La fondazione dell'enigmistica come genere poetico, ed. M. Bergamin (Florence: SISMEL Ed. del Galluzzo, 2005).Google Scholar
Symphosius, C. F. Symphosii veteris poetae elegantissimi erudita iuxta ac arguta et festiva Aenigmata (Paris: J. Périon, 1533).Google Scholar
Symphosius, C. F. The Aenigmata: An Introduction, Text and Commentary, ed. Leary, T. J. (London: Bloomsbury, 2014).Google Scholar
Tigrini, O., Compendio della musica nel quale si tratta dell'arte del contrapunto (Venice: R. Amadino, 1588), facsimile edn Monuments of Music and Music Literature in Facsimile, II.5 (New York: Broude, 1966).Google Scholar
Tinctoris, J., Opera omnia, ed. Melin, W., CMM, 18 (n.p.: American Institute of Musicology, 1976).Google Scholar
Tinctoris, J. Terminorum musicae diffinitorium (Treviso, 1495), facsimile edn Documenta musicologica, I.37 (Kassel: Bärenreiter, 1983).Google Scholar
Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535, ed. Smijers, A. and Tillman Merritt, A., 13 vols. (Monaco: Éditions de l'Oiseau Lyre, 1934–63).Google Scholar
Ugolino of Orvieto, Declaratio disciplinae musicae, ed. Seay, A., Corpus Scriptorum de musica, 7.2 (Rome: American Institute of Musicology, 1960).Google Scholar
Vacqueras, B., Opera omnia, ed. Sherr, R., CMM, 78 (Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1978).Google Scholar
Varchi, B., L'Hercolano: Dialogo di Messer Benedetto Varchi, nel quale si ragiona generalmente delle lingue, & in particolare della Toscana e della Fiorentina (Venice, 1570). Modern edn in the series Classici Italiani, 94 (Milan: Società Tipografica de’ Classici Italiani, 1804).Google Scholar
Vendôme, Matthew of, Ars versificatoria, ed. and trans. Gaylon, A. E. (Ames: Iowa State University Press, 1980.Google Scholar
Vicentino, N., L'antica musica ridotta alla moderna prattica (Rome, 1555), facsimile edn Documenta musicologica, I.17 (Kassel: Bärenreiter, 1959).Google Scholar
Vicentino, N. Nicola Vicentino: Ancient Music Adapted to Modern Practice, trans. Maniates, M. R. (New Haven and London: Yale University Press, 1996).Google Scholar
Vitali, Giovanni Battista, Artifici musicali. Opus XIII, ed. Rood, L. and Smith, G. P., Smith College Music Archives, 14 (Northhampton, MA: Smith College, 1959).Google Scholar
Výběr vícehlasých děl českého původu z XVI. a XVII. století, ed. Snížková, J. (Prague: SNKLHU, 1958).Google Scholar
Wilfflingseder, A., Erotemata musices practicae (Nuremberg: C. Heussler, 1563).Google Scholar
Zacconi, L., Canoni musicali (Pesaro, Biblioteca Oliveriana, MS 559).Google Scholar
Zacconi, L. Prattica di musica (Venice: G. Polo, 1592), facsimile edn (Hildesheim: Olms, 1982).Google Scholar
Zanger, J., Practicae musicae praecepta (Leipzig: Georg Hantzsch, 1554).Google Scholar
Zarlino, G., The Art of Counterpoint, Gioseffo Zarlino. Part Three of Le istitutioni harmoniche, 1558, trans. Marco, G. A., ed. Palisca, C. V., Music Theory Translation Series, 2 (New Haven and London: Yale University Press, 1968).Google Scholar
Zarlino, G. Le istitutioni harmoniche (Venice, 1558), facsimile edn Monuments of Music and Music Literature in Facsimile, II.1 (New York: Broude Bros., 1965).Google Scholar
Zarlino, G. Motets from 1549. Part 1: Motets Based on the Song of Songs, ed. Judd, C. C., RRMR, 145 (Middleton, WI: A-R Editions, 2006).Google Scholar
Zarlino, G. On the Modes: Part Four of Le Istitutioni harmoniche, 1558, trans. Cohen, V., ed. Palisca, C. V. (New Haven and London: Yale University Press, 1983).Google Scholar

Secondary Sources

Abele, U., Der Schleier – Zu Bildern und Verfahren in der Musik des 15. und 16. Jahrhunderts, Studien zur Musikwissenschaft, 14 (Hamburg: Kovač, 2008).Google Scholar
Abrahams, R. D., ‘The Complex Relations of Simple Forms’ in Ben-Amos, D. (ed.), Folklore Genres (Austin: University of Texas Press, 1976), 193214.Google Scholar
Adler, J., and Ernst, U. (eds.), Text als Figur: Visuelle Poesie von der Antike bis zur Moderne, Ausstellungskataloge der Herzog August Bibliothek, 56 (Weinheim: VCH, 1987).Google Scholar
Allsen, J. M., ‘Tenors ad longum and Rhythmic Cues in the Early Fifteenth-Century Motet’, Plainsong and Medieval Music, 12 (2003), 4369.Google Scholar
Ambros, A. W., Geschichte der Musik, 3 vols. (Leipzig: Leuckart, 1868), vol. III (Geschichte der Musik im Zeitalter der Renaissance bis zu Palestrina).Google Scholar
Ammendola, A. P., Polyphone Herrschermessen (1500–1650): Kontext und Symbolizität (Göttingen: Vandenhoeck & Ruprecht, 2013).Google Scholar
Ammendola, A. P.Zur Rezeption Josquin Desprez’ am kurpfälzischen Hof Ottheinrichs: Johannes Mittners Missa Hercules dux Ferrariæ’ in Ammendola, A. P., Glowotz, D. and Heidrich, J. (eds.), Polyphone Messen im 15. und 16. Jahrhundert. Funktion, Kontext, Symbol (Göttingen: Vandenhoeck & Ruprecht, 2012), 233–50.Google Scholar
Ander, O. and Lundberg, M., ‘Principer, frågor och problem i musikvetenskapligt editionsarbete – med exempel från pågående inventerings-, editions-och utgivningsprojekt’, Svensk tidskrift för musikforskning, 91 (2009), 4976.Google Scholar
Anderson, M. A., ‘The One Who Comes after Me: John the Baptist, Christian Time, and Symbolic Musical Techniques’, JAMS, 66 (2013), 639708.Google Scholar
Anderson, M. A. ‘Symbols of Saints: Theology, Ritual, and Kinship in Music for John the Baptist and St Anne (1175–1563)’, PhD thesis, University of Chicago (2008).Google Scholar
Anheim, É., ‘Les calligrammes musicaux de Baude Cordier’ in Clouzot, M. and Laloue, C. (eds.), Les représentations de la musique au Moyen Âge. Actes du colloque des 2 et 3 avril 2004 (Paris: Musée de la Musique, Cité de la Musique, 2005), 4655.Google Scholar
Ariew, R., ‘Galileo's Lunar Observations in the Context of Medieval Lunar Theory’, Studies in History and Philosophy of Science, 15 (1984), 213–26.Google Scholar
Atlas, A., ‘Heinrich Isaac's Palle, palle: A New Interpretation’ in Studien zur italienisch-deutschen Musikgeschichte IX, Analecta musicologica, 14 (Cologne: Böhlau, 1974), 1725.Google Scholar
Beck, J., ‘Formalism and Virtuosity: Franco-Burgundian Poetry, Music, and Visual Art, 1470–1520’, Critical Inquiry, 10 (1984), 644–67.Google Scholar
Bent, M., ‘Diatonic Ficta’, EMH, 4 (1984), 148.Google Scholar
Bent, M.Editing Early Music: The Dilemma of Translation’, EM, 22 (1994), 373–92.Google Scholar
Bent, M.What is Isorhythm?’ in Cannata, D. B., Currie, G. I., Mueller, R. C. and Nádas, J. L. (eds.), Quomodo cantabimus canticum? Studies in Honor of Edward H. Roesner (Middleton, WI: American Institute of Musicology, 2008), 121–43.Google Scholar
Benthem, J., ‘Domine, quis habitabit in tabernaculo tuo? A Neglected Psalm-setting in Antico's Motetti novi e chanzoni franciose’ in Clement, A. and Jas, E. (eds.), Josquin and the Sublime: Proceedings of the International Josquin Symposium at Roosevelt Academy, Middelburg, 12–15 July 2009 (Turnhout: Brepols, 2012), 73105.Google Scholar
Benthem, J.Text, Tone, and Symbol: Regarding Busnoys's Conception of In hydraulis and Its Presumed Relationship to Ockeghem's Ut heremita solus’ in Higgins, P. (ed.), Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music (Oxford: Clarendon Press, 1999), 215–53.Google Scholar
Bergsagel, J., ‘Cordier's Circular Canon’, Musical Times, 113 (1972), 1175–7.Google Scholar
Bismark, H., Rätselbucher: Entstehung und Entwicklung eines frühneuzeitlichen Buchtyps im deutschsprachigen Raum. Mit einer Bibliographie der Rätselbücher bis 1800, Frühe Neuzeit, 122 (Tübingen: Niemeyer, 2007).Google Scholar
Bitterli, D., Say What I Am Called: The Old English Riddles of the Exeter Book and the Anglo-Latin Riddle Tradition (University of Toronto Press, 2009).Google Scholar
Blackburn, B. J., ‘Canonic Conundrums: The Singer's Petrucci’, Basler Jahrbuch für historische Musikpraxis, 25 (2001), 5369.Google Scholar
Blackburn, B. J.The Corruption of One Is the Generation of the Other: Interpreting Canonic Riddles’, JAF, 4 (2012), 182203.Google Scholar
Blackburn, B. J.The Eloquence of Silence: Tacet Inscriptions in the Alamire Manuscripts’ in Clark, S. and Leach, E. E. (eds.), Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, Studies in Medieval and Renaissance Music, 4 (Woodbridge: Boydell Press, 2005), 206–24.Google Scholar
Blackburn, B. J.A Lost Guide to Tinctoris's Teachings Recovered’, EMH, 1 (1981), 2916.Google Scholar
Blackburn, B. J.Masses Based on Popular Songs and Solmization Syllables’ in Sherr, R. (ed.), The Josquin Companion (Oxford University Press, 2000), 5188.Google Scholar
Blackburn, B. J.“Notes secretly fitted together”: Theorists on Enigmatic Canons – and on Josquin's Hercules Mass?’ in Boorman, S. and Zayaruznaya, A. (eds.), “Qui musicam in se habet”: Essays in Honor of Alejandro E. Planchart (in press).Google Scholar
Blackburn, B. J.Obrecht's Missa Je ne demande and Busnoys's Chanson: An Essay in Reconstructing Lost Canons’, TVNM, 45 (1995), 1832.Google Scholar
Blackburn, B. J.Petrucci's Venetian Editor: Petrus Castellanus and His Musical Garden’, MD, 49 (1995), 1545.Google Scholar
Blackburn, B. J.Two Treasure Chests of Canonic Antiquities: The Collections of Hermann Finck and Lodovico Zacconi’ in Schiltz, and Blackburn, (eds.), Canons and Canonic Techniques, 303–38.Google Scholar
Blackburn, B. J.The Virgin in the Sun: Music and Image for a Prayer Attributed to Sixtus IV’, Journal of the Royal Musical Association, 24 (1999), 157–95.Google Scholar
Blackburn, B. J. and Holford-Strevens, L., ‘Juno's Four Grievances: The Taste for the Antique in Canonic Inscriptions’ in Konrad, U., Heidrich, J. and Marx, H. J. (eds.), Musikalische Quellen – Quellen zur Musikgeschichte: Festschrift für Martin Staehelin zum 65. Geburtstag (Göttingen: Vandenhoeck & Ruprecht, 2002), 159–74.Google Scholar
Blake, B. J., Secret Language: Codes, Tricks, Spies, Thieves, and Symbols (Oxford University Press, 2010).Google Scholar
Blumenberg, H., ‘Ein musikalisches Bildrätsel’, Die Musikforschung, 45 (1992), 163–5.Google Scholar
Bohatcová, M., ‘Farbige Figuralacrostichen aus der Offizin des Prager Druckers Georgius Nigrinus (1574/1581)’, Gutenberg-Jahrbuch, 57 (1982), 246–62.Google Scholar
Bohatcová, M. and Hejnic, J., ‘Knihtiskař Jiřík Nigrin a jednolistové “proroctví” Jindřicha Demetriana’, Sborník Národního Muzea Praze, 35 (1981), 73135.Google Scholar
Bonda, J. W., De meerstemmige Nederlandse liederen van de vijftiende en zestiende eeuw (Hilversum: Uitgeverij Verloren, 1997).Google Scholar
Bornstein, A., Two-Part Italian Didactic Music: Printed Collections of the Renaissance and Baroque (1521–1744), 3 vols. (Bologna: Ut Orpheus Edizione, 2004).Google Scholar
Brandl, A., ‘Shakespeares “Book of Merry Riddles” und die anderen Rätselbücher seiner Zeit’, Jahrbuch der deutschen Shakespeare-Gesellschaft, 42 (1906), 164.Google Scholar
Braun, W., ‘Visuelle Elemente in der Musik der frühen Neuzeit: Rastralkreuze’ in Strasser, G. F. and Wade, M. R. (eds.), Die Domänen des Emblems: Außerliterarische Anwendungen der Emblematik, Wolfenbütteler Arbeiten zur Barockforschung, 39 (Wiesbaden: Harrassowitz, 2004), 135–55.Google Scholar
Brinkmann, H., ‘Verhüllung (“Integumentum”) als literarische Darstellungsform im Mittelalter’ in Zimmermann, A. (ed.), Der Begriff der Repraesentatio im Mittelalter: Stellvertretung, Symbol, Zeichen, Bild, Miscellanea Mediaevalia, 8 (Berlin and New York: de Gruyter, 1971), 314–39.Google Scholar
Bruin, J., Homo interrogans: Questioning and the Intentional Structure of Cognition (University of Ottawa Press, 2001).Google Scholar
Brusniak, F., ‘Der Kodex A. R. 773 (C 100) von Johann Buchmayer in der Proske-Bibliothek zu Regensburg: Ein Beitrag zur Geschichte der Vokalpolyphonie in Deutschland um 1560’ in Mahling, C.-H. and Wiesmann, S. (eds.), Bericht über den internationalen musikwissenschaftlichen Kongress Bayreuth 1981 (Kassel: Bärenreiter, 1984), 288–94.Google Scholar
Bruyn, P. J., ‘Ghisilinus Danckerts, zanger van de pauselijke Cappella van 1538 tot 1565: Zijn leven, werken en onuitgegeven tractaat’, TVNM, 16 (1946), 217–52; 17 (1949), 128–57.Google Scholar
Bryant, M., Dictionary of Riddles (London and New York: Routledge, 1990).Google Scholar
Bujic, B., ‘Notation and Realization: Musical Performance in Historical Perspective’ in Krausz, M. (ed.), The Interpretation of Music: Philosophical Essays (Oxford: Clarendon Press, 1993), 129–40.Google Scholar
Burns, T. A., ‘Riddling: Occasion to Act’, Journal of American Folklore, 89 (1976), 139–65.Google Scholar
Busse Berger, A. M., Mensuration and Proportion Signs: Origins and Evolution (Oxford: Clarendon Press, 1993).Google Scholar
Bynum, C. W., Metamorphosis and Identity (New York: Zone Books, 2005).Google Scholar
Canguilhem, P., ‘Singing upon the Book according to Vicente Lusitano’, EMH, 30 (2011), 55103.Google Scholar
Céard, J., and Margolin, J.-C., Rébus de la Renaissance: Des images qui parlent, 2 vols. (Paris: Maisonneuve et Larose, 1986).Google Scholar
Cerfeda, F., ‘Il ms. Canoni musicali proprij e di diversi autori di Lodovico Zacconi’, 2 vols. (MA thesis, Università degli Studi di Pavia, Scuola di Paleografia e Filologia musicale di Cremona, 1989–90).Google Scholar
Charteris, R., Adam Gumpelzhaimer's Little-Known Score-Books in Berlin and Kraków, Musicological Studies and Documents, 48 (Neuhausen: American Institute of Musicology, 1996).Google Scholar
Church, M., ‘The First English Pattern Poems’, Publications of the Modern Language Association, 61 (1946), 636–50.Google Scholar
Cohen, S., ‘Connecting through Riddles, or the Riddle of Connecting’ in Hasan-Rokem, and Shulman, (eds.), Untying the Knot, 294315.Google Scholar
Collins, D. B., ‘Fugue, Canon and Double Counterpoint in Nicola Vicentino's L'antica musica (1555)’, Irish Musical Studies, 2 (1993), 267301.Google Scholar
Collins, D. B.The Martini–Redi Polemic on the Solution of a Canon by Giovanni Animuccia’, Indiana Theory Review, 16 (1995), 6181.Google Scholar
Collins, D. B.Morley on Canon’ in Owens, J. A. and Milsom, J. (eds.), Thomas Morley: A Plaine and Easie Introduction to Practicall Musicke (in press).Google Scholar
Cook, E., Enigmas and Riddles in Literature (Cambridge University Press, 2006).Google Scholar
Cook, E.The Figure of Enigma: Rhetoric, History, Poetry’, Rhetorica, 19 (2001), 349–78.Google Scholar
A Correspondence of Renaissance Musicians, ed. Blackburn, B. J., Lowinsky, E. E. and Miller, C. A. (Oxford: Clarendon Press, 1991).Google Scholar
Crocker, R. L., ‘A New Source for Medieval Music Theory’, Acta Musicologica, 39 (1967), 161–71.Google Scholar
Davies, H. N., ‘The History of a Cipher, 1602–1772’, ML, 48 (1967), 325–29.Google Scholar
Dean, J., ‘Listening to Sacred Polyphony c.1500’, EM, 25 (1997), 611–36.Google Scholar
De Filippis, M., ‘Straparola's Riddles’, Italica, 24 (1974), 134–46.Google Scholar
DeFord, R. I., ‘Who Devised the Proportional Notation in Isaac's Choralis Constantinus?’ in Burn, D. and Gasch, S. (eds.), Heinrich Isaac and Polyphony for the Proper of the Mass in the Late Middle Ages and Renaissance (Turnhout: Brepols, 2011), 166213.Google Scholar
Dekker, W., ‘Ein Karfreitagsrätselkanon aus Adam Gumpelzhaimers Compendium musicae (1632)’, Die Musikforschung, 27 (1974), 323–32.Google Scholar
Devos, J. P., Les chiffres de Philippe II (1555–1598) et du despacho universal durant le XVIIe siècle (Brussels: Palais des Académies, 1950).Google Scholar
Dienhart, J. M., The Language of Riddles, Humor and Literature: Six Essays by John M. Dienhart, ed. Nørgaard, N. (Odense: Syddansk Universitetsforlag, 2010).Google Scholar
Dobbins, F., Music in Renaissance Lyons (Oxford: Clarendon Press, 1992).Google Scholar
Dumitrescu, T., ‘Constructing a Canonic Pitch Spiral: The Case of Salve radix’ in Schiltz, and Blackburn, (eds.), Canons and Canonic Techniques, 141–70.Google Scholar
Durante, S., ‘On Artificioso Compositions at the Time of Frescobaldi’ in Silbiger, A. (ed.), Frescobaldi Studies (Durham, NC: Duke University Press, 1987), 195217.Google Scholar
Eisenberg, M., ‘The Mirror of the Text: Reflections in Ma fin est mon commencement’ in Schiltz, and Blackburn, (eds.), Canons and Canonic Techniques, 83110.Google Scholar
Elias, M., ‘Neck Riddles in Mimetic Theory’, Contagion. Journal of Violence, Mimesis and Culture, 2 (1995), 189202.Google Scholar
Ernst, U., Carmen figuratum: Geschichte des Figurengedichts von den antiken Ursprüngen bis zum Ausgang des Mittelalters, Pictura et poesis, 1 (Cologne, Weimar and Vienna: Böhlau, 1991).Google Scholar
Ernst, U. Intermedialität im europäischen Kulturzusammenhang: Beiträge zur Theorie und Geschichte der visuellen Lyrik, Allgemeine Literaturwissenschaft – Wuppertaler Schriften, 4 (Berlin: Schmidt, 2002).Google Scholar
Ernst, U.Lesen als Rezeptionsakt: Textpräsentation und Textverständnis in der manieristischen Barocklyrik’, Zeitschrift für Literaturwissenschaft und Linguistik, 57–8 (1985), 6794.Google Scholar
Ernst, U.Permutation als Prinzip in der Lyrik’, Poetica, 24 (1992), 225–69.Google Scholar
Fabris, D., ‘Giochi musicali e veglie “alla senese” nelle città non toscane dell'Italia rinascimentale’ in Alm, I., McLamore, A. and Reardon, C. (eds.), Musica franca: Essays in Honor of Frank A. D'Accone, Festschrift Series, 18 (Stuyvesant, NY: Pendragon Press, 1996), 213–29.Google Scholar
Fallows, D., Dufay (London: Dent, 1982).Google Scholar
Fallows, D.Embellishment and Urtext in the Fifteenth-Century Song Repertories’, Basler Jahrbuch für historische Musikpraxis, 14 (1990), 5985.Google Scholar
Fanlo, J.-R., ‘Le traicté des chiffres et secretes manieres d'escrire de Blaise de Vigenère’ in Martin, D., Servet, P. and Tournon, A. (eds.), L’énigmatique à la Renaissance: Formes, significations, esthétiques. Actes du colloque organisé par l'association Renaissance, Humanisme, Réforme (Lyon, 7–10 septembre 2005) (Paris: Champion, 2008), 2739.Google Scholar
Febel, G., Poesia ambigua oder Vom Alphabet zum Gedicht: Aspekte der Entwicklung der modernen französischen Lyrik bei den Grands Rhétoriqueurs, Analecta romanica, 62 (Frankfurt am Main: Klostermann, 2001).Google Scholar
Feininger, L. K. J., Die Frühgeschichte des Kanons bis Josquin des Prez (um 1500) (Emsdetten: Verlags-Anstalt Heinr. & J. Lechte, 1937).Google Scholar
Fenlon, I., ‘Music, Piety and Politics under Cosimo I: The Case of Costanzo Porta’ in Firenze e la Toscana dei Medici nell'Europa del '500, Biblioteca di storia toscana moderna e contemporanea. Studi e documenti, 26 (Florence, 1983), vol. II (Musica e spettacolo. Scienze dell'uomo e della natura), 457–68.Google Scholar
Forney, K. K., ‘New Documents on the Life of Tielman Susato, Sixteenth-Century Music Printer and Musician’, Revue belge de musicologie, 36–8 (1982–4), 1852.Google Scholar
Forster, E. S., ‘Riddles and Problems from the Greek Anthology’, Greece & Rome, 14 (1945), 42–7.Google Scholar
Fredouille, J.-C., ‘Réflexions de Tertullien sur l'allégorie’ in Dahan, G. and Goulet, R. (eds.), Allégorie des poètes, allégorie des philosophes: Études sur la poétique et l'herméneutique de l'allégorie de l'Antiquité à la Réforme, Textes et traditions, 10 (Paris: Vrin, 2005), 133–48.Google Scholar
Frye, N., ‘Charms and Riddles’ in his Spiritus mundi: Essays on Literature, Myth, and Society (Bloomington and London: Indiana University Press, 1976), 123–47.Google Scholar
Fuhrmann, M., ‘Obscuritas: Das Problem der Dunkelheit in der rhetorischen und literar-ästhetischen Theorie der Antike’ in Iser, W. (ed.), Immanente Ästhetik – Ästhetische Reflexion: Lyrik als Paradigma der Moderne, Poetik und Hermeneutik, 2 (Munich: Fink, 1966), 4772.Google Scholar
Fuhrmann, W., ‘“Ave mundi spes Maria”: Symbolik, Konstruktion und Ausdruck in einer Dedikationsmotette des frühen 16. Jahrhunderts’ in Heidrich, J. (ed.), Die Habsburger und die Niederlande: Musik und Politik um 1500, Jahrbuch für Renaissancemusik, 8 (Kassel: Bärenreiter, 2010), 89127.Google Scholar
Fuhrmann, W.Notation als Denkform: Zu einer Mediengeschichte der musikalischen Schrift’ in Bicher, K., Kim, J.-A. and Toelle, J. (eds.), Musiken: Festschrift für Christian Kaden (Berlin: Ries & Erler, 2011), 114–35.Google Scholar
Galloway, A., ‘The Rhetoric of Riddling in Late-Medieval England: The “Oxford” Riddles, the Secretum philosophorum, and the Riddles in Piers Plowman’, Speculum, 70 (1995), 68105.Google Scholar
Garcia, F., ‘Pietro Cerone's El Melopeo y maestro: A Synthesis of Sixteenth-Century Musical Theory’, PhD thesis, Northwestern University (1978).Google Scholar
Gasch, S., ‘“Sursum deorsum aguntur res mortalium”: Canons in Magnificat Settings of the Fifteenth and Sixteenth Centuries and the Case of Mattheus Le Maistre's Magnificat sexti toni’ in Schiltz, and Blackburn, (eds.), Canons and Canonic Techniques, 253–82.Google Scholar
Gerbino, G., Canoni ed enigmi: Pier Francesco Valentini e l'artificio canonico nella prima metà del Seicento (Rome: Edizione Torre d'Orfeo, 1995).Google Scholar
Gentile, L. C., ‘Orlando di Lasso pellegrino a Loreto: Vicende di un ex voto musicale’, Recercare, 19 (2007), 221–9Google Scholar
Gerstenberg, Walter, ‘Senfliana’ in Hoffman-Erbrecht, L. and Hucke, H. (eds.), Festschrift Helmuth Osthoff zum 65. Geburtstage (Tutzing: H. Schneider, 1961), 3946.Google Scholar
Giani, M., ‘“Scala musica”: Vicende di una metafora’ in Nicolodi, F. and Trovato, P. (eds.), Le parole della musica III: Studi di lessicologia musicale (Florence: Olschki, 2000), 3148.Google Scholar
Glidden, H., ‘Babil/Babel: Language Games in the Bigarrures of Estienne Tabourot’, Studies in Philology, 79 (1982), 242–55.Google Scholar
Goetz, G., ‘Über Dunkel-und Geheimsprachen im späten und mittelalterlichen Latein’, Berichte über die Verhandlungen der Königlich Sächsischen Gesellschaft der Wissenschaften zu Leipzig – Philologisch-historische Classe, 48 (1896), 6292.Google Scholar
Gottwald, C., ‘Humanisten-Stammbücher als musikalische Quellen’ in Stauder, W., Aarburg, U. and Cahn, P. (eds.), Helmuth Osthoff zu seinem siebzigsten Geburtstag (Tutzing: Schneider, 1969), 89103.Google Scholar
Gracián, B., Agudeza y arte de ingenio (Huesca, 1648), ed. Calderón, Evaristo Correa, 2 vols. (Madrid: Castalia, 1969).Google Scholar
Grafton, A., Leon Battista Alberti: Master Builder of the Italian Renaissance (New York: Hill and Wang, 2000).Google Scholar
Griesheimer, J. C., ‘The Antiphon-, Responsory-, and Psalm Motets of Ludwig Senfl’, PhD thesis, Indiana University (1990).Google Scholar
Grondeux, A., and Rosier-Catach, I., La Sophistria de Robertus Anglicus: Étude et édition critique (Paris: Vrin, 2006).Google Scholar
Günther, U., ‘Fourteenth-Century Music with Texts Revealing Performance Practice’ in Boorman, S. (ed.), Studies in the Performance of Late Mediaeval Music (Cambridge University Press, 1983), 253–70.Google Scholar
Guyot, E.-G., Nouvelles récréations physiques et mathématiques (Paris, 1769).Google Scholar
Haar, J., ‘Josquin as Interpreted by a Mid-Sixteenth-Century German Musician’ in his The Science and Art of Renaissance Music, 176–97.Google Scholar
Haar, J.Lessons in Theory from a Sixteenth-Century Composer’, in Charteris, R. (ed.), Altro Polo: Essays on Italian Music in the Cinquecento (Sydney: Frederick May Foundation for Italian Studies, 1990), 5181; repr. in Haar, The Science and Art of Renaissance Music, 149–75.Google Scholar
Haar, J.Music as Visual Object: The Importance of Notational Appearance’ in Borghi, R. and Zappalà, P. (eds.), L'edizione critica tra testo musicale e testo letterario. Atti del convegno internazionale (Cremona 4–8 ottobre 1992), Studi e testi musicali. Nuova serie, 3 (Lucca: Libreria Musicale Italiana, 1995), 97128.Google Scholar
Haar, J.On Musical Games in the Sixteenth Century’, JAMS, 15 (1962), 2234.Google Scholar
Haar, J.Palestrina as Historicist: The Two L'homme armé Masses’, Journal of the Royal Musical Association, 121 (1996), 191205.Google Scholar
Haar, J. The Science and Art of Renaissance Music, ed. Corneilson, P. (Princeton University Press, 1998).Google Scholar
Haar, J.Some Remarks on the “Missa La sol fa re mi”’ in Lowinsky, E. E. and Blackburn, B. J. (eds.), Josquin des Prez: Proceedings of the International Josquin Festival-Conference held at the Juilliard School at Lincoln Center in New York City, 21–25 June 1971 (London, New York and Toronto: Oxford University Press, 1976), 564–88.Google Scholar
Haar, J.Zarlino's Definition of Fugue and Imitation’, JAMS, 24 (1971), 226–54.Google Scholar
Haar, J. and Nádas, J., ‘Johannes de Anglia (John Hothby): Notes on His Career in Italy’, Acta musicologica, 79 (2007), 291358.Google Scholar
Haberkamp, G. (ed.), Thematischer Katalog der Musikhandschriften, vol. I: Sammlung Proske, Manuskripte des 16. und 17. Jahrhunderts aus den Signaturen A.R, B, C, AN, Kataloge bayerischer Musiksammlungen, 14 (Munich: Henle, 1989).Google Scholar
Haberl, D., ‘CANON. Notate verba, et signate mysteria – Ludwig Senfls Rätselkanon Salve sancta parens, Augsburg 1520. Tradition – Auflösung – Deutung’, Neues musikwissenschaftliches Jahrbuch, 12 (2004), 952.Google Scholar
Hain, M., Rätsel (Stuttgart: Metzler, 1966).Google Scholar
Ham, M., ‘“Ye are Gods”: Depicting the Royal Self’, Humanistica: An International Journal of Early Renaissance Studies, 5 (2010), 4957.Google Scholar
Handelman, D., ‘Traps of Trans-Formation: Theoretical Convergences between Riddle and Ritual’ in Hasan-Rokem, and Shulman, (eds.), Untying the Knot, 3761.Google Scholar
Harrison, C., Beauty and Revelation in the Thought of Saint Augustine (Oxford: Clarendon Press, 1992).Google Scholar
Hasan-Rokem, G., and Shulman, D. (eds.), Untying the Knot: On Riddles and Other Enigmatic Modes (New York and Oxford: Oxford University Press, 1996).Google Scholar
Hattenhauer, H., Pax et iustitia, Berichte aus den Sitzungen der Joachim Jungius-Gesellschaft der Wissenschaften 3 (Hamburg, 1983).Google Scholar
Haug, W., ‘Geheimnis und dunkler Stil’ in A. and Assmann, J. (eds.), Schleier und Schwelle, 3 vols., Archäologie der literarischen Kommunikation, 5 (Munich: Fink, 1998), vol. II (Geheimnis und Offenbarung), 205–20.Google Scholar
Heimann-Seelbach, S., ‘Ars und scientia: Wissenschaftssystematische Implikationen in ars memorativa-Traktaten des 15. Jahrhunderts’ in Berns, J.-J. and Neuber, W. (eds.), Seelenmaschinen: Gattungstraditionen, Funktionen und Leistungsgrenzen der Mnemotechniken vom späten Mittelalter bis zum Beginn der Moderne (Vienna: Böhlau, 2000), 187–97.Google Scholar
Helms, D., Heinrich VIII. und die Musik: Überlieferung, musikalische Bildung des Adels und Kompositionstechniken eines Königs, Studien zur Musikwissenschaft aus Münster, 11 (Eisenach: Verlag der Musikalienhandlung Wagner, 1998).Google Scholar
Helms, D.Henry VIII's Book: Teaching Music to Royal Children’, MQ, 92 (2009), 118–35.Google Scholar
Henkel, A., and Schöne, A., Emblemata: Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts (Stuttgart: Metzler, 1996).Google Scholar
Hewitt, H., ‘The Two Puzzle Canons in Busnois’ Maintes femmes’, JAMS, 10 (1957), 104–10.Google Scholar
Higgins, D., Pattern Poetry: Guide to an Unknown Literature (Albany: State University of New York Press, 1987).Google Scholar
Historisches Wörterbuch der Rhetorik (Tübingen: Niemeyer, , 2003).Google Scholar
Hofstadter, D. R., Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books Publications, 1979).Google Scholar
Holdefer, C., ‘Reading the Enigma: The Play within the Play’ in Bikialo, S. and Dürrenmatt, J. (eds.), L’énigme (Université de Poitiers, 2003), 4150.Google Scholar
Holford-Strevens, L., ‘The Latinity of Jacob Obrecht’, JAF, 2 (2010), 155–65.Google Scholar
Huck, O., ‘The Early Canon as Imitatio naturae’ in Schiltz, and Blackburn, (eds.), Canons and Canonic Techniques, 718.Google Scholar
Huys, B., Verzameling kostbare werken: Ontstaan en ontwikkeling van een afdeling van de Koninklijke Bibliotheek (Brussels: Koninklijke Bibliotheek, 1961).Google Scholar
Jas, E., ‘Another Mass by Benedictus Appenzeller’, TVNM, 44 (1994), 99114.Google Scholar
Jas, E.A Rediscovered Mass of Jheronimus Vinders?’ in Clement, Albert and Jas, Eric (eds.), From Ciconia to Sweelinck: Donum Natalicium Willem Elders (Amsterdam and Atlanta, GA: Rodopi, 1994), 221–43.Google Scholar
Josephson, N., ‘Agnus Dei I from Robert de Févin, Missa La Sol Mi Fa Re’, MD, 28 (1974), 7780.Google Scholar
Judd, C. C., ‘Musical Commonplace Books, Writing Theory, and “Silent Listening”: The Polyphonic Examples of the Dodecachordon’, MQ, 82 (1998), 482516.Google Scholar
Judd, C. C. Reading Renaissance Music Theory: Hearing with the Eyes, Cambridge Studies in Music Theory and Analysis, 14 (Cambridge University Press, 2000).Google Scholar
Jütte, D., Das Zeitalter des Geheimnisses: Juden, Christen und die Ökonomie des Geheimen (1400–1800) (Göttingen: Vandenhoeck & Ruprecht, 2011).Google Scholar
Kee, P., ‘Getal en symboliek in Passacaglia en Ciacona’, Het Orgel, 82 (1986), 147–55; 205–14.Google Scholar
Kellman, H. (ed.), The Treasury of Petrus Alamire: Music and Art in Flemish Court Manuscripts 1500–1535 (Ghent and Amsterdam: Ludion, 1999).Google Scholar
Kim, Y. J., Crux sola est nostra theologia: Das Kreuz Christi als Schlüsselbegriff der Theologia crucis Luthers (Frankfurt am Main: Lang, 2008).Google Scholar
Kirkman, A., The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival (Cambridge University Press, 2010).Google Scholar
Kirnbauer, M., ‘“sind alle lang” – Glareans Erläuterungen zur Mensuralnotation und musikalische Praxis’ in Schwindt, N. (ed.), Heinrich Glarean oder: Die Rettung der Musik aus dem Geist der Antike? Trossinger Jahrbuch für Renaissancemusik, 5 (Kassel: Bärenreiter, 2005), 7792.Google Scholar
Klotz, S., Kombinatorik und die Verbindungskünste der Zeichen in der Musik zwischen 1630 und 1780 (Berlin: Akademie-Verlag, 2006).Google Scholar
Kühne, U., ‘Nodus in scirpo – Enodatio quaestionis: Eine Denkfigur bei Johannes von Salisbury und Alanus von Lille’, Antike und Abendland, 44 (1998), 163–76.Google Scholar
Kwapisz, J., Petrain, D. and Szymański, M. (eds.), The Muse at Play: Riddles and Wordplay in Greek and Latin Poetry, Beiträge zur Altertumskunde, 305 (Berlin: De Gruyter, 2013).Google Scholar
Lachin, G., and Zambon, F. (eds.), Obscuritas: Retorica e poetica dell'oscuro. Atti del XXVIII Convegno Interuniversitario di Bressanone (12–15 luglio 2001) (Trent: Dipartimento di scienze filologiche e storiche, 2004).Google Scholar
Lamla, M., Kanonkünste im barocken Italien, insbesondere in Rom, 3 vols. (Berlin: dissertation.de, 2003).Google Scholar
Larson, K. R., ‘Conversational Games and the Articulation of Desire in Shakespeare's Love's Labour's Lost and Mary Wroth's Love's Victory’, English Literary Renaissance, 40 (2010), 165–90.Google Scholar
Lateinisches etymologisches Wörterbuch, ed. Walde, A. (Heidelberg: Winter, 1954).Google Scholar
Lausberg, H., Elemente der literarischen Rhetorik (9th edn, Munich: Hueber, 1987).Google Scholar
Leach, E. E., Sung Birds: Music, Nature, and Poetry in the Later Middle Ages (Ithaca, NY and London: Cornell University Press, 2007).Google Scholar
Lenaerts, R., Het Nederlands polifonies lied in de zestiende eeuw (Mechelen and Amsterdam, 1933).Google Scholar
Levitan, J. S., ‘Adrian Willaert's Famous Duo Quidnam ebrietas’, TVNM, 15 (1938–9), 166233.Google Scholar
Lindmayr-Brandl, A., ‘Die Autorität der Namen: Fremd-und Eigensignaturen in musikalischen Werken der Renaissance’ in Lütteken, L. and Schwindt, N. (eds.), Autorität und Autoritäten in musikalischer Theorie, Komposition und Aufführung, Trossinger Jahrbuch für Renaissancemusik, 3 (Kassel: Bärenreiter, 2004), 2140.Google Scholar
Lindmayr-Brandl, A.Ockeghem's Motets: Style as an Indicator of Authorship. The Case of Ut heremita solus Reconsidered’, in Vendrix, Philippe (ed.), Johannes Ockeghem: Actes du XLe Colloque international d’études humanistes. Tours, 3–8 février 1997 (Paris: Klincksiek, 1998), 499520.Google Scholar
Lindmayr-Brandl, A.Ein Rätseltenor Ockeghems: Des Rätsels Lösung’, Acta musicologica, 60 (1988), 3142.Google Scholar
Long, M., ‘Arma virumque cano: Echoes of a Golden Age’ in Higgins, P. (ed.), Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music (Oxford: Clarendon Press, 1999), 133–54.Google Scholar
Long, M.Singing through the Looking Glass: Child's Play and Learning in Medieval Italy’, JAMS, 61 (2008), 253306.Google Scholar
Long, M.Symbol and Ritual in Josquin's Missa Di Dadi’, JAMS, 42 (1989), 122.Google Scholar
Lorenz, R., ‘Canon as a Pedagogical Tool: Applications from Sixteenth-Century Wittenberg’, Indiana Theory Review, 16 (1995), 83104.Google Scholar
Lowinsky, E. E., ‘Adrian Willaert's Chromatic “Duo” Reexamined’, Tijdschrift voor Muziekwetenschap, 18 (1956–9), 136. Reprinted in Lowinsky, Music in the Culture of the Renaissance, vol. II, 681–98.Google Scholar
Lowinsky, E. E.Ascanio Sforza's Life: A Key to Josquin's Biography and an Aid to the Chronology of His Works’, in Lowinsky, E. E. and Blackburn, B. J. (eds.), Josquin des Prez: Proceedings of the International Josquin Festival-Conference held at the Juilliard School at Lincoln Center in New York City, 21–25 June 1971 (London, New York and Toronto: Oxford University Press, 1976), 3175. Reprinted in Lowinsky, Music in the Culture of the Renaissance, vol. II, 541–64.Google Scholar
Lowinsky, E. E.Echoes of Adrian Willaert's “Duo” in Sixteenth- and Seventeenth-Century Compositions’ in Powers, H. (ed.), Studies in Music History: Essays for Oliver Strunk (Princeton University Press, 1968), 183238. Reprinted in Lowinsky, Music in the Culture of the Renaissance, vol. II, 699–729.Google Scholar
Lowinsky, E. E.The Goddess Fortuna in Music: With a Special Study of Josquin's “Fortuna dun gran tempo”’, MQ, 29 (1943), 4577. Reprinted in Lowinsky, Music in the Culture of the Renaissance, vol. I, 221–39.Google Scholar
Lowinsky, E. E. Music in the Culture of the Renaissance and Other Essays, ed. Blackburn, B. J., 2 vols. (University of Chicago Press, 1989).Google Scholar
Lowinsky, E. E.Music in Titian's Bacchanal of the Andrians: Origin and History of the Canon per tonos’ in Lowinsky, , Music in the Culture of the Renaissance, vol. I, 289312.Google Scholar
Macey, P., ‘Mouton and Josquin, Motets for Five and Six Voices: Canon, Modular Repetition, and Musical Borrowing’, JAF (in press).Google Scholar
Maranda, E. K., ‘The Logic of Riddles’ in Maranda, P. and Maranda, E. K. (eds.), Structural Analysis of Oral Tradition (Philadelphia: University of Pennsylvania Press, 1971), 189232.Google Scholar
Maranda, E. K.Riddles and Riddling: An Introduction’, Journal of American Folklore, 89 (1976), 127–37.Google Scholar
Maranda, E. K.Theory and Practice of Riddle Analysis’, Journal of American Folklore, 84 (1971), 5161.Google Scholar
Margolin, J.-C., Érasme et la musique (Paris: Vrin, 1965).Google Scholar
Marinoni, A., I rebus di Leonardo da Vinci, raccolti e interpretati. Con un saggio su ‘Una virtù spirituale’ (Florence: Olschki, 1954).Google Scholar
Marschall, V., Das Chronogramm: Eine Studie zu Formen und Funktionen einer literarischen Kunstform, Helicon. Beiträge zur deutschen Literatur, 22 (Frankfurt am Main: Lang, 1997).Google Scholar
Martin, D., Servet, P. and Tournon, A. (eds.), L’énigmatique à la Renaissance: Formes, significations, esthétiques. Actes du colloque organisé par l'association Renaissance, Humanisme, Réforme (Lyon, 7–10 septembre 2005) (Paris: Champion, 2008).Google Scholar
Matzdorf, P., ‘Die “Practica musica” Hermann Fincks’, PhD thesis, Johann Wolfgang Goethe-Universität Frankfurt am Main (1957).Google Scholar
Maynard, J. D., ‘An Anonymous Scottish Treatise on Music from the Sixteenth Century, British Museum, Additional Manuscript 4911, Edition and Commentary’, 2 vols., PhD thesis, Indiana University (1961). Online edition via Texts of Music in English: ww.chmtl.indiana.edu/tme/.Google Scholar
Maynard, J. D.Heir Beginnis Countering’, JAMS, 20 (1967), 182–96.Google Scholar
Mehtonen, P., Obscure Language, Unclear Literature: Theory and Practice from Quintilian to the Enlightenment, trans. MacGilleon, R., Suomalaisen Tiedeakatemian Toimituksia, Humaniora, 320 (Helsinki: Academia Scientiarum Fennica, 2003).Google Scholar
Mehtonen, P.Obscurity as a Linguistic Device: Introductory and Historical Notes’, Danish Yearbook of Philosophy, 31 (1996), 157–68.Google Scholar
Mehtonen, P.Theories of Obscurity in Quintilian and in the 18th Century’ in Harsting, P. and Ekman, S. (eds.), Ten Nordic Studies in the History of Rhetoric (Copenhagen: Nordisk Netværk for Retorikkens Historie, 2002), 95108.Google Scholar
Mehtonen, P.“When Is Obscurity Apposite?” George Campbell at the Crossroads of Rhetorical Theory and Modern Epistemology’ in Lundsten, L., Siitonen, A. and Österman, B. (eds.), Communication and Intelligibility, Acta philosophica Fennica, 69 (Helsinki: Philosophical Society of Finland, 2001), 159–69.Google Scholar
Meister, A., Die Geheimschrift im Dienste der päpstlichen Kurie von ihren Anfängen bis zum Ende des XVI. Jahrhunderts (Paderborn: Schöningh, 1906).Google Scholar
Melson, E. A., ‘Compositional Strategies in Mensuration and Proportion Canons, ca. 1400 to ca. 1600’ (MA thesis, McGill University, 2008).Google Scholar
Meyer, C., ‘Vexilla regis prodeunt: Un canon énigmatique de Leonhard Paminger’ in Beer, A., Pfarr, K. and Ruf, W. (eds.), Festschrift Christoph-Hellmut Mahling zum 65. Geburtstag, Mainzer Studien zur Musikwissenschaft, 37, 2 vols. (Tutzing: Schneider, 1997), vol. II, 909–17.Google Scholar
Montfort, N., Twisty Little Passages: An Approach to Interactive Fiction (Cambridge, MA and London: MIT Press, 2003).Google Scholar
Morelli, A., ‘Una nuova fonte per la musica di Ghiselino Danckerts “musico e cantore cappellano della cappella del papa”’, Recercare, 21 (2009), 75110.Google Scholar
Mosher, N. M., Le texte visualisé: Le calligramme de l’époque alexandrine à l’époque cubiste, American University Studies, II.119 (New York: Lang, 1990).Google Scholar
Nelson, B., ‘The Missa Du bon du cuer: An Unknown Mass by Noel Bauldeweyn?’, TKVNM, 51 (2001), 103–30.Google Scholar
Newes, V., ‘Mensural Virtuosity in Non-Fugal Canons c.1350 to 1450’ in Schiltz, and Blackburn, (eds.), Canons and Canonic Techniques, 1946.Google Scholar
Newes, V.Writing, Reading and Memorizing: The Transmission and Resolution of Retrograde Canons from the 14th and Early 15th Centuries’, EM, 18 (1990), 218–34.Google Scholar
Noblitt, T., ‘The Missa O Österreich: Observations and Speculations’ in Salmen, W. (ed.), Heinrich Isaac und Paul Hofhaimer im Umfeld von Kaiser Maximilian I. Bericht über die vom 1. bis 5. Juli 1992 in Innsbruck abgehaltene Fachtagung, Innsbrucker Beiträge zur Musikwissenschaft, 16 (Innsbruck: Helbling, 1997), 203–16.Google Scholar
Noblitt, T.A Reconstruction of MS Thomaskirche 51 of the Universitätsbibliothek Leipzig (olim III.A.α.22–23)’, TVNM, 31 (1981), 1672.Google Scholar
Ohlert, K., Rätsel und Rätselspiele der alten Griechen (2nd edn, Berlin: Mayer & Müller, 1912).Google Scholar
Ott, I., Methoden der Kanonkomposition bei Josquin Des Prez und seinen Zeitgenossen, Schriften der Musikhochschule Lübeck, 1 (Hildesheim: Olms, 2014).Google Scholar
Owens, J. A., ‘Music Historiography and the Definition of “Renaissance”’, Notes, 47 (1990), 305–30.Google Scholar
Pagis, D., ‘Toward a Theory of the Literary Riddle’ in Hasan-Rokem, and Shulman, (eds.), Untying the Knot, 81108.Google Scholar
Panagl, V., Lateinische Huldigungsmotetten für Angehörige des Hauses Habsburg: Vertonte Gelegenheitsdichtung im Rahmen neulateinischer Herrscherpanegyrik, Europäische Hochschulschriften, XV.92 (Frankfurt am Main: Lang, 2004).Google Scholar
Pedretti, C., ‘Three Leonardo Riddles’, RQ, 30 (1977), 153–9.Google Scholar
Pennuto, C., ‘Giovambattista della Porta e l'efficacia terapeutica della musica’ in Wuidar, L. (ed.), Music and Esotericism, Aries Book Series, 9 (Leiden and Boston: Brill, 2010), 109–27.Google Scholar
Picker, M., The Chanson Albums of Marguerite of Austria: MSS 228 and 11239 of the Bibliothèque Royale de Belgique, Brussels (Berkeley and Los Angeles: University of California Press, 1965).Google Scholar
Pietschmann, K., ‘Repräsentationsformen in der frankoflämischen Musikkultur des 15. und 16. Jahrhunderts: Transfer, Austausch, Akkulturation’, Musiktheorie, 25 (2010), 99115.Google Scholar
Pietschmann, K.Zirkelkanon im Niemandsland: Ikonographie und Symbolik im Chansonnier Florenz, Biblioteca Nazionale Centrale, Banco Rari 229’ in Bloxam, M. J., Filocamo, G. and Holford-Strevens, L. (eds.), ‘Uno gentile et subtile ingenio’: Studies in Renaissance Music in Honour of Bonnie Blackburn (Turnhout: Brepols, 2009), 605–15.Google Scholar
Plumley, Y., and Stone, A., ‘Cordier's Picture-Songs and the Relationship between the Song Repertories of the Chantilly Codex and Oxford 213’ in Plumley, Y. and Stone, A. (eds.), A Late Medieval Songbook and Its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564) (Turnhout: Brepols, 2009), 303–28.Google Scholar
Pozzi, G., La parola dipinta (Milan: Adelphi, 1981).Google Scholar
Pucci, P., Enigma, segreto, oracolo (Pisa and Rome: Istituti editoriali e poligrafici internazionali, 1996).Google Scholar
Quang, G., ‘Buchstaben als Zahlen’, Symbolon. Jahrbuch für Symbolforschung, 10 (1991), 4350.Google Scholar
Redondo, A., ‘Le jeu de l’énigme dans l'Espagne du XVIe siècle et du début du XVIIe siècle: Aspect ludique et subversion’ in Ariès, P. and Margolin, J.-C. (eds.), Les jeux à la Renaissance (Paris: Vrin, 1982), 445–58.Google Scholar
Rees, O., ‘“Recalling Cristóbal de Morales to Mind”: Emulation in Guerrero's Sacrae cantiones of 1555’ in Crawford, D. and Wagstaff, G. G. (eds.), Encomium musicae: Essays in Memory of Robert J. Snow, Festschrift Series, 17 (Hillsdale, NY: Pendragon Press, 2002), 364–94.Google Scholar
Riemann, H., Handbuch der Musikgeschichte. Zweiter Band, Erster Teil: Das Zeitalter der Renaissance bis 1600 (Leipzig: Breitkopf & Härtel, 1907).Google Scholar
Riffaterre, M., ‘Undecidability as Hermeneutic Constraint’ in Collier, P. and Geyer-Ryan, H. (eds.), Literary Theory Today (Ithaca, NY: Cornell University Press, 1990), 109–24.Google Scholar
Röder, T., ‘Verborgene Botschaften? Augsburger Kanons von 1548’ in Schiltz, and Blackburn, (eds.), Canons and Canonic Techniques, 235–51.Google Scholar
Rodin, J., Josquin's Rome: Hearing and Composing in the Sistine Chapel (Oxford University Press, 2012).Google Scholar
Rodin, J.Unresolved’, ML, 90 (2009), 535–54.Google Scholar
Rokem, F., ‘One Voice and Many Legs: Oedipus and the Riddle of the Sphinx’ in Hasan-Rokem, and Shulman, (eds.), Untying the Knot, 255–70.Google Scholar
Ruhland, K., Musikalische Rätsel (Passau: Stutz, 2009).Google Scholar
Sams, E., art. ‘Cryptography, musical’, in NG, vol. VI, 753–8.Google Scholar
Saunders, Z., ‘Anonymous Masses in the Alamire Manuscripts: Toward a New Understanding of a Repertoire, an Atelier, and a Renaissance Court’, PhD thesis, University of Maryland (2010).Google Scholar
Schenck, E.-M., Das Bilderrätsel (Hildesheim: Olms, 1973).Google Scholar
Schenkeveld-van der Dussen, M. A., Duistere luister: Aspecten van obscuritas (Rijksuniversiteit Utrecht, 1988).Google Scholar
Schiltz, K., ‘The Globe on a Crab's Back: Music, Emblem and Worldview on a Broadside from Renaissance Prague’ (in preparation).Google Scholar
Schiltz, K.“Magis est ingenij ostentatio quam auditum reficiens adeo iucunditas”: Glareans Umgang mit Rätselkanons’ in Schwindt, N. (ed.), Heinrich Glarean oder: Die Rettung der Musik aus dem Geist der Antike?, Trossinger Jahrbuch für Renaissancemusik, 5 (Kassel: Bärenreiter, 2005), 213–33.Google Scholar
Schiltz, K.Rosen, Lilien und Kanons: Die Anthologie Suavissimae et iucundissimae harmoniae (Nürnberg, 1567)’ in Gancarczyk, P. and Leszczynska, A. (eds.), The Musical Heritage of the Jagiellonian Era (Warsaw: Instytut Sztuki PAN, 2012), 107–22.Google Scholar
Schiltz, K.A Space Odyssey: The Mensuration Signs and the Lunar Cycle’ in Rommeveaux, S., Vendrix, P. and Zara, V. (eds.), Proportions: Science – Musique – Peinture & Architecture (Turnhout: Brepols, 2011), 217–29.Google Scholar
Schiltz, K.La storia di un'iscrizione canonica tra Cinquecento e inizio Seicento: Il caso di Ad te, Domine, levavi animam meam di Philippus de Monte (1574)’, Rivista italiana di musicologia, 38 (2003), 227–56.Google Scholar
Schiltz, K.Through the Looking-Glass: Pietro Cerone's Enigma del espejo’ in Bloxam, M. J., Filocamo, G. and Holford-Strevens, L. (eds.), Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn (Turnhout: Brepols, 2009), 627–35.Google Scholar
Schiltz, K.Variation – Entwicklung – Medientransfer im musikalischen Rätsel der Frühen Neuzeit’, Die Tonkunst 8 (2014), 162–9.Google Scholar
Schiltz, K.Verbum Domini manet in eternum: Text and Context of a Canonic Motet by Ulrich Brätel (D-Mbs, Mus.ms. 1503b)’, in Ballman, C. and Dufour, V. (eds.), “La la la… Maistre Henri”: Mélanges de musicologie offerts à Henri Vanhulst (Turnhout: Brepols 2009), 6170.Google Scholar
Schiltz, K.Visual Pictorialism in Renaissance Musical Riddles’, JAF, 4 (2012), 204–21.Google Scholar
Schiltz, K. and Blackburn, B. J. (eds.), Canons and Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History, Analysis in Context. Leuven Studies in Musicology, 1 (Leuven and Dudley, MA: Peeters, 2007).Google Scholar
Schmid, B., ‘“Frustra fit per plura quod fieri potest per pauciora”: Wilhelm von Ockhams “razor” in der Musiktheorie’ in International Musicological Study Group Cantus Planus: Papers Read at the 6th Meeting, Eger 1993, 2 vols. (Budapest: Hungarian Academy of Sciences, Institute for Musicology, 1995), vol. II, 665–82.Google Scholar
Schmidt-Beste, T., ‘A Dying Art: Canonic Inscriptions and Canonic Techniques in the Sixteenth-Century Papal Chapel Repertory’ in Schiltz and Blackburn, Canons and Canonic Techniques, 339–55.Google Scholar
Schroeder, E., ‘Mensura” according to Tinctoris in the Context of Musical Writings of the Fifteenth and Early Sixteenth Centuries’, PhD thesis, Stanford University (1985).Google Scholar
Schwartz, W., ‘Der Zauber des “rückwärts” Singens und Spielens’, Zeitschrift für Ethnologie, 15 (1883), 113–22.Google Scholar
Scott, C. T., ‘Some Approaches to the Study of the Riddle’ in Atwood, E. B. and Hill, A. T. (eds.), Studies in Language, Literature, and Culture of the Middle Ages and Later (Austin, TX: University of Texas, 1969), 111–27.Google Scholar
Seay, A., ‘The Dialogus Johannis Ottobi Anglici in arte musica’, JAMS, 8 (1955), 86100.Google Scholar
Shephard, T., ‘Finding Fame: Fashioning Adrian Willaert c. 1518’, JAF, 4 (2012), 1235.Google Scholar
Sherr, R., ‘Competence and Incompetence in the Papal Choir in the Age of Palestrina’, EM, 22 (1994), 606–29.Google Scholar
Sherr, R. (ed.), The Josquin Companion (Oxford University Press, 2000).Google Scholar
Slim, H. C., ‘Dosso Dossi's Allegory at Florence about Music’, JAMS, 43 (1990), 4399.Google Scholar
Sparks, E. H., Cantus Firmus in Mass and Motet, 1420–1520 (Berkeley and Los Angeles: University of California Press, 1963).Google Scholar
Staehelin, M., ‘Heinrich Isaacs “Palle”-Satz und die Tradition der Wappenmotette’ in Salmen, W. (ed.), Heinrich Isaac und Paul Hofhaimer im Umfeld von Kaiser Maximilian I. Bericht über die vom 1. bis 5. Juli 1992 in Innsbruck abgehaltene Fachtagung, Innsbrucker Beiträge zur Musikwissenschaft, 16 (Innsbruck: Helbling, 1997), 217–26.Google Scholar
Staehelin, M. Die Messen Heinrich Isaacs, 3 vols. (Bern: Haupt, 1977).Google Scholar
Steiner, G., On Difficulty and Other Essays (Oxford University Press, 1978).Google Scholar
Steinhardt, M., ‘New Works by Philippe de Monte in a Recovered Codex’, Revue belge de musicologie, 42 (1988), 135–47.Google Scholar
Stevens, J. E., ‘Rounds and Canons from an Early Tudor Songbook’, ML, 32 (1951), 2937.Google Scholar
Stopp, J. F., The Emblems of the Altdorf Academy: Medals and Orations 1577–1626 (London: Modern Humanities Research Association, 1974).Google Scholar
Stork, N. P., Through a Gloss Darkly: Aldhelm's Riddles in the British Library MS Royal 12.C.xxiii, Studies and Texts, 98 (Toronto: Pontifical Institute of Mediaeval Studies, 1990).Google Scholar
Stras, L., ‘“Al gioco si conosce il galantuomo”: Artifice, Humour and Play in the Enigmi musicali of Don Lodovico Agostini’, EMH, 24 (2005), 213–86.Google Scholar
Stras, L.“Sapienti pauca”: The Canones et Echo sex vocibus … eiusdem dialogi (1572) of Don Lodovico Agostini’ in Schiltz, and Blackburn, (eds.), Canons and Canonic Techniques, 357–80.Google Scholar
Strasser, G. F., art. ‘Musik und Kryptographie’ in MGG2, Sachteil, vol. VI, cols. 783–90.Google Scholar
Summers, D., The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics (Cambridge University Press, 1987).Google Scholar
Tabourot, É., Les bigarrures du Seigneur des Accords (Rouen: Bauchu, 1582).Google Scholar
Thatcher, T., The Riddles of Jesus in John: A Study in Tradition and Folklore, Society of Biblical Literature Monograph Series, 53 (Atlanta, GA: Society of Biblical Literature, 2000).Google Scholar
Todd, R. L., ‘Retrograde, Inversion, Retrograde-Inversion, and Related Techniques in the Masses of Jacobus Obrecht’, MQ, 64 (1978), 5078.Google Scholar
Truhlář, A., Hrdina, K., Hejnica, J. and Martínek, J. (eds.), Rukovět humanistichého básnictví v Čechách a na Moravě, 6 vols. (Prague: Academia, 1966).Google Scholar
Turner, C., ‘Sub obscuritatem quadam ostendens: Latin Canon in the Early Renaissance Motet’, EM, 30 (2002), 165–87.Google Scholar
Urquhart, P., ‘Calculated to Please the Ear: Ockeghem's Canonic Legacy’, TVNM, 47 (1997), 7298.Google Scholar
Urquhart, P. ‘Canon, Partial Signatures, and Musica ficta in Works by Josquin DesPrez and His Contemporaries’, PhD thesis, Harvard University (1988).Google Scholar
Vacchelli, A. M., ‘Teoria e pratica della resolutio fra Quattrocento e Cinquecento’, SM, 30 (2001), 3357.Google Scholar
van Orden, K., ‘Children's Voices: Singing and Literacy in Sixteenth-Century France’, EMH, 25 (2006), 209–56.Google Scholar
Vatielli, F., I ‘Canoni musicali’ di Ludovico Zacconi (Pesaro: A. Nobili, 1905).Google Scholar
Vatielli, F. Di Ludovico Zacconi notizie su la vita e le opere (Pesaro: G. Federici, 1912).Google Scholar
Vettori, R.L'ambiente e le testimonianze musicali nel Trentino al tempo di Bernardo Clesio’ with an appendix ‘Erasmo Lapicida (c. 1450–1547) Sacerdos et Pontifex / Bernardus Clesius episcopus. Mottetto a 4 voci per l'elezione di B. Clesio a principe-vescovo di Trento (1515)’ in Prodi, P. (ed.), Bernardo Clesio e il suo tempo. Atti del Convegno internazionale di studi, Trento, 29 maggio–1 giugno 1985, vol. II (Rome: Bulzoni, 1988), 651–70.Google Scholar
Viladesau, R., The Triumph of the Cross: The Passion of Christ in Theology and the Arts, from the Renaissance to the Counter-Reformation (Oxford University Press, 2008).Google Scholar
Webber, G., ‘Modes and Tones in Buxtehude's Organ Works’, EM, 35 (2007), 355–69.Google Scholar
Weber, H., ‘Kalkül und Sinnbild: Eine Kurzgeschichte des Kanons’, Die Musikforschung, 46 (1993), 355–70.Google Scholar
Wegman, R. C., ‘“And Josquin Laughed …”: Josquin and the Composer's Anecdote in the Sixteenth Century’, JM, 17 (1999), 319–57.Google Scholar
Wegman, R. C.Another Mass by Busnoys?’, ML, 71 (1990), 119.Google Scholar
Wegman, R. C. Born for the Muses: The Life and Masses of Jacob Obrecht (Oxford: Clarendon Press, 1994).Google Scholar
Wegman, R. C.Busnoys’ “Anthoni usque limina” and the Order of Saint-Antoine-en-Barbefosse in Hainaut’, SM, 17 (1988), 1531.Google Scholar
Wegman, R. C. The Crisis of Music in Early Modern Europe 1470–1530 (New York and London: Routledge, 2005).Google Scholar
Wegman, R. C.For Whom the Bell Tolls: Reading and Hearing Busnoys's Anthoni usque limina’ in Pesce, D. (ed.), Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance (New York and Oxford: Oxford University Press, 1997), 122–41.Google Scholar
Wegman, R. C.From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500’, JAMS, 49 (1996), 409–79.Google Scholar
Wegman, R. C.Johannes Tinctoris and the “New Art”’, ML, 84 (2003), 171–88.Google Scholar
Wegman, R. C.Petrus de Domarto's Missa Spiritus almus and the Early History of the Four-Voice Mass in the Fifteenth Century’, EMH, 10 (1991), 235303.Google Scholar
Wegman, R. C.Sense and Sensibility in Late-Medieval Music: Thoughts on Aesthetics and “Authenticity”’, EM, 23 (1995), 298312.Google Scholar
Weinberg, B., A History of Literary Criticism in the Italian Renaissance (University of Chicago Press, 1961).Google Scholar
Werbeck, W., ‘Glareans Vorstellung von modaler Stimmigkeit – Die für das Dodekachordon bestellten Kompositionen’ in Schwindt, N. (ed.), Heinrich Glarean oder: Die Rettung der Musik aus dem Geist der Antike?, Trossinger Jahrbuch für Renaissancemusik, 5 (Kassel: Bärenreiter, 2006), 177–97.Google Scholar
Westgeest, H., ‘Ghiselin Danckerts’ Ave maris stella: The Riddle Canon Solved’, TVNM, 36 (1986), 6679.Google Scholar
Whitman, F. H., ‘Medieval Riddling: Factors Underlying Its Development’, Neuphilologische Mitteilungen, 71 (1970), 177–85.Google Scholar
Wibberley, R., ‘Quid non ebrietas dissignat? Willaert's Didactic Demonstration of Syntonic Tuning’, Music Theory Online, 10 (2004), http://mto.societymusictheory.org/issues/mto.04.10.1/mto.04.10.1.wibberley1.html.Google Scholar
Wiener, O., ‘On the Discrepant Role of Canonic Techniques as Reflected in Enlightened Writings about Music’ in Schiltz, and Blackburn, (eds.), Canons and Canonic Techniques, 421–43.Google Scholar
Wilbur, R., ‘The Persistence of Riddles’, Yale Review, 78 (1989), 333–51.Google Scholar
Wind, E., Pagan Mysteries in the Renaissance (2nd edn, Harmondsworth: Penguin Books, 1967).Google Scholar
Winkler, J. J., Auctor and Actor: A Narratological Reading of Apuleius's Golden Ass (Berkeley, Los Angeles and London: University of California Press, 1985).Google Scholar
Wright, C., The Maze and the Warrior: Symbols in Architecture, Theology, and Music (Cambridge, MA: Harvard University Press, 2001).Google Scholar
Wuidar, L., Canons énigmes et hiéroglyphes musicaux dans l'Italie du 17e siècle, Études de musicologie, 1 (Brussels: Lang, 2008).Google Scholar
Wuidar, L.Les Geroglifici Musicali du Padre Lodovico Zacconi’, Revue belge de musicologie, 61 (2007), 6187.Google Scholar
Wuidar, L. Musique et astrologie après le Concile de Trente, Études d'histoire de l'art, 10 (Brussels and Rome: Belgisch Historisch Instituut te Rome, 2008).Google Scholar
Wuidar, L.Les œuvres astrologiques de Padre Lodovico Zacconi (1555–1627) face à la censure ecclésiastique’, Bulletin de l'Institut Historique Belge de Rome, 75 (2005), 526.Google Scholar
Youens, L., ‘Forgotten Puzzles: Canons by Pieter Maessens’, Revue belge de musicologie, 46 (1992), 81144.Google Scholar
Zara, V., ‘Un cas d’“inesthésie” musicale: Érasme de Rotterdam’ in Cœurdevey, A. and Vendrix, P. (eds.), Musique, théologie et sacré, d'Oresme à Érasme (Ambronay Éditions, 2008), 293321.Google Scholar
Zayaruznaya, A., ‘What Fortune Can Do to a Minim’, JAMS, 65 (2012), 313–81.Google Scholar
Zazulia, E. C., ‘Verbal Canons and Notational Complexity in Fifteenth-Century Music’, PhD thesis, University of Pennsylvania (2012).Google Scholar
Ziolkowski, J. M., ‘Introduction’, Mediaevalia, 19 (1996), 121 [issue on ‘Obscure Styles in Medieval Literature’].Google Scholar
Ziolkowski, J. M.Theories of Obscurity in the Latin Tradition’, Mediaevalia, 19 (1996), 101–70.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Katelijne Schiltz, Universität Regensburg, Germany
  • Book: Music and Riddle Culture in the Renaissance
  • Online publication: 05 May 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781139998260.009
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Katelijne Schiltz, Universität Regensburg, Germany
  • Book: Music and Riddle Culture in the Renaissance
  • Online publication: 05 May 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781139998260.009
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Katelijne Schiltz, Universität Regensburg, Germany
  • Book: Music and Riddle Culture in the Renaissance
  • Online publication: 05 May 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781139998260.009
Available formats
×