¹ Apel, W., French Secular Compositions of the Fourteenth Century, Corpus Mensurabilis Musicae 53 (American Institute of Musicology, 1971), vol. II, no. 147.Google Scholar

² Berger, 129.

³ Jerome of Moravia explains b-durum as ‘a sign of the fourth tetrachord, by which it is distinguished from the third, that is, b-quadratum must be written differently from b-rotundum’. (Tractatus de musica, ed. Cserba, S. (Regensburg, 1935), 172.)Google Scholar

⁴ Bent, , ‘Diatonic Ficta’, Early Music History, 4 (1984), 1–48.CrossRefGoogle Scholar

⁵ Hughes, , Manuscript Accidentals: Ficta in Focus 1350–1450, Musicological Studies and Documents 27 (American Institute of Musicology, 1972).Google Scholar

⁶ Prosdocimus de′ Beldomandis, for example, wrote: ‘wherever round or soft b is applied, we ought to sing the syllable fa, and wherever square or hard b is applied, we ought to sing the syllable mi, whether or not these syllables are in these places’. (Contrapunctus, ed. Herlinger, J., Greek and Latin Music Theory 1 (Lincoln, NB, 1984), 75.)Google Scholar

⁷ Musicological Studies and Documents 24 (American Institute of Musicology, 1972).

⁸ Revue de Musicologie, 66 (1980), 27–56.CrossRefGoogle Scholar

⁹ Bent, , ‘Musica Recta and Musica Ficta’, Musica Disciplina, 26 (1972), 75.Google Scholar

¹⁰ Hughes, Manuscript Accidentals, 9.

¹¹ Berger, 109.

¹² Jacques de Liège, Speculum musice (cited by Berger, 104).

¹³ Hirshberg, , ‘Hexachordal and Modal Structure in Machaut's Polyphonic Chansons’, Studies in Musicology in Honor of Otto E. Albrecht, ed. Hill, J. W. (Kassel, 1980), 19–42.Google Scholar

¹⁴ The Berkeley Manuscript, ed. Ellsworth, O., Greek and Latin Music Theory 2 (Lincoln, NB, 1984), 85.Google Scholar

¹⁵ Apel, French Secular Compositios, vol. I, p. xxvii.

¹⁶ Greene, , French Secular Music, Polyphonic Music of the Fourteenth Century 18 (Monaco, 1981–1982), p. xv.Google Scholar

¹⁷ Berger cites only Amerus's, Practica artis musicae of 1271, ed. Ruini, C., Corpus Scriptorum de Musica 25 (American Institute of Musicology, 1977).Google Scholar

¹⁸ Berger, 17, citing Planchart's, A. E. review in Journal of Music Theory, 18 (1974), 221.Google Scholar Indeed Berger himself once shared this opinion: he has stated that ‘Unfortunately there is no clear evidence to support Allaire's thesis’. (‘Tonsystem und Textvortrag: Ein Vergleich zweier Balladen des 14. Jahrhunderts’, in Bericht über den internationalen musikwissenschaftlichen Kongress, Stuttgart 1985, ed. Berke, D. and Hanemann, D. (Kassel, 1987), vol. n, 208.)Google Scholar