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2:3) in the case of prolalio perjecla ([3, 3]). meter (3/4), the complete absence of rhythmic complexities, the In modern terms this means that, after an initial passage jn melodic flow of the superius, and the change of the contra from 6/8 (meas. ' The point of two different 'tempi,' for instance, 3/4-measures equal to imitation in meas. 83-85 may also be noticed. three (dotted) quarter-notes of the tenor followed by 3/4measures equal to two such notes. Section II of the superius No. 5. The two lower parts are in [2, 2] throughout, while in is in [2, 3], with red semibreves introducing single imperfect the superius sections in [2, 3] and in [3, 2] alternate.

44). on a front page (possibly by Cordier himself) and not part of the (15) Owing to a plurality of Marguerites in the political life of original Ms. the period, it is difficult to reach a decision as to the identity of the (4) The statement in H. v. 'Tapissier' couple to whom this poem is addressed. The most famous bearer and 'Cesaris') that Ch includes one composition by Tapissier and of the name was Marguerite of Flanders (1350-1405), who was ten by Cesaris, is erroneous. Only a 'Tenor Johannis Cesaris' is married to Philippe de Rouvre in 1361 and, after his death, to V found on p.

True enough, realistic characterization is common in the Italian caccias, but these show a general character of dramatic vividness which is quite different from the playful ease of the virelais. Moreover, the caccias are derived from northern French 'chaccs' of the early fourteenth century, such as Se je chant mains (75) whose 'huo, huo' and 'ietes, ietes' may well indicate the point of departure for the 'alarme, alarme' and 'restoes, restoes' in the present repertory (Nos. 72, 73). I. EDITORIAL REMARKS Our prime consideration in matters of editorial technique has been to present the compositions in such a manner as to avoid all unnecessary difficulties and complications.

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