Tinctoris edition: new texts added

We are pleased to announce that we have now added to our online Complete Theoretical Works the edited Latin texts, English translations, and manuscript source transcriptions (with facsimile images) of Tinctoris’s treatises De alteratione notarum (Tractatus alterationum) and De regulari valore notarum.

The project team are currently working hard to complete Books II and III of the extensive Liber de arte contrapuncti, which we expect to be available within the next few months.

We are also in the process of creating an innovative interface for displaying technical commentary material for the notation treatises, such as De imperfectione and De punctis, which will enable users to understand more clearly, on a note-by-note basis, the often complex mensural examples offered by Tinctoris in his work, and the relationship between his Latin text and the notational detail of the music itself. We expect the first fruits of this commentary material to be available on the site by around Easter 2016, and, as always, we very much welcome feedback from users on all aspects of our edition.

You may also like to know that the two research students attached to this project, Christian Goursaud and Adam Whittaker, have now submitted their PhD dissertations to Birmingham City University for examination. Christian’s thesis, ‘The Neapolitan Presentation Manuscripts of Tinctoris’s Music Theory: Valencia 835 and Bologna 2573’, is a detailed codicological and palaeographical examination of two of the principal sources of Tinctoris works; Adam’s thesis, ‘Musical Exemplarity in the Notational Treatises of Johannes Tinctoris (c. 1435–1511)’, looks in wide-ranging detail at the relationships between the Latin texts and musical examples in Tinctoris’s treatises, and considers some of the larger historical issues of readership and modes of reading with material of this kind. We wish them all the best for their examination.

Finally, the project team would like to record their thanks to the Faculty of Arts, Design and Media, Birmingham City University, of which Birmingham Conservatoire is a constituent School, for their continuing support and funding of this project, and for enabling the appointment of Christian Goursaud as Research Fellow for the academic year 2015–16.

Ronald Woodley, Jeffrey J. Dean, and David Lewis