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Detailed payment records and notes preserved in the Archivio di Stato di Firenze allow us to reconstruct the relationship of music and space in the Florentine church of Santissima Annunziata. In the late fifteenth century different musical styles and repertories came to define ritually the composite space of the church, one of the main houses belonging to the mendicant order of the Servants of Mary.

This special role of music came into focus in the early s and even more in the s, when subsequent priors increased the musical activities, possibly to negotiate the new spatial features of the church after a consequential remodeling.

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Music thus helped organize key areas that had undergone architectural transformations, linking each part of the building to the specific rituals performed there through special sounds directed at the likely participants. The remodeling also involved a shift in the balance of power, with private patrons coming to control the virtual totality of the church. Music helped address this problem as well, by acoustically marking and reclaiming certain spaces as the friars' dedicated ritual sites, but also creating in its variety a nuanced representation of the community—both ordained and lay—that frequented the building.

Thank you for your interest in spreading the word on Journal of the American Musicological Society. NOTE: We only request your email address so that the person you are recommending the page to knows that you wanted them to see it, and that it is not junk mail. Collation: 2. Illustration: woodcut Crucifixion on f. Copies: I-Milan, BN. Decoration: Crucifixion watercolored,. Provenance [at front]: Pour la Chappelle de St. Jacques [bookplate of Duke of Parma, no. Binding: brown leather over wood with clasps.

See Livres de liturgie, 55 Missale Romanum. Edited by Philippus de Rotingo. See Fig. I Statio ad fca3 maria maio- re. Ad milfam Introitus. Explicit, f I 12 [signed 16]: Explicit miffale fecundum I more3 romane ecclefie per I fratrem Philippu3 de ro- I tigo Matuani: ordinis mi I nov: de obleruatia bona di- I ligentiu 7 fideli ftudio pur I gatu: ab his erroribus: quibus vel ignorantia vel icu- j ria librarioru adductis co- I munis abufus inualuit.

I Quocirca quicuq3 legerit: I objecratum velim ne adhi I beat manu3 precipitem ad I corrigendam: vel poti9 cor- I rumpendam libri rectitudi I nem magno partam labo- I re: fed multiplicato fincero I examine poftmodum exe- I quatur quicqd recta ratio: I T fpiritus veritatis igefferit I Ad laudem omnipotentis I dei 7 fanctiJfime virginis matris eius: ac Seraphici I patris Francifci: totiufq3 I curie celeftis. Illustration: woodcut Crucifixion, f. Essling, Crucifixion, II bis, reproduced on P- Note: Meyer-Baer describes the music as manuscript except "on fol.

There are only 4 mm between columns. Manuscript music in white roman plainchant; red lines drawn by raster. Decoration: historiated major initials in gold and colors, watercolored Crucifixion.

Size: I99 X mm. Provenance front flyleaves : 17 Oct. Binding: black leather stamped in gold, M.

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F-Paris, BN, Res. Lacks sheet tl. Manuscript music only on f. I 12" Sanctus ; some staves drawn by raster in red, others are crude lines drawn in brown ink ff. Decoration: red and blue major initials, blue minor initials. Size: X i45 mm. Provenance front flyleaf : Ex libris Silvini Poulin? Binding: blind-stamped leather over boards, 2 clasps missing. Decoration: initials in blue. Binding: 18th century calf. I-Milan, BN, Inc. Manuscript music in gothic notation ff. Manuscript music with 4-line staves drawn by raster.

Decoration: major initials in gold and colors; minor initials in blue flourished in red. Size: I99 X I30 mm. Siena, BC, M. Staves with 3 or 4 lines drawn by raster.

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De musica disserenda

I; f. Manuscript roman plainchant with staves drawn by raster.

Missa in Festo Beatae Virginis Mariae de Horto: Kyrie eleison

Decoration: colored Crucifixion, blue initials, rubricated in yellow. Size: X I45 mm. Provenance, back pastedown: Don M.


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Avroa de los Constitutiones [manuscript notes in Spanish]. Label: Ch. Fairfax Murray. Binding: rolled leather repaired , clasps missing. Venice: Franz Renner, I I-Florence, BN, K. Domica pri- I ma de aduetu.

Anno eius vndecimo. Regiftrum huius libri. Register specifies eight leaves in signature m. Music: printed notes and staves. Music pages: [h5s-6, k9, 12v-7v, m4V-5, m7-n5, n7V-n9] 36 pp. Staves: 7 red 5-line staves per column, X i45 mm. Music type: RI. Decoration: Crucifixion in gold and watercolors; major initials in gold and colors, flourished, and minor initials in red and blue. Provenance, vellum leaf at front: Questo mesale e de li pretidela congregatione prete domenico; f. Binding: stamped colored paper, leather spine with paper label. In plerifq3 etiam lo cis per religiofum fratre Ber I nardinum Siculum ordinis I minoru3 fumma opera adhi I bita diligentiffime emedatu.

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Anno falutis. I I; Ross 2i67, fragment. Incipit, f A i, red: [I]Ncipit ordo miffalis fecundu3 I cofuetudine curie romane cum I officiis noui: Dnica prima de ad uetu ftatio ad facta Maria maio I rem Explicit, f Y7, red: Impreffum efi: hoc miffale uenetiis I impendio Bartholomei de alexan d dria Andree de afula Mapheiq3 d' salodio focioy Anno falutis dnice I M. M cccc Lxxxij De menSe Augufti. Essling, 2, p Music: state I, printed staves without notes; state 2, printed notes and staves except on f mi", where only printed staves appear for the melismatic "Ecce legnum.

Decoration: major initials and border in gold and colors; minor initials in blue flourished in red.

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Size: X i50 mm. E6: Questo libro sie de p1 nicolo brusulato; f. Binding: stamped leather, restored at spine, 2 clasps missing. I-Bologna, BU, A. Printed staves. Manuscript roman plainchant. Decoration: watercolored Crucifixion, coat of arms on f. E6: Ad usu fratris pauli ab Asula.