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<!DOCTYPE html SYSTEM "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
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<h1>Omni desideranti notitiam</h1><br/>
<h2>A Music Theory Text from the Fourteenth Century</h2>
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<ul>
<li><a href="home.xml">Home</a> </li>
<li><a href="transcriptions.html">Transcriptions</a></li>
<li><a
href="translation.xml">Translation</a></li>
<li><a href="files.html">Files</a></li>
<li><a href="about.html">About</a> </li>
<li><a href="http://www.arsmusicae.org/wordpress/">Blog</a> </li>
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<div id="translation">
<p><h2>PLEASE NOTE</h2>
This online edition is a work-in-progress. Current issues include:
<ul>
<li>Adding a search function (although there is a 'search' function on the textual witnesses available with the Juxta tools, see this <a href="http://juxtacommons.org/shares/eZru6Z">link</a> (search box at bottom of page)</li>
<li>Adding a page that will allow the user to click on a paragraph and display its translation side-by-side</li>
</ul></p>
<p><h2>About this edition</h2><p>
<p>A key music theory text within the fourteenth-century <i>Ars nova</i> tradition that has
received little attention is the so-called <i>Omni desideranti</i> treatise. The
treatise is found in three
manuscript sources of Italian provenance dating from the fourteenth and
fifteenth-centuries: in a manuscript copied by G. Frater de Anglia in Pavia in 1391, and now preserved in the
Newberry Library in Chicago (Ms. 54.1, ff. 52v-56v, hereafter <i>Cn</i>); in a manuscript of Italian and Catalan origin
dating from the early fifteenth century, Seville, Biblioteca Capitular y
Colombina, Ms. 5-2-25, ff. 63r-64v (hereafter <i>Sc</i>);
and a late fifteenth-century paper manuscript of Italian origin, Siena, Biblioteca
comunale, Ms. L.V.30, ff. 129r-129v (hereafter <i>Su</i>).</p>
<p>The text as preserved in <i>Cn</i> has no modern edition: it was edited in the nineteenth century by Coussemaker, apparently from a copy of this
manuscript transcribed by Coussemaker's friend Ferdinandus Wolf. The text from <i>Sc</i>
was transcribed by Higini Anglès in an article from 1929
(other than his expansion of scribal abbreviations, there are no editorial interventions in this transcription, with the exception of a few exclamation marks).
<i>Su</i> was edited by Gilbert Reaney and included as one representative of the Vitrian
tradition presented in volume 8 of <i>Corpus scriptorum musicae</i> (1964; there was no mention by Reaney in
the introduction to the text of the parallel versions found in <i>Cn</i> and <i>Sc</i>).</p>
<p>This online edition of the <i>Omni desideranti</i> treatise is intended as a
proof-of-concept model for a digital editing approach to medieval music theory. It
follows TEI encoding standards (the most up-to-date guidelines may be found at
<a
href="http://www.tei-c.org/Guidelines/P5/">http://www.tei-c.org/Guidelines/P5/</a>).
Using the XML files based on the TEI schema, a traditional critical edition is
offered, where variant readings are
displayed in the footnotes. Diplomatic transcriptions of the text as found
in the three different sources are presented in
parallel with high-quality images of the manuscript sources. The free software tool
Zoomify<sup>TM</sup> allows the user to zoom in on these images,
while also protecting the image files from illegal downloads. Using the same data files, PDF and ePub versions of the texts can be generated:
these are provided as downloads on the website. An English translation is provided,
and a collation of the the three witnesses generated by the Juxta<sup>TM</sup> web service. The advantages of this edition include the higher level of
transparency into any editorial interventions as the evidence of the transcriptions and the original source documents are displayed side-by-side.
In addition, it allows for a greater degree of interactivity on the part of the user as one can examine paragraphs or sections of text more closely.
This edition
is intended to spark comment and debate about the future and potential of these
types of approaches for musicology, and for any feedback to assist other individuals
and institutions working on larger, more robust and scalable applications.</p>
<p> I presented a paper on this edition at the annual meeting of the American Musicological
Society in New Orleans (Oct 31-Nov 4, 2012) and the online edition and web-based
approach is the subject of my forthcoming article:
<p>Karen Desmond, 'Texts in Play: The <i>Ars nova</i> and its Hypertexts', <i>Musica disciplina</i>
(2012, forthcoming).</p>
<p>If you have any comments or feeback on the edition, please contact me
directly at <a href="mailto:[email protected]">[email protected]</a></p>
<p>Karen Desmond<br />
Lecturer in Musicology<br />
University College Cork <br />
Ireland<br /></p>
<p> <b>Find me on:</b><br/>
My research blog: <a href="http://www.arsmusicae.org/wordpress/">http://www.arsmusicae.org/wordpress/</a><br/>
academia.edu:
<a
href="http://ucc-ie.academia.edu/KarenDesmond">http://ucc-ie.academia.edu/KarenDesmond</a><br />
UCC website<a
href="http://publish.ucc.ie/researchprofiles/A021/kdesmond">http://publish.ucc.ie/researchprofiles/A021/kdesmond</a><p>
<p><b>Bibliography</b></p>
<p>Anglès, Higini. "Dos tractats medievals de música figurada." In <i>Musikwissenschaftliche Beiträge: Festschrift für Johannes Wolf zu seinem sechzigsten Geburtstag</i>, edited by H. Osthoff W. Lott, and W. Wolffheim, 6-10. Berlin: Breslauer, 1929.
</p>
<p>Coussemaker, Edmond de. <i>Scriptorum de musica medii aevi. Novam seriem a Gerbertina alteram collegit nuncque primum edidit E. de Coussemaker</i>. 4 vols. 1876, facsimile edition; G. Olms: Hildesheim, 1963.</p>
<p><i>Philippi de Vitriaco Ars nova</i>. Edited by Gilbert Reaney, André Gilles and Jean Maillard. Vol. 8, Corpus scriptorum de musica. [Rome]: American Institute of Musicology, 1964.</p>
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