Montpellier Codex

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For information on the 11th-century codex Montpellier H195, see Antiphonary of St. Benigne, Dijon

The Montpellier Codex (Montpellier, Bibliothèque Inter-Universitaire, Section Médecine, H196) is an important source of 13th century French polyphony. The codex contains 336 polyphonic works probably composed ca. 1250-1300, and was likely compiled ca. 1300.[1] It is believed to originate from Paris.

[edit] Format and Contents

The Montpellier Codex can be roughly divided into 8 fascicles, each of which contain discrete genres of music. The format of the codex is as follows:

  • 1. Liturgical polyphony
  • 2. Latin triple motets, consisting of a cantus firmus with three contrapuntal lines above it
  • 3. Macaronic double motets, consisting of a cantus firmus with two contrapuntal lines above it
  • 4. Latin double motets
  • 5. French double motets
  • 6. French two-voice motets
  • 7 & 8. Three-voice motets, possibly compiled later than fascicles 2-6

There are also supplements added to fascicles 3, 5, and 7. Because of the different systems of notation used in fascicles 2-6 and fascicles 7-8, the Montpellier Codex has become a crucial source for the chronology of styles of French medieval polyphony.

[edit] The Music

The Montpellier Codex is a critical source for what are known as "Pre-Franconian" and "Franconian" motets, after Franco of Cologne. While the music in the codex is anonymous, a number of attributions can be made, either because of concordances in other manuscripts or on the basis of stylistic similarity, to Pérotin (from fascicle 1), Petrus de Cruce, Adam de la Halle, Guillaume d'Auvergne, and Philippe le Chancelier. Many of the cantus firmi are taken from the chants of Notre Dame. While fascicle 1 consists of sacred polyphony, mostly from the Notre Dame school, the largest body of music in the codex is the collection of French courtly love motets. The motets in the collection are not isorhythmic, as the first isorhythmic motets—those of Philippe de Vitry—would not be composed until the first decades of the 14th century.

[edit] References and further reading

  1. ^ Grove: "Date: fascs.2–6, 1270s (Rosketh and RISM, c1280); fascs.1 and 7, plus the additions to 3 and 5, very end of 13th century (Branner: late 13th century, Everist: 1280s); fasc.8, very early years of the 14th century (Branner and Everist: c1300). As a controversial alternative to the picture of a manuscript compiled in discrete stages of activity a decade or more apart, Wolinski posits a single campaign of copying fascs.1–7 as an entity in the 1260s or 1270s, with fasc.8 perhaps also as early as the 1270s; not widely accepted, her theory has radical implications for the development of the motet, musical notation and music theory in the second half of the 13th century (Wolinski, 1992, pp.299–301)."
  • Tischler, Hans. The Montpellier Codex. Madison, Wis. : A-R Editions, 1978. (Critical edition of the codex)
  • Wolinski, Mary Elizabeth. The Montpellier Codex. Ph.D Diss., Brandeis University, 1988.
  • "Sources, MS, V, 2: Early motet", in Grove Music Online (Accessed October 9, 2006), (subscription access)
  • Parsoneault, Catherine. The Montpellier Codex: Royal Influence and Musical Taste in Late Thirteenth-century Paris (France). Ph.D Diss., U of Texas, 2001