•     It's good to have this digital version of the MSS, given how difficult it is to read the old Garland facsimile.  Not sure why that reproduction was so poor, but this one is glorious.
        I don't see any "discussion" yet on this manuscript, despite receiving two notices about it from Dominique.   So here's a thought that may start something.  Seems to me the main question about this MS is the change in notational format that occurs in the middle: from text only on the cantus part, to text in all three parts.  I remember Louise Litterick found that change to be suggestive of the general change in style c. 1500 in the three-voice chanson, while others (perhaps the Heresy, starting with Craig Wright) thought it meant nothing but scribal habit.  Since the Heresy has held sway for the past few decades, L. Litterick's view has not yet been fully considered.  It may be that the contents of this MS don't show a clear difference in style, and that the notational change simply reflects what was going on generally.  Question remains, why change the notational tradition.  And why the varied terms for the Contratenor voice: 'Concordans' or 'Bassus.'  Are they really equivalent?

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