squarcialupi codex造句

• Surviving Italian manuscripts include the Squarcialupi Codex and the Rossi Codex.
• His portrait in the Squarcialupi Codex shows him without priestly garments.
• He is depicted in the Squarcialupi Codex as a Benedictine monk.
• The illuminated " Squarcialupi Codex " contains an illustration of him.
• The songs in the Squarcialupi Codex and Mancini Codex differ greatly in style.
• Examples include the Squarcialupi Codex of Italian Trecento music and the Chantilly Codex of French Ars subtilior music.
• A total of 41 compositions of Niccol?have survived with reliable attribution, the majority of them in the Squarcialupi Codex, and all the others from sources in Tuscany.
• Most of Gherardello's music has been preserved in the 15th century " Squarcialupi Codex ", although several other manuscripts, all from Tuscany, contain works of his.
• There is a large section of the Squarcialupi Codex, an important source of early Italian music, which is marked out under his name, and a portrait of him is presented at its head.
• He is featured in the " Squarcialupi Codex ", the British Library manuscript Add MS 29987 and the " Modena Codex "-often known with the sigla " ModA " ).
• Although contrafacts and later manuscript sources of his compositions suggest that he was well known in Florence, his music is scarcely represented in major Florentine sources of the period; for instance, the Squarcialupi Codex contains nothing by Ciconia.
• In the first decade of the 15th century, probably close to 1410, while in Florence, he supervised the compilation of " Squarcialupi Codex, " the single most important source of music in Italy in the 14th century.
• The " Ivrea Codex ", dated around 1360, and the " Squarcialupi Codex ", dated around 1410, were major sources of late Trecento music, including the music of Francesco Landini, the famous blind composer.
• He became a Benedictine around 1380, and the portrait of him in the " Squarcialupi Codex " shows him in a Benedictine black cassock; and on March 8, 1401, he took the post of abbot at S . Martin al Pino.
• The largest and most beautiful Trecento source is undoubtedly the brilliantly illuminated Squarcialupi Codex, compiled in the early 15th century, which, with 352 compositions ( including 145 by Landini ), is one of the largest music sources of the time from any region.
• Numerous paired mass movements, Glorias and Credos, are in a Bologna manuscript ( Q15 ), compiled beginning around 1420; seven songs appear in the Squarcialupi Codex ( probably compiled 1410 1415 ) and 12 in the Mancini Codex ( probably compiled around 1410 ).
• The Tetraktys programs include, among other things, the Tuscan Trecento, Chansons by Dufay and contemporaries, the Squarcialupi Codex, the complete recording of the Chantilly Codex, works by Ciconia, sacred and secular works by Matteo da Perugia, the song book of Johannes Heer etc.
• His principal fame in music history, aside from his fame as an organist, is to have given his name to the splendid Squarcialupi Codex, a document he owned ( but did not compile ), and which is the richest source of music from Italy of the 14th century.
• Among other well-known manuscripts in the Laurentian Library are the sixth-century Syriac Rabula Gospels; the Codex Amiatinus, which contains the earliest surviving manuscript of the Latin Vulgate Bible; the Squarcialupi Codex, an important early musical manuscript; and the fragmentary Erinna papyrus containing poems of the friend of Sappho.
• The most puzzling question about any source of Paolo's music is the presence in the " Squarcialupi Codex, " the compilation of which he probably supervised, of thirty-two pages, all with his name on the top, his portrait in the front, and containing nothing but empty staves.