This article explores evidence for polyphonic music in Italian convents during the first half of the 16th century. It presents a summary of documentary evidence relating to conventual music in the pre-Tridentine era, alongside practical evidence from contemporary treatises regarding methods by which convent choirs could develop a polyphonic repertory from existing music. It revisits claims for mandatory downwards transposition of music written in high clefs, and considers two manuscripts—Verona, Biblioteca Capitolare, Ms.761 and Brussels Bibliotheque du Conservatoire Royal de Musique, Ms.27766—in the light of this investigation. The article aims to open up a conversation regarding the status of convent polyphony in the early 16th century, shedding new light on its importance and advocating a fresh approach to the possibility of female performance for the Franco-Flemish repertory of the great papal and ducal chapels.

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16世纪早期意大利修道院中复音的表现

本文探讨了16世纪上半叶意大利修道院中复音音乐的证据。它提供了有关Tridentine时代传统音乐的文献证据的摘要，以及当代论文中关于传统合唱团可以从现有音乐发展出复音曲目的方法的实践证据。该书重新审视了用高音谱写的音乐必须向下转换的主张，并根据这项调查考虑了两份手稿，即维罗纳（Verona），《圣经图书馆》（Biblioteca Capitolare）女士（761女士）和《布鲁塞尔皇家音乐学院图书馆》（27766女士）。本文旨在就16世纪初期女修道院复音的现状展开一场对话，