The notational treatises of Johannes Tinctoris are among the most important texts on late fifteenth-century musical practice. His monumental treatise on the art of counterpoint, De arte contrapuncti, affords modern scholars a great insight into the intricacies of counterpoint practice on the cusp of the era of printed music theory. In the examples for this text, Tinctoris regularly uses additional markers to specify the key passages he is discussing. These signs often closely resemble signa congruentiae, though their function in these theoretical contexts is somewhat different from the deployment of such symbols in practical music sources. This article re-examines the historical justification for the term signa congruentiae, offering a new perspective on Tinctoris’s usage of such signs to explicate the rich text–example relationship underpinning his theoretical arguments and drawing attention to some novel uses of these signs that underpin these relationships.

中文翻译：

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tinctoris 和 signa congruentiae: 一个新的视角

Johannes Tinctoris 的符号论文是 15 世纪晚期音乐实践中最重要的文本之一。他关于对位艺术的巨著《对位艺术》为现代学者提供了对印刷音乐理论时代风口浪尖上对位实践错综复杂的深刻见解。在本文的示例中，Tinctoris 经常使用额外的标记来指定他正在讨论的关键段落。这些符号通常与 signa congruentiae 非常相似，尽管它们在这些理论背景下的功能与在实际音乐源中使用这些符号有些不同。本文重新审视了该术语的历史依据一致标志, 为 Tinctoris 使用这些符号来解释支撑他的理论论点的富文本-示例关系提供了一个新的视角，并引起了人们对这些符号的一些新用途的关注，这些符号支撑了这些关系。