Modern understanding of the production and dissemination of thirteenth-century polyphony is constrained by the paucity of manuscript sources that have been preserved in their entirety; the panorama of sources of medieval polyphony is essentially fragmentary. Some of the surviving fragments, however, were torn from lost books of polyphony that were to some extent comparable to well-known extant codices. The fragment of polyphony preserved in the binding of manuscript 6528 of the Biblioteca Nacional de Madrid is illustrative in this respect. This fragment displays a number of codicological and musical features that are strikingly similar to those of the Florence manuscript (F). Both sources share format and mise-en-page, make use of similar styles of script, notation and pen-work decoration, transmit the pieces in the same order, and present virtually identical musical readings. The Madrid fragment thus provides new evidence for a standardised production of polyphonic books in thirteenth-century Paris. The study provides a detailed account of the fragment’s codicological and philological features, and explores the hypothesis that it originated in the same Parisian workshop that produced F.

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13 世纪巴黎的复调手稿制作：标准化程序的新证据

现代对 13 世纪复调作品的制作和传播的理解受到了完整保存的手稿资源匮乏的限制。中世纪复调音源的全景图基本上是零碎的。然而，一些幸存的片段是从丢失的复调书籍中撕下来的，这些书籍在某种程度上与众所周知的现存抄本相当。保存在马德里国家图书馆手稿 6528 的装订本中的复调片段就是这方面的例证。该片段显示了许多与佛罗伦萨手稿 (F) 惊人相似的编纂学和音乐特征。两个来源共享格式和mise-en-page，使用相似的脚本，符号和笔迹装饰风格，以相同的顺序传输作品，并呈现几乎相同的音乐读数。因此，马德里片段为 13 世纪巴黎的复调书籍的标准化生产提供了新的证据。该研究详细介绍了该片段的编纂学和文献学特征，并探讨了它起源于生产 F.