Review
Identifieur interne : 000503 ( Istex/Corpus ); précédent : 000502; suivant : 000504Review
Auteurs : Ernest H. SandersSource :
- Plainsong and Medieval Music [ 0961-1371 ] ; 1997-04.
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DOI: 10.1017/S0961137100001261
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V: Les Clausules á Deux Voix du Manuscrit de Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1, Fascicule V., Edited by BaltzerRebecca A.. Monaco: Oiseau-Lyre, 1995. 1 + 393 pp. ISBN 2 87855 005 6.</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Review</title><title level="a" type="main" xml:lang="en">Review</title><author xml:id="author-0000"><persName><forename type="first">Ernest H.</forename><surname>Sanders</surname></persName></author><idno type="istex">23BAE745FC3139845B076F132AF72BB104182DE0</idno><idno type="ark">ark:/67375/6GQ-2X4CBQNW-V</idno><idno type="DOI">10.1017/S0961137100001261</idno><idno type="PII">S0961137100001261</idno><idno type="article-id">00126</idno></analytic><monogr><title level="j">Plainsong and Medieval Music</title><title level="j" type="abbrev">Plainsong and Medieval Music</title><idno type="pISSN">0961-1371</idno><idno type="eISSN">1474-0087</idno><idno type="publisher-id">PMM</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1997-04"></date><biblScope unit="volume">6</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="75">75</biblScope><biblScope unit="page" to="87">87</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1997</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1997-04">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-2X4CBQNW-V/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="book-review" dtd-version="2.2" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="publisher-id">PMM</journal-id><journal-title>Plainsong and Medieval Music</journal-title><abbrev-journal-title>Plainsong and Medieval Music</abbrev-journal-title><issn pub-type="ppub">0961-1371</issn><issn pub-type="epub">1474-0087</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0961137100001261</article-id><article-id pub-id-type="pii">S0961137100001261</article-id><article-id pub-id-type="publisher-id">00126</article-id><title-group><article-title></article-title><alt-title alt-title-type="left-running">Review</alt-title><alt-title alt-title-type="right-running">Review</alt-title></title-group><contrib-group><contrib><name name-style="western"><surname>Sanders</surname><given-names>Ernest H.</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><month>04</month><year>1997</year></pub-date><volume>6</volume><issue>1</issue><fpage seq="7">75</fpage><lpage>87</lpage><product product-type="book"><source>Le Magnus Liber de Notre Dame de Paris</source>, vol. <volume>V</volume>: Les Clausules á Deux Voix du Manuscrit de Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1, Fascicule V., Edited by <name name-style="western"><surname>Baltzer</surname><given-names>Rebecca A.</given-names></name>. <publisher-loc>Monaco</publisher-loc>: <publisher-name>Oiseau-Lyre</publisher-name>, <year>1995</year>. 1 + 393 pp. ISBN <isbn>2 87855 005 6</isbn>.</product><permissions><copyright-statement>Copyright © Cambridge University Press 1997</copyright-statement><copyright-year>1997</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><counts><page-count count="13"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0961137100001261a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>Review</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup></label><p><citation citation-type="journal" id="ref002"><name name-style="western"><surname>Sanders</surname><given-names>E. H.</given-names></name>, ‘<article-title>Consonance and Rhythm in the Organum of the 12th and 13th Centuries</article-title>’, <source>Journal of the American Musicological Society</source>, <volume>33</volume> (<year>1980</year>), <fpage>269</fpage>–74, <fpage>285</fpage>–6.</citation> (The last ligature in the W<sub>2</sub> version of the excerpt from O1 in Ex. 1 erroneously extends one note too far.) The author of the <italic>discantus positio vulgaris</italic> specifically points out that ligatures containing more than four notes are not really subject to any rules, but are performed <italic>ad libitum;</italic> see <citation citation-type="book" id="ref003"><name name-style="western"><surname>Cserba</surname><given-names>S. M.</given-names></name>, ed., <source>Hieronymus de Moravia O.P., Tractatus de Musica</source>, Freiburger Studien zur Musikwissenschaft 2 (<publisher-loc>Regensburg</publisher-loc>, <year>1935</year>), <fpage>190</fpage>.</citation></p></fn><fn id="fn02" symbol="2"><label><sup>2</sup></label><p><citation citation-type="book" id="ref004"><name name-style="western"><surname></surname><given-names>Sanders</given-names></name>, ‘The Medieval Motet’. <source>Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade</source> (<publisher-name>Bern and Munich</publisher-name>, <year>1973</year>), <fpage>527</fpage>.</citation></p></fn><fn id="fn03" symbol="3"><label><sup>3</sup></label><p>In my review of the first volume of this publication series in <italic>NOTES</italic>, 52 (1995), 623–9, I have detailed (pp. 624a–625a) my objections to the application of the term <italic>magnus liber</italic> to the entire polyphonic cantus-firmus repertory (other than motets) of Notre Dame.</p></fn><fn id="fn04" symbol="4"><label><sup>4</sup></label><p>Rebecca Baltzer, a sharp-eyed observer, in the volume under review cites no. 148 with its lack of a final cadence as an ‘especially clear example of a clausula designed for substitution … [as] it is meant to lead directly to the next word of the organum … ‘’; p. xl, n. 4. There is no sure answer, however, to the question why the non-discant setting of the four notes associated with the next word was apparently left untouched.</p></fn><fn id="fn05" symbol="5"><label><sup>5</sup></label><p><citation citation-type="journal" id="ref005"><name name-style="western"><surname></surname><given-names>Sanders</given-names></name>, ‘<article-title>Correspondence</article-title>’, <source>Music & Letters</source>, <volume>47</volume> (<year>1966</year>), <fpage>189</fpage>;</citation> <italic>idem</italic>, Review of Jürg Stenzl, <italic>Die vierzig Clausulae der Handschrift Paris Bibliothèque Nationale Latin 15139 (Saint Victor-Clausulae)</italic> (Bern and Stuttgart, 1970) in <italic>Die Musikforschung, 27</italic> (1974), 373a.</p></fn><fn id="fn06" symbol="6"><label><sup>6</sup></label><p>See <citation citation-type="other" id="ref006"><name name-style="western"><surname></surname><given-names>Sanders</given-names></name>, ‘The Medieval Motet’, <fpage>508</fpage>–9.</citation> Johannes de Garlandia cites, in <italic>sine-littera</italic> notation, a passage from the moterus voice of a motet, for which no clausula has survived; cf. <citation citation-type="book" id="ref007"><name name-style="western"><surname>Reimer</surname><given-names>Erich</given-names></name>, ed., <source>Johannes de Garlandia: De mensurabili musica</source>, <volume>2</volume> vols., Beihefte zum Archiv für Musikwissenschaft 10–11 (<publisher-loc>Wiesbaden</publisher-loc>, <year>1972</year>), vol. 10, <fpage>41</fpage>.</citation> It may have been on one of the pages (fols. 185–200) missing from F. And as late as 1279, at a time when convenience and custom must have taken the place of necessity, the so-called St Emmeram Anonymous still writes that this sort of polyphony <italic>per figuram compositam et nonquam per simplicem cognoscitur et etiam compilatur</italic> (is comprehended [recognized] and even conceived and written by means of the ligature and never by means of the single note symbol); see <citation citation-type="book" id="ref008"><name name-style="western"><surname>Yudkin</surname><given-names>J.</given-names></name>, <source>De Musica Mensurata: The Anonymous of St. Emmeram</source> (<publisher-loc>Bloomington and Indianapolis</publisher-loc>, <year>1990</year>), <fpage>182</fpage>.</citation> Baltzer's assertion that ‘around the end of the first decade of the thirteenth century … in all likelihood the new genre of the motet was attracting composers to the creation of discant <italic>cum littera</italic> directly, without the creation first of a <italic>sine littera</italic> model’ (p. xliii a) thus appears to contravene the notational conditions of the time. Incidentally, I have never regarded clausulae as ‘preludes to motets’ (p. xl, n. 7) and consider that use unlikely, though, of course, not impossible.</p></fn><fn id="fn07" symbol="7"><label><sup>7</sup></label><p>For an example of the reverse situation see note 6 above. This issue has been addressed by <citation citation-type="journal" id="ref009"><name name-style="western"><surname>Smith</surname><given-names>Norman E.</given-names></name> in his ‘<article-title>The Earliest Motets: Music and Words</article-title>’, <source>Journal of the Royal Musical Association</source>, <volume>114</volume> (<year>1989</year>), <fpage>141</fpage>–63, especially 144–5.</citation> For the many cases where a composition exists in both versions, he does not doubt the traditional view of clausulae as models for motets, in contrast to Wolf Frobenius's untenable attempt in his <citation citation-type="journal" id="ref010">‘<article-title>Zum genetischen Verhältnis zwischen Notre-Dame Klauseln und ihren [sic] Motetten</article-title>’, <source>Archiv für Musikwissenschaft</source>, <volume>44</volume> (<year>1987</year>), <fpage>1</fpage>–<lpage>39</lpage>,</citation> to reverse the genetic relationship between clausula and motet; see note 44 of my forthcoming ‘The Notation of Notre-Dame Organa Tripla and Quadrupla’.</p></fn><fn id="fn08" symbol="8"><label><sup>8</sup></label><p>Unfortunately the non-concordant W<sub>1</sub> clausulae are not included (this very large tome would have had to accommodate another thirty-five to forty pages), since the publication of all clausulae contained in that source is reserved for a later volume. The ideal procedure is represented by Baltzer's massive, authoritative and insightful dissertation (‘Notation, Rhythm, and Style in the Two-Voice Notre Dame Clausula’, 2 vols., Boston University, 1974), in which she transcribed all versions of all discant portions of organa dupla <italic>and</italic> of all extant clausulae (with all concordances of any given piece grouped together), in addition to offering copious and enlightening commentary. As she put it in its Introduction (p. 15), ‘it seemed most desirable to have the whole repertory available in one place …’ That sort of encompassing procedure is of course hardly possible except in a dissertation and even there it is a major achievement.</p></fn><fn id="fn09" symbol="9"><label><sup>9</sup></label><p>P. xxxix a. Cf. <citation citation-type="journal" id="ref011"><name name-style="western"><surname>Besseler</surname><given-names>H.</given-names></name>, ‘<article-title>Ars Antiqua</article-title>’, <source>MCC</source> <volume>I</volume> (<year>1949</year>–<year>1951</year>), col. <fpage>682</fpage>;</citation> also <citation citation-type="journal" id="ref012"><name name-style="western"><surname>Bukofzer</surname><given-names>M. F.</given-names></name>, ‘<article-title>Discantus</article-title>’, <source>MCG</source> <volume>III</volume> (<year>1954</year>), col. <fpage>563</fpage>.</citation></p></fn><fn id="fn10" symbol="10"><label><sup>10</sup></label><p><citation citation-type="book" id="ref013"><name name-style="western"><surname>Reckow</surname><given-names>F.</given-names></name>, <source>Der Musiktraktat des Anonymus 4</source>, <volume>2</volume> vols., Beihefte zum Archiv für Musikwissenschaft, 4–5 (<publisher-loc>Wiesbaden</publisher-loc>, <year>1967</year>), vol. 4, <fpage>23</fpage>–4.</citation></p></fn><fn id="fn11" symbol="11"><label><sup>11</sup></label><p>Sanders, ‘Style and Technique in Datable Polyphonic Notre-Dame Conductus’, <italic>Cordon Athol Anderson (1929–1981) In Memoriam</italic>, Musicological Studies 39/2 (1984), 510.</p></fn><fn id="fn12" symbol="12"><label><sup>12</sup></label><p>Baltzer twice mentions no. 192 as a possible, though tentative and singular, specimen of fourthmode rhythm (p. xlii b, n. 24, and p. xlv b). But it fails to exhibit the proper modal phrase endings, thus only confirming that the fourth mode is a phantom. As the so-called Dietricus wrote, <italic>‘quartus modus … non est in usu’;</italic> cf. <citation citation-type="book" id="ref014"><name name-style="western"><surname></surname><given-names>Sanders</given-names></name>, ‘The Earliest Phases of Measured Polyphony’, <source>Music Theory and the Exploration of the Past</source>, ed. <name name-style="western"><surname>Hatch</surname><given-names>C.</given-names></name> and <name name-style="western"><surname>Bernstein</surname><given-names>D. W.</given-names></name> (<publisher-loc>Chicago</publisher-loc>, <year>1993</year>), 56, n. 39.</citation></p></fn><fn id="fn13" symbol="13"><label><sup>13</sup></label><p><italic>Idem</italic>, ‘Consonance and Rhythm’, 274–5; ‘The Earliest Phases’, 47–50. Garlandia's term <italic>modus rectus</italic> (as against the <italic>modus non rectus</italic> of organal polyphony) seems to be applicable to Notre-Dame discant polyphony prior to modal differentiation; see Reimer, <italic>Garlandia</italic>, vol. 10, 88 and 89.</p></fn><fn id="fn14" symbol="14"><label><sup>14</sup></label><p>See Sanders, ‘The Earliest Phases’, 43. Strictly speaking, therefore, the dupla of the clausulae listed by Baltzer as examples of sixth mode (p. xlii a, n. 21) still exhibit the notation of more or less continuous breve motion – what in accordance with Garlandia's thinking would be called (premodal) <italic>modus rectus</italic> or, in his adaptation to the modal system, irregular sixth mode.</p></fn><fn id="fn15" symbol="15"><label><sup>15</sup></label><p><citation citation-type="journal" id="ref015"><name name-style="western"><surname>Handschin</surname><given-names>J.</given-names></name>, ‘<article-title>Zur Frage der Conductus-Rhythmik</article-title>’, <source>Ada Musicologica</source>, <volume>24</volume> (<year>1952</year>), <fpage>114</fpage>–15 and <fpage>130</fpage>.</citation></p></fn><fn id="fn16" symbol="16"><label><sup>16</sup></label><p>The derivation of the second mode from the third (Sanders, ‘Style and Technique’, 512) does not seem tenable.</p></fn><fn id="fn17" symbol="17"><label><sup>17</sup></label><p>See <citation citation-type="journal" id="ref016"><name name-style="western"><surname></surname><given-names>Sanders</given-names></name>, ‘<article-title>Duple Rhythm and Alternate Third Mode in the Thirteenth Century</article-title>’, <source>Journal of the American Musicological Society</source>, <volume>15</volume> (<year>1962</year>), <fpage>285</fpage>–6.</citation></p></fn><fn id="fn18" symbol="18"><label><sup>18</sup></label><p>Its long, rigid and inappropriate imposition on the repertories of secular song and conductus is an astonishing story in the history of musicology; cf. Sanders, ‘Conductus and Modal Rhythm’, 439–69.</p></fn><fn id="fn19" symbol="19"><label><sup>19</sup></label><p>Mozart's arrangement of Handel's <italic>Messiah</italic> followed its premiere after some forty years.</p></fn><fn id="fn20" symbol="20"><label><sup>20</sup></label><p>Its fifth note is excessive (scribal error; cf. the W<sub>1</sub> concordance), a circumstance that eliminates the necessity of third mode.</p></fn><fn id="fn21" symbol="21"><label><sup>21</sup></label><p>In her dissertation Baltzer had stated more liberally that No. 266 was one piece – another being no. 284 – that ‘could be subjected to modal reduction without causing any serious problems’ (p. 400). In this connection no. 92 should also be mentioned as a case in which the ligature constellations favour motion in breves.</p></fn><fn id="fn22" symbol="22"><label><sup>22</sup></label><p>Baltzer's transcriptions of these two cases differ from one another ‘in keeping with the overall motions of each clausula (p. 315b). As a rule, however, these common coinages are rhythmically unaffected by the clausulae they wrap up, though they may constitute an essential part of the structure.</p></fn><fn id="fn23" symbol="23"><label><sup>23</sup></label><p>For the most common of these cliches see <citation citation-type="book" id="ref017"><name name-style="western"><surname></surname><given-names>Sanders</given-names></name>, <italic>‘Sine littera</italic> and <italic>cum littera</italic> in Medieval Polyphony’, <source>Music and Civilization: Essays in Honor of Paul Henry Lang</source>, ed. <name name-style="western"><surname>Strainchamps</surname><given-names>E.</given-names></name>, <name name-style="western"><surname>Maniates</surname><given-names>M. R.</given-names></name> and <name name-style="western"><surname>Hatch</surname><given-names>C.</given-names></name> (<publisher-loc>New York</publisher-loc>, <year>1984</year>), <fpage>219</fpage>.</citation> This approach conflicts with that of Edward H. Roesner (see his General Preface, pp. xxxvi b and xxxvii a) and of Rebecca Baltzer. It is not meant, however, to exclude some degree of latitude in the performance of such passages that do not appear to display recognizable <italic>modus rectus</italic>.</p></fn><fn id="fn24" symbol="24"><label><sup>24</sup></label><p>That sort of variability is a descendant of similar, more pervasive practices in the Aquitanian repertory; see <xref ref-type="bibr" rid="ref017">Ibid.</xref>, 228, ex. 12, and the extensive discussion in <citation citation-type="book" id="ref018"><name name-style="western"><surname>Karp's</surname><given-names>T.</given-names></name> <source>The Polyphony of Saint Martial and Santiago de Compostela</source>, <volume>2</volume> vols. (<publisher-name>Berkeley and Los Angeles</publisher-name>, <year>1992</year>), especially chapter 6.</citation></p></fn><fn id="fn25" symbol="25"><label><sup>25</sup></label><p>See the review cited in note 3 above, pp. 627–8, as well as Chapter 3 of the work cited in note 24 above. I regret my previous failure to cite Professor Karp's exhaustively detailed study.</p></fn><fn id="fn26" symbol="26"><label><sup>26</sup></label><p>The interpretation of plications involving larger intervals, which are not common, can be problematic; Anonymous IV (Reckow, <italic>Der Musiktraktat</italic>, IV, 56) reports that some singers had trouble with the proper intervallic reading of plicae. A page of examples for the performance of plicae appears on fol. 53v of manuscript London, British Library, Royal 12 C VI; though late, it is helpful.</p></fn><fn id="fn27" symbol="27"><label><sup>27</sup></label><p><citation citation-type="book" id="ref019"><name name-style="western"><surname>Apel</surname><given-names>W.</given-names></name>, <source>Die Notation der Polyphonen Musik</source> (<publisher-loc>Leipzig</publisher-loc>, <year>1970</year>), <fpage>248</fpage> and <fpage>252</fpage>.</citation> The alternative and presumably later way of writing a <italic>binaria ascendens plicata</italic> was to turn the upper note with its plication to the right, thus eliminating the need for the double note; see, for instance, the end of no. 412 and its concordance in F, fol. 132.</p></fn><fn id="fn28" symbol="28"><label><sup>28</sup></label><p>Actually seven phrase endings coincide, six do not.</p></fn><fn id="fn29" symbol="29"><label><sup>29</sup></label><p>Baltzer, ‘Notation, Rhythm and Style’, I, 132–3.</p></fn><fn id="fn30" symbol="30"><label><sup>30</sup></label><p>The third phrase in both clausulae should have the same rhythm as the first two. There are, in fact, four more clausulae in the F collection (nos. 30, 48, 189, 191) with the same tenor pattern and the same phrase layout as nos. 87 and 241. (They are discussed by Baltzer, <xref ref-type="bibr" rid="ref019">Ibid.</xref>, 200–6.) No circumstance seems to compel absolutely the evening of their phrases by means of long final notes and long rests.</p></fn><fn id="fn31" symbol="31"><label><sup>31</sup></label><p><italic>Der Discantus-Satz im Magnus liber und seiner Nachfolge</italic> (Vienna etc., 1969), 45, 52, 53, and 55, n. 45. His (and Friedrich Ludwig's) division of no. 59 into two pieces (see this volume's Critical Commentary, p. 324b) is puzzling. The reason for it is that the piece with its tenor labelled <italic>Ge</italic> (the second syllable of <italic>Surge)</italic> in the manuscript, actually continues with a setting of the chant melody for the next words <italic>(et illuminare).</italic> But the dausula is like a pair of Siamese twins, since the continuity of the counterpoint makes separation impossible. The curtailment of one note from the tenor presumably accounts for the omission of the two cited words acknowledged by Flotzinger (p. 46). On the other hand, one is entitled to wonder whether the capital letter at the beginning of no. 281 is a scribal mistake, since the plication at the end of no. 280 would seem to indicate one continuous multisyllabic clausula (like nos. 178–84; 133 etc.).</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Review</title></titleInfo><titleInfo lang="en"><title>Review</title></titleInfo><name type="personal"><namePart type="given">Ernest H.</namePart><namePart type="family">Sanders</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="book-reviews" displayLabel="book-review" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-PBH5VBM9-4">book-reviews</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1997-04</dateIssued><copyrightDate encoding="w3cdtf">1997</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><note>Le Magnus Liber de Notre Dame de Paris, vol. V: Les Clausules á Deux Voix du Manuscrit de Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1, Fascicule V., Edited by BaltzerRebecca A.. Monaco: Oiseau-Lyre, 1995. 1 + 393 pp. ISBN 2 87855 005 6.</note><relatedItem type="host"><titleInfo><title>Plainsong and Medieval Music</title></titleInfo><titleInfo type="abbreviated"><title>Plainsong and Medieval Music</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><originInfo><publisher>Oiseau-Lyre. </publisher><place><placeTerm type="text">Monaco</placeTerm></place></originInfo><identifier type="ISSN">0961-1371</identifier><identifier type="eISSN">1474-0087</identifier><identifier type="PublisherID">PMM</identifier><part><date>1997</date><detail type="volume"><caption>vol.</caption><number>6</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>75</start><end>87</end><total>13</total></extent></part></relatedItem><relatedItem type="reviewOf"><titleInfo><title>Le Magnus Liber de Notre Dame de Paris</title></titleInfo><name type="personal"><namePart type="given">Rebecca A.</namePart><namePart type="family">Baltzer</namePart></name><originInfo><publisher>Oiseau-Lyre. </publisher><place><placeTerm type="text">Monaco</placeTerm></place></originInfo><identifier type="ISBN">2 87855 005 6</identifier><part><date>1995</date></part></relatedItem><identifier type="istex">23BAE745FC3139845B076F132AF72BB104182DE0</identifier><identifier type="ark">ark:/67375/6GQ-2X4CBQNW-V</identifier><identifier type="DOI">10.1017/S0961137100001261</identifier><identifier type="PII">S0961137100001261</identifier><identifier type="ArticleID">00126</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1997</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1997</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-2X4CBQNW-V/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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