Sebald Heyden, De arte canendi (Nuremberg: J. Petreius, 1540)
The last of the three editions of Heyden’s treatise, each of which was published with a different title; the second edition is Musicae, ed est, artis canendi libri duo.
Facsimile edition: New York: Broude, 1969.
English translation: Ed. and trans. by Clement A. Miller, Musicological Studies and Documents 26 (American Institute of Musicology, 1972).
Source of pieces in Choralis Constantinus II: Working in the same city as Ott, Heyden would have had access to Ott's sources for the Choralis print.
Choralis Constantinus II contents:
- Mass 14
- Sequence, v. 20 (p. 108)
- Mass 25
- Sequence, v. 2 (p. 114)
Character of the Choralis Constantinus II examples:
The examples are without text. Both have complex proportional notation probably devised by Heyden.
In the Mass 14 example, the sign in the bass in m. 16 and the tenor in m. 20 is Ɔ, rather than cut-Ɔ, as in the Choralis print. Since Ɔ is the sign that would have been expected in Isaac's usual notation, and it is the sign in H-Bn MS Bártfa 8, it appears that Heyden changed it to cut-Ɔ in the exemplar for the print when he realized (belatedly) that the Ɔ in his treatise did not agree with his theory.
The Mass 25 example and its resolution are nearly the same as in Heyden's Musicae, except that the errors have been corrected. The sign 4/1 in the bass in m. 18 is interpreted consistently as if it were 8/1. The variant rhythm in the resolution of the alto, m. 14, is retained.
Three new errors are added in the resolution:
- T, m. 8 n. 2: note is missing.
- T, m. 11 n. 8: pitch is c'.
- T, m. 18, the sign 2/1 is missing.