Eva M. Maschke | Staatliche Hochschule für Musik und Darstellende Kunst Mannheim (original) (raw)

Papers by Eva M. Maschke

The Routledge Handbook of Women's Work in Music, 2021

This dissertation focuses on fragments of Notre Dame manuscripts that made their way to German sp... more This dissertation focuses on fragments of Notre Dame manuscripts that made their way to German speaking Europe during the medieval period. The first chapter focuses on their contexts of reuse. Dominican, Cistercian as well as Franciscan bookbinders played a role in these processes of medieval and early modern recycling. The potential for fragments to elucidate bookbinders’ techniques will be explored, and existing hypotheses as to the circulation of Notre Dame manuscripts will be critically reviewed. Furthermore, an emphasis is placed on the importance of the reconstruction of medieval book collections. The second chapter is dedicated to the discovery of a set of conductus fragments reused by a bookbinder of the Dominican convent of Soest. Taking one known fragment as a point of departure, I was able to assign five further leaves(now in Munster, Cambridge and New Haven) to this set of fragments. The third chapter sheds new light on the history of two host volumes, in which, during t...

The Montpellier Codex, 2018

Plainsong and Medieval Music, 2016

Die Musikforschung, 2021

Teile einer aufgelösten Musikhandschrift (D-MÜsa Mscr. VII, 6115) konnten in den Handschriften D-... more Teile einer aufgelösten Musikhandschrift (D-MÜsa Mscr. VII, 6115) konnten in den Handschriften D-MÜu Hs 378 und D-MÜu Hs 382 identifiziert werden. Sie enthalten zweistimmige Sätze bekannter conducti cum caudis, von "O crux ave spes unica" und "Naturas Deus regulis". Auch die Fragmente GB-Cssc 117 in Cambridge, die vier Conducti überliefern, stammen aus derselben Musikhandschrift des 13. Jahrhunderts, die im 15. Jahrhunderts erstmals in der Buchbinderwerkstatt des Soester Dominikanerkonvents als Einbandmaterial verwendet wurde. bms online (Cornelia Schöntube)

The Routledge Handbook of Women's Work in Music, 2022

"... following the discovery of an award-winning Piano Trio by French composer Jeanne Barbillion ... more "... following the discovery of an award-winning Piano Trio by French composer Jeanne Barbillion (1895–1992) in a ‘help-yourself’ cardboard box of old scores, Eva M. Maschke (chapter 13) painstakingly pieces together information about this little-known composer, laying the foundations for a much-needed reassessment of Barbillion’s contribution to French musical life." (Rhiannon Mathias, Editor’s introduction, p.3).

Abstract:
In his 2001 monograph about French cello sonatas, Stephen Sensbach recommended Jeanne Barbillion’s cello sonata for its modern idiom and its effective cello part. With the exception of Sensbach’s appraisal, Barbillion’s oeuvre is among the numerous neglected oeuvres of female composers and almost entirely forgotten today. She spent her whole musical life in Paris and was active at the Schola cantorum, where she studied both piano and violin and also obtained a degree in composition with Vincent d’ Indy. Later she was a teacher at the same institution. While focusing on chamber music, Barbillion also wrote some orchestral pieces and a Chorale et pastorale en rondeau for ondes martenot, organ and strings. Apart from bringing the life’s work of a composer, performer and academic teacher back to memory, this chapter draws special attention to one particular work, Barbillion’s Piano Trio of 1926, for which she was awarded the Prix Marmontel from the Société des Compositeurs.

Gegliederte Zeit, 2020

„Von Leonin und Perotin zum »Tod des Autors«: Aktuelle Tendenzen der Notre-Dame-Forschung und ihr... more „Von Leonin und Perotin zum »Tod des Autors«: Aktuelle Tendenzen der Notre-Dame-Forschung und ihre hochschuldidaktischen Konsequenzen“, in: Gegliederte Zeit. Kongressbericht des 15. Jahreskongresses der Gesellschaft für Musiktheorie (GMTH) an der Universität der Künste Berlin und Hochschule für Musik Hanns Eisler Berlin (1.-4. Oktober 2015), hg. von Marcus Aydintan, Florian Edler, Laura Krämer u.a., Hildesheim, Zürich, New York: Olms, 2020, S. 435-457.

Music and Letters, Volume 101, Issue 2, 2020

Examining the Soest conductus fragments, of which five single leaves have so far been rediscovere... more Examining the Soest conductus fragments, of which five single leaves have so far been rediscovered, this article analyses the different layers of use and reuse that can be deduced. First, a detailed account of the circumstances under which these manuscript fragments travelled with (or without) their respective host volumes is given. The music manuscript must have been discarded by the fifteenth century, as a bookbinder from the Dominican convent of Soest in Westphalia reused various leaves of it in a series of autographs written by Jacob of Soest, who died in 1438. After the dissolution of the convent’s library in the course of nineteenth-century secularization, further contexts of reuse and dismemberment pertaining to the fragments can be demonstrated. Secondly, the remnants of the original music manuscript are analysed. The use of the two-part conductus O crux ave spes unica (H4) as the opening piece of a fascicle can be connected to the dedication of the Soest Dominican house to the Holy Cross. In comparison to other fragmentary sources that made their way to the German-speaking area, as well as the long-known codices F, W1, and W2, the Soest music manuscript seems closest to W2. While, however, these two codices show significant parallels in terms of mise-en-page and copying process, the choice of repertory might have deliberately differed. This points to production in the same workshop, but for different commissioners.

Notes: the Quarterly Journal of the Music Library Association, Vol. 76,4, 2020

In revisiting two sets of organum fragments, which so far have mainly been of interest for musico... more In revisiting two sets of organum fragments, which so far have mainly been of interest for musicologists dealing with the so-called Notre Dame repertoire, this article puts the 13th-century manuscript fragments into the context of an interdisciplinary study. By drawing attention to their host volumes, the focus is on questions of provenance and user groups. Found in the astronomical manuscript now DK-Kk GKS 1810 4°, the host volume of the Copenhagen organum fragments point to a Danish Franciscan context, which also sheds new light on some particular idiosyncrasies of the format and of the scribal practice of the fragmentary organum fascicle.
The Berlin organum fragments, in turn, contain an Italian trecento ballata added by a later scribe, thus demonstrating Italian users during an early layer of the manuscript’s history. While this Italian connection has already been well-known, both the contents and the provenance of the fragments’ host volume (now D-B MS Lat. qu. 523) have almost completely escaped scholars’ attention and will be revisited in this article. Additionally, general questions concerning the various layers of provenance of manuscripts from the medieval to the modern period will be addressed, and the multiple travel of fragments together with their host volumes will be demonstrated.

Studi musicali» pubblica articoli riguardanti tutti i campi della ricerca musicologica in italian... more Studi musicali» pubblica articoli riguardanti tutti i campi della ricerca musicologica in italiano, inglese, francese, tedesco e spagnolo. Gli articoli proposti per una eventuale pubblicazione possono essere inviati in copia cartacea al seguente indirizzo: Agostino Ziino, Via Giovanni Antonelli, 21, 00197 Roma, e, in allegato a una e-mail, all'indirizzo studimusicali@santacecilia.it. La pubblicazione è subordinata al parere di due studiosi specializzati cui l'articolo sarà sottoposto in forma anonima. Una volta accettato, l'articolo dovrà essere redatto secondo le norme editoriali della rivista disponibili in italiano e in inglese al seguente indirizzo: http://studimusicali.santacecilia.it.

Conference Presentations by Eva M. Maschke

“Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola cantorum de Paris”, in: Handbook on Women's Work in Music, ed. Rhiannon Mathias (Oxford: Routledge, in press.), 2021

In his 2001 monograph about French cello sonatas, Stephen Sensbach recommended Jeanne Barbillion’... more In his 2001 monograph about French cello sonatas, Stephen Sensbach recommended Jeanne Barbillion’s cello sonata for its modern idiom and its effective cello part. With the exception of Sensbach’s appraisal, Barbillion’s oeuvre is among the numerous neglected oeuvres of female composers and almost entirely forgotten today. She spent her whole musical life in Paris and was active at the Schola cantorum, where she studied both piano and violin and also obtained a degree in composition with Vincent d’ Indy. Later she was a teacher at the same institution. While focusing on chamber music, Barbillion also wrote some orchestral pieces and a Chorale et pastorale en rondeau for Ondes Martenot, organ and strings. Apart from bringing the life’s work of a composer, performer and academic teacher back to memory, this chapter will draw special attention to one particular work, Barbillion’s piano trio from 1926, for which she was awarded the Prix Marmontel from the Société des Compositeurs. Stylistically influenced by Wagner and Liszt on the one hand and by Debussy on the other, this award-winning piece also sheds light on musical tastes in France in the inter-war period as well as on policies behind awarding such prizes.

“Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola cantorum de Paris”, in: Handbook on Women's Work in Music, ed. Rhiannon Mathias (Oxford: Routledge, in press 2021.)

Parchment is a stable and useful material, and bookbinders of the medieval and early modern perio... more Parchment is a stable and useful material, and bookbinders of the medieval and early modern period were well aware of this. Thus, it does not come as a surprise to find many a medieval codex reused as pastedowns and flyleaves in bookbindings of later periods. For modern scholars who try to reconstruct those dismembered codices, an awareness of this phenomenon can be very helpful and the rediscovery of one binding fragment can lead to further discoveries if the provenance of its parent volume and the history of the library it formerly belonged to are known.
This paper will present a case study from my PhD project which deals with the reconstruction of dismembered 13th-century music manuscripts transmitting the polyphonic repertoire associated with Notre-Dame of Paris. As a result of my systematic evaluation of all surviving manuscripts from the Dominican convent of Soest, I have been able to rediscover and connect fragments of such a Notre-Dame manuscript. This book was dismembered and reused by a convent bookbinder during the 1440s and is now found in at least four different libraries and archives (D-MÜsa Mscr. VII Nr. 6115, D-MÜu Hs 378 and D-MÜu Hs 382, GB-Cssc 117* and US-NHub Beinecke MS 712.59). In an interdisciplinary approach focusing on the afterlife of this music manuscript, the multiple reuses of the parchment leaves during the 15th and 19th centuries and their journeys with their respective parent volumes will be explored.

The reoccurrence of specific pieces as opening pieces of fascicles or gatherings is a common phen... more The reoccurrence of specific pieces as opening pieces of fascicles or gatherings is a common phenomenon in the earliest polyphonic anthologies. However, the question of what the choice of specific pieces as opening pieces might say about both compositions and manuscripts has not yet been explored.
As is well known, Deus in adiutorium serves as an opening piece of fascicle 8 as well as of fascicle 1 of Mo (see, for example, Rokseth 1939 and Wolinski 1992) and led Rokseth to argue for the eighth fascicle having originally been an independent manuscript. Ursula Günther discussed the two different versions and their concordances in her 1988 article and explained their introductory function in a number of motet collections as a reference to the usual beginning of the Hours. However, the question of why this reference to liturgical practice became a standard topos in motet collections has remained open ever since.
In an attempt to develop a typology of opening pieces, this phenomenon will be viewed in the context of other early anthologies. As a point of comparison, examples of opening pieces from the organum and conductus repertoire which tend to reoccur throughout the Notre-Dame sources will be explored. Beyond the well-known Viderunt omnes which, following the church year, opens the organum sections of F, W1 and, where available, W2, the cases of the conducti Salvatoris hodie, Fraude ceca desolato and Porta salutis ave, characteristic opening pieces throughout a number of sources, will also be discussed.

The Routledge Handbook of Women's Work in Music, 2021

This dissertation focuses on fragments of Notre Dame manuscripts that made their way to German sp... more This dissertation focuses on fragments of Notre Dame manuscripts that made their way to German speaking Europe during the medieval period. The first chapter focuses on their contexts of reuse. Dominican, Cistercian as well as Franciscan bookbinders played a role in these processes of medieval and early modern recycling. The potential for fragments to elucidate bookbinders’ techniques will be explored, and existing hypotheses as to the circulation of Notre Dame manuscripts will be critically reviewed. Furthermore, an emphasis is placed on the importance of the reconstruction of medieval book collections. The second chapter is dedicated to the discovery of a set of conductus fragments reused by a bookbinder of the Dominican convent of Soest. Taking one known fragment as a point of departure, I was able to assign five further leaves(now in Munster, Cambridge and New Haven) to this set of fragments. The third chapter sheds new light on the history of two host volumes, in which, during t...

The Montpellier Codex, 2018

Plainsong and Medieval Music, 2016

Die Musikforschung, 2021

Teile einer aufgelösten Musikhandschrift (D-MÜsa Mscr. VII, 6115) konnten in den Handschriften D-... more Teile einer aufgelösten Musikhandschrift (D-MÜsa Mscr. VII, 6115) konnten in den Handschriften D-MÜu Hs 378 und D-MÜu Hs 382 identifiziert werden. Sie enthalten zweistimmige Sätze bekannter conducti cum caudis, von "O crux ave spes unica" und "Naturas Deus regulis". Auch die Fragmente GB-Cssc 117 in Cambridge, die vier Conducti überliefern, stammen aus derselben Musikhandschrift des 13. Jahrhunderts, die im 15. Jahrhunderts erstmals in der Buchbinderwerkstatt des Soester Dominikanerkonvents als Einbandmaterial verwendet wurde. bms online (Cornelia Schöntube)

The Routledge Handbook of Women's Work in Music, 2022

"... following the discovery of an award-winning Piano Trio by French composer Jeanne Barbillion ... more "... following the discovery of an award-winning Piano Trio by French composer Jeanne Barbillion (1895–1992) in a ‘help-yourself’ cardboard box of old scores, Eva M. Maschke (chapter 13) painstakingly pieces together information about this little-known composer, laying the foundations for a much-needed reassessment of Barbillion’s contribution to French musical life." (Rhiannon Mathias, Editor’s introduction, p.3).

Abstract:
In his 2001 monograph about French cello sonatas, Stephen Sensbach recommended Jeanne Barbillion’s cello sonata for its modern idiom and its effective cello part. With the exception of Sensbach’s appraisal, Barbillion’s oeuvre is among the numerous neglected oeuvres of female composers and almost entirely forgotten today. She spent her whole musical life in Paris and was active at the Schola cantorum, where she studied both piano and violin and also obtained a degree in composition with Vincent d’ Indy. Later she was a teacher at the same institution. While focusing on chamber music, Barbillion also wrote some orchestral pieces and a Chorale et pastorale en rondeau for ondes martenot, organ and strings. Apart from bringing the life’s work of a composer, performer and academic teacher back to memory, this chapter draws special attention to one particular work, Barbillion’s Piano Trio of 1926, for which she was awarded the Prix Marmontel from the Société des Compositeurs.

Gegliederte Zeit, 2020

„Von Leonin und Perotin zum »Tod des Autors«: Aktuelle Tendenzen der Notre-Dame-Forschung und ihr... more „Von Leonin und Perotin zum »Tod des Autors«: Aktuelle Tendenzen der Notre-Dame-Forschung und ihre hochschuldidaktischen Konsequenzen“, in: Gegliederte Zeit. Kongressbericht des 15. Jahreskongresses der Gesellschaft für Musiktheorie (GMTH) an der Universität der Künste Berlin und Hochschule für Musik Hanns Eisler Berlin (1.-4. Oktober 2015), hg. von Marcus Aydintan, Florian Edler, Laura Krämer u.a., Hildesheim, Zürich, New York: Olms, 2020, S. 435-457.

Music and Letters, Volume 101, Issue 2, 2020

Examining the Soest conductus fragments, of which five single leaves have so far been rediscovere... more Examining the Soest conductus fragments, of which five single leaves have so far been rediscovered, this article analyses the different layers of use and reuse that can be deduced. First, a detailed account of the circumstances under which these manuscript fragments travelled with (or without) their respective host volumes is given. The music manuscript must have been discarded by the fifteenth century, as a bookbinder from the Dominican convent of Soest in Westphalia reused various leaves of it in a series of autographs written by Jacob of Soest, who died in 1438. After the dissolution of the convent’s library in the course of nineteenth-century secularization, further contexts of reuse and dismemberment pertaining to the fragments can be demonstrated. Secondly, the remnants of the original music manuscript are analysed. The use of the two-part conductus O crux ave spes unica (H4) as the opening piece of a fascicle can be connected to the dedication of the Soest Dominican house to the Holy Cross. In comparison to other fragmentary sources that made their way to the German-speaking area, as well as the long-known codices F, W1, and W2, the Soest music manuscript seems closest to W2. While, however, these two codices show significant parallels in terms of mise-en-page and copying process, the choice of repertory might have deliberately differed. This points to production in the same workshop, but for different commissioners.

Notes: the Quarterly Journal of the Music Library Association, Vol. 76,4, 2020

In revisiting two sets of organum fragments, which so far have mainly been of interest for musico... more In revisiting two sets of organum fragments, which so far have mainly been of interest for musicologists dealing with the so-called Notre Dame repertoire, this article puts the 13th-century manuscript fragments into the context of an interdisciplinary study. By drawing attention to their host volumes, the focus is on questions of provenance and user groups. Found in the astronomical manuscript now DK-Kk GKS 1810 4°, the host volume of the Copenhagen organum fragments point to a Danish Franciscan context, which also sheds new light on some particular idiosyncrasies of the format and of the scribal practice of the fragmentary organum fascicle.
The Berlin organum fragments, in turn, contain an Italian trecento ballata added by a later scribe, thus demonstrating Italian users during an early layer of the manuscript’s history. While this Italian connection has already been well-known, both the contents and the provenance of the fragments’ host volume (now D-B MS Lat. qu. 523) have almost completely escaped scholars’ attention and will be revisited in this article. Additionally, general questions concerning the various layers of provenance of manuscripts from the medieval to the modern period will be addressed, and the multiple travel of fragments together with their host volumes will be demonstrated.

Studi musicali» pubblica articoli riguardanti tutti i campi della ricerca musicologica in italian... more Studi musicali» pubblica articoli riguardanti tutti i campi della ricerca musicologica in italiano, inglese, francese, tedesco e spagnolo. Gli articoli proposti per una eventuale pubblicazione possono essere inviati in copia cartacea al seguente indirizzo: Agostino Ziino, Via Giovanni Antonelli, 21, 00197 Roma, e, in allegato a una e-mail, all'indirizzo studimusicali@santacecilia.it. La pubblicazione è subordinata al parere di due studiosi specializzati cui l'articolo sarà sottoposto in forma anonima. Una volta accettato, l'articolo dovrà essere redatto secondo le norme editoriali della rivista disponibili in italiano e in inglese al seguente indirizzo: http://studimusicali.santacecilia.it.

“Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola cantorum de Paris”, in: Handbook on Women's Work in Music, ed. Rhiannon Mathias (Oxford: Routledge, in press.), 2021

In his 2001 monograph about French cello sonatas, Stephen Sensbach recommended Jeanne Barbillion’... more In his 2001 monograph about French cello sonatas, Stephen Sensbach recommended Jeanne Barbillion’s cello sonata for its modern idiom and its effective cello part. With the exception of Sensbach’s appraisal, Barbillion’s oeuvre is among the numerous neglected oeuvres of female composers and almost entirely forgotten today. She spent her whole musical life in Paris and was active at the Schola cantorum, where she studied both piano and violin and also obtained a degree in composition with Vincent d’ Indy. Later she was a teacher at the same institution. While focusing on chamber music, Barbillion also wrote some orchestral pieces and a Chorale et pastorale en rondeau for Ondes Martenot, organ and strings. Apart from bringing the life’s work of a composer, performer and academic teacher back to memory, this chapter will draw special attention to one particular work, Barbillion’s piano trio from 1926, for which she was awarded the Prix Marmontel from the Société des Compositeurs. Stylistically influenced by Wagner and Liszt on the one hand and by Debussy on the other, this award-winning piece also sheds light on musical tastes in France in the inter-war period as well as on policies behind awarding such prizes.

“Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola cantorum de Paris”, in: Handbook on Women's Work in Music, ed. Rhiannon Mathias (Oxford: Routledge, in press 2021.)

Parchment is a stable and useful material, and bookbinders of the medieval and early modern perio... more Parchment is a stable and useful material, and bookbinders of the medieval and early modern period were well aware of this. Thus, it does not come as a surprise to find many a medieval codex reused as pastedowns and flyleaves in bookbindings of later periods. For modern scholars who try to reconstruct those dismembered codices, an awareness of this phenomenon can be very helpful and the rediscovery of one binding fragment can lead to further discoveries if the provenance of its parent volume and the history of the library it formerly belonged to are known.
This paper will present a case study from my PhD project which deals with the reconstruction of dismembered 13th-century music manuscripts transmitting the polyphonic repertoire associated with Notre-Dame of Paris. As a result of my systematic evaluation of all surviving manuscripts from the Dominican convent of Soest, I have been able to rediscover and connect fragments of such a Notre-Dame manuscript. This book was dismembered and reused by a convent bookbinder during the 1440s and is now found in at least four different libraries and archives (D-MÜsa Mscr. VII Nr. 6115, D-MÜu Hs 378 and D-MÜu Hs 382, GB-Cssc 117* and US-NHub Beinecke MS 712.59). In an interdisciplinary approach focusing on the afterlife of this music manuscript, the multiple reuses of the parchment leaves during the 15th and 19th centuries and their journeys with their respective parent volumes will be explored.

The reoccurrence of specific pieces as opening pieces of fascicles or gatherings is a common phen... more The reoccurrence of specific pieces as opening pieces of fascicles or gatherings is a common phenomenon in the earliest polyphonic anthologies. However, the question of what the choice of specific pieces as opening pieces might say about both compositions and manuscripts has not yet been explored.
As is well known, Deus in adiutorium serves as an opening piece of fascicle 8 as well as of fascicle 1 of Mo (see, for example, Rokseth 1939 and Wolinski 1992) and led Rokseth to argue for the eighth fascicle having originally been an independent manuscript. Ursula Günther discussed the two different versions and their concordances in her 1988 article and explained their introductory function in a number of motet collections as a reference to the usual beginning of the Hours. However, the question of why this reference to liturgical practice became a standard topos in motet collections has remained open ever since.
In an attempt to develop a typology of opening pieces, this phenomenon will be viewed in the context of other early anthologies. As a point of comparison, examples of opening pieces from the organum and conductus repertoire which tend to reoccur throughout the Notre-Dame sources will be explored. Beyond the well-known Viderunt omnes which, following the church year, opens the organum sections of F, W1 and, where available, W2, the cases of the conducti Salvatoris hodie, Fraude ceca desolato and Porta salutis ave, characteristic opening pieces throughout a number of sources, will also be discussed.

Sammelrezension zu Musikalische Fragmente. Mittelalterliche Liturgie als Einbandmakulatur. Zweite... more Sammelrezension zu Musikalische Fragmente. Mittelalterliche Liturgie als Einbandmakulatur. Zweite, verbesserte Auflage, hg. von Andreas Traub und Annekathrin Miegel, Stuttgart: Kohlhammer 2013; Ein Kleid aus Noten. Mittelalterliche Basler Choralfragmente als Bucheinbände, hg. von Matteo Nanni, Caroline Schärli und Florian Effelsberg, Basel: Schwabe Verlag 2014, in: Die Tonkunst 9,4 (2015), S. 457-459.

This dissertation focuses on fragments of Notre Dame manuscripts that made their way to German-sp... more This dissertation focuses on fragments of Notre Dame manuscripts that made their way to German-speaking Europe during the medieval period. The first chapter focuses on their contexts of reuse. Dominican, Cistercian as well as Franciscan bookbinders played a role in these processes of medieval and early modern recycling. The potential for fragments to elucidate bookbinders’ techniques will be explored, and existing hypotheses as to the circulation of Notre Dame manuscripts will be critically reviewed. Furthermore, an emphasis is placed on the importance of the reconstruction of medieval book collections.

The second chapter is dedicated to the discovery of a set of conductus fragments reused by a bookbinder of the Dominican convent of Soest. Taking one known fragment as a point of departure, I was able to assign five further leaves (now in Münster, Cambridge and New Haven) to this set of fragments. The third chapter sheds new light on the history of two host volumes, in which, during the twentieth century, organum fragments were discovered. It addresses questions of the changing ownership of manuscripts, focusing on the role of post-Reformation and nineteenth-century book collectors.
The final chapter, a case study of the conductus Porta salutis ave, discusses editorial problems in conjunction with a close analysis of the piece’s main stylistic features. As the text was originally designed as a seal inscription, questions of material culture and music are also addressed. Furthermore, my systematic search for text sources for the distich Porta salutis ave revealed more than twenty previously unconsidered manuscripts transmitting the poetic text only, whose fuller contents point to complementary contexts and functions to those suggested in the musical sources and the seals.