multiple impression

Uncial, Textura

red initials, red staff lines, red text

Space is always left for the large red uncial initials, woodcut initials, and rubrics. Space is also left for signa congruentiae and some small initials in the main music section, and many initials at the beginning of important feasts and certain other initials to be added by hand. Obvious frisket marks can be seen on s4v and s5r. Red double margins bound the staves to the left and the right, and the clefs and custodes are printed within these. The staves appear to be constructed of segments of varying widths; however, these are set so carefully it is difficult to determine the width of each segment. The portion that can be the most clearly seen is the one measuring 25 mm.

cantus fractus; Hufnagel notation

Measurements:

full-length staff: 179 x 13 mm (c1v); double margins to the left and right add c. 4 mm each. Height of virga one: c. 7.0-7.5 mm; height of virga two: 8.5 mm; height of virga three: 9 mm; height of virga four: 11 mm.

The notation is clearly and carefully printed and in general is quite evenly spaced. The stems of Stuchs' music type are rather thick in comparison with the noteheads as can be seen on the clivis and the virga.

chant

c1v-c3r: Liber generationis; r1r-r4v: Benedictio cere;
aa1r-aa2v: Kyrie, Gloria and Credo intonations.
aa3v-bb5v: Prefaces. At first there is the notation for several levels of solemnity (presumably the quotidian preface) solemn, duple, nine lessons, dominical, ferial and requiem. Then there follows solemn and lesser feasts, duple and nine lessons, and ferial prefaces. Rubrics instruct the celebrant to sing the red notes for the more solemn of the two feasts in the pair and to omit them otherwise; however, no notes are printed in red. Prefaces are notated for the following feasts (Christmas, Epiphany, Quadragesima [dominical and ferial only], Holy Cross, Ascension, Holy Spirit, Trinity, Blessed Virgin Mary, Apostles.
bb5v-bb6v: Pater noster (solemn, duple and nine lessons, ferial).

Copies:

A-Gu, A-Gu, A-KR, A-Ks, *A-MB, A-Sca, A-SL, *A-Ssp, *A-Su, *A-VOR, *A-Wn, B-BO, D-FS, D-KNd, D-LEdnb, D-Mae, *D-Mbs, *D-Mbs, *D-Mbs, D-SFschäfer, H-PH, I-Mb, I-Nn, S-Uu, SI-Lz, SI-Mš, US-BA Wagner, US-Cn, US-NH, US-PROb, US-Wc

Secondary literature:

Gillion, Marianne C.E. "Archiepiscopal Archetypes, Printed Books, and Parish Practices: Musical Notation in Editions of the ‘Missale Salisburgense’ (1492-1515)." Florilegium 34 (2017): 119–146 (published 2021).
Duggan, Mary Kay. Printing and Reform. The Beginning of Music Printing in German-speaking Lands in the Fifteenth Century. (under review)