Abstract
Codex latinus monacensis 14274 of the Bayerische Staatsbibliothek, Munich, the so-called St Emmeram codex, has been well known to musicologists since its discovery and description by Karl Dèzes in the late 1920s. Since Dèzes's very perceptive study, however, its contents have been explored only insofar as individual pieces were related to a particular task: the study of another manuscript, the preparation of an edition, or the exploration of a genre. In this way much has been learned about the works of major composers such as Dufay and Dunstaple and the manuscript has been seen as similar in many ways to other contemporaneous manuscripts in its presentation of a collection of works by major continental and English composers within a context of music of its more immediate surroundings. These more immediate surroundings, the place of origin of the manuscript, have yet to be securely established.
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