Abstract
have depended in part on the skill and taste of the performer. Nevertheless, some clarification of the problem is urgently needed. The present study is a by-product of the effort to cope with the problem of musica ficta in preparing a usable transcription of the motets in the early 15th-century Ms. J. II. 9 in the Biblioteca Nazionale in Turin, hereinafter designated as Tu B. Since the appearance of partial signatures immediately brings up the question of supplementary accidentals in its most acute form, a study of their use provides a convenient point of entry into the whole problem of musica ficta.
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