Abstract

Miss Helen Hewitt, whose edition of Petrucci's Odhecaton has just been published by the Mediaeval Academy of America, had the kindness, a short time ago, to suggest that I formulate my opinion concerning the problems of musica ficta raised by that famous collection. My paper is, in part, the result of the study of the most puzzling of its contents. I am much indebted to Miss Hewitt for her generosity in placing her materials at my disposal and for facilitating the preparation of this article in every possible way.

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