ACKNOWLEDGEMENTS

I am indebted to many people and institutions for their aid in various aspects of the writing of this thesis. Phi Beta Kappa’s Alpha-Iota chapter of Massachusetts provided the funding for the earliest stages of my research, allowing me to remain in Cambridge during the summer to explore the literature and manuscript facsimiles at Harvard. Additional funding for my early research was provided by the Dean’s Summer Research Award. Financial support at a critical point in the middle of writing came from the Wesley Weyman Fund. I am grateful to Professors Thomas Kelly and Dean Christoph Wolff for their aid in obtaining this grant which enabled me to examine the fragments on the scene in Padua.

I wish to thank the Department of Music, especially for its 24-hour access policy in the last months of thesis writing. The Loeb Music Library’s term circulation of books to thesis writers was a godsend, a policy I hope continues and spreads to other libraries. Virginia Danielson and Doug Freundlich of the Isham Memorial Library advanced my research in countless ways with their willingness to place their time and resources at my disposal. To them I owe a great debt of gratitude. The staff of the Biblioteca Universitaria at the Università degli Studi di Padova were extremely helpful in granting me access to the Paduan fragments and in bringing me supplementary materials despite my terribly broken Italian.

Augusta Ridley brought a wealth of knowledge of medieval art and life to the reading of my draft, in addition to catching a host of little errors. David Petrain helped my Latin translation in PadA: multas gratias. The people of nose.support.thesis provided me with much advice, Ally, and late-night e-mail to keep the project going. My greatest debt, though, is to my parents, without whose continuous support and understanding not a single page would have been written.

Professor Robert Kendrick encouraged my idea of looking at music within a city through his class on music in urban life in the Renaissance low countries. Professor Katarina Livljanic’s assistance in reading some of the more difficult French texts was only matched by her ability to track down in five minutes a chant I could not find after five hours of searching. Professor David Cohen, despite pleading no knowledge of Italian treatises on rhythm, gave great aid to the theoretical issues of my work. Professor Lewis Lockwood aided me on issues of patronage and gave helpful comments on my draft copy. Professor Anne Stone of Queens College gave me advice on rhythmic relationships between tempus types and provided support and enthusiasm through her interest in my work. It is also to her and Professor Jeff Nichols that I owe thanks for the fonts used to write fourteenth-century notation.

Professor Reinhold Brinkmann advised the writing of this thesis in the winter and spring and provided much practical advice, support, and comments on drafts as he got back in touch with his medieval roots. Professor Thomas Forrest Kelly guided this project from the beginning as its principal advisor. In addition to his help in pointing me to the most relevant literature and deciphering text and notation, Professor Kelly made sure at each step in writing that I pulled myself away from the details and looked at the bigger picture of the musical environment of the late Middle Ages.