The investigation of primary sources of thirteenth-century polyphony has been closely related to questions of the date and provenance of the surviving manuscripts. Previous studies have taken a single book and attempted to place it chronologically and topographically within the history of music of the thirteenth century. This thesis considers surviving material related to thirteenth-century polyphony and evaluates the patterns of production found there. These considerations are supported by a review of chronology in the period. Using techniques derived from the fields of paleography, codicology, and art history, the manuscripts are loosely divided into Parisian and non-Parisian, and the contrasting types of book-production are placed in the context of the contemporary production of other types of book. At the most basic level, Parisian books betray a professional and organised system of production which relates to the generation of books which preceded the establishment of the pecia system whilst provincial manuscripts seem to suggest a more informal and ad-hoc construction and circulation. The data obtained from such source-critical inquiry are then used to ask questions concerning the distribution of genre with the discussion focused primarily on the motet and its various sub-species: bilingual motet, rondeau-motet, etc. Conclusions as regards distribution of the music suggest a distinction between Parisian practices and provincial, particularly Artesian, musical cultures. It is argued that concordance-bases and origins of surviving sources suggest the exclusive cultivation of some genres in Paris, and, of others, in Artois or the provinces.

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The thesis presents the results of a study of 1005 graffiti on 13th century Byzantine amphorae from a shipwreck in the Bay of Sudak near Novy Svet, Crimea, Ukraine. The primary goals of this thesis are 1) to provide an overview of the excavation and shipwreck, 2) to examine the importance of the Novy Svet wreck in terms of Black Sea maritime trade in the Late Byzantine period, 3) to present the data collected at the Center for Underwater Archaeology at the Taras Shevchenko National University in Kiev, Ukraine (CUA) about the graffiti inscribed on the Günsenin IV amphorae raised from the Novy Svet wreck and 4) to discuss the meaning and importance of the graffiti, both aboard the ship itself and in a more general context. The thesis introduces the results of the 2002-2008 underwater excavation seasons at Novy Svet. Excavators have identified a 13th century shipwreck filled with glazed ceramics and amphorae as a Pisan vessel sunk on August 14, 1277. The majority of the amphorae are Günsenin IV jars and have graffiti inscribed on them. Analysis of the graffiti focuses on the division of the marks into morphological categories, and identifying parallels for the specific forms at other archaeological sites. The graffiti are divided into 5 types; Greek/Cyrillic letters, Turkic runes, geometric or pictorial symbols, numerical designations, and Arabic letters. Their parallels speak to a multi-lingual, multi-ethnic trade network in the Black Sea that included Byzantine Greeks, Hellenized Bulgarians, and Arabs.

Albertano da Brescia's three treatises are compilations, and therefore form a part of an enormous mass of mediaeval literature. This thesis performs two principal tasks as a step towards an assessment of the importance of Albertano as a compilist, and of his works as repositories of classical knowledge and therefore as source-material for the writings of many mediaeval and Renaissance authors. First, text-critical editions of two different translations into fifteenth-century German of Albertano's Liber consolationis et consilii (Melibeus) are given. An examination of the interrelationship and transmission of manuscripts and early prints reveals the great popularity of just one of these translations on the eve of the Renaissance. Second, a further indication of the popularity of Albertano's works throughout mediaeval Western Europe is given by the provision of details of all hitherto known manuscripts and early prints containing translations or workings of the treatises in the vernacular. Many of these are recent discoveries. In order to provide the reader with a wherever possible. Finally, an overview of works known to contain specific borrowings from Albertano is given, together with further literature, where this exists. The extent of the influence that Albertano's compilations exerted is indicated by the familiarity of the names of authors borrowing from him: Geoffrey Chaucer, Dante Alighieri, Christine de Pisan and Erhart Gross, to name just four.

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