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names, and partially only indicated by syllables of text of the original plainchant. This notation documents the transition from practise without notation to the written notation of music for keyboard instruments, and it significantly supplements the material found in treatises from the milieu of the ars organisandi, which are available to us from fifteenth-century manuscripts. Key words: Organ tablature, ars organisandi, medieval treatises on music, fragments, Kyrie magne deus, Salve, sancta parens, National Museum Library, tactus, organ paraphrases of

českých zemích’ [‘Ars Nova in the Bohemian Lands’], in: Complexus effectuum, op. cit., pp. 335–359; on ars organisandi see Elżbieta Witkowska-Zaremba, ‘Ars organisandi around 1430 and its Terminology’, in: Quellen und Studien zur Musiktheorie des Mittelalters, vol. 3, ed. Michael Bernhard, Munich 2001 (Veröffentlichungen der Musikhistorischen Kommission 15), pp. 367–423; eadem, ‘Early Keyboard Music in Sources from Prague and Silesia’‚ in: The Musical Culture of Silesia before 1742, op. cit., pp. 9–21. been held in Berlin until the Second World War, and most