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, édité par Philippe Coulangeon et Julien Duval. Paris : La Découverte. Gans, Herbert J. 1992. Preface. Pp. vii-xv in Cultivating Differences: Symbolic Boundaries and the Making of Inequality, édité par Michele Lamont et Marcel Fournier. Chicago: University of Chicago Press. Glevarec, Hervé. 2013. La culture à l’ère de la diversité. Essai critique, trente ans après La Distinction. La Tour-d’Aigues : Ed. de l’Aube. Glevarec, Hervé et Michel Pinet. 2009. La « tablature » des goûts musicaux : un modèle de structuration des préférences et des jugements. Revue française de

Iesu. Gliński, M. (1941). Asprillo Pacelli insigne Maestro di Cappella della Corte Reale della Polonia , Città del Vaticano: [s.n.]. Inglot, M., Grzebień, L. (1998). Uczniowie – sodalisi gimnazjum jezuitów w Brunsberdze (Braniewie) 1579–1623 [ Students – Sodality Members of the Jesuit College in Braunsberg (Braniewo) 1579–1623 ]. Kraków: Wydawnictwo WAM. Janca, J. (1992). Oliwskie tabulatury organowe (ok. 1619). Nowe źródła do historii muzyki w Gdańsku i na Warmii. [The Oliwa Organ Tablatures of c. 1619: New Sources to the History of Music in Gdańsk and Warmia

Those brought to Poland by Bona included musicians: Alessandro Pesenti from Verona, who had previously served as organist at the court of Cardinal Ippolito d’Este, and who was active at Bona’s Cracovian court during the years 1521-1550, and Lodovico Pocenin, a cantor from Modena, whose name appears in the records in 15275. It is not impossible that Pesenti, as an organist, was in some way and to some degree responsible for the fact that the two Polish sources of keyboard music created ca 1548 – the tablature of Jan of Lublin and the tablature from the

– London, Bärenreiter 1975, Teil II: Register, Kassel – Basel – Tours – London, Bärenreiter 1980 (= Répertoire International des Sources Musicales, B VIII/1–2). They have been deciphered in the Annex at the end of this paper. 4 Tomasz Jeż, Muzyczne opracowania psalmów w tabulaturze z Biblioteki Miejskiej we Wrocławiu (sygn. 101) [Musical Settings of Psalms in Tablature 101 from the City Library of Wrocław] [in:] Materiały z XXIX Ogólnopolskiej Konferencji The post-Tridentine Catholic culture attempted a response to the Lutheran hymnal tradition, using the same

-98. The musical incipits of all the pieces for solo organ from Ms. 10 were compiled by T. Maciejewski and published in Musica Galiciana, 2000/V, pp. 39-44. 11 K. Mrowiec was the first to identify a piece by Zipoli in Ms. 10. This was followed by T. Jasiński’s discoveries. The remaining compositions were found by J. Hertling (Kompozycje organowe…, pp. 38-39). Presumably independently from those scholars, three works by Zipoli were identified by T. Maciejewski (see: ‘Notatki z przeszłości…’, pp. 98). Tablature of the Warsaw Musical Society of ca. 168012. It is a

takes into account not only manuscripts written in mensural notation (full and void), but also those with modal notation (STk Muz. 9–30 + Pu 7011, STk Muz. 6) and organ tablatures (Wn 2082, WRu I F 687a, WRu I Q 438a). A few other fragments, not referred to in the Table, contain records of simple, non-mensural polyphony. All these sources, at one time designated as waste paper, were used in book binding: for pasting onto 4 See Martin Horyna (ed.), Heinrich Isaac (c. 1450–1517): Missa Presulem ephebeatum, Prague 2002; Martin Horyna and Vladimír Maňas, ‘Two