1. James Grier, The Critical Editing of Music (Cambridge, UK: Cambridge University Press, 1996), 37.
2. Margaret Bent, “Early Music Editing, Forty Years On: Principles, Techniques, and Future Directions,” in Early Music Editing: Principles, Historiography, Future Directions, ed. Theodor Dumitrescu, Karl Kügle, and Marnix van Berchum (Turnhout, Belgium: Brepols, 2013), 241–71, here 242.
3. Craig Wright, “Quantification in Medieval Paris and How It Changed Western Music,” in City, Chant, and the Topography of Early Music: In Honor of Thomas Forrest Kelly, ed. Michael Scott Cuthbert, Sean Gallagher, and Christoph Wolff (Cambridge, MA: Harvard University Press, 2013), 3–26, here 4–7.
4. The Music Treatise of Anonymous IV: A New Translation, trans. Jeremy Yudkin (Neuhausen-Stuttgart: American Institute of Musicology, Hänssler, 1985); Franco of Cologne, Ars cantus mensurabilis mensurata per modos iuris: The Art of Mensurable Song Measured by the Modes of Law: A New Critical Text and Translation on Facing Pages, with an Introduction, Annotations, and Indices verborum and nominum et rerum, trans. C. Matthew Balensuela (Lincoln, NE: University of Nebraska Press, 1994); Johannes de Muris, Notitia artis musicae, ed. Hans Ulrich Michels, Corpus scriptorum de musica 17 (n.p.: American Institute of Musicology, 1972); Jacobus Leodiensis, Speculum musicae, ed. Roger Bragard, Corpus scriptorum de musica 3/6 (Rome: American Institute of Musicology, 1973).
5. An additional thirteenth-century source is Elias Salomo's Scientia artis musicae, in Scriptores ecclesiastici de musica sacra potissimum, ed. Martin Gerbert, 3 vols. (Sankt Blasien: Typis San-Blasianis, 1784; reprint, Hildesheim: Olms, 1963). Three further fourteenth-century treatises on the subject are Wilhelmus's Breviarium regulare musice (Ms. Oxford, Bodley 842), ed. Gilbert Reaney, Corpus scriptorum de musica 12 (Rome: American Institute of Musicology, 1966), Walter Odington's Summa de speculatione musice, ed. Frederick F. Hammond, Corpus scriptorum de musica 14 (Rome: American Institute of Musicology, 1970), and John of Tewkesbury's Quatuor principalia musicae in Scriptorum de musica medii aevi, novam seriem a Gerbertina alteram, ed. Edmond de Coussemaker, 4 vols. (Paris: Durand, 1864–76; reprint, Hildesheim: Olms, 1963).