Basis: the Data Bank

As of 6 December 2008, there are
2,039 entries in the data bank.
1,923 of these are pieces in Accords Nouveaux from manuscripts and prints covered by the source list, and
116 are concordances to pieces in Accords Nouveaux in other tunings or for other instruments than lutes or viols.
Further references to editions or concordances in sources for other instruments or other tunings are to be found in the section Conc:1 - Conc:40 and
here.

Here is the file ordered by sources and for each source in the order the pieces appear in it.

Here it is ordered by No PAN (PAN = Pièces en Accords Nouveaux), dating of the entry, source, and tuning.

Here ordered by tuning, key, and dating of the entry (only for pieces in Accords Nouveaux).

Here ordered by tuning, key, and source.

Here ordered by dating of the entries, Accord and key (only for pieces in Accords Nouveaux).

Here ordered by source, tuning, and key.


Information on the Data Bank

The data bank is run by François-Pierre Goy and Andreas Schlegel, and is updated and supplemented on a regular basis.
It is not available as a whole, but only put on the web in the form of pdf files which contain lists resulting from database queries calling up information based on a variety of sorting criteria. Anyone who has a query not covered by what is put on the net may contact us.

Field descriptions in alphabetic order:

Accord: Tuning (see the page
Accords Nouveaux).

Accord Goy: the original tuning descriptions from the thesis of François-Pierre Goy.
A pdf file with a synopsis is to be found here.

Chiffre Goy: This was a transitional solution to make the data computer-compatible for sorting them.

Comp. modèle: Composer of a model, for example an Air de Cour, underlying instrumental music.

Compositeur: Composer = family name, given name, and possibly additions like a question mark.

Conc. ext.: Concordances in music not in Accords Nouveaux.

Conc. impr.: Concordances in prints (prints with music in Accords Noveaux were originally not part of the data bank).

Concordance: The classification in its earlier form from the thesis of François-Pierre Goy. This comes in handy for searching.

Datation copie: The dates when pieces have been entered into their sources, in a form suitable for queries.

Exact datings:
1625 daté = dated in the manuscript (also in the following form: 1625 dat.)
1625 éd. = printed in 1625 (also: 1625 ed.)

Hypothetical datings:
1625 = year, given it can be clearly identified
1625 ca. = approximation of the year (+/- 1-2 years)
1625-1630 = clearly definable space of time
1625-1630, ca = the years framing the period can not be clearly defined
1625 avant, max. 1620 = Terminus ante quem with the definition of an anterior limit (also: 1625 vor, max. 1630)
1625 au plus tôt, max. 1635 = Terminus post quem with the definition of a posterior limit (also: 1625 ab, max. 1635)

Datation pièce: Dating of a piece. The earliest known occurrence is determined as exactly as possible (also considering concordances, if any) and given in the same manner as in the field Datation copie.

Ed. moderne: Here, critical editions are mentioned, if any exist.

Gr: Again, a transitional solution to help in the search for and classification of concordances.

Lieu copie: Country code followed by the place or region, defined as exactly as possible, where the music in question was copied. Locations take the present day borders into account. Examples:
F-Paris
F-Paris / Île de France
F-Sud
CH-Bâle ou D-Allemagne de sud

Main: Identification of writers by sigla, for example CH-Bu F.IX.53; C (G-02-C). The sigla will find their way into a separate file, which is work in progress.
All contents layers (even those which do not contain music in Accords Nouveaux) are marked with a capital letter, which stands behind the RISM siglum for the source in question. Following that one finds in round brackets information about the source for the writer’s siglum (G = classification by Goy, 02 = numbering of the sources in Goy’s thesis and in the data bank PAN).

No Goy: The old numbering from François-Pierre Goy’s thesis. As this numbering formed a closed system which did not easily allow to add newly detected pieces to it, the new numbering system No PAN was introduced. Numbers from thesis from 1989 are still given to make it possible to use these, but we would like to ask to relate exclusively to the No PAN system when listing or pointing to pieces.

No Gustafson: Numbering of keyboard pieces from Bruce Gustafson: French Harpsichord Music of the Seventeenth Century, Ann Arbor: UMI Research Press 1979.

No p. source: All of the pieces in each source are numbered according to the sequence of their appearance in the source, which makes it possible to sort them accordingly.

No PAN:
The number before the dot stands for the musical form; the three-digit number after the dot makes it possible to find concordances: each concordance is marked with the same number.
Form 1: Pieces which have either the function of opening a musical sequence, or belong to the so called ‘free’ or ‘abstract’ instrumental forms: Prélude, Fantasie, Entrée, Recherche, Exercitio, Point d’Orgue, Sinfonie fugue, Interlude
Form 2: Pavane
Form 3: Allemande, Tombeau
Form 4: Courante
Form 5: Sarabande
Form 6: Canarie
Form 7: Chaconne, Ciaccona
Form 8: Volte
Form 9: Gigue, Tattle de Moy
Form 10: Gaillarde
Form 11: Branle, Gavotte
Form 12: Ballet, Bataille
Form 13: Songs, Chansons, and pieces based on models
Form 14: Examples
Form 15: Diverse other music
This is an open numbering system. It is desirable that all pieces in any of the Accords Nouveaux carry a PAN number, and not only in this catalogue!

No SMT: For sources registered in the series Source manuscrites en tablature (SMT), the SMT number is given too. This comes in handy when searching in the website www.bnu.fr/smt/smt.htm.

No source: This is a sort field for sorting by source numbers. Those sources which contain concordances to pieces in the Accords Nouveaux repertoire without being sources in Accords Nouveaux themselves carry numbers beginning with 100.

No VdGS: These are numbers of pieces for Viola da Gamba (most often: the Lyra Viol) catalogued by Gordon Dodd since 1980. A CD documents the first phase of his work. It is available from the Viola da Gamba Society of Great Britain. Addenda to this are to be found on the webiste of the Society.

Nombre de pièces: This is an evaluation field.

Page/Folio: The pagination or foliation of a source. In the case that there are several pieces on one page, this is signaled by a postpositioned number (for example: 20v.2).

Rédacteur: If the redactor of a source is known, his name or a label is given here. Further information, which may help with his identification, is also entered here (for example “écriture allemande”, “même main que G-06 C”).

Source: Here the source number and its siglum following François-Pierre Goy are to be found. Sources which do contain concordances to pieces in Accords Nouveaux which are not in Accords Nouveaux themselves, do not have a visible number.

Source de modèle: Here the source for the model on which a piece is based (for example an Air de Cour) ist given.

Version en AN: This is a logical field (O=yes/N=no), which differentiates between pieces which are written in an Accord Nouveau, and pieces which are concordant to music in Accords Nouveaux, but which are written for another tuning or a different instrument.

Titre normalisé: The title in a standardized form.

Titre source: Exact transliteration of the title as found in the source.

Tonalité: Key of the music, based on the pitches assumed (see the page
Accords Nouveaux).

Version: If there are concordances to a piece, then here is differentiated between them. Each independent version of a melody or model receives a capital letter of its own (for example 13.012 A / 13.012 B), making it possible to list different variants of pieces based on a model, and the concordances. Three variant but almost identical arrangements A and two variant but almost identical arrangements B are listed as follows:
13.012 A
13.012 A
13.012 A
13.012 B
13.012 B