Аннотация:This article explores evidence for polyphonic music in Italian convents during the first half of the 16th century. It presents a summary of documentary evidence relating to conventual music in the pre-Tridentine era, alongside practical evidence from contemporary treatises regarding methods by which convent choirs could develop a polyphonic repertory from existing music. It revisits claims for mandatory downwards transposition of music written in high clefs, and considers two manuscripts—Verona, Biblioteca Capitolare, Ms.761 and Brussels Bibliothèque du Conservatoire Royal de Musique, Ms.27766—in the light of this investigation. The article aims to open up a conversation regarding the status of convent polyphony in the early 16th century, shedding new light on its importance and advocating a fresh approach to the possibility of female performance for the Franco-Flemish repertory of the great papal and ducal chapels.
