| Summary: | Despite the scholarly attention that has rightly been paid to Universitat de València, Biblioteca Històrica, MS 835, and Bologna, Biblioteca Universitaria, MS 2573, as crucially important textual sources for Tinctoris’s music theory, insufficient regard has so far been given to these two Neapolitan presentation manuscripts as historical artefacts that encode information about the priorities and concerns of those who brought them into existence. This thesis presents the first complete physical descriptions of these manuscripts, and employs detailed palaeographical, iconographical, and historical analysis to establish the likely circumstances of, and reasons for, their production. In the course of proposing identifications of the scribes and artists involved, analysing in fine detail their sequences of preparation, considering the organisational structure articulated by the decorated initials, interpreting the iconography of the portrait miniature on the frontispiece of Valencia 835, and marshalling complex heraldic evidence, many other Neapolitan manuscripts are brought into discussion. By analysing and contextualising Valencia 835 and Bologna 2573, therefore, the thesis functions also as a significant contribution to anglophone scholarship on the wider output of the Neapolitan scriptorium in the late fifteenth century. A newly enriched account is proposed of Tinctoris’s arrival and period of employment in Naples, and of his and the wider court’s involvement in the preparation of music theory manuscripts as instruments of political expression. This thesis, therefore, offers a re-appraisal of the genesis and later history of these two high-value music theory manuscripts. By presenting detailed codicological analysis and using it to construct and reshape historical narratives, it also provides a firm basis for future scholarly investigation into Tinctoris and music theory within the intellectual, cultural, and political climate of late fifteenth-century Italy.
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