Witkowska-Zaremba Elżbieta, *23 February 1946 Warsaw, Polish musicologist and classical philologist. She studied at the University of Warsaw, earning a degree in musicology under the supervision of Z. Lissa (1964–1969) and a degree in classical philology under the supervision of L. Winniczuk (1967–1972). Since 1970 she has worked at the Department of the History and Theory of Music (since 2009, the Department of Musicology) of the Institute of Art of the Polish Academy of Sciences in Warsaw, where in 1979 she earned a PhD with the thesis Zasady muzyki w krakowskich traktatach chorałowych I połowy XVI w. [Principles of Music in Kraków Choral Treatises of the First Half of the 16th Century], written under the supervision of M. Bristiger. In 1982–83, she held a university scholarship in Poitiers, where she studied at the Centre d’Etudes de Civilisation Médiévale, and in 1987 and 1989 she conducted research in the field of medieval music theory thanks to a scholarship from the Herzog August Bibliothek in Wolfenbüttel. In 1991 she completed her habilitation at the Institute of Art of the Polish Academy of Sciences on the basis of the thesis „Musica Muris” i nurt spekulatywny w muzykografii średniowiecznej [“Musica Muris” and the Speculative Trend in Medieval Musicography], and in 2001 she was awarded the academic title of professor. From 2003 to 2007, she was deputy head of the Department of Music History, from 2007 to 2019 director of the Institute of Art of the Polish Academy of Sciences, and from 2003 to 2015 editor-in-chief of the quarterly “Muzyka”. From 1995 to 2002 she conducted a seminar on medieval music theory at the Institute of Art of the Polish Academy of Sciences, and from 1996 to 2016 she co-led a musicological colloquium together with M. Bristiger. She has participated in numerous national and international musicological conferences (including Polish-Italian musicological conferences, congresses of the International Musicological Society, and conferences of the Study Group “Cantus Planus”). She has been a full member of the Polish Composers’ Union since 1974 and of the Warsaw Scientific Society since 2005. She has been a corresponding member of the Polish Academy of Sciences since 2007 and a full member since 2016; she has been the Academy’s delegate to the International Union of Academies (UAI) since 2007 and a member of the UAI Bureau since 2013. She has been a full member of Academia Europaea since 2012, a corresponding member of the American Musicological Society since 2018, and a corresponding member of the British Academy since 2021. She was awarded the Gold Medal for Merit to Culture “Gloria Artis”.
Witkowska-Zaremba’s main field of research is medieval and early modern music theory, with particular emphasis on sources preserved in Central and Central Eastern Europe, interpreted against the background of European music theory and its ancient traditions, in the context of compositional practice and intellectual life of the periods under study. The material basis of Witkowska-Zaremba’s work consists of treatises and writings on music theory, most of which she has published critically for the first time, and some of which have not previously appeared in musicography. The analysis of these sources has contributed to a deeper understanding of the knowledge and treatment of music theory in 15th- and 16th-century Poland (primarily in Krakow, Silesia, and Mazovia), as well as the reception of the most significant European treatises of the 14th and first half of the 15th centuries in these lands, and the specificity of certain Central European music-theoretical sources and the technical solutions (including notation) they convey, in which the influence of Western and Southern European traditions is evident.
Music theory was already the subject of Witkowska-Zaremba’s master’s theses – in musicology, „De musicae laudibus oratio” by Jerzy Liban z Legnicy (1969), and in classical philology, De accentuum ecclesiasticorum exquisita ratione (1972). The issues raised in these works became the basis for her first articles, and Liban’s treatises De musicae laudibus oratio and De accentuum ecclesiasticorum exquisita ratione, together with De philosophiae laudibus oratio (De musica), were published by Witkowska-Zaremba in a critical Latin edition with a simultaneous Polish translation in the volume titled Jerzy Liban. Pisma o muzyce («Momenta Musicae in Polonia», 1984). In her PhD thesis (1979), published under the title Ars musica w krakowskich traktatach muzycznych XVI wieku [Ars musica in 16th-century Krakow music treatises] (1986), Witkowska-Zaremba analysed seven compendiums of knowledge about music, written by Polish authors in the first half of the 16th century, which at that time served as textbooks for music taught as part of the quadrivium at the University of Krakow.
The principles of music contained in the printed works of Stefan Monetarius (Epithoma utriusque musicae), Sebastian z Felsztyna (Opusculum musicae compilatum noviter and Opusculum musices noviter congestum) and Marcin Kromer (Musicae elementa), as well as in the preserved manuscript Hortulus musices by Marek z Płocka and two anonymous treatises from the Ossoliński Institute Library and the Jagiellonian Library, were presented against the background of 15th- and 16th-century manuscript copies of European treatises on music used at the University of Krakow, as well as the most famous medieval and Renaissance treatises available in new scholarly editions at the time.
A further complement to her doctoral dissertation was the publication of the original texts of Sebastian z Felsztyna’s treatises, accompanied by parallel Polish translations («Monumenta Musicae in Polonia», 1991). In addition to the aforementioned treatises by this author, the volume includes editions of Opusculum musicae mensuralis and Modus regulariter accentuandi lectiones matutinales, prophetias necnon epistolas et evangelia, as well as a reinterpretation of the surviving sources and a source-critical edition of Marcin Kromer’s treatise Musicae elementa («Monumenta Musicae in Polonia», 2019). A critical edition of Johannes de Muris’ treatise Musica speculativa secundum Boetium, written in Paris in 1323, together with its interpretation in the context of the speculative trend in musicography, indicating the significance of this trend in Central and Central-Eastern Europe, constitute the content of the book “Musica Muris” i nurt spekulatywny w muzykografii średniowiecznej (1992). The result of a collaborative project initiated and led by Witkowska-Zaremba, involving an international team of specialists (Witkowska-Zaremba, N. Albaros, J. Szendrei, T. Maciejewski, P. Gancarczyk, E. Zwolińska) is the publication of Notae musicae artis (1999, 2001) in Polish and English, documenting musical sources from Poland (created between the 11th and 16th centuries) and showing the changes in notation visible in them, testifying to the reception of Western European solutions, as well as the use of specific local methods of musical notation (the issues presented are illustrated by approximately 140 facsimile examples from the sources). The work includes an extensive study by Witkowska-Zaremba on the notation used in 15th and 16th-century treatises on musica plana and musica mensuralis, indicating in the latter the combination of elements of ars gallica and ars italica notation employed to achieve precise representation of the smallest rhythmic values, as well as her edition of musical treatises from the WaN BOZ 61 manuscript (De musica mensurali, Ars compendiosa de cantu mensurali, Modus componendi cantum mensuralem), which increase the body of texts documenting the knowledge of ars nova theory and the Western European polyphonic repertoire of ars nova and ars subtilior in Poland in the first half of the 15th century.
To understand medieval compositional practice – notation and performance – in organ playing, previously unknown treatises written around 1430 from the Metropolitan Chapter Library in Prague (ref. M.CIII) are of great importance – Octo principalia de arte organisandi and Opusculum de arte organica (published by Witkowska-Zaremba in 2001). They testify to the presence of ars italica in Prague in the first decades of the 15th century. They reveal a coherent system of rules applied in the tactus technique, known primarily from organ music sources from Central Europe, but also found in Italian manuscripts. Viewed through the lens of these manuscripts, Prague in the early fifteenth century appears as a centre strongly influenced by Italian practices, which then radiated to southern Germany and other Central European centres. The theory and practice of instrumental music, especially organ music, in the first half of the 16th century in Krakow are the subject of research related to the critical edition of treatises (Ad faciendum cantum choralem along with Fundamentum and Ad faciendam correcturam) from Tabulatury Jana z Lublina («Monumenta Musicae in Polonia», 2015). Particularly noteworthy are the findings obtained on this occasion concerning the concept of tactus and methods of organ tuning.
Together with Michael Bernhard from the Bavarian Academy of Sciences, Witkowska-Zaremba was the initiator, coordinator and co-editor of a monumental international project dedicated to collecting and editing a corpus of texts testifying to the spread of Johannes Hollandrinus’ tradition and its significance in the teaching of musica plana in Central Europe in the 15th century. The project was carried out between 2001 and 2022, with the participation of the most eminent specialists from Europe and the USA, and resulted in the publication of nine volumes of the Traditio Iohannis Hollandrini series, in which Witkowska-Zaremba appears as co-editor and author of previously unknown theoretical texts.
Among Witkowska-Zaremba’s works which go beyond the theory and practice of medieval and Renaissance music, particular attention should be paid to her article devoted to F. Chopin’s mazurkas (1993), which shows their evolution from the classical, additive form of dance in early opus numbers to a dance form with open segments in later works of this genre, consisting in gradual dissolution of antecedent–consequent relationships and the increasing use of phrasing that runs counter to regular periodic structure.
books:
Ars musica w krakowskich traktatach muzycznych XVI wieku, Krakow 1986
“Musica Muris” i nurt spekulatywny w muzykografii średniowiecznej, «Studia Copernicana» XXXII, Warsaw 1992
(with Michael Bernhard) Traditio Iohannis Hollandrini, vol. I: Die Lehrtradition des Johannes Hollandrinus, «Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission» 19, Munich 2010
articles:
Kilka uwag do biografii Jerzego Libana, “Muzyka” XVI, 1971 No.1
Myśl muzyczna na Śląsku od XIII do połowy XVII wieku, in: Piastowie brzescy i ich epoka, materials from the scholarly session held in Brzeg 1972, Opole 1973
Anonimowy traktat mensuralny z I połowy XV wieku jako przyczynek do badań nad repertuarem muzycznym w Polsce, “Muzyka” XVIII, 1973 No. 3
La classificazione della musica nei trattati polacchi di canto corale nel XV e XVI secolo, “Quadrivium” XVI, 1975
Anonimowy traktat chorałowy ze zbiorów Biblioteki Ossolineum, “Muzyka” XX, 1975 No. 2
Elementy włoskie w polskim piśmiennictwie muzycznym w drugiej połowie XVIII wieku, «Pagine» III, 1979
Zasady muzyki w krakowskich traktatach chorałowych z I połowy XVI wieku, “Muzyka” XXIV, 1979
Wstęp do “Musica speculativa” Johannesa de Muris z rękopisu 568 Biblioteki Jagiellońskiej, “Muzyka” XXVI, 1981 No. 3/4
Odkrył Pitagoras, przeniósł sam Boecjusz, “Ruch Muzyczny” XXVI, 1982 No. 15
“Toni” i “Modi” w teorii “musicae planae” I poł. XVI w., “Muzyka” XXVIII, 1983 No. 1
Pojęcie muzyki w krakowskich traktatach “musicae planae” I poł. XVI w., “Muzyka” XXIX, 1984 No. 4
Aspekt praktyczny traktatu “Musica speculativa” Jana de Muris, “Studia Mediewistyczne” XXIV, 1985 iss. 1, expanded English version Some Aspects of Pythagorian Harmony in the Late Middle Ages: “Figura circulorum” from the Treatise “Musica speculativa” by Johannes de Muris, in: Proceedings of the International Musicological Symposium hel at castle Nieborów in Poland, September 4–5, 1985, ed. A. Czekanowska, Krakow 1993
Czym była muzyka? W kręgu krakowskiej myśli o muzyce w XVI w., in: Tradycje muzyczne Katedry Wawelskiej, materials from the 1984 musicological conference in Krakow, ed. J. Berwaldt, Krakow 1986, French version La pensée sur la musique à Cracovie au XVIe siécle: qu’était-ce que la musique?, “Polish Art Studies” VIII, 1987
La musica come scientia speculativa medioevale, “Studi Gregoriani” IV, 1988
System pitagorejski w ujęciu Jana de Muris, in: Musicae Sacrae Ars et Scientia, commemorative book for K. Mrowiec, ed. S. Dąbek and I. Pawlak, “Roczniki Teologiczno-Kanoniczne” XXXIV, iss. 7, Lublin 1989
I commentarii universitari del Quattrocento al trattato “Musica speculativa” di Johannes de Muris, in a commemorative book for G. Vecchi, ed. I. Cavallini, Modena 1989
W sprawie biografii Szydłowity, “Muzyka” XXXIV, 1989 No. 3
Music between “Quadrivium” and “Ars canendi”. “Musica speculativa” by Johannes de Muris and Its Reception in Central and East central Europe, in: Cantus Planus IMS Study Group, materials from the 1990 conference in Pécs, ed. L. Dobszay et al., Budapest 1992
Traktaty muzyczne z rękopisu BOZ 61 Biblioteki Narodowej w Warszawie, “Muzyka” XXXVII, 1992 No. 4, English version A New Source for Fifteenth Century “Musica mensurabilis”, “Revista de musicología” XVI, 1993
Wersyfikacja, składnia i forma w mazurkach Chopina, in: Przemiany stylu Chopina, ed. M. Gołąb, Krakow 1993
Spekulative Musik im Kontext des Aristotelismus. Musica als deductio, in: Beiträge der polnischen Stipendiaten der Herzog August Bibliothek zur Philosophie, Geschichte und Philologie, ed. J. Pirożyński et al., Krakow 1994, expanded English version The Medieval Concept of Music Perception. Hearing, Calculating and Contemplating, in: Dance, Music Art, and Religion, materials from the symposium in Turku 1994, ed. T. Ahlbäck, Turku 1996
Marcina Galliniusa “Epistola ad Benedictum Cosminium” — autobiografia czy fikcja?, “Odrodzenie i Reformacja w Polsce” XXXVIII, 1994
Late Reception of Johannes Affligemensis (Cotto) in East central Europe, in: Cantus Planus IMS Study Group, materials from the symposium in Eger 1993, ed. L. Dobszay et al., Budapest 1995
Muzykografia łacińska w badaniach nad historią kultury muzycznej – perspektywa polska, in: Dziedzictwo europejskie a polska kultura muzyczna w dobie przemian, ed. A. Czekanowska, Krakow 1995
“Mi contra fa” and “Divisio toni”, in: Laborare fratres in unum, commemorative book for L. Dobszay, ed. J. Szendrei and D. Hiley, «Spolia Berolinensia» 7, Hildesheim 1995
Musica mensuralis in Polish Sources. Notation in Theory, Musica Antiqua Europae Orientalis. Acta Musicologica X/l, Bydgoszcz 1997
The Theory of Music. Manuscripts from the Carolingian Era up to c. 1500 in the Czech Republic, Poland, Portugal and Spain, pt. 2: Poland, Répertoire International des Sources Musicales, series B III/5, Munich 1997
The Minim-Semiminim Relation in 15th Century Central European Mensural Theory, in: Mittelalterliche Musiktheorie in Zentraleuropa, ed. W. Pass and A. Rausch, «Musica Mediaevalis Europae Occidentalis» IV, Tutzing 1998
Georgius Libanus o swej podróży do Austrii as well as an excerpt from J. Liban z Legnicy, magnifico a praestantissimo viro Domino Ulricho Croato… (Krakow 1535) Polish translation in: Artes atque humaniora, commemorative book for S. Mossakowski, ed. H. Samsonowicz, Warsaw 1998
Maurice Emmanuel i ciągłość języka muzycznego, in: Tematy francuskie. Sympozjum in memoriam S. Jarociński, «Res Facta Nova» 3 (12), 1999
Notacja muzyczna w tekstach teoretycznych XV–XVI wieku, in: Notae musicae artis…, Krakow 1999, English version, Krakow 2001 (see edited works)
Marcina Kromera “Pochwała muzyki”, in: Affetti musicologici, commemorative book for Z.M. Szweykowski, ed. P. Poźniak, Krakow 1999
Nieznana kopia traktatu “Musica speculativa” Johannesa de Muris z zaginionego rękopisu d. Biblioteki Ordynacji Krasińskich w kontekście tradycji krakowskiej, “Muzyka” XLV, 2000 No. 2
Theoria – Praxis – Poesis. Średniowieczny rozdział dziejów analizy muzycznej, “Muzyka” XLV, 2000 No. 4
Antique Tradition in Medieval Musicography, in: Music in the World of Ideas, commemorative book for M. Bristiger, ed. H. Geyer, M. Jabłoński and J. Stęszewski, Poznań 2001
“Ars organisandi” around 1430 and Its Terminology, in: Quellen und Studien zur Musiktheorie des Mittelalters, vol. 3, ed. M. Bernhard, «Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission» 15, Munich 2001
Historical Thinking in Music Theory around 1450, in: Cantus Planus IMS Study Group, materials from the conference in Esztergom and Visegrád 1998, ed. L. Dobszay, Budapest 2001
“Musica plana” and “Musica Muris” in MS Kraków Biblioteka Jagiellońska 568 (ca 1465), in: Beiträge zur Musik, Musiktheorie und Liturgie der Abtei Reichenau, ed. W. Pass and A. Rausch, Tutzing 2001
Historia wobec teorii. Na marginesie historii teorii muzyki, “Muzyka” XLVII, 2002 Nos. 3/4
Muzyka w kręgu uniwersytetu krakowskiego w XV i XVI w., «Kronika Zamkowa» vol. 46, Warsaw 2003
New Elements of 15th-Century “Ars organisandi”. The Prague Organ Treatises and their Relationship to Previously Known Sources, in: Neues zur Orgelspielleher des 15. Jahrhunderts, ed. T. Göllner, «Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission» 17, Munich 2003
Niektóre aspekty włoskiej i niemieckiej “ars organica” w pierwszych dekadach XV w., in a commemorative book for P.E. Carapezza, «Res Facta Nova» 6 (15), 2003
Samotność Eurydyki. U źródeł średniowiecznej “musica speculativa”, in: Mit Orfeusza. Inspiracje i reinterpretacje w europejskiej tradycji artystycznej, ed. S. Żerańska-Kominek, Gdańsk 2003
Sztuka gry na instrumentach klawiszowych około 1430. Dwa traktaty organowe z rękopisu M.CIII Biblioteki Kapituły Metropolitalnej w Pradze, “Muzyka” XLVIII, 2003 No. 2
The “coniuncta” in Polish Sources. Late Medieval Theory and Practice, “Studia Musicologica Academiae Scientiarum Hungaricae” XLV, 2004
Medieval Liturgical Chant Books in Poland. A Report on Extant Source Collections and Work on Their Documentation, in: Die Erschliessung der Quellen des mittelalterlichen liturgischen Gesangs, ed. D. Hiley, Wolfenbüttel 2004
Problem wizualizacji struktur dźwiękowych w średniowiecznej teorii muzyki, in: Sacrum. Obraz i funkcja w społeczeństwie średniowiecznym, ed. A. Pieniądz-Skrzypczak and J. Pysiak, Warsaw 2005
Muzykologia w latach 1945–1990, in: Humanistyka polska w latach 1945–1990, ed. U. Jakubowska and J. Myśliński, Warsaw 2006
Problem koniunkty w późnośredniowiecznych tekstach teoretycznych z polskich zasobów źródłowych, “Muzyka” LI, 2006 No. 1/2
“Ars musica” jako przedmiot nauczania w obrębie quadrivium, in: Septem artes w kształtowaniu kultury umysłowej w Polsce średniowiecznej, ed. T. Michałowska, Wrocław 2007
Późnośredniowieczna teoria muzyki w zbiorach Biblioteki Uniwersyteckiej we Wrocławiu, in: Tradycje śląskiej kultury muzycznej, vol. 11, ed. D. Kanafa, Wrocław 2008
Rules of Mutation in Manuscript I.C.47 Held at the Library of the Polish Academy of Sciences in Kórnik (Second Half of the 15th Century), in: Littera Nigro scripta manet, commemorative book for J. Černý, ed. L. Mráčková et al., Prague 2009
Auctoritas i Traditio. Przypadek teoretyka muzyki Johannesa Hollandrina, in: Świat Średniowiecza, commemorative book for H. Samsonowicz, ed. A. Bartoszewicz, G. Myśliwski, J. Pysiak, P. Żmudzki, Warsaw 2010
The concept of ‘tactus’ in the organ treatise from ‘Tabulatura Joannis de Lublin 1540’, in: Musik des Mittelalters und der Renaissance, commemorative book for K.-J. Sachs, ed. R. Kleinertz, Ch. Flamm, W. Frobenius, Hildesheim 2010
‘Epistola ad Benedictum Cosminium’ by Martinus Gallinius (Cracow 1535) – the views on music of a little-known humanist, in: Musicologie sans frontières / Muzikologija bez granice / Musicology without frontiers, commemorative book for S. Tuksar, ed. I. Cavallini and H. White, («Muzikološki Zbornici» 13), Zagreb 2010
Kilka uwag na temat traktatu organowego z Tabulatury Jana z Lublina (1540). W stulecie edycji “Ad faciendum cantum coralem”, “Muzyka” LVII, 2012 No. 4
Patterns of music education in Central Europe in the fifteenth century codices with the Jagiellonian mark, in: The musical heritage of the Jagiellonian era, ed. P. Gancarczyk and A. Leszczyńska, Warsaw 2012
Teoria chorałowa w Europie Środkowej: Traditio Iohannis Hollandrini, “Muzyka” LVII, 2012 No. 3
Early keyboard music in sources from Prague and Silesia, in: The musical culture of Silesia before 1742. New contexts – new perspectives, ed. P. Gancarczyk, L. Hlávková-Mráčková, R. Pośpiech, «Eastern European Studies in Musicology» 1, Frankfurt am Main 2013
“Ars Musica” in late medieval Europe: Paris – Prague – Cracow, in: Poland and artistic culture of Western Europe. 14th-20th century, ed. B. Przybyszewska-Jarmińska and L. Sokół, «Polish Studies – Transdisciplinary Perspectives» 6, Frankfurt am Main 2014
Przeszłość w teraźniejszości. Myślenie historyczne w teorii muzyki średniowiecza i u progu nowożytności, “Muzyka” LXII, 2017 No. 3
“Musica ficta” and “genus chromaticum” in Stefan Monetarius “Epithoma utriusque musices practicae” (1515), in: The Musical Sources of Spiš / Zips and Central Europe, ed. J. Petőczová, Bratislava 2018
Between “intellectus”, “visus” and “auditus”: Jean des Murs’s “Musica speculativa”, version A (1323), “Erudition and the Republic of Letters” IV, 2019 No. 1 (special edition “Jean des Murs’s quadrival pursuits”)
Johannes de Muris’s “Musica speculative cited by Jacobus de Ispania”. “Plainsong and Medieval Music”, XXI, 2022 No. 1
editions:
J. Liban. Pisma o muzyceoraz Sebastian z Felsztyna. Pisma o muzyce, «Monumenta Musicae in Polonia», series C: «Tractatus de Musica» I and II, Krakow 1984 and 1991
Johannes de Muris Musica speculativa secundum Boetium, in: “Musica Muris” i nurt spekulatywny…, Warsaw 1992
Traktaty muzyczne z rękopisu WaN BOZ 61 / Musical Treatises from the Manuscript WaN BOZ 61, 3 Latin treatises, in: Notae musicae artis…, Krakow 1999, English version 2001
(z Ch. Meyerem) Octo principalia de arte organisandi and Opusculum de arte organica, anonymous organ treatises from manuscript M.CIII Library of the Metropolitan Chapter in Prague, in: „Ars organisandi” and its Terminology around 1430…, Munich 2001
Treatises from the tradition of Johannes Hollandrini in: Traditio Iohannis Hollandrini, ed. M. Bernhard, E. Witkowska-Zaremba; vol. 3: Traditio Iohannis Hollandrini VII (with M. Bernhard and M. Hochadel), Traditio Iohannis Hollandrini VIII; vol. 5: Traditio Iohannis Hollandrini XV and Traditio Iohannis Hollandrini XVII; vol. 6: Traditio Iohannis Hollandrini XXII–XXVI with M. Bernhard), Tonarius Vratislaviensis, «Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission» 19, 23, 24), Munich 2011, 2014, 2015
Tabulatura Joanni de Lublin: Ad faciendum cantum choralem, Fundamentum, Ad faciendam correcturam, translation of the Latin text into English A.M. Busse Berger, «Monumenta Musicae in Polonia», series C: «Tractatus de Musica» Warsaw 2015
Marcin Kromer. Musicae elementa, translation of the Latin text into English C.M. Bower, «Monumenta Musicae in Polonia», series C: «Tractatus de Musica» Warsaw 2019
(with M. Bernhard, English translation Calvin M. Bower) Traditio Iohannis Hollandrini, vol. IX. Supplementum, Warsaw 2021
edited works:
(with I. Poniatowska and S. Żerańska-Kominek) Musica Antiqua Europae Orientalis. 10th International Musicological Congress, Bydgoszcz, September 7th-11th, 1994, Bydgoszcz 1997 (Musica Antiqua Europae Orientalis 10. Acta musicologica 1)
Notae musicae artis. Notacja muzyczna w źródłach polskich XI–XVI wieku, Krakow 1999, English version Notae musicae artis. Musical Notation in Polish Sources llth-16th Century, Krakow 2001
(with M. Bernhard) Traditio Iohannis Hollandrini, vols. 2–8, «Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission» 18–26), Munich 2010–2016 (vols. 2–6: Die Traktate I–XXVI, vol. 7: Studien, vol. 8: Konkordanzen und Indices)
quarterly “Muzyka”, IS PAN, Warsaw 2003–2015
entries in:
Encyklopedia muzyczna PWM, ed. E. Dziębowska, vols. 1–12, Krakow 1980–2012 (vols. 1–5)
The New Grove Dictionary of Music and Musicians. Second edition, ed. S. Sadie, vols. 1–29, London 2001 (vols. 9, 12–17, 23)
Die Musik in Geschichte und Gegenwart. Personenteil, ed. Ludwig Finscher, vols. 1–17, Kassel 1994–2007 (vols. 6, 9, 11, 12, 16)
Lexikon Schriften über Musik, vol. I: Musiktheorie von der Antike bis zur Gegenwart, Bärenreiter Verlag 2017
