New research in musicology has focused on recent findings in medieval liturgical songs. More specifically, studies of the “Credo” have been carried out, thanks to Tadeusz Miazga’s repertoire (1976) and its 701 incipit from 970-975 to 1875. Within recent investigations into the cantus fractus, this study analyses the ‘Maltès’ Credo and the ‘Sardo’ Credo, both unpublished, found in a manuscript with no shelf-mark in the Archbishop’s Seminary in Oristano (XVIII1 century). The Dominican volume is a ‘Sequenziario-Kyriale-Invitatoriale-Graduale-Officio dei Defunti’. This study also focuses on the transcripts of the two "Credo" above, highlighting their paleographical analogies with the Lublin, Archiwum klasztoru Dominikanów, Ms. 24 (1765), and with Ms. 37 (1744), found in Krakov in the library of the Polish Franciscan family of the Bernardini. The two “Credo” belong to the cantus fractus tradition of the XVII and XVIII centuries, when the genre became popular thanks to the Franciscans, the Dominicans and their international network. This explains the several graphic analogies between the Franciscan and Dominican cantus fractus manuscripts from Sardinia and Poland (18th century). Recent findings ought to studied from the perspective of the history of music, with no apodictic axioms, so as to restore a vast tradition to its historiographic dimension.
Due Credo inediti, “Sardo” e “Maltés”, in una fonte con canto fratto del secolo XVIII / Mele, Giampaolo. - (2006), pp. 213-238. ((Intervento presentato al convegno Il canto fratto. L'altro gregoriano. tenutosi a Parma-Arezzo nel 3-6 dicembre 2003.