ABSTRACT
Doubt still clouds the understanding of some important aspects of 15th-century performance practice. A great deal of information about ensemble practices of that time has been established through the work of scholars in various fields, with most of the more recent research being based on iconographical and literary sources, and on the very few musical ones that specifically refer to performance. But there is one body of archival documents containing a large quantity of untapped information that can be brought to bear on the subject: financial records from German cities, especially those that detail payments to 'visiting' players. From a pragmatic point of view the voice may be considered a bas instrument, to be combined freely with lute, viol or organ. The cities and courts of Germany proved lavish patrons. The music they supported was of astonishing quantity as well as quality, and their patronage was a significant element in stimulating change in instrumental practices.
