UPC · Release
Modo Antiquo, Bettina Hoffmann
Last verified:
The UPC for “Secular Songs & Dances from the Middle Ages” by Modo Antiquo, Bettina Hoffmann is 5028421928883. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2006-01-01. Label: Brilliant Classics. This release contains 88 tracks, each with its own ISRC.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Ich was ein chint so wolgetan, CB 185 | — | ||
| 2 | Axe Phebus aureo, CB 71 | — | ||
| 3 | Bache bene venies, CB 200 | — | ||
| 4 | Dulce solum, CB 119 | — | ||
| 5 | In taberna quando sumus, CB 196 | — | ||
| 6 | Veris dulcis in tempore, CB 85 e 159 | — | ||
| 7 | Alte clamat Epicurus, CB 211 e 211˚ | — | ||
| 8 | Exiit dilucolo rustica puella, CB 90 | — | ||
| 9 | Olim sudor Herculis, CB 63 | — | ||
| 10 | Virent prata hiemata, CB 151 | — | ||
| 11 | Sic mea fata, CB 116 | — | ||
| 12 | Walthers ton (da CB 211) | — | ||
| 13 | Tempus transit gelidum (CB 153) | — | ||
| 2-1 | Bonum est confidere, CB 27 | — | ||
| 2-2 | Nomen a solemnibus, CB 52 | — | ||
| 2-3 | Dic Christi veritas, CB 131 / Bulla fulminante, CB 131 | — | ||
| 2-4 | O varium Fortune lubricum, CB 14 | — | ||
| 2-5 | Fas et nefas, CB 19 | — | ||
| 2-6 | Veritas veritatum, CB 21 | — | ||
| 2-7 | Currit ad vocem, CB 47a | — | ||
| 2-8 | Crucifigat omnes, CB 47 | — | ||
| 2-9 | Procurans odium, CB 12 | — | ||
| 2-10 | Ave nobilis, CB 11 | — | ||
| 2-11 | Ecce torpet probitas, CB 3 | — | ||
| 2-12 | Planctus ante nescia, CB 14 | — | ||
| 2-13 | Licet ager cum egrotis, CB 8 | — | ||
| 2-14 | Celum non animum, CB 15 | — | ||
| 3-1 | I. Appellatio Crucifigat omnes, CB 47 | — | ||
| 3-2 | I. Appellatio, Seignor, sachiez qui or ne s'en ira | — | ||
| 3-3 | I. Appellatio, La Quinte Estampie Real | — | ||
| 3-4 | I. Appellatio, Parti de mal et a bien atourné | — | ||
| 3-5 | I. Appellatio, Chevalier, mult estes guariz | — | ||
| 3-6 | I. Appellatio, De transfretantibus | — | ||
| 3-7 | I. Appellatio, Au tans plain de felonie | — | ||
| 3-8 | II. Dure Departie, La Seconde Estampie Royal | — | ||
| 3-9 | Bien me defisse targier | — | ||
| 3-10 | II. Dure Departie, Dame, ensinc est qu'il m'en covient aler | — | ||
| 3-11 | II. Dure Departie, A vous, Amors, plus qu'a nule autre gent | — | ||
| 3-12 | II. Dure Departie, Li departirs de la douce contree | — | ||
| 3-13 | II. Dure Departie, Li nouveax temps et maiz et violete | — | ||
| 3-14 | II. Dure Departie, Aler m'estuet la ou je trerai paine | — | ||
| 4-1 | III. Passagium Laboriosum, Ja nuns hons pris, 1 | — | ||
| 4-2 | III. Passagium Laboriosum, Ja nuns hons pris, 2 | — | ||
| 4-3 | III. Passagium Laboriosum, Desolata mater / Que nutritos / Filios enutrivi (from Roman de Fauvel) | — | ||
| 4-4 | III. Passagium Laboriosum, Maugré tous sainz et maugré dieu ausi | — | ||
| 4-5 | III. Passagium Laboriosum, Congregati sunt | — | ||
| 4-6 | III. Passagium Laboriosum, La Quarte Estampie Royal | — | ||
| 4-7 | III. Passagium Laboriosum, In gotes namen fara wir | — | ||
| 4-8 | III. Passagium Laboriosum, Chanterai por mon coraige | — | ||
| 4-9 | III. Passagium Laboriosum, Diro satis percussus vulnere - Tristan's Lament | — | ||
| 4-10 | III. Passagium Laboriosum, Nus ne porroit de mauvese reson | — | ||
| 4-11 | IV. Hierosolyma Caelestis, Ierusalem mirabilis | — | ||
| 4-12 | IV. Hierosolyma Caelestis, Nû alrêst lebe ich mir werde | — | ||
| 4-13 | IV. Hierosolyma Caelestis, Nomen a solemnibus, CB 52 | — | ||
| 5-1 | Ductia Manuscript London, British Library, Harley 978, f. 8v-9r | — | ||
| 5-2 | Petrone Manuscript London, British Library, Add. 28550 (Robertsbridge Codex), f. 43v | — | ||
| 5-3 | Nota Manuscript, Oxford, Bodleian Library, Douce 139 | — | ||
| 5-4 | Ductia Manuscript London, British Library, Harley 978, f. 9r/I | — | ||
| 5-5 | Ductia Manuscript London, British Library, Harley 978, f. 9r/II | — | ||
| 5-6 | Fragment Manuscript London, British Library, Add. 28550 (Robertsbridge Codex), f. 43r | — | ||
| 5-7 | Ductia Manuscript London, British Library, Add. 28550 (Robertsbridge Codex), f. 43r | — | ||
| 5-8 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Prime Estampie Royal | — | ||
| 5-9 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Seconde Estampie Royal | — | ||
| 5-10 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Tierche Estampie Roial | — | ||
| 5-11 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Quarte Estampie Royal | — | ||
| 5-12 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Quinte Estampie Real | — | ||
| 5-13 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Seste Estampie Real | — | ||
| 5-14 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Septime Estampie Real | — | ||
| 5-15 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Uitime Estampie Real | — | ||
| 5-16 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: Dansse Real | — | ||
| 5-17 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: [untitled] | — | ||
| 5-18 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: Danse | — | ||
| 6-1 | Ghaetta | — | ||
| 6-2 | Saltarello (2) | — | ||
| 6-3 | La Manfredina, Rotta della Manfredina | — | ||
| 6-4 | Chançoneta Tedescha (2) | — | ||
| 6-5 | Isabella | — | ||
| 6-6 | Saltarello (4) | — | ||
| 6-7 | Saltarello (3) | — | ||
| 6-8 | Chançoneta Tedescha (1) | — | ||
| 6-9 | Chançoneta Tedescha (4) | — | ||
| 6-10 | Principio di virtù | — | ||
| 6-11 | Dança amorosa, suo Troto | — | ||
| 6-12 | Chominiciamento di Gioia | — | ||
| 6-13 | Chançoneta Tedescha (3) | — | ||
| 6-14 | Trotto | — | ||
| 6-15 | Bel fiore dança | — | ||
| 6-16 | Lamento di Tristano, sua Rotta | — |
Creative Contributors (ISNI)
Credits Graph
5028421928883 is a Universal Product Code (UPC) assigned to Secular Songs & Dances from the Middle Ages by Modo Antiquo, Bettina Hoffmann. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 88 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “Secular Songs & Dances from the Middle Ages” by Modo Antiquo, Bettina Hoffmann is 5028421928883. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2006-01-01. Label: Brilliant Classics. This release contains 88 tracks, each with its own ISRC.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Ich was ein chint so wolgetan, CB 185 | — | ||
| 2 | Axe Phebus aureo, CB 71 | — | ||
| 3 | Bache bene venies, CB 200 | — | ||
| 4 | Dulce solum, CB 119 | — | ||
| 5 | In taberna quando sumus, CB 196 | — | ||
| 6 | Veris dulcis in tempore, CB 85 e 159 | — | ||
| 7 | Alte clamat Epicurus, CB 211 e 211˚ | — | ||
| 8 | Exiit dilucolo rustica puella, CB 90 | — | ||
| 9 | Olim sudor Herculis, CB 63 | — | ||
| 10 | Virent prata hiemata, CB 151 | — | ||
| 11 | Sic mea fata, CB 116 | — | ||
| 12 | Walthers ton (da CB 211) | — | ||
| 13 | Tempus transit gelidum (CB 153) | — | ||
| 2-1 | Bonum est confidere, CB 27 | — | ||
| 2-2 | Nomen a solemnibus, CB 52 | — | ||
| 2-3 | Dic Christi veritas, CB 131 / Bulla fulminante, CB 131 | — | ||
| 2-4 | O varium Fortune lubricum, CB 14 | — | ||
| 2-5 | Fas et nefas, CB 19 | — | ||
| 2-6 | Veritas veritatum, CB 21 | — | ||
| 2-7 | Currit ad vocem, CB 47a | — | ||
| 2-8 | Crucifigat omnes, CB 47 | — | ||
| 2-9 | Procurans odium, CB 12 | — | ||
| 2-10 | Ave nobilis, CB 11 | — | ||
| 2-11 | Ecce torpet probitas, CB 3 | — | ||
| 2-12 | Planctus ante nescia, CB 14 | — | ||
| 2-13 | Licet ager cum egrotis, CB 8 | — | ||
| 2-14 | Celum non animum, CB 15 | — | ||
| 3-1 | I. Appellatio Crucifigat omnes, CB 47 | — | ||
| 3-2 | I. Appellatio, Seignor, sachiez qui or ne s'en ira | — | ||
| 3-3 | I. Appellatio, La Quinte Estampie Real | — | ||
| 3-4 | I. Appellatio, Parti de mal et a bien atourné | — | ||
| 3-5 | I. Appellatio, Chevalier, mult estes guariz | — | ||
| 3-6 | I. Appellatio, De transfretantibus | — | ||
| 3-7 | I. Appellatio, Au tans plain de felonie | — | ||
| 3-8 | II. Dure Departie, La Seconde Estampie Royal | — | ||
| 3-9 | Bien me defisse targier | — | ||
| 3-10 | II. Dure Departie, Dame, ensinc est qu'il m'en covient aler | — | ||
| 3-11 | II. Dure Departie, A vous, Amors, plus qu'a nule autre gent | — | ||
| 3-12 | II. Dure Departie, Li departirs de la douce contree | — | ||
| 3-13 | II. Dure Departie, Li nouveax temps et maiz et violete | — | ||
| 3-14 | II. Dure Departie, Aler m'estuet la ou je trerai paine | — | ||
| 4-1 | III. Passagium Laboriosum, Ja nuns hons pris, 1 | — | ||
| 4-2 | III. Passagium Laboriosum, Ja nuns hons pris, 2 | — | ||
| 4-3 | III. Passagium Laboriosum, Desolata mater / Que nutritos / Filios enutrivi (from Roman de Fauvel) | — | ||
| 4-4 | III. Passagium Laboriosum, Maugré tous sainz et maugré dieu ausi | — | ||
| 4-5 | III. Passagium Laboriosum, Congregati sunt | — | ||
| 4-6 | III. Passagium Laboriosum, La Quarte Estampie Royal | — | ||
| 4-7 | III. Passagium Laboriosum, In gotes namen fara wir | — | ||
| 4-8 | III. Passagium Laboriosum, Chanterai por mon coraige | — | ||
| 4-9 | III. Passagium Laboriosum, Diro satis percussus vulnere - Tristan's Lament | — | ||
| 4-10 | III. Passagium Laboriosum, Nus ne porroit de mauvese reson | — | ||
| 4-11 | IV. Hierosolyma Caelestis, Ierusalem mirabilis | — | ||
| 4-12 | IV. Hierosolyma Caelestis, Nû alrêst lebe ich mir werde | — | ||
| 4-13 | IV. Hierosolyma Caelestis, Nomen a solemnibus, CB 52 | — | ||
| 5-1 | Ductia Manuscript London, British Library, Harley 978, f. 8v-9r | — | ||
| 5-2 | Petrone Manuscript London, British Library, Add. 28550 (Robertsbridge Codex), f. 43v | — | ||
| 5-3 | Nota Manuscript, Oxford, Bodleian Library, Douce 139 | — | ||
| 5-4 | Ductia Manuscript London, British Library, Harley 978, f. 9r/I | — | ||
| 5-5 | Ductia Manuscript London, British Library, Harley 978, f. 9r/II | — | ||
| 5-6 | Fragment Manuscript London, British Library, Add. 28550 (Robertsbridge Codex), f. 43r | — | ||
| 5-7 | Ductia Manuscript London, British Library, Add. 28550 (Robertsbridge Codex), f. 43r | — | ||
| 5-8 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Prime Estampie Royal | — | ||
| 5-9 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Seconde Estampie Royal | — | ||
| 5-10 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Tierche Estampie Roial | — | ||
| 5-11 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Quarte Estampie Royal | — | ||
| 5-12 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Quinte Estampie Real | — | ||
| 5-13 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Seste Estampie Real | — | ||
| 5-14 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Septime Estampie Real | — | ||
| 5-15 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: La Uitime Estampie Real | — | ||
| 5-16 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: Dansse Real | — | ||
| 5-17 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: [untitled] | — | ||
| 5-18 | Manuscript Paris, Bibliothèque Nationale, f. f. 844: Danse | — | ||
| 6-1 | Ghaetta | — | ||
| 6-2 | Saltarello (2) | — | ||
| 6-3 | La Manfredina, Rotta della Manfredina | — | ||
| 6-4 | Chançoneta Tedescha (2) | — | ||
| 6-5 | Isabella | — | ||
| 6-6 | Saltarello (4) | — | ||
| 6-7 | Saltarello (3) | — | ||
| 6-8 | Chançoneta Tedescha (1) | — | ||
| 6-9 | Chançoneta Tedescha (4) | — | ||
| 6-10 | Principio di virtù | — | ||
| 6-11 | Dança amorosa, suo Troto | — | ||
| 6-12 | Chominiciamento di Gioia | — | ||
| 6-13 | Chançoneta Tedescha (3) | — | ||
| 6-14 | Trotto | — | ||
| 6-15 | Bel fiore dança | — | ||
| 6-16 | Lamento di Tristano, sua Rotta | — |
