1456:, who had recently died. No extant documents record Josquin as having worked in Ferrara before, though his earlier associations with Ercole suggest prior employment there; he signed a deed indicating he did not intend to stay there for long. Ercole is known to have met with Josquin's former employer Louis XII throughout 1499 to 1502, and these meetings may have led to his service for the Duke. Two letters survive explaining the circumstances of his arrival, both from courtiers who scouted musical talent in the service of Ercole. The first of these was from Girolamo da Sestola (nicknamed "Coglia") to Ercole, explaining: "My lord, I believe that there is neither lord nor king who will now have a better chapel than yours if your lordship sends for Josquin and by having Josquin in our chapel I want to place a crown upon this chapel of ours" (14 August 1502). The second letter, from the courtier Gian de Artiganova, criticized Josquin and suggested Heinrich Isaac instead:
2734:
1768:(with French text). In his 50-year career, Josquin's body of work is larger than that of any other composer of his period, besides perhaps Isaac and Obrecht. Establishing a chronology of his compositions is difficult; the sources in which they were published offer little evidence, and historical and contextual connections are meager. Few manuscripts of Josquin's music date from before the 16th century, due to, according to Noble, "time, war and enthusiasm (both religious and anti-religious)". Identifying earlier works is particularly difficult, and later works only occasionally offer any more certainty. The musicologist
1535:
2681:âinstead he often wrote his early chansons in strict imitation, as with many of his sacred works. He was one of the first to write chansons with all voices equal parts of the texture, and many contain points of imitation, similar to his motets. He also used melodic repetition, especially where the lines of text rhymed, and many of his chansons had a lighter texture and faster tempo than his motets. Some of his chansons were almost certainly designed to be performed with instruments; Petrucci published many of them without text, and some of the pieces (for example, the fanfare-like
1906:
1179:. Fallows contends that it is unlikely that Varday, who was well-educated and a musician, would have made such a mistake, but concedes that it is possible. The court of Matthias had a high standard of music and employed numerous musicians, many of them from Italy. Though Fallows asserts that Josquin's presence in the Hungarian king's service is likely, the evidence is circumstantial, and no original documents survive to confirm the claim. Josquin was in Milan again in January 1489, probably until early May, and met the theorist and composer
626:
2858:. Several factors make this unlikely: the painting does not resemble the Opmeer portrait, the notation is largely illegible and as a priest in his mid-thirties Josquin does not seem like the younger layperson in the portrait. Fallows disagrees, noting that "a lot of new details point to Josquin, who was the right age, in the right place, had already served at least two kings, and was now rich enough to have his portrait painted by the best", but concludes that "we shall probably never know who Leonardo's musician was".
2607:
1192:
1674:
1287:
3253:
3237:
1782:
10455:
9379:
2743:
10465:
2467:
3066:
1438:
811:
1241:; the Basse-Yttre parish church; two parishes near Frasnes, Hainaut; and Saint-GĂ©ry, Cambrai. Surviving papal letters indicate that some of these claims were approved, but he does not appear to have taken up any of the canonries. The Sistine Chapel's monthly payment records give the best record of Josquin's career, but all papal chapel records from April 1494 to November 1500 are lost, making it unknown when he left Rome.
664:, and disappears from the records after 1448. Nothing is known of Josquin's mother, who is absent from surviving documents, suggesting that she was either not considered Josquin's legitimate mother, or that she died soon after, or during, his birth. Around 1466, perhaps on the death of his father, Josquin was named by his uncle and aunt, Gille Lebloitte dit des Prez and Jacque Banestonne, as their heir.
2952:"Drawing parallels between is easy; doing so has become traditional in music historiography. Unease with this tradition has occasionally been expressed by those who see in it a danger to an unprejudiced view of Josquin and his time To think of Josquin merely as a fifteenth- or sixteenth-century Beethoven would be like placing him behind the nearer figure and thereby obscuring him from view."
2450:. The traditional story, as told by Glarean in 1547, was that an unknown aristocrat used to order suitors away with this phrase, and Josquin immediately wrote an "exceedingly elegant" mass on it as a jab at him. Scholars have proposed different origins for the piece; Lowinsky has connected it to the court of Ascanio Sforza, and the art historian Dawson Kiang connected it to the Turkish prince
33:
10497:
2658:. In other works he used a tune originally associated with a separate text, or freely composed an entire song, using no apparent external source material. Another technique Josquin used was to take a popular song and write it as a canon with itself, in two inner voices, and write new melodic material above and around it, to a new text: he did this in one of his most famous chansons,
10521:
2201:, but essentially the two contrasting strains of Josquin's musicâfantasy and intellectual controlâare so blended and balanced in these two works that one can see in them the beginnings of a new style: one which reconciles the conflicting aims of the great 15th-century composers in a new synthesis that was in essence to remain valid for the whole of the 16th century."
10509:
1111:, and on 20 June 1484 came into the service of Cardinal Ascanio Sforza. Josquin's renown as a composer, a strong recommendation from a patron of fellow musician, or the use of his wealth, might have helped him get this prestigious and long-term position. While working for Ascanio, on 19 August Josquin successfully requested a previously rejected dispensation to be
1460:"To me seems well suited to serve your lordship, more so than Josquin, because he is more good-natured and companionable, and will compose new works more often. It is true that Josquin composes better, but he composes when he wants to and not when one wants him to, and he is asking 200 ducats in salary while Isaac will come for 120âbut your lordship will decide."
2997:
the late 16th century and into the 17th. Instrumental arrangements of his works were often published from the 1530s to the 1590s. Josquin was described by
Taruskin as the "master architect" of High Renaissance music, and his compositions were parodied or quoted throughout Europe by almost every major composer of the later Renaissance, including Arcadelt, Brumel,
556:, caused his reevaluation as a central figure in Renaissance music. This has led to controversy over whether he has been unrealistically elevated over his contemporaries, particularly in light of over a hundred attributions now considered dubious. He continues to draw interest in the 21st century and his music is frequently recorded, central in the repertoire of
637:
now-outdated theory is that he was born around 1440, based on a mistaken association with
Jushinus de Kessalia, recorded in documents as "Judocus de Picardia". A reevaluation of his later career, name and family background has discredited this claim. He is now thought to have been born around 1450, and at the latest 1455, making him a "a close contemporary" of
2795:, the woodcut is the earliest known depiction of Josquin and presumably based on an oil painting which Opmeer says was kept in the collegiate church of St. Goedele. Church documents discovered in the 1990s have corroborated Opmeer's statement about the painting's existence. It may have been painted during Josquin's lifetime and was owned by Petrus Jacobi (
2956:
His popularity led to imitation by fellow composers, and some publishers (especially in
Germany) misattributed works to him after his death to meet the demand for new Josquin compositions. This inspired a well-known remark that "now that Josquin is dead, he is producing more compositions than when he
3100:
of 1502 was the first single-composer mass anthology, and
Josquin was the only composer whose masses merited a second and a third volume. Fallows asserts that Josquin gained European renown between 1494 and 1503, since the Petrucci publications and references by Gaffurius and Molinet occurred during
1479:
connected his purportedly difficult behavior with musical talent, and used the letter as evidence that
Josquin's contemporaries recognized his genius. Musicologist Rob Wegman questions whether meaningful conclusions can be drawn from such an anecdote. In a later publication, Wegman notes the largely
1380:
twice between 1499 and 1501. The long doubted account from Hémeré that
Josquin had a canonry at Saint-Quentin was confirmed by documentary evidence that he had exchanged it by 30 May 1503. Canonries at Saint-Quentin were almost always gifts from the French king to royal household members, suggesting
902:
In
February 1483 Josquin returned to Condé to claim his inheritance from his aunt and uncle, who may have been killed when the army of Louis XI besieged the town in May 1478 and had the population locked and burned in a church. In the same document, the collegiate church of Condé is reported to have
736:
at the
Collegiate Church of Saint-Quentin; this account has been questioned. The collegiate chapel there was an important center of royal patronage and music for the area. All records from Saint-Quentin were destroyed in 1669, and Josquin may have acquired his later connections with the French royal
606:
where he is named as "Josquin
Desprez". Scholarly opinion differs on whether his surname should be written as one word (Desprez) or two (des Prez), with publications from continental Europe preferring the former and English-language publications the latter. Modern scholarship typically refers to him
584:
saint of the 7th century. Josquin was a common name in
Flanders and Northern France in the 15th and 16th centuries. Other documents indicate that the surname des Prez had been used by the family for at least two generations, perhaps to distinguish them from other branches of the Lebloitte family. At
3529:
and Christopher Reynolds as supporting the later dating, against the "received view" that it was composed much earlier. Its structure has been used to date it to both the 1480s and the early 1500s, depending on whether the rigidity of the tenor was interpreted as a sign of immaturity or mastery. In
2196:
section of the Credo, where the texture becomes homophonic, and the tune appears in the topmost voice. Here the portion which would normally setâ"Sing, O my tongue, of the mystery of the divine body"âis instead given the words "And he became incarnate by the Holy Ghost from the Virgin Mary, and was
1350:
to the Gonzagas. Circumstantial evidence suggests Juschino may have been Josquin des Prez, but he is not known to have been qualified for such a task, and it would be unusual to refer to him as a servant rather than a musician or singer. Josquin probably did not stay in Milan long, since his former
1264:
signature is in the style of the former. There is some evidence suggesting the name refers to Josquin des Prez; it may be interpreted as either "Josquin" or "Josquinus", depending on whether the curved line on the far right is read as the abbreviation for "us". Other choristers named Josquin tended
3279:
have compromised some earlier scholarship which analyzed Josquin's style with works now not considered his. Major revision has also occurred in Josquin's biography, with entire portions of it being rewritten due to Josquin having been confused with people with similar names. Controversy has arisen
2996:
him. Josquin's compositions traveled widely after his death, more so than those of Du Fay, Ockeghem and Obrecht combined. Surviving copies of his motets and masses in Spanish cathedrals date from the mid-16th century, and the Sistine Chapel is known to have performed his works regularly throughout
1102:
A surviving record indicates that Josquin was in Milan by 15 May 1484, perhaps just after his 1483 trip to Condé. In March 1484 he may have visited Rome. Fallows speculates that Josquin left Condé for Italy so quickly because his inheritance gave him more freedom and allowed him to avoid serving a
3284:
him over his contemporaries. Wegman asserts that Obrecht was more highly regarded in Josquin's time, to which Noble has noted that Josquin's prestigious positions, publications and employers "scarcely looks like the career of an unregarded composer". Reflecting on the dispute, Sherr has concluded
2515:
as a unifying device, some are canonic, others use a motto which repeats throughout, and some use several of these methods. In some motets which use canon, it is designed to be heard and appreciated as such; in others a canon is present, but difficult to hear. Josquin frequently used imitation in
1831:
in accordance with greater demand. By Josquin's time, masses were generally standardized into substantial, polyphonic five-movement works, making it difficult for composers to satisfy both liturgical and musical demands. Previous examples in the genre by composers such as Du Fay and Ockeghem were
1558:
of the collegiate church of Notre-Dame on 3 May 1504; he may have obtained the post from Philip I's sponsorship. His role gave him political responsibility, and put him in charge of a workforce which included a dean, a treasurer, 25 canons, 18 chaplains, 16 vicars, 6 choir-boys and other priests.
667:
Josquin was born in the French-speaking area of Flanders, in modern-day northeastern France or Belgium. Despite his association with Condé in his later years, Josquin's own testimony indicates that he was not born there. The only firm evidence for his birthplace is a later legal document in which
2290:
mass, where the voice bearing the preexisting melody stood aloof from the others, to the Renaissance parody masses, where all the voices formed an integrated texture. In such masses, the source material was not a single line, but motifs and points of imitation from all voices within a polyphonic
1835:
Josquin and Obrecht led an intensive development of the genre. Josquin's masses are generally less progressive than his motetsâthough he is credited with numerous innovations in the genre. His less radical approach may be explained by most of the masses being earlier works, or the structural and
1232:
and Bertrandus Vaqueras. Two months after his arrival, Josquin laid claim to the first of various benefices on 18 August. Holding three unrelated benefices at once, without having residency there or needing to speak that area's language, was a special privilege that Josquin's tenure and position
2957:
was still alive". Fallows asserts that the issue was more complex than publishers attempting to increase their profits: similar names of composers and compositions caused confusion, as did works which quoted Josquin, or student works which imitated his style. Josquin's pupils may have included
1277:
that in his time Josquin's name was visibly 'sculpted' in the Sistine Chapel's choir room. The musicologist Richard Sherr writes that "while this is not a true autograph signature, the possibility that Josquin des Prez actually produced it during his stay in the papal chapel is very high", and
3268:
Reflecting on the sentiment that Josquin was "the greatest composer of his generation, and the most important, innovative, and influential composer of the late 15th and early 16th centuries", Sherr notes growing dissent from that position in the early 21st century. Josquin's 2001 article in
1896:
style with paraphrase and parody, making strict categorization problematic. Reflecting on Josquin's masses, Noble notes that "In general his instinct, at least in his mature works, seems to be to extract as much variety as possible from his given musical material, sacred or secular, by any
636:
Little is known about Josquin's early years. The specifics of his biography have been debated for centuries. The musicologist William Elders noted that "it could be called a twist of fate that neither the year, nor the place of birth of the greatest composer of the Renaissance is known". A
1474:
was the highest ever for a ducal chapel member. The Artiganova letter is a unique source for Josquin's personality, and the musicologist Patrick Macey interprets it as meaning he was a "difficult colleague and that he took an independent attitude towards producing music for his patrons".
2939:
Elders described Josquin as "the first composer in the history of Western music not to have been forgotten after his death", while John Milsom called him "the towering composer of the Renaissance". Fallows wrote that his influence on 16th century European music is comparable to that of
1147:
wrote his sonnet to Josquin, "Ad Jusquino suo compagno musico d'Ascanio" ("To Josquin, his fellow musician of Ascanio"), which asks him "not to be discouraged if his 'genius so sublime' seemed poorly remunerated". Between 1485 and 1489 Josquin may have served under the Hungarian king
1919:
592:
His name has many spellings in contemporary records: his first name is spelled as Gosse, Gossequin, Jodocus, Joskin, Josquinus, Josse, Jossequin, Judocus and Juschino; and his surname is given as a Prato, de Prato, Pratensis, de Prés, Desprez, des Prés and des PrÚs. In his motet
2810:. Whether the woodcut is a realistic likeness of the oil painting remains uncertain; Elders notes that comparisons between contemporaneous woodcuts based on original paintings that do survive often show incompetent realizations, putting the accuracy of the woodcut in question.
3164:
described Josquin in the 1860s as "one of the towering figures of Western music history, not merely a forerunner of Palestrina but his equal", and his research established the foundation for modern Josquin scholarship. In the early 20th century, leading musicologists such as
1772:
writes that modern scholarship is "still nowhere near a wholly reliable chronology and unlikely ever to reach it", and suggests that the current tentative models "tell us more about ourselves, and the way in which we come to know what we know, than they do about Josquin".
2921:
3117:'s equal in music. Josquin was championed by the later theorists Heinrich Glarean and Gioseffo Zarlino, and the theologian Martin Luther declared "he is the master of the notes. They must do as he wills; as for the other composers, they have to do as the notes will."
1988:, the temporal and pitch interval of the canon, along with the voices that participate in it, are varied throughout. The free voices are more fully integrated into the texture, and frequently participate in imitation with the canonic voices, sometimes preemptively.
1974:
between the voices is fixed while the temporal interval varies between only two values; the two free voices generally do not participate in the imitation. The precise relationship of Josquin's mass to de Orto's is uncertain, as is Josquin's authorship of the mass.
1920:
1696:
died in 1474, Josquin and his contemporaries lived in a musical world of frequent stylistic change, in part due to the movement of musicians between different regions of Europe. A line of musicologists credits Josquin with three primary developments:
2627:
829:. Other evidence may place him in Aix as early as 1475. Josquin remained there until at least 1478, after which his name disappears from historical records for five years. He may have remained in René's service, joining his other singers to serve
3362:
Modern scholarship differs in how it describes Josquin's nationality; his exact birthplace is unknown, and determining nationalities for 15th-century composers is problematic in general. He is known to have been born somewhere in French-speaking
1563:
and Cambrai Cathedral. Very few records of his activity survive from this time; he bought a house in September 1504, and sold it (or a different one) in November 1508. The Josquin mentioned may be the Joskin who traveled to present chansons to
3439:
2426:
remains the best known work to use this device and was published by Petrucci in 1505, relatively soon after its composition. Taruskin notes that the use of Ercole's name is Josquin's method of memorialization for his patron, akin to a
3615:) but modern scholarship has secured at least a partial attribution to Leonardo. Fallows noted in 2020 that "no scholar in the last thirty years has disputed Leonardo's authorship, at least for the main body of the general painting."
2884:. Fallows notes that the subject has similar facial features to the portrait printed by Opmeer, but concludes that there is not enough evidence to conclude Josquin is the sitter. Clercx-Lejeune also suggested Josquin was depicted in
2286:, dates to the decade of Josquin's birth. By the turn of the 16th century, composers were moving from quoting single voice lines, to widen their reference to all voices in the piece. This was part of the transition from the medieval
601:
of his name, where it is spelled IOSQVIN Des PREZ. Documents from Condé, where he lived for the last years of his life, refer to him as "Maistre Josse Desprez". These include a letter written by the chapter of Notre-Dame of Condé to
1373:, who had been burned at the stake in Florence in 1498, and for whom Josquin seems to have had a special reverence; the text was Savonarola's favorite psalm, a meditation on which he left unfinished in prison when he was executed.
1650:
on the marketplace altar to the Holy Virgin. He died on 27 August 1521 and left his possessions to Condé's chapter of Notre Dame. He was buried in front of the church's high altar, but his tomb was destroyed, either during the
511:
Influential both during and after his lifetime, Josquin has been described as the first Western composer to retain posthumous fame. His music was widely performed and imitated in 16th-century Europe, and was highly praised by
927:
to deal with his inheritance, suggesting he was then wealthy. This would explain how later in his life he was able to travel frequently and did not have to compose greatly demanded mass cycles like contemporaries Isaac and
2060:, it is also a paraphrase mass, for fragments of the tune appear in all voices; throughout the work the melody appears in a wide variety of tempos and rhythms. Technically it is almost restrained, compared to the other
1170:
stating that the court of Matthias included "excellent painters and musicians, among them even Josquin himself". Some scholars suggest Aleandro was repeating a false rumor, or that Varday confused Josquin des Prez for
1389:("Remember thy promise unto thy servant") was composed as a gentle reminder to the king to keep his promise of a benefice to Josquin. Glarean claimed that on receiving the benefice, Josquin wrote a motet on the text
1319:) record, and he may have returned to Rome soon after. From then to 1498 there is no firm evidence for his activities; Fallows suggests he stayed in Cambrai for these four years, citing Johannes Manlius's 1562 book
1227:
to Milan, presumably in return for Josquin. Josquin's arrival brought much-needed prestige to the choir, as the composers Gaspar and Stokem had left recently and the only other choristers known to be composers were
668:
Josquin described being born beyond Noir Eauwe, meaning 'Black Water'. This description has puzzled scholars, and there are various theories on which body of water is being referred to. L'Eau Noire river in the
1917:
1260:(choir gallery). It is one of almost four hundred names inscribed in the chapel, around a hundred of which can be identified with singers of the papal choir. They date from the 15th to 18th centuries, and the
3128:
musical narrative, and whose compositions were considered the summit of polyphonic refinement. Until the 20th century, discussion of Josquin's music was mainly limited to music scholars such as the theorists
2582:
in the lowest of the three voices. The other voices sang a secular French text, which had either a symbolic relationship to the sacred Latin text, or commented on it. Josquin's three known motet-chansons are
1298:
Documents found since the late 20th century have shed some light on Josquin's life and works between 1494 and 1503; at some point he was ordained a priest. In August 1494 he went to Cambrai, as attested by a
2625:
8537:
2665:
Josquin's earliest chansons were probably composed in northern Europe, under the influence of composers such as Ockeghem and Busnois. Unlike them, he never adhered strictly to the conventions of the
3504:
Until 1997 Josquin was thought to have joined the papal choir in 1486, as he was mistakenly identified with a 'Jo. de Pratis' in papal documents. It is now thought that this refers to the composer
3206:
and Lowinsky (1965). The 1971 International Josquin Festival-Conference firmly established Josquin in the center of Renaissance music, a position later cemented by Lowinsky's 1976 monograph. The
1970:
is the earlier of the two. It has a head-motif consisting of the whole first Kyrie which is repeated in the beginning of all five movements. The canon is restricted to the highest voice, and the
8214:
8010:
7912:
7853:
8650:
8405:
2685:) contain writing more idiomatic for instruments than voices. Josquin's most famous chansons circulated widely in Europe; some of the better-known include his lament on the death of Ockeghem,
2626:
1521:
in 1503 prompted the evacuation of the Duke and his family, as well as two-thirds of the citizens, and Josquin left by April 1504. His replacement, Obrecht, died of the plague in mid-1505.
3280:
about the extent of Josquin's influence; there is no doubt about his importance in Western music, but some scholars have contended that the extent of his reevaluation has unrealistically
2291:
work. By the time Josquin died, these parody masses had become well established and Josquin's works demonstrate the variety of methods in musical borrowing during this transition period.
3543:
asked him to become master of the choirboys there in 1508, but it is not known how he responded, and there is no record of him working there; most scholars presume he remained in Condé.
1927:
Josquin's predecessors and contemporaries wrote masses based on canonic imitation. The canonic voices in these masses derive from pre-existing melodies such as the "L'homme armé" song (
3396:
in leading the 'Netherland Style', but also that Josquin and his contemporaries united that school with the "very different world of French music", resulting in what scholars call the
2806:
and organist at St. Gudula, Brussels. Following the will's instructions, the altarpiece was placed next to Jacobi's tomb, but it was destroyed in the late 16th century by Protestant
1393:("Lord, thou hast dealt graciously with thy servant") to show his gratitude to the king, either Louis XI or Louis XII. Although such a motet survives and is mentioned with Josquin's
386:
Josquin's biography has been continually revised by modern scholarship, and remains highly uncertain. Little is known of his early years; he was born in the French-speaking area of
3327:'s major monograph (2009), which is currently the standard biography for the composer, and he and Machaut were the only pre-Baroque composers to have entire chapters in Taruskin's
3285:
that Josquin's reputation is somewhat lessened, but on the basis of his most admired and firmly attributed works "he remains one of the towering figures in the history of music".
3018:
1480:
unprecedented nature of such a position and warns "yet of course the letter could equally well be seen to reflect the attitudes and expectations of its recipient, Ercole d'Este".
8120:
7761:
40:
of Josquin des Prez, possibly copied from a now-lost oil painting made during his lifetime. There have been doubts concerning whether this depiction is an accurate likeness, see
3451:
Due to chronological issues in his career Josquin was long dismissed as the "des Prez" of CompĂšre's motet. Modern research allows for the reexamination of this possibility. See
3371:
contends that "By far the greater number of secular compositions have French texts. Culturally and legally Josquin was a Frenchman". As such, sources such as Patrick Macey,
3353:
Gossart had died by the time Josquin took up his inheritance in 1483. It remains uncertain exactly when he died, and whether the composer was an orphan for much of his youth.
1331:
as the source for many of his stories, strengthening the authenticity of his Josquin anecdotes; Melanchthon was close to musical figures of his time, including the publisher
8485:
2650:
Josquin left numerous French chansons, for three to six voices, some of which were probably intended for instrumental performance as well. In his chansons, he often used a
10033:
1559:
This was an appealing place for his old age: it was near his birthplace, had a renowned choir and was the leading musical establishment in Hainaut, besides St. Vincent at
81:
3146:
2720:. They are even simpler in texture than his French chansons, being almost uniformly syllabic and homophonic, and they remain among his most frequently performed pieces.
1918:
8879:
1346:
and Ascanio Sforza suggest that Josquin may have re-entered the service of the Sforza family in Milan around 1498; they refer to a servant Juschino who delivered the
3422:
The similarities between these two pieces are "often cited as a clear allusion"; Fallows expresses uncertainty on how meaningful the similarities between Josquin's
692:
rivers at Condé, preferring the latter since it was known for transporting coal, perhaps fitting the "Black Water" description. Other theories include a birth near
2925:
2907:
depicts Josquin; it was created long after the composer's death, but Clercx-Lejeune has contended that it is an older portrait which Housez restored and modified.
2897:
2832:
684:
make a surname connection irrelevant, and that the river is too small and too far from Condé to be a candidate. Fallows proposes a birthplace near the converging
359:) which informs much of his work. He further emphasized the relationship between text and music, and departed from the early Renaissance tendency towards lengthy
8726:
4247:
4245:
4243:
4241:
4239:
4237:
4235:
2542:
Few composers before Josquin had written polyphonic psalm settings, and these form a large proportion of his later motets. Josquin's settings include the famous
841:, which may be a musical tribute for the king, since it ends with the psalm verse "In te Domine speravi, non confundar in aeternum", the line Louis commissioned
2197:
made man." Noble comments that "The vigour of the earlier masses can still be felt in the rhythms and the strong drive to cadences, perhaps more so than in the
2011:". Basing a mass on such a source was an accepted procedure, as evidenced by the existence of the mass in Sistine Chapel part-books copied during the papacy of
798:. The motet may refer to the singer Pasquier Desprez, but Josquin is a likelier candidate. Josquin was certainly influenced by Du Fay's music; the musicologist
759:. There is no concrete evidence for this tutorship, and later commentators may only have meant that Josquin "learnt from the older composer's example". Josquin
7779:
4232:
2566:), which are often considered to be among his most significant accomplishments. Josquin wrote several examples of a new type of piece developed in Milan, the
7060:
Josquin des Prez: Proceedings of the International Josquin Festival-Congress Held at the Juilliard School at Lincoln Center in New York City, 21â25 June 1971
1517:
is also attributed to this time; it was previously thought to have been written in the early 1480s. Josquin did not stay in Ferrara long. An outbreak of the
8694:
1323:, which associates Josquin with Cambrai's musical establishment. This assertion would fit with Josquin's possible youthful connections in Cambrai and later
2192:
on the tune, using the melody in all voices and all parts of the mass, in elaborate and ever-changing polyphony. One of the high points of the mass is the
1157:
2823:, depicts a man holding sheet music, which has led many scholars to identify him as a musician. The work is usually dated to the mid-1480s, and numerous
923:) to Josquin, because "as a musician who had already served two kings, he was now a distinguished visitor to the little town". Josquin hired at least 15
308:
8619:
8372:
8183:
7979:
7881:
7820:
3409:
If the Haine theory from Fallows is correct, that would mean Josquin was born in the County of Hainaut, which would fit with a 1560 verse by the poet
2870:
2766:
2500:. He wrote most of them for four voices, which had become the compositional norm by the mid-15th century, and descended from the four-part writing of
2064:
mass, until the closing Agnus Dei, which contains a complex canonic structure including a rare retrograde canon, around which other voices are woven.
2616:
2370:
A solmization mass is a polyphonic mass which uses notes drawn from a word or phrase. The style is first described by Zarlino in 1558, who called it
1160:
1756:. Josquin was a professional singer throughout his life, and his compositions are almost exclusively vocal. He wrote in primarily three genres: the
3382:
1892:
masses limiting. He pioneered paraphrase and parody masses, which were not well established before the 16th century. Many of his works combine the
572:, where he is referred to as the nephew of Gille Lebloitte dit des Prez and the son of Gossard Lebloitte dit des Prez. His first name Josquin is a
2139:
technique, the source tune may appear in many voices of the mass. Several of Josquin's masses feature the paraphrase technique, such as the early
9426:
8328:
3956:
3954:
3952:
3950:
3948:
3946:
2135:
technique in that the source material, though still monophonic, could be (by Josquin's time) highly embellished, often with ornaments. As in the
3944:
3942:
3940:
3938:
3936:
3934:
3932:
3930:
3928:
3926:
2294:
Six works are generally attributed to Josquin which borrow from polyphonic pieces, two of which also include canonic features. One of theseâthe
10578:
10568:
3183:
9169:
1726:, equally between voices, which "combines a rational and homogeneous integration of the musical space with a self-renewing rhythmic impetus".
7704:
3923:
2050:
and contrapuntal display. Throughout the work, the melody is presented on each note of the natural hexachord: C, D, E, F, G and A. The later
2042:), a popular tune for mass composition throughout the Renaissance. Though both are relatively mature compositions, they are very different.
849:. A less accepted theory for Josquin's activities between 1478 and 1483 is that he had already entered the household of his future employer
10563:
7777:
Kiråly, Peter (1992). "Un séjour de Josquin des Prés a la cour de Hongrie?" [A stay of Josquin des Prés at the court of Hungary?].
3555:
The song survives anonymously in most sources. The attribution to Busnois, which exists in a single late source, is not generally accepted.
1543:
9713:
10283:
9094:
8750:
8096:
7738:
3173:
largely dismissed Josquin. Various publications then began to raise his status, beginning with a new edition of his complete works by
10558:
9382:
9047:
9025:
8033:
Matthews, Lora; Merkley, Paul (Spring 1998). "Iudochus de Picardia and Jossequin Lebloitte dit Desprez: The Names of the Singer(s)".
2446:' ("let me take care of it"). Essentially the entire mass's content is related to this phrase, and the piece is thus something of an
1489:, which became one of the most widely distributed motets of the 16th century. Also probably from this period was the virtuoso motet
10573:
9112:
2480:
Josquin's motets are his most celebrated and influential works. Their style varies considerably, but can generally be divided into
2177:
1858:
masses, in which a pre-existing tune appears in one voice of the texture, with the other voices being more or less freely composed;
1740:
concludes that these innovations demonstrate the transition from the earlier music of Du Fay and Ockeghem, to Josquin's successors
1668:
368:
8461:
2880:, though neither the attribution nor sitter are certain. The man in the painting is holding an altered version of Josquin's canon
716:
There is no documentary evidence covering Josquin's education or upbringing. Fallows associates him with Goseequin de Condent, an
568:
Josquin's full name, Josquin Lebloitte dit des Prez, became known in the late 20th century from a pair of 1483 documents found in
9067:
2488:
and syllabic text declamation; ornateâand often imitativeâcontrapuntal fantasias in which the text is overshadowed by music; and
301:
10278:
1947:). Josquin's two canonic masses are not based on existing tunes, and so stand apart from the mainstream. They are closer to the
8922:
8846:
8827:
8800:
8644:
8399:
8337:
8208:
8114:
8004:
7906:
7847:
7755:
7627:
7552:
7526:
7500:
7370:
7345:
7293:
7247:
7221:
7195:
7160:
7137:
7111:
7029:
6989:
6961:
6926:
6897:
6875:
6853:
6827:
6807:
6789:
6766:
6732:
6584:
6582:
1874:, based on a polyphonic song, which appears in whole or in part, with material from all voices in use, not just the tune; and
603:
585:
the time, the name Lebloitte was rare and the reason that Josquin's family took up the more common surname des Prez as their
7604:
Fagnart, Laure (2019). "Gaspar Depicted? Leonardo's Portrait of a Musician". In Lindmayr-Brandl, Andrea; Kolb, Paul (eds.).
7376:
7035:
6995:
6932:
3323:, the only early music group to do so. Josquin's presence in 21st-century scholarship remains strong; he was the subject of
2761:, mid 1480s, in which Josquin has been tentatively proposed as the sitter (Right) Early 16th-century painting attributed to
9215:
9029:
8990:
Rodin, Jesse (14 January 2022). "The Josquin Canon at 500: With an Appendix Produced in Collaboration with Joshua Rifkin".
2003:, a technique which had been in use for most of the 15th century. Josquin used the technique early in his career, with the
1597:
482:
6579:
1139:
Josquin went to Rome with Ascanio in July 1484 for a year, and may have gone to Paris for a litigation suit involving the
9419:
5318:
5308:
5306:
5304:
5260:
5258:
5256:
5254:
1449:
443:
9162:
2052:
560:, and the subject of continuing scholarship. He was celebrated worldwide on the 500th anniversary of his death in 2021.
8558:
Wegman, Rob C. (Summer 1999). ""And Josquin Laughed..." Josquin and the Composer's Anecdote in the Sixteenth Century".
294:
8715:
5301:
5251:
2824:
7316:
3313:
3023:
2733:
1547:
10298:
6948:
Kellman, Herbert (2009). "Dad and Granddad Were Cops: Josquin's Ancestry". In Bloxam, M. Jennifer; Filocamo, Gioia;
3084:
There is little information on Josquin's reputation during his lifetime. His composition of masses was commended by
2842:
argued the subject is Josquin; she interpreted the words on the sitter's sheet music as "Cont" (an abbreviation of "
10258:
9988:
9134:
3530:
the end, evidence of style, biography and transmission all point toward 1503/4 as the most likely composition date.
3124:
in the 17th century, Josquin's dominance began to lessen. He was overshadowed by Palestrina, who dominated the pre-
2172:
The best known of Josquin's paraphrase masses, and one of the most famous mass settings of the Renaissance, is the
2111:
1787:
1749:
1581:
1483:
While in Ferrara, Josquin wrote some of his most famous compositions, including the austere, Savonarola-influenced
782:, a motet by CompĂšre. The motet was composed before 1474 and names many important musicians of the time, including
529:
466:
195:
5104:
5102:
5100:
5098:
5096:
5094:
5092:
10583:
9706:
8684:
3329:
5497:
5495:
5493:
5491:
5489:
5487:
5485:
5483:
2378:, meaning "carved out of the words". The earliest known mass by any composer using solmization syllables is the
1827:âincreased in popularity in the 14th century. From the 15th century, composers treated it as a central genre in
846:
10303:
9827:
9412:
9087:
7733:
5481:
5479:
5477:
5475:
5473:
5471:
5469:
5467:
5465:
5463:
5089:
1984:, written during Josquin's final years in Condé. In contrast to the inflexibility of the canonic scheme in the
1376:
Josquin was probably in France during the early 16th century; documents found in 2008 indicate that he visited
9739:
6569:
6567:
6565:
4718:
4296:
3096:
wrote about his works. Josquin's popularity during his lifetime is also suggested by publications: Petrucci's
2508:
in the late Middle Ages. Josquin was also a considerable innovator in writing motets for five and six voices.
9958:
9915:
9731:
8101:
7642:
7573:
Dumitrescu, Theodor (February 2009). "Reconstructing and repositioning Regis's "Ave Maria... virgo serena"".
6594:
4716:
4714:
4712:
4710:
4708:
4706:
4704:
4702:
4700:
4698:
4561:
4559:
4557:
4555:
4553:
4294:
4292:
4290:
4288:
4286:
4284:
4282:
4280:
4278:
4276:
1565:
1352:
1233:
offered; many of his choir colleagues had also enjoyed such privileges. His claims included a canonry at the
77:
7702:
Higgins, Paula (Autumn 2004). "The Apotheosis of Josquin des Prez and Other Mythologies of Musical Genius".
5460:
10268:
9155:
9057:
8746:
8467:
6562:
3612:
3151:
855:
741:, a leading composer whom he greatly admired throughout his life. This is claimed by later writers such as
456:
343:
and had a profound influence on the music of 16th-century Europe. Building on the work of his predecessors
7071:
Kellman, Herbert. "Josquin and the Courts of the Netherlands and France: The Evidence of the Sources". In
4695:
4550:
4273:
2527:, an early work where each voice enters by restating the line sung before it. Other early works such as a
821:
The first firm record of Josquin's employment is from 19 April 1477 when he was a singer in the chapel of
335:, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the
10313:
9190:
8884:
7970:
7269:
3526:
3372:
3202:(Vol 1 1962/Vol 2 1965), an influential article by Lowinsky (1964), and debates between the musicologist
2862:
1980:
1911:
1737:
3438:, pp. 258â260) for analysis on how Josquin quickly departs from Ockeghem's style in this work. See
2948:
on the 20th century. Comparisons with Beethoven are particularly common, though Taruskin cautions that:
1635:. In his last years Josquin's music saw European-wide dissemination through publications by the printer
10487:
10458:
10361:
10176:
9699:
9208:
9053:
7179:
3227:
3157:
2708:, a popular Italian song form which he would have heard during his years in Milan. These songs include
2511:
Many of the motets use compositional constraint on the process; others are freely composed. Some use a
2472:
2346:
remains controversial, with some scholars calling it an early composition, and others a later one. The
1125:
416:
130:
52:
9043:
4076:
10543:
10143:
9080:
8560:
8506:
8066:
8035:
7239:
7213:
6949:
6758:
2930:
2902:
2837:
2362:
is based on a popular chanson of the same name by Ockeghem, and is one of Josquin's shortest masses.
2185:
1639:. Josquin's compositions were given a prominent place by Petrucci, and were reissued numerous times.
697:
10013:
8258:
Rice, Eric (1999). "Tradition and Imitation in Pierre Certon's DĂ©ploration for Claudin de Sermisy".
7268:. The New Grove Dictionary of Music and Musicians: The Composer Biography Series. Other chapters by
3275:
lists fewer than 200 works attributed to him, down from more than 370. These revisions of Josquin's
2354:, is probably the earliest true parody mass by any composer, as it no longer contains any hint of a
1964:
Josquin's two canonic masses were published in Petrucci's third book of Josquin masses in 1514; the
210:
10407:
10263:
8680:
6981:
3751:
3749:
3747:
3745:
3743:
3741:
3625:
3508:
instead, and thus the earliest record of Josquin's employment in the papal choir is from 1489. See
3134:
2301:
2223:
2169:, it is a votive mass for Saturday performance, and was his most popular mass in the 16th century.
24:
20:
5339:
5337:
5335:
5333:
2998:
2334:, varying throughout the work. A similar variation in the source material's voices is used in the
1688:. It includes one voice presenting a short motive, which is subsequently imitated by other voices.
965:
853:
in 1480. In that case, Josquin would have been with Ascanio in Ferrara and might have written his
569:
461:
10438:
10196:
10171:
8914:
8792:
8628:
8473:
8383:
8192:
8106:
7988:
7890:
7831:
7784:
7747:
7681:
7518:
7362:
7171:
7063:
7021:
7017:
Music in Renaissance Ferrara 1400â1505: The Creation of a Musical Center in the Fifteenth Century
6819:
6724:
5028:
5026:
1828:
1652:
1405:. Some of Josquin's other compositions have been tentatively dated to his French period, such as
1270:
1207:
From June 1489 until at least April 1494, Josquin was a member of the papal choir in Rome, under
1144:
1112:
861:
135:
125:
9870:
6067:
6065:
6063:
6061:
3738:
1712:" were short, easily recognizable melodic fragments which passed from one voice to another in a
1103:
king who he suspected had caused the deaths of his aunt and uncle. By then, the sacred music of
899:
are thought to have been particularly popular, given their wide dissemination in later sources.
10501:
10468:
10445:
10422:
10417:
10053:
10028:
9938:
9817:
9604:
5330:
3607:
3142:
3125:
3106:
2973:
2815:
2753:
1812:
1628:
1336:
8636:
8391:
8200:
7996:
7898:
7839:
5023:
2007:
considered to be one of his earliest masses. This mass is based on a secular tune similar to "
704:, which is near the Escaut, a river that may be referred to in an acrostic in his later motet
532:, though he was still studied by some theorists and music historians. During the 20th-century
10548:
10288:
10273:
10186:
9978:
9619:
9435:
9349:
9293:
9176:
8863:
7940:
7575:
7487:; Keith, Larry; Galansino, Arturo; Mazzotta, Antoni; Nethersole, Scott; Rumberg, Per (2011).
6058:
5193:
5191:
5189:
5187:
5185:
5183:
5181:
5179:
5177:
5175:
5173:
3397:
3161:
2436:
1402:
775:
537:
395:
340:
105:
9933:
8742:
8714:
7262:
7261:
6954:
Uno gentile et subtile ingenio Studies in Renaissance Music in Honour of Bonnie J. Blackburn
5171:
5169:
5167:
5165:
5163:
5161:
5159:
5157:
5155:
5153:
4222:
4220:
3572:
may be spurious works; they were both rejected by Noble, but accepted by the editors of the
2282:
Du Fay was one of the first to write masses based on secular songs (a parody mass), and his
1579:
In his later years Josquin composed many of his most admired works. They include the masses
1452:, an arts patron who had been trying for many years to replace the composer and choirmaster
1278:
Fallows says that "it hardly counts as an autograph, but it may be the closest we can get."
10553:
10063:
3822:
3820:
3818:
3289:
2941:
2828:
2678:
2670:
2501:
2308:
faces, which are printed next to the staff. Canon can also be found in the "Osanna" of the
1238:
1180:
1090:
693:
557:
8665:
8420:
8315:
8229:
8025:
7927:
7868:
7725:
3110:
3010:
1729:
3) A focus on the text, with the music serving to emphasize its meaning, an early form of
8:
10181:
9812:
9359:
9328:
8178:
7443:
7392:
7055:
6971:
6742:
6657:
5954:
5952:
5950:
5948:
5946:
5944:
5360:
5358:
5356:
5354:
5352:
5150:
4442:
4217:
3309:
3195:
2523:
occurring on successive lines of the text he was setting. This is prominent in his motet
1554:
Josquin probably moved from Ferrara to his home region of Condé-sur-l'Escaut, and became
1426:
1370:
1355:. Before he left, he most likely wrote two secular compositions, the well-known frottola
1234:
1224:
799:
553:
533:
115:
9865:
9860:
9548:
8087:
6802:, 30 vols. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1987â .
3815:
3002:
2875:
2787:
portraying Josquin is the most reproduced image of any Renaissance composer. Printed in
2771:
2386:
of musical syllables of the Duke's name, 'Ercole, Duke of Ferrara', which in Latin is 'H
1936:
1905:
10376:
10356:
10331:
10321:
10153:
10128:
10113:
10103:
10098:
10068:
9845:
9807:
9747:
9655:
9609:
9568:
9522:
9507:
9482:
9222:
9183:
8822:. Centre d'études supérieures de la Renaissance (in French). Tours: Bleu nuit éditeur.
8721:
8606:
8577:
8546:
8523:
8447:
8430:
8378:
8347:
8311:
8275:
8246:
8166:
8158:
8141:
8083:
8052:
7957:
7826:
7803:
7721:
7690:
7667:
7592:
7096:
6918:
6845:
6781:
6717:
3686:
Sherr cited numerous articles as milestones in revising Josquin's biography, including
3505:
3377:
3364:
3271:
3137:
in 1732. The late 18th century saw a new interest in Netherlandish music: studies from
2981:
2965:; Coclico claimed to be his student, though his statements are notoriously unreliable.
2520:
2339:
2263:
2118:
1999:
Prior to Josquin's mature period, the most common technique for writing masses was the
1958:
1932:
1804:
1636:
1587:
1555:
1534:
1485:
1441:
1328:
1229:
1208:
1176:
1165:
787:
729:
472:
451:
431:
387:
215:
175:
10138:
8139:(1999). "Ein Graffito von Josquin Desprez auf der Cantoria der Sixtinischen Kapelle".
5941:
5389:
5387:
5385:
5349:
3006:
2023:
10464:
10412:
10161:
10073:
9900:
9797:
9722:
9660:
9502:
9497:
9443:
9354:
9333:
8918:
8842:
8823:
8796:
8640:
8481:
8395:
8333:
8204:
8170:
8136:
8110:
8000:
7902:
7843:
7751:
7671:
7659:
7623:
7548:
7522:
7496:
7366:
7341:
7312:
7289:
7243:
7217:
7191:
7156:
7133:
7107:
7025:
6985:
6957:
6922:
6893:
6871:
6849:
6823:
6803:
6785:
6762:
6750:
6728:
6340:
6338:
3540:
3410:
3393:
3387:
3293:
3033:
2993:
2977:
2820:
2758:
2428:
2326:
2233:
1949:
1928:
1753:
1720:
1656:
1632:
1216:
1153:
1149:
760:
738:
629:
435:
411:
352:
348:
332:
165:
100:
60:
9762:
9487:
2958:
1850:
masses, which contains one or more voices derived from another via strict imitation;
638:
625:
406:
of France. Now a wealthy man, in the 1480s Josquin traveled Italy with the Cardinal
10513:
10336:
10166:
10088:
10043:
9998:
9973:
9968:
9923:
9890:
9850:
9792:
9767:
9645:
9624:
9599:
9583:
9543:
9512:
9466:
9451:
9283:
9278:
9261:
9247:
9240:
8999:
8978:
8955:
8632:
8598:
8569:
8535:
Urquhart, Peter (2012). "Ad fugam, De Orto, and a Defense of the 'Early Josquin'".
8515:
8477:
8439:
8387:
8303:
8267:
8196:
8150:
8075:
8044:
7992:
7949:
7894:
7835:
7795:
7713:
7651:
7613:
7584:
7510:
7492:
7277:
7264:
The New Grove High Renaissance Masters: Josquin, Palestrina, Lassus, Byrd, Victoria
7183:
7121:
6746:
5382:
3078:
3049:
3045:
2968:
Numerous composers wrote laments after his death, three of which were published by
2893:
2492:
settings which combined these extremes with the addition of rhetorical figures and
2259:
2189:
2158:
2008:
1940:
1884:
by Zarlino, in which the base tune is drawn from the syllables of a name or phrase.
1769:
1745:
1693:
1518:
1453:
1422:
1413:, which resembles the style of other composers of the French court. The five-voice
1357:
1343:
867:
795:
755:
746:
742:
732:'s friend Claude Hémeré, suggesting that Josquin became a choirboy with his friend
521:
517:
422:
344:
200:
190:
155:
110:
8504:
Starr, Pamela F. (Winter 1997). "Josquin, Rome, and a Case of Mistaken Identity".
7536:
6422:
6335:
5609:
3333:(2005). The 500th anniversary of Josquin's death in 2021 was widely commemorated.
1646:, at all general processions when townsfolk passed his house, stopping to place a
822:
814:
737:
chapel through an early association with Saint-Quentin. He may have studied under
399:
10366:
10351:
10293:
10133:
10083:
10018:
10008:
9963:
9953:
9948:
9943:
9905:
9835:
9757:
9752:
9680:
9670:
9650:
9629:
9614:
9461:
9456:
9365:
9313:
9308:
9148:
8906:
8894:
8589:
Wegman, Rob C. (May 2008). "Ockeghem, Brumel, Josquin: New Documents in Troyes".
7935:
7413:
7356:
7337:
7333:
7327:
7187:
7129:
7103:
7051:
7015:
6975:
6912:
6892:. Music Literature Outline Series (3rd ed.). Bloomington: Frangipani Press.
3297:
3199:
3188:
3178:
3166:
3041:
2962:
2945:
2866:
2762:
2575:
2154:
2141:
2128:
2094:
2047:
1881:
1861:
1741:
1476:
1220:
1212:
1108:
1104:
842:
837:
of Paris. Josquin's connection to Louis XI could be furthered by his early motet
834:
826:
783:
549:
545:
170:
160:
3649:
Composers writing laments for fellow composers was a long-standing tradition in
2896:, but this has not achieved acceptance from other scholars. An 1811 painting by
2885:
10371:
10346:
10078:
10048:
9993:
9983:
9855:
9840:
9782:
9772:
9578:
9553:
9538:
9517:
9492:
9298:
9288:
9127:
8710:
8689:
8307:
7876:
7815:
7717:
7404:
Bloxam, M. Jennifer. "Masses Based on Polyphonic Songs and Canonic Masses". In
7273:
7080:
7011:
6908:
6885:
6712:
3650:
3522:
3174:
3138:
3130:
3102:
3029:
3014:
2989:
2969:
2505:
2351:
2273:
2181:
2012:
1971:
1966:
1800:
1494:
1253:
1200:
1012:
850:
791:
673:
642:
541:
407:
273:
7655:
7618:
7170:
Milsom, John (2015). "Making a Motet: Josquin's Ave Maria ⊠virgo serena". In
4015:
4013:
4011:
4009:
3288:
Since the 1950s, Josquin's music has become central to the repertoire of many
3256:
3240:
1673:
1265:
to sign their name in full, whereas Josquin des Prez is known to have done so
1191:
10537:
10326:
10212:
10118:
10108:
10003:
9895:
9880:
9665:
9563:
9323:
9318:
9303:
9254:
9141:
8939:
8538:
Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis
8323:
8287:
8079:
7974:
7938:(October 1964). "Musical Genius: Evolution and the Origins of a Concept II".
7663:
7637:
7455:
Sherr, Richard. "Chronology of Josquin's Life and Career â Introduction". In
7285:
7257:
7231:
7205:
6863:
6837:
3677:, p. 31) for a complete list of extant medieval and Renaissance laments.
3633:
3368:
3324:
3203:
3170:
3121:
3085:
2831:, though none have achieved wide approval. In 1972, the Belgian musicologist
2788:
2567:
2493:
2296:
2218:
1854:
1847:
1730:
1705:
1611:
1421:, seems to have been written for a royal funeral, perhaps that of Louis XII,
1286:
1120:
1116:
725:
677:
646:
525:
513:
496:
364:
280:
185:
9391:
8154:
7303:
Reynolds, Christopher (2004). "Chapter 4: Interpreting and Dating Josquin's
7210:
Music in the Middle Ages: With an Introduction on the Music of Ancient Times
2466:
1642:
On his deathbed, Josquin left an endowment for the performance of his work,
10525:
10402:
10341:
10232:
10191:
10058:
9928:
9802:
9675:
4006:
3260:
3114:
3089:
3065:
3037:
2889:
2188:. It was probably the last mass Josquin composed. This mass is an extended
1803:
is the central rite of the Catholic Church, and polyphonic settings of the
1757:
1713:
1709:
1444:, an important patron of the arts, was Josquin's employer during 1503â1504.
1275:
Osservazioni per ben regolare il coro dei cantori della Cappella Pontificia
929:
372:
252:
205:
120:
6221:
6128:
3844:
3593:, pp. 374â376) for information on the attribution issues surrounding
2304:
and has the rhythmic augmentation of the borrowed tenor part indicated by
10397:
10392:
10123:
10093:
9875:
9787:
9777:
9558:
9003:
8982:
8960:
8943:
7953:
7679:
Godt, Irving (Autumn 1977). "Motivic Integration in Josquin's "Motets"".
5430:
5428:
5426:
3093:
2843:
2574:
mold which were completely secular, Josquin's motet-chansons contained a
2485:
2313:
2243:
1888:
Josquin began his career at a time when composers started to find strict
1877:
1871:
1781:
1347:
1172:
924:
750:
733:
661:
336:
9404:
8745:[Painting and Frame: Portrait of Josquin des PrĂšs] (in French).
8610:
8602:
8550:
8451:
8443:
8428:
Sherr, Richard (August 2011). "Laudat Autem David: Fallows on Josquin".
8250:
8162:
7596:
7588:
5704:
5702:
5700:
5698:
5696:
2539:) for four voices. Josquin favored the technique throughout his career.
464:, Josquin produced some of his most admired works, including the masses
10227:
10217:
7484:
7281:
3654:
3301:
3281:
2807:
2654:, sometimes a popular song whose origin can no longer be traced, as in
2642:
2455:
2451:
1865:
1332:
1219:. Josquin may have arrived there due to an exchange of singers between
701:
653:
573:
8581:
8527:
8279:
8056:
7961:
7807:
7732:
7694:
6473:
5423:
4082:
3470:
is among Josquin's most frequently analyzed and celebrated works. See
2742:
2300:, which includes a canon in the "Benedictus"âis based on a chanson by
10237:
9063:
8867:
5693:
3198:
raised Josquin's status, and brought the first major study on him by
2563:
2555:
2481:
2166:
1824:
1723:
1502:
1418:
1291:
778:, as there is a "des Prez" among the cathedral's musicians listed in
717:
439:
391:
356:
9691:
9022:, a large-scale database of Josquin's works, directed by Jesse Rodin
8290:(Summer 2003). "Munich, Milan, and a Marian Motet: Dating Josquin's
8237:
Roth, Adalbert (2000). "Judocus de Kessalia and Judocus de Pratis".
3292:
and has been increasingly featured in recordings, with those by the
2765:, with a man holding the canon by Josquin. It may depict Josquin or
1437:
1381:
Josquin had been employed by Louis XII. According to Glarean in the
10222:
9072:
8573:
8519:
8271:
8048:
7799:
3666:
2847:
2705:
2547:
2536:
2497:
2447:
1573:
1569:
1560:
1369:. The latter might be a veiled reference to the religious reformer
1366:
1249:
1140:
830:
810:
669:
598:
586:
581:
528:, Josquin's reputation became overshadowed by the Italian composer
403:
247:
3970:
2531:
show prominent imitation, as do later ones such as his setting of
2330:. In this mass, Josquin used each of the Italian song's voices as
1836:
textual limitations of the genre. Almost all are for four voices.
865:
was collected in Ferrara, which includes six chansons by Josquin,
32:
7609:
7544:
7152:
5450:
5448:
5446:
5370:
4052:
3791:
2784:
2674:
1820:
1765:
1701:
1470:
Around three months later, Josquin was chosen; his salary of 200
1266:
1143:
in Saint Aubin during the later 1480s. Around this time the poet
721:
685:
447:
380:
360:
241:
37:
6840:(2001). "Who composed Mille regretz?". In Haggh, Barbara (ed.).
2434:
The other Josquin mass to prominently use this technique is the
2056:
is a "fantasia on the theme of the armed man." While based on a
2046:, is a technical tour-de-force on the tune, containing numerous
1868:
song which is used freely in all voices, and in many variations;
660:, who was accused of numerous offenses, including complaints of
363:
lines on a single syllable, preferring to use shorter, repeated
10242:
5291:
5289:
5287:
5285:
4466:
3244:
2803:
2414:. Taking the solmization syllables with the same vowels gives:
1793:
Rome, Biblioteca Apostolica Vaticana, Capp. Sist. 45, ff. 1v-2r
1655:(1562â1598) or in 1793 when the church was demolished amid the
1377:
235:
9019:
8716:"The Renaissance's Most Influential Composer, 500 Years Later"
7517:. The Oxford History of Western Music. Vol. 1. New York:
7395:"Masses Based on Popular Songs and Solmization Syllables". In
6907:
Haggh, Barbara (1994). "Josquin's Portrait: New Evidence". In
6816:
Josquin des Pres and His Musical Legacy: An Introductory Guide
6711:
Bridgman, Nanie (1960). "The Age of Ockeghem and Josquin". In
6034:
5881:
5726:
5443:
5055:
5053:
3495:, p. 34) for the complete poem and an English translation
2972:
in a 1545 edition of Josquin's music. These included works by
2704:
Josquin also wrote at least three pieces in the manner of the
6591:, § "Studies That Significantly Revised Josquin's Biography".
5714:
4261:
2517:
2489:
1843:
categorizes the composer's masses into the following styles:
1816:
1808:
1761:
1647:
1471:
1107:
had a reputation for excellence. Josquin was employed by the
689:
652:
Josquin's father Gossart dit des Prez was a policeman in the
577:
376:
257:
7425:
Litterick, Louise. "Chansons for Three and Four Voices". In
7336:. Numerous other contributors, see pages 956â958. New York:
6350:
6308:
6024:
6022:
6020:
6018:
5282:
3611:
has a complex and controversial history of attribution (see
3060:
1631:
that celebrates the future engagement between Charles V and
8789:
Josquin's Rome: Hearing and Composing in the Sistine Chapel
7606:
Gaspar van Weerbeke: New Perspectives on his Life and Music
7483:
6606:
6257:
6227:
6170:
6134:
5871:
5869:
5621:
5546:
5411:
5114:
5050:
5038:
4951:
4845:
4843:
4830:
4828:
4683:
4306:
4154:
2851:
2305:
2165:
paraphrases plainchants in praise of the Virgin Mary. As a
7515:
Music from the Earliest Notations to the Sixteenth Century
6723:. The New Oxford History of Music. Vol. III. Oxford:
6528:
6526:
6524:
6451:
6449:
6325:
6323:
6199:
6197:
6160:
6158:
6145:
6143:
5854:
5842:
5794:
5782:
5534:
5203:
4927:
4867:
4855:
4625:
4598:
4538:
4502:
4030:
4028:
3994:
3624:
The remark is variously attributed to the music publisher
2920:
763:
Ockeghem several times, most directly in his double motet
8064:
Merkley, Paul (Fall 2001). "Josquin Desprez in Ferrara".
6914:
From Ciconia to Sweelinck: Donum natalicium Willem Elders
6015:
5772:
5770:
5768:
5755:
5753:
5738:
5681:
5575:
5573:
5512:
5510:
5239:
4975:
4815:
4813:
4798:
4749:
4747:
4745:
4743:
4644:
4642:
4640:
4615:
4613:
4576:
4574:
4372:
4370:
4357:
4355:
4342:
4340:
4338:
4325:
4323:
4321:
4142:
2865:
is often related to Josquin. It is usually attributed to
1961:, both of which use original melodies in all the voices.
657:
8878:] (in German). Vol. 3 (3rd ed.). Leipzig:
6461:
6434:
6082:
6080:
5981:
5979:
5905:
5893:
5866:
5657:
5645:
5633:
5597:
5270:
5227:
4840:
4825:
4183:
4181:
4103:
3982:
3889:
3887:
3885:
3883:
2476:, showing imitative counterpoint between the four voices
2338:, based on a chanson variously attributed to Martini or
398:, or taught by Ockeghem. By 1477 he was in the choir of
8841:. Constellatio Musica 10 (in French). Palermo: L'Epos.
6842:
Essays on Music and Culture in Honor of Herbert Kellman
6645:
6521:
6509:
6485:
6446:
6320:
6245:
6233:
6194:
6155:
6140:
5215:
5126:
5065:
4963:
4788:
4786:
4025:
1465:
Gian de Artiganova to Ercole I d'Este, 2 September 1502
1294:, who had captured the Sforzas, his previous employers.
859:
at this time for Ercole d'Este. Around this period the
351:, he developed a complex style of expressiveâand often
7541:
Leonardo da Vinci: The Complete Paintings and Drawings
7329:
1001 Classical Recordings You Must Hear Before You Die
7083:. "Josquin at Ferrara: New Documents and Letters". In
6741:
6479:
6410:
6209:
6182:
6003:
5964:
5929:
5917:
5818:
5806:
5765:
5750:
5669:
5585:
5570:
5522:
5507:
4903:
4879:
4810:
4771:
4759:
4740:
4728:
4671:
4637:
4610:
4586:
4571:
4526:
4514:
4478:
4418:
4406:
4394:
4382:
4367:
4352:
4335:
4318:
3899:
3868:
3781:
3779:
3766:
3764:
3306:
1001 Classical Recordings You Must Hear Before You Die
2869:, and is thought to depict the Italian music theorist
946:
Tentative outline of Josquin's life from 1483 to 1489
10485:
6635:
6633:
6550:
6538:
6497:
6386:
6374:
6362:
6296:
6116:
6077:
5991:
5976:
5830:
5558:
5077:
5011:
4490:
4430:
4205:
4193:
4178:
4166:
4132:
4130:
4115:
4091:
3880:
2382:, which Josquin wrote for Ercole I. It is based on a
802:
suggests that the impact was not particularly large.
767:, which shares an opening line with Ockeghem's motet
8969:
Fitch, Fabrice (20 January 2022). "Josquin at 500".
7821:"Mass: 6. The cyclic mass in the later 15th century"
6603:, § "Problems: Character and Posthumous Reputation".
6284:
6104:
6092:
5399:
4999:
4987:
4783:
4454:
3911:
3856:
3832:
3101:
this time. After Josquin's death, humanists such as
2570:. Though similar to 15th-century works based on the
1448:
Josquin arrived in Ferrara by 30 May 1503, to serve
7968:
7434:Milsom, John. "Motets for Five or More Voices". In
6681:
6573:
6398:
6071:
5958:
5501:
5393:
5364:
5324:
5312:
5264:
5197:
5108:
5032:
4939:
4915:
4722:
4565:
4300:
4254:, §2 "Aix-en-Provence, ?Paris, Condé-sur-l'Escaut (
4251:
3960:
3826:
3803:
3776:
3761:
3755:
3637:
3312:have recorded all of Josquin's masses, and won the
2861:A portrait from the early 16th century kept in the
1748:, and eventually to the late Renaissance composers
1119:Saint Aubin without having been ordained a priest.
410:, may have worked in Vienna for the Hungarian king
8618:
8460:
8371:
8182:
7978:
7880:
7819:
7737:
7095:
6956:. Turnhout: Brepols Publishers. pp. 183â200.
6716:
6630:
6046:
5327:, §10 "Works: canon and chronology", § paras. 5â7.
4891:
4127:
4064:
4040:
3160:gave Josquin more prominence. The music historian
2669:âthe rigid and complex repetition patterns of the
450:. Many of his works were printed and published by
19:Several terms redirect here. For other uses, see
7513:(2010). "Chapter 14: Josquin and the Humanists".
7084:
7072:
7050:
6669:
2324:is based on the popular three-voice Italian song
1365:("I have placed my hope in you, Lord"), based on
672:has been proposed, and there was a village named
10535:
8743:"Tableau et cadre: Portrait de Josquin des PrĂšs"
7489:Leonardo da Vinci: Painter at the Court of Milan
7176:The Cambridge History of Fifteenth-Century Music
3653:and Renaissance music. Earlier examples include
3400:. Some sources refer to him as 'Franco-Flemish'.
2454:'s promise to the pope to overthrow his brother
576:form of Josse, the French form of the name of a
8329:The New Grove Dictionary of Music and Musicians
8032:
6977:Guillaume de Machaut: Secretary, Poet, Musician
6274:
6272:
5315:, §10 "Works: canon and chronology", § para. 5.
5267:, §10 "Works: canon and chronology", § para. 7.
3850:
3797:
3726:, p. 127), for comprehensive discographies
3699:
3381:call him a "French composer". The musicologist
2496:that foreshadowed the later development of the
2440:, based on the musical syllables contained in '
2153:, also probably an early work, paraphrases the
1244:After restorations from 1997 to 1998, the name
1237:; Saint Omer, Cambrai; a parish in the gift of
632:and the surrounding area in the time of Josquin
7146:
6870:(2nd ed.). Turnhout: Brepols Publishers.
4661:
4659:
4657:
4267:
2854:"), and she identified the music as Josquin's
9707:
9420:
9396:
9088:
8296:Journal of the American Musicological Society
7705:Journal of the American Musicological Society
6884:
4058:
2161:; it is one of his shortest masses. The late
302:
8184:"Du Fay [Dufay; Du Fayt], Guillaume"
6269:
3113:praised him, with Bartoli describing him as
2441:
1785:Manuscript showing the opening Kyrie of the
8135:
7814:
5376:
4654:
4631:
3551:
3549:
2027:
1351:employers were captured during Louis XII's
1304:
908:
9714:
9700:
9427:
9413:
9095:
9081:
7572:
7098:Bonfire Songs: Savonarola's Musical Legacy
3471:
3455:, pp. 25â29) for further information.
3424:Alma Redemptoris mater/Ave regina caelorum
3213:
2593:Fortune destrange plummaige/Pauper sum ego
2529:Alma Redemptoris mater/Ave regina caelorum
2516:writing his motets, with sections akin to
765:Alma Redemptoris mater/Ave regina caelorum
367:between voices. Josquin was a singer, and
309:
295:
16:Composer of the Renaissance (c. 1450â1521)
9434:
9048:International Music Score Library Project
8959:
8177:
7617:
7446:. "Masses on Plainsong Cantus Firmi". In
7442:
7424:
7391:
7288:and Robert Stevenson. London: Macmillan.
7126:Leonardo da Vinci: The Complete Paintings
6040:
6028:
5875:
5744:
5732:
5720:
5687:
5675:
5663:
5651:
5639:
5627:
5603:
4226:
3590:
3061:Commendation, decline and reconsideration
2470:The opening passage from Josquin's motet
1223:and Pope Innocent, where the latter sent
454:in the early 16th century, including the
331:â 27 August 1521) was a composer of High
9170:Missa L'homme armé super voces musicales
9064:List of compositions by Josquin des Prez
8534:
7934:
7875:
7509:
7463:
7412:
7302:
7079:
7010:
6890:Music in the Middle Ages and Renaissance
6710:
6544:
6428:
6344:
5911:
5899:
5887:
5860:
5615:
5564:
5454:
5343:
5233:
5083:
4957:
4312:
4160:
4034:
3963:, §1 "Birth, family and early training (
3719:
3695:
3546:
3435:
3071:Missa L'homme armé super voces musicales
3064:
2919:
2465:
2044:Missa L'homme armé super voces musicales
1904:
1780:
1700:1) The gradual departure from extensive
1672:
1669:List of compositions by Josquin des Prez
1436:
1285:
1190:
839:Misericordias Domini in aeternum cantabo
809:
774:Josquin could have been associated with
720:at the collegiate church of Saint-GĂ©ry,
696:, due to his early association with the
682:complications surrounding Josquin's name
624:
31:
9068:Digital Image Archive of Medieval Music
8774:
8637:10.1093/gmo/9781561592630.article.20939
8392:10.1093/gmo/9781561592630.article.20882
8201:10.1093/gmo/9781561592630.article.08268
8063:
7997:10.1093/gmo/9781561592630.article.14497
7899:10.1093/gmo/9781561592630.article.26100
7840:10.1093/gmo/9781561592630.article.45872
7736:; Kennedy, Joyce Bourne, eds. (2013) .
7701:
7636:
7603:
7535:
7454:
7149:Music and Patronage in the Sforza Court
7070:
6947:
6862:
6836:
6775:
6651:
6624:
6612:
6532:
6515:
6491:
6455:
6329:
6263:
6251:
6239:
6215:
6203:
6176:
6164:
6149:
5221:
5144:
5132:
5120:
5071:
5059:
5044:
4933:
4909:
4885:
4873:
4861:
4834:
4819:
4777:
4765:
4753:
4734:
4689:
4677:
4665:
4648:
4619:
4604:
4592:
4580:
4544:
4532:
4520:
4508:
4484:
4472:
4424:
4412:
4400:
4388:
4376:
4361:
4346:
4329:
4211:
4199:
4187:
4172:
4148:
4121:
4109:
4097:
4000:
3988:
3976:
3917:
3905:
3893:
3874:
3862:
3838:
3809:
3723:
3691:
3687:
3586:
3452:
3431:
2693:, an uncertain attribution to Josquin;
1991:
1978:No questions of authenticity cloud the
1704:lines, and emphasis instead on smaller
1391:Bonitatem fecisti cum servo tuo, Domine
724:until mid-1466. Other scholars such as
620:
10536:
8709:
8588:
8557:
8286:
8094:
7776:
7744:The Concise Oxford Dictionary of Music
7473:Wegman, Rob C. "Who Was Josquin?". In
7472:
7433:
7403:
7169:
7120:
6813:
6719:Ars Nova and the Renaissance 1300â1540
6687:
6556:
6503:
6467:
6440:
6416:
6368:
6356:
6314:
6302:
6188:
6122:
6086:
6009:
5970:
5935:
5923:
5848:
5824:
5812:
5800:
5788:
5776:
5759:
5591:
5579:
5552:
5540:
5528:
5516:
5295:
5209:
5017:
4993:
4981:
4969:
4804:
4496:
4460:
4436:
4084:The Concise Oxford Dictionary of Music
4070:
3785:
3770:
3629:
3492:
3479:
3475:
3463:
3461:
3092:and the music theorists Gaffurius and
1505:. Due to its stylistic resemblance to
1152:in Vienna; an account by the Cardinal
940:
355:âmovement between independent voices (
10579:16th-century Franco-Flemish composers
10569:15th-century Franco-Flemish composers
9721:
9695:
9408:
9395:
9076:
8901:(in German). Tutzing: Hans Schneider.
8778:
8617:
8503:
8458:
8427:
8369:
8360:
8359:Noble, Jeremy. "Josquin Desprez". In
8358:
8351:
8346:
8322:
7830:. Revised by Andrew Kirkman. Oxford:
7474:
7465:
7456:
7447:
7435:
7426:
7417:
7405:
7396:
7354:
7256:
7230:
7204:
7147:Merkley, Paul; Merkley, Lora (1999).
7093:
6970:
6906:
6778:Josquin des Prez: A Guide to Research
6663:
6600:
6588:
6392:
6380:
6290:
6110:
6098:
6052:
5997:
5985:
5836:
5708:
5504:, §12 "Masses: (ii) Complete masses".
5434:
5417:
5405:
5245:
5005:
4945:
4921:
4897:
4849:
4792:
4448:
4136:
4046:
4019:
3707:
3509:
3482:for further information on the motet.
2827:, including Franchinus Gaffurius and
9216:Inviolata, integra et casta es Maria
9102:
9030:Plainsong and Medieval Music Society
8679:
8257:
8236:
7678:
7260:(1984) . "Josquin Desprez (I, II)".
7038:from the original on 17 October 2021
6675:
6576:, §10 "Works: canon and chronology".
6480:Burkholder, Grout & Palisca 2014
6404:
5276:
5111:, §7 "CondĂ©-sur-l'Escaut (1504â21)".
4725:, §5 "France and Italy (1494â1503)".
4568:, §4 "The papal chapel (1489â1494)".
4303:, §3 "Milan and elsewhere (1484â9)".
3703:
3674:
2067:
1546:A 1545 map of Condé-sur-l'Escaut by
935:
10564:Classical composers of church music
8332:(1st ed.). London: Macmillan.
7640:(April 1996). "Josquin and Milan".
7464:Urquhart, Peter. "Discography". In
7325:
6639:
5346:, § "What Josquin Was Really Like".
3458:
2793:Opus chronographicum orbis universi
2365:
1716:texture, giving it an inner unity.
1342:Two letters between members of the
13:
8767:
8729:from the original on 29 April 2021
8685:"The Musical Mysteries of Josquin"
8013:from the original on 11 March 2021
7980:"Josquin (Lebloitte dit) des Prez"
7379:from the original on 4 August 2022
6998:from the original on 26 April 2022
2605:
2350:, based on a three-voice motet by
1327:there. Manlius cites the reformer
728:relay a 17th-century account from
698:Collegiate Church of Saint-Quentin
14:
10595:
9012:
8753:from the original on 3 March 2022
8697:from the original on 11 July 2022
8653:from the original on 6 April 2019
8488:from the original on 3 March 2022
8217:from the original on 22 June 2020
7764:from the original on 19 July 2022
7565:Journal and encyclopedia articles
7543:(Anniversary ed.). Cologne:
4451:, § "Ave Maria ... virgo serena".
3722:, Appendix B (Discography)), and
2850:) and "A Z" (an abbreviation of "
2687:Nymphes des bois/Requiem aeternam
2022:masses are the two based on the "
1900:
339:, he was a central figure of the
10559:Belgian male classical composers
10519:
10507:
10495:
10463:
10454:
10453:
9989:Giovanni Pierluigi da Palestrina
9378:
9377:
8791:. AMS Studies in Music. Oxford:
8459:Sherr, Richard (27 April 2017).
8408:from the original on 3 June 2018
8123:from the original on 15 May 2022
7915:from the original on 6 June 2020
6935:from the original on 31 May 2022
6666:, § "Biographies and Overviews".
6618:
5138:
3712:
3680:
3659:Armes, amours/O flour des flours
3643:
3618:
3599:
3579:
3558:
3533:
3515:
3251:
3235:
2741:
2732:
2641:Problems playing this file? See
2623:
2598:
2589:A la mort/Monstra te esse matrem
2204:
1915:
1750:Giovanni Pierluigi da Palestrina
1533:
1450:Ercole I d'Este, Duke of Ferrara
817:, Josquin's first known employer
530:Giovanni Pierluigi da Palestrina
10574:French male classical composers
9209:Ave Maria ... Virgo serena
9054:Free scores by Josquin des Prez
9044:Free scores by Josquin des Prez
8741:
7856:from the original on 6 May 2019
7085:Lowinsky & Blackburn (1976)
7073:Lowinsky & Blackburn (1976)
6278:
3661:(1377) for Machaut, Ockeghem's
3498:
3485:
3445:
3416:
3403:
3356:
3347:
3330:Oxford History of Western Music
3319:in 1987 for their recording of
3177:(1920s) and high evaluation by
1042:
1027:
805:
676:there, though the musicologist
402:and then probably served under
371:are mainly vocal. They include
8482:10.1093/OBO/9780199757824-0194
7643:Plainsong & Medieval Music
3304:recommended by critics in the
2924:Imaginary Josquin portrait by
1387:Memor esto verbi tui servo tuo
1290:Josquin probably served under
1195:Josquin's presumed signature (
845:to write on 50 scrolls in the
394:and have been educated at the
322:Josquin Lebloitte dit des Prez
41:
1:
9732:List of Renaissance composers
9163:Missa L'homme armé sexti toni
8933:500th anniversary reflections
8102:The Oxford Companion to Music
7608:. Epitome musical. Turnhout:
7311:. Routledge. pp. 71â85.
6715:; Hughes, Dom Anselm (eds.).
4229:, §2 "Posthumous reputation".
3700:Matthews & Merkley (1998)
3663:Mort, tu as navré de ton dart
3392:notes that Josquin succeeded
3336:
3069:Agnus Dei II, from Josquin's
3055:
2825:candidates have been proposed
2053:Missa L'homme armé sexti toni
1832:widely admired and emulated.
1682:
1566:Charles V, Holy Roman Emperor
1321:Locorum communium collectanea
1130:
700:, or in the small village of
615:
325:
9156:Missa Hercules Dux Ferrariae
9058:Choral Public Domain Library
9028:of Josquin's music from the
8857:Works of historical interest
8781:for extensive bibliographies
8666:UK public library membership
8421:UK public library membership
8230:UK public library membership
8179:Planchart, Alejandro Enrique
8026:UK public library membership
7928:UK public library membership
7869:UK public library membership
7355:Sherr, Richard, ed. (2000).
7305:Missa Hercules dux ferrariae
7188:10.1017/CHO9781139057813.017
3732:
3375:, Jeffrey Dean and Reese in
2915:
2797:
2723:
2424:Missa Hercules Dux Ferrariae
2422:in modern nomenclature. The
2380:Missa Hercules Dux Ferrariae
2376:soggetto cavato dalle parole
2075:Paraphrase masses by Josquin
1515:Missa Hercules Dux Ferrariae
856:Missa Hercules Dux Ferrariae
847:ChĂąteau de Plessis-lez-Tours
457:Missa Hercules Dux Ferrariae
7:
8099:. In Latham, Alison (ed.).
7307:". In Meconi, Honey (ed.).
6776:Charles, Sydney R. (1983).
3851:Matthews & Merkley 1998
3798:Matthews & Merkley 1998
3758:, §8 "Portrait of Josquin".
3413:that describes him as such.
3290:early music vocal ensembles
3210:began publication in 1987.
2984:, as well as the anonymous
2863:Galleria nazionale di Parma
1677:Josquin's four-voice motet
1123:dates the well-known motet
558:early music vocal ensembles
420:, and the popular chansons
10:
10600:
10362:Petrus Phalesius the Elder
10177:English Virginalist School
8316:10.1525/jams.2003.56.2.239
8308:10.1525/jams.2003.56.2.239
7726:10.1525/jams.2004.57.3.443
7718:10.1525/jams.2004.57.3.443
7416:. "Four-Voice Motets". In
7326:Rye, Matthew, ed. (2017).
7240:W. W. Norton & Company
7214:W. W. Norton & Company
7180:Cambridge University Press
6950:Holford-Strevens, Leofranc
6759:W. W. Norton & Company
6757:(9th ed.). New York:
6755:A History of Western Music
6696:
4268:Merkley & Merkley 1999
3468:Ave Maria ... Virgo serena
3228:Ave Maria ... Virgo serena
2525:Ave Maria ... Virgo serena
2473:Ave Maria ... Virgo serena
2149:and canonic elements. The
1666:
1432:
1126:Ave Maria ... Virgo serena
873:En l'ombre d'ung buissonet
753:on the death of Ockeghem,
645:, and slightly older than
417:Ave Maria ... Virgo serena
390:, and he may have been an
18:
10433:
10385:
10312:
10251:
10205:
10152:
10144:Jan Pieterszoon Sweelinck
10027:
9914:
9826:
9738:
9729:
9638:
9592:
9531:
9475:
9442:
9402:
9397:Links to related articles
9375:
9342:
9271:
9232:
9200:
9119:
9110:
8818:Barbier, Jacques (2010).
8561:The Journal of Musicology
8507:The Journal of Musicology
8067:The Journal of Musicology
8036:The Journal of Musicology
7656:10.1017/S0961137100001078
7619:10.1484/M.EM-EB.4.2019026
6888:; Becker, Warren (1988).
4059:Gleason & Becker 1988
3673:(1497) for Ockeghem. See
3250:
3234:
3225:
3220:
3147:Raphael Georg Kiesewetter
2910:
2461:
2186:Vespers of Corpus Christi
1953:written by Ockeghem, and
1776:
1281:
706:Illibata Dei virgo nutrix
681:
595:Illibata Dei virgo nutrix
9020:Josquin Research Project
8880:F. E. C. Leuckart Verlag
8866:(1893). "Chapter 5". In
8777:, pp. 469â495) and
8292:Ave Maria ⊠virgo serena
8088:10.1525/jm.2001.18.4.544
8080:10.1525/jm.2001.18.4.544
7236:Music in the Renaissance
7172:Busse Berger, Anna Maria
6982:Cornell University Press
6814:Elders, William (2013).
5035:, §6 "Ferrara (1503â4)".
4475:, pp. 114â115, 524.
3589:, pp. 214â252) and
3512:for further information.
3341:
3135:Johann Gottfried Walther
3133:in the 1680sâ1690s, and
2882:Guillaume se va chauffer
2856:llibata Dei Virgo nutrix
2284:Missa Se la face ay pale
2212:Parody masses by Josquin
1719:2) The prominent use of
1662:
1524:
711:
516:and the music theorists
460:. In his final years in
25:Desprez (disambiguation)
21:Josquin (disambiguation)
10172:English Madrigal School
8915:Oxford University Press
8793:Oxford University Press
8629:Oxford University Press
8499:(subscription required)
8474:Oxford University Press
8384:Oxford University Press
8370:Sherr, Richard (2001).
8193:Oxford University Press
8155:10.52412/mf.1999.H2.887
8107:Oxford University Press
7989:Oxford University Press
7891:Oxford University Press
7832:Oxford University Press
7748:Oxford University Press
7682:Journal of Music Theory
7519:Oxford University Press
7363:Oxford University Press
7361:. Oxford and New York:
7174:; Rodin, Jesse (eds.).
7094:Macey, Patrick (1998).
7064:Oxford University Press
7022:Oxford University Press
6820:Leuven University Press
6780:. New York and London:
6725:Oxford University Press
3570:Missa D'ung aultre amer
3214:Skepticism and revision
2819:, widely attributed to
2585:Que vous madame/In pace
2416:ReâUtâReâUtâReâFaâMiâRe
2360:Missa D'ung aultre amer
2322:Missa Fortuna desperata
2250:Missa Fortuna desperata
2230:Missa D'ung aultre amer
1829:Western classical music
1653:French Wars of Religion
1271:Andrea Adami da Bolsena
1186:
1158:archbishop of Esztergom
881:Ile fantazies de Joskin
862:Casanatense chansonnier
833:, who sent them to the
610:
563:
10584:French Roman Catholics
10014:TomĂĄs Luis de Victoria
9818:Oswald von Wolkenstein
9605:Jacob Clemens non Papa
9135:Missa de Beata Virgine
8864:Ambros, August Wilhelm
8787:Rodin, Jesse (2021) .
6431:, § "Facts and Myths".
6347:, § "What Legends Do".
6074:, §13 "Secular Works".
5618:, § "The Man At Arms".
5377:Lockwood & Kirkman
3632:, p. 30), and to
3608:Portrait of a Musician
3428:Alma Redemptoris mater
3143:Johann Nikolaus Forkel
3126:common practice period
3120:Upon the emergence of
3107:Baldassare Castiglione
3081:
3073:, as reprinted in the
2974:Benedictus Appenzeller
2954:
2936:
2898:Charles-Gustave Housez
2833:Suzanne Clercx-Lejeune
2816:Portrait of a Musician
2754:Portrait of a Musician
2633:Sung by the dwsChorale
2610:
2558:; and two settings of
2477:
2442:
2279:
2199:Missa de Beata Virgine
2163:Missa de Beata Virgine
2151:Missa Ave maris stella
2145:, which also includes
2124:
2112:Missa de Beata Virgine
2089:Missa Ave maris stella
2018:Josquin's most famous
1924:
1796:
1788:Missa de Beata Virgine
1689:
1629:Jean Lemaire de Belges
1627:, is set to a poem by
1603:Pater nosterâAve Maria
1582:Missa de Beata Virgine
1468:
1445:
1337:Adrianus Petit Coclico
1295:
1204:
889:Une mousque de Biscaye
818:
769:Alma Redemptoris mater
633:
488:Pater nosterâAve Maria
467:Missa de Beata Virgine
414:, and wrote the motet
45:
10034:Transition to Baroque
9979:Pierre de Manchicourt
9620:Pierre de Manchicourt
9436:Franco-Flemish School
9350:Franco-Flemish School
9294:August Wilhelm Ambros
9177:Missa La sol fa re mi
8837:Fiore, Carlo (2003).
8468:Oxford Bibliographies
8095:Milsom, John (2011).
7941:The Musical Quarterly
7358:The Josquin Companion
7309:Early Music Borrowing
3398:Franco-Flemish School
3162:August Wilhelm Ambros
3158:François-Joseph Fétis
3068:
2999:Bartolomé de Escobedo
2950:
2923:
2609:
2469:
2437:Missa La sol fa re mi
2310:Missa Faisant regretz
2240:Missa Faisant regretz
2209:
2072:
2005:Missa L'ami Baudichon
1909:Opening of Josquin's
1908:
1864:, based on a popular
1784:
1676:
1623:. The last of these,
1499:O virgo prudentissima
1458:
1440:
1401:is now attributed to
1361:("The Cricket"), and
1289:
1203:'s choir gallery wall
1194:
1041:Plans to leave (with
978:Departure from Paris
813:
628:
538:August Wilhelm Ambros
341:Franco-Flemish School
94:Movements and schools
82:Transition to Baroque
35:
10064:Girolamo Frescobaldi
9871:CristĂłbal de Morales
9113:List of compositions
8942:(26 November 2021).
8872:Geschichte der Musik
8260:Revue de Musicologie
7780:Revue de musicologie
7444:Planchart, Alejandro
7393:Blackburn, Bonnie J.
7182:. pp. 183â199.
7056:Blackburn, Bonnie J.
6972:Leach, Elizabeth Eva
6911:; Jas, Eric (eds.).
6848:. pp. 214â252.
6798:Elders, Willem, ed.
6743:Burkholder, J. Peter
6727:. pp. 239â302.
6043:, pp. 335, 393.
5735:, pp. 130, 132.
5555:, pp. 198, 202.
4692:, pp. 193, 195.
4061:, pp. 106, 109.
3317:"record of the year"
2829:Atalante Migliorotti
2718:In te domine speravi
2552:Memor esto verbi tui
2502:Guillaume de Machaut
2344:Missa Malheur me bat
2336:Missa Malheur me bat
2256:Missa Malheur me bat
1897:appropriate means."
1679:Domine, ne in furore
1607:Praeter rerum seriem
1363:In te Domine speravi
1239:Saint-Ghislain Abbey
1181:Franchinus Gaffurius
1156:in 1539 recalls the
1145:Serafino dell'Aquila
780:Omnium bonorum plena
694:Saint-Quentin, Aisne
621:Birth and background
492:Praeter rerum seriem
10182:Florentine Camerata
10154:Composition schools
9813:Gaspar van Weerbeke
9360:Gaspar van Weerbeke
9329:Bonnie J. Blackburn
8747:Ministry of Culture
8431:Music & Letters
7739:"Johannes Ockeghem"
7468:, pp. 597â640.
7429:, pp. 335â392.
7420:, pp. 249â279.
7408:, pp. 151â210.
7087:, pp. 103â137.
7075:, pp. 181â216.
6800:New Josquin Edition
6615:, pp. 444â445.
6266:, pp. 247â248.
6179:, pp. 135â137.
5851:, pp. 159â160.
5803:, pp. 152â153.
5791:, pp. 151â152.
5723:, pp. 120â130.
5543:, pp. 197â198.
5279:, pp. 264â292.
5248:, pp. 184â185.
5212:, pp. 303â305.
5123:, pp. 276â277.
5062:, pp. 578â579.
5047:, pp. 256â259.
4984:, pp. 335â337.
4960:, pp. 484â486.
4936:, pp. 236â237.
4876:, pp. 547â548.
4864:, pp. 231â233.
4852:, pp. 449â455.
4807:, pp. 210â212.
4607:, pp. 139â140.
4547:, pp. 117â118.
4511:, pp. 112â113.
4315:, pp. 298â299.
4163:, pp. 258â259.
4022:, § "Introduction".
4003:, pp. 183â200.
3853:, p. 214, footnote.
3829:, § "Introduction".
3800:, pp. 208â215.
3640:, §9 "Reputation").
3574:New Josquin Edition
3434:, p. 37). See
3367:. The musicologist
3310:The Tallis Scholars
3208:New Josquin Edition
3196:early music revival
3028:, Lassus, Jacquet,
1609:; and the chansons
1501:based on a poem by
1493:, set to a poem by
1427:Philip I of Castile
1385:of 1547, the motet
1371:Girolamo Savonarola
1252:on the wall of the
1235:Notre-Dame de Paris
1225:Gaspar van Weerbeke
947:
941:Milan and elsewhere
800:Alejandro Planchart
604:Margaret of Austria
589:remains uncertain.
554:academic conference
552:, and a successful
534:early music revival
494:; and the chansons
131:English Virginalist
116:Florentine Camerata
10377:Thomas Vautrollier
10357:Ottaviano Petrucci
10332:Pierre Attaingnant
10322:Hieronymus Andreae
10129:Michael Praetorius
10114:Claudio Monteverdi
10104:Giovanni de Macque
10099:Luzzasco Luzzaschi
10069:Alfonso Fontanelli
9959:Francisco Guerrero
9934:Antonio de CabezĂłn
9846:Thomas Crecquillon
9828:Middle (1470â1530)
9808:Johannes Tinctoris
9748:Alexander Agricola
9656:Giovanni de Macque
9610:Thomas Crecquillon
9569:Matthaeus Pipelare
9523:Johannes Tinctoris
9508:Marbrianus de Orto
9483:Alexander Agricola
9184:Missa Pange lingua
9004:10.1093/em/caab062
8983:10.1093/em/caab078
8961:10.1093/em/caab065
8722:The New York Times
8625:Grove Music Online
8462:"Josquin des Prez"
8379:Grove Music Online
8189:Grove Music Online
8142:Die Musikforschung
8137:Pietschmann, Klaus
8097:"Josquin des Prez"
7985:Grove Music Online
7954:10.1093/mq/L.4.476
7887:Grove Music Online
7827:Grove Music Online
7612:. pp. 73â77.
7450:, pp. 89â150.
6846:Brepols Publishers
6782:Garland Publishing
6751:Palisca, Claude V.
5200:, §9 "Reputation".
4151:, pp. 13, 35.
3979:, p. 199, note 57.
3669:and Josquin's own
3638:Macey et al. (2011
3566:Missa Mater Patris
3506:Johannes de Stokem
3378:Grove Music Online
3321:Missa Pange lingua
3272:Grove Music Online
3082:
2986:Absolve, quaesumus
2982:Jheronimus Vinders
2937:
2611:
2478:
2348:Missa Mater Patris
2340:Abertijne Malcourt
2312:which is based on
2270:Missa Mater Patris
2174:Missa Pange lingua
2131:differed from the
2119:Missa Pange lingua
2048:mensuration canons
1925:
1797:
1690:
1637:Ottaviano Petrucci
1588:Missa Pange lingua
1548:Jacob van Deventer
1486:Miserere mei, Deus
1446:
1329:Philip Melanchthon
1296:
1273:notes in his 1711
1230:Marbrianus de Orto
1209:Pope Innocent VIII
1205:
1177:Johannes de Stokem
945:
819:
788:Johannes Tinctoris
749:; Josquin wrote a
730:Cardinal Richelieu
680:contends that the
634:
570:Condé-sur-l'Escaut
536:, publications by
473:Missa Pange lingua
452:Ottaviano Petrucci
432:Pope Innocent VIII
46:
10483:
10482:
10477:
10476:
10074:Giovanni Gabrieli
9901:Philippe Verdelot
9798:Johannes Ockeghem
9740:Early (1400â1470)
9723:Renaissance music
9689:
9688:
9661:Philippe de Monte
9503:Johannes Ockeghem
9498:Guillaume Faugues
9389:
9388:
9355:Johannes Ockeghem
9334:Klaus Pietschmann
9191:Missa sine nomine
8924:978-0-19-315229-8
8848:978-88-8302-220-3
8829:978-2-913575-87-5
8802:978-0-19-761966-7
8713:(29 April 2021).
8664:(subscription or
8646:978-1-56159-263-0
8603:10.1093/em/can015
8444:10.1093/ml/gcr061
8419:(subscription or
8401:978-1-56159-263-0
8339:978-1-56159-174-9
8228:(subscription or
8210:978-1-56159-263-0
8116:978-0-19-957903-7
8024:(subscription or
8006:978-1-56159-263-0
7973:; Dean, Jeffrey;
7926:(subscription or
7908:978-1-56159-263-0
7882:"Soggetto cavato"
7867:(subscription or
7849:978-1-56159-263-0
7757:978-0-19-920383-3
7629:978-2-5035-8454-6
7589:10.1093/em/can157
7554:978-3-8365-7625-3
7528:978-0-19-538481-9
7511:Taruskin, Richard
7502:978-1-85709-491-6
7477:, pp. 21â50.
7459:, pp. 11â20.
7399:, pp. 51â88.
7372:978-0-19-816335-0
7347:978-0-7858-3582-0
7295:978-0-393-30093-2
7249:978-0-393-09530-2
7223:978-0-393-09750-4
7197:978-1-107-01524-1
7162:978-2-503-50706-4
7139:978-0-8109-3581-5
7122:Marani, Pietro C.
7113:978-0-19-816669-6
7031:978-0-19-970300-5
6991:978-1-5017-0486-4
6963:978-2-503-53163-2
6928:978-90-5183-768-1
6899:978-0-88284-379-7
6877:978-2-503-56674-0
6855:978-2-86931-097-1
6829:978-90-5867-941-3
6808:978-90-6375-051-0
6791:978-0-8240-9387-7
6768:978-0-393-91829-8
6747:Grout, Donald Jay
6734:978-0-19-316303-4
6574:Macey et al. 2011
6470:, pp. 21â25.
6443:, pp. 42â43.
6228:Syson et al. 2011
6135:Syson et al. 2011
6072:Macey et al. 2011
5959:Macey et al. 2011
5630:, pp. 53â62.
5502:Macey et al. 2011
5394:Macey et al. 2011
5365:Macey et al. 2011
5325:Macey et al. 2011
5313:Macey et al. 2011
5265:Macey et al. 2011
5198:Macey et al. 2011
5109:Macey et al. 2011
5033:Macey et al. 2011
4972:, pp. 36â37.
4837:, pp. 91â93.
4723:Macey et al. 2011
4566:Macey et al. 2011
4301:Macey et al. 2011
4252:Macey et al. 2011
4112:, pp. 19â20.
3991:, pp. 11â13.
3961:Macey et al. 2011
3827:Macey et al. 2011
3756:Macey et al. 2011
3541:Bourges Cathedral
3525:, Joshua Rifkin,
3472:Dumitrescu (2009)
3411:Pierre de Ronsard
3294:Hilliard Ensemble
3266:
3265:
3111:François Rabelais
3034:Philippe de Monte
3011:George de La HĂšle
2978:Jacquet of Mantua
2888:'s fresco of the
2821:Leonardo da Vinci
2759:Leonardo da Vinci
2699:Plus nulz regretz
2656:Si j'avoye Marion
2628:
2429:portrait painting
2327:Fortuna desperata
2194:et incarnatus est
2068:Paraphrase masses
1981:Missa sine nomine
1950:Missa prolationum
1921:
1912:Missa sine nomine
1862:Paraphrase masses
1841:Josquin Companion
1754:Orlande de Lassus
1736:The musicologist
1708:. These "motivic
1657:French Revolution
1625:Plus nulz regretz
1621:Plus nulz regretz
1399:Bonitatem fecisti
1397:in many sources,
1335:and the composer
1263:
1247:
1198:
1154:Girolamo Aleandro
1150:Matthias Corvinus
1100:
1099:
1008:JuneâAugust 1484
936:Italy and travels
776:Cambrai Cathedral
739:Johannes Ockeghem
597:, he includes an
506:Plus nulz regretz
436:Pope Alexander VI
412:Matthias Corvinus
396:Cambrai Cathedral
349:Johannes Ockeghem
333:Renaissance music
319:
318:
61:Renaissance music
10591:
10544:Josquin des Prez
10524:
10523:
10522:
10512:
10511:
10510:
10500:
10499:
10498:
10491:
10467:
10457:
10456:
10337:Vittorio Baldini
10314:Music publishing
10089:Hans Leo Hassler
10044:Gregorio Allegri
9999:Cipriano de Rore
9974:Vicente Lusitano
9969:Orlando di Lasso
9924:Jacques Arcadelt
9891:Pierre de la Rue
9886:Josquin des Prez
9866:Clément Janequin
9861:Antoine de FĂ©vin
9851:Antonius Divitis
9793:Johannes Martini
9768:Guillaume Du Fay
9716:
9709:
9702:
9693:
9692:
9646:Orlando di Lasso
9625:Cipriano de Rore
9600:Jacques Arcadelt
9584:Pierre de la Rue
9574:Josquin des Prez
9549:Antoine de FĂ©vin
9544:Antonius Divitis
9513:Johannes Prioris
9467:Johannes Pullois
9452:Guillaume Du Fay
9429:
9422:
9415:
9406:
9405:
9393:
9392:
9381:
9380:
9284:Gioseffo Zarlino
9279:Heinrich Glarean
9262:Nymphes des bois
9241:Adieu mes amours
9104:Josquin des Prez
9097:
9090:
9083:
9074:
9073:
9007:
8986:
8965:
8963:
8944:"Josquin at 500"
8928:
8911:Josquin des Prez
8907:Lowinsky, Edward
8902:
8895:Osthoff, Helmuth
8890:
8888:
8876:History of Music
8852:
8839:Josquin des Prez
8833:
8806:
8762:
8760:
8758:
8738:
8736:
8734:
8718:
8706:
8704:
8702:
8683:(14 June 2021).
8669:
8662:
8660:
8658:
8622:
8614:
8585:
8554:
8531:
8500:
8497:
8495:
8493:
8464:
8455:
8424:
8417:
8415:
8413:
8375:
8364:
8355:
8348:Brown, Howard M.
8343:
8319:
8283:
8254:
8233:
8226:
8224:
8222:
8186:
8174:
8132:
8130:
8128:
8091:
8060:
8029:
8022:
8020:
8018:
7982:
7969:Macey, Patrick;
7965:
7936:Lowinsky, Edward
7931:
7924:
7922:
7920:
7884:
7872:
7865:
7863:
7861:
7823:
7811:
7788:
7773:
7771:
7769:
7741:
7729:
7698:
7675:
7633:
7621:
7600:
7558:
7532:
7506:
7493:National Gallery
7478:
7469:
7460:
7451:
7439:
7430:
7421:
7414:Finscher, Ludwig
7409:
7400:
7388:
7386:
7384:
7351:
7322:
7299:
7278:Jessie Ann Owens
7267:
7253:
7227:
7201:
7166:
7143:
7117:
7101:
7088:
7076:
7067:
7052:Lowinsky, Edward
7047:
7045:
7043:
7007:
7005:
7003:
6967:
6944:
6942:
6940:
6903:
6881:
6859:
6833:
6795:
6772:
6738:
6722:
6691:
6685:
6679:
6673:
6667:
6661:
6655:
6649:
6643:
6637:
6628:
6622:
6616:
6610:
6604:
6598:
6592:
6586:
6577:
6571:
6560:
6554:
6548:
6542:
6536:
6530:
6519:
6513:
6507:
6501:
6495:
6489:
6483:
6477:
6471:
6465:
6459:
6453:
6444:
6438:
6432:
6426:
6420:
6414:
6408:
6402:
6396:
6390:
6384:
6378:
6372:
6366:
6360:
6354:
6348:
6342:
6333:
6327:
6318:
6312:
6306:
6300:
6294:
6288:
6282:
6276:
6267:
6261:
6255:
6249:
6243:
6237:
6231:
6225:
6219:
6213:
6207:
6201:
6192:
6186:
6180:
6174:
6168:
6162:
6153:
6147:
6138:
6132:
6126:
6120:
6114:
6108:
6102:
6096:
6090:
6084:
6075:
6069:
6056:
6050:
6044:
6038:
6032:
6026:
6013:
6007:
6001:
5995:
5989:
5983:
5974:
5968:
5962:
5956:
5939:
5933:
5927:
5921:
5915:
5909:
5903:
5897:
5891:
5885:
5879:
5873:
5864:
5858:
5852:
5846:
5840:
5834:
5828:
5822:
5816:
5810:
5804:
5798:
5792:
5786:
5780:
5774:
5763:
5757:
5748:
5742:
5736:
5730:
5724:
5718:
5712:
5706:
5691:
5685:
5679:
5673:
5667:
5661:
5655:
5649:
5643:
5637:
5631:
5625:
5619:
5613:
5607:
5601:
5595:
5589:
5583:
5577:
5568:
5562:
5556:
5550:
5544:
5538:
5532:
5526:
5520:
5514:
5505:
5499:
5458:
5452:
5441:
5432:
5421:
5415:
5409:
5403:
5397:
5391:
5380:
5374:
5368:
5362:
5347:
5341:
5328:
5322:
5316:
5310:
5299:
5293:
5280:
5274:
5268:
5262:
5249:
5243:
5237:
5231:
5225:
5219:
5213:
5207:
5201:
5195:
5148:
5142:
5136:
5130:
5124:
5118:
5112:
5106:
5087:
5081:
5075:
5069:
5063:
5057:
5048:
5042:
5036:
5030:
5021:
5015:
5009:
5003:
4997:
4991:
4985:
4979:
4973:
4967:
4961:
4955:
4949:
4943:
4937:
4931:
4925:
4919:
4913:
4907:
4901:
4895:
4889:
4883:
4877:
4871:
4865:
4859:
4853:
4847:
4838:
4832:
4823:
4817:
4808:
4802:
4796:
4790:
4781:
4775:
4769:
4763:
4757:
4751:
4738:
4732:
4726:
4720:
4693:
4687:
4681:
4675:
4669:
4663:
4652:
4646:
4635:
4632:Pietschmann 1999
4629:
4623:
4617:
4608:
4602:
4596:
4590:
4584:
4578:
4569:
4563:
4548:
4542:
4536:
4530:
4524:
4518:
4512:
4506:
4500:
4494:
4488:
4482:
4476:
4470:
4464:
4458:
4452:
4446:
4440:
4434:
4428:
4422:
4416:
4410:
4404:
4398:
4392:
4386:
4380:
4374:
4365:
4359:
4350:
4344:
4333:
4327:
4316:
4310:
4304:
4298:
4271:
4265:
4259:
4249:
4230:
4224:
4215:
4209:
4203:
4197:
4191:
4185:
4176:
4170:
4164:
4158:
4152:
4146:
4140:
4134:
4125:
4119:
4113:
4107:
4101:
4095:
4089:
4080:
4074:
4068:
4062:
4056:
4050:
4044:
4038:
4032:
4023:
4017:
4004:
3998:
3992:
3986:
3980:
3974:
3968:
3958:
3921:
3915:
3909:
3903:
3897:
3891:
3878:
3872:
3866:
3860:
3854:
3848:
3842:
3836:
3830:
3824:
3813:
3807:
3801:
3795:
3789:
3783:
3774:
3768:
3759:
3753:
3727:
3716:
3710:
3684:
3678:
3671:Nymphes des bois
3647:
3641:
3622:
3616:
3603:
3597:
3583:
3577:
3562:
3556:
3553:
3544:
3537:
3531:
3519:
3513:
3502:
3496:
3489:
3483:
3465:
3456:
3449:
3443:
3420:
3414:
3407:
3401:
3391:
3360:
3354:
3351:
3255:
3254:
3239:
3238:
3218:
3217:
3192:
3155:
3079:Heinrich Glarean
3050:Nicola Vicentino
3046:Cipriano de Rore
3027:
3003:Antoine de FĂ©vin
2994:musically quoted
2944:on the 19th and
2934:
2906:
2894:Le Puy Cathedral
2879:
2841:
2801:
2799:
2775:
2745:
2736:
2630:
2629:
2608:
2533:Dominus regnavit
2445:
2443:laisse faire moy
2421:
2417:
2366:Solmization mass
2342:. The dating of
2041:
2038:
2035:
2032:
2029:
2009:Three Blind Mice
1923:
1922:
1807:of the massâthe
1770:Richard Taruskin
1746:Jacques Arcadelt
1687:
1684:
1537:
1511:Virgo salutiferi
1491:Virgo salutiferi
1466:
1454:Johannes Martini
1423:Anne of Brittany
1344:House of Gonzaga
1318:
1315:
1312:
1309:
1306:
1261:
1245:
1196:
1169:
1135:
1132:
1044:
1029:
1023:Up to July 1484
948:
944:
922:
919:
916:
913:
910:
897:Que vous ma dame
893:Adieu mes amours
885:Que vous ma dame
868:Adieu mes amours
796:Guillaume Du Fay
761:musically quoted
756:Nymphes des bois
747:Lodovico Zacconi
743:Gioseffo Zarlino
522:Gioseffo Zarlino
518:Heinrich Glarean
428:Que vous ma dame
423:Adieu mes amours
369:his compositions
345:Guillaume Du Fay
330:
329: 1450â1455
327:
311:
304:
297:
274:â Medieval music
136:English Madrigal
69:
48:
47:
42:§ Portraits
10599:
10598:
10594:
10593:
10592:
10590:
10589:
10588:
10534:
10533:
10530:
10520:
10518:
10508:
10506:
10502:Classical music
10496:
10494:
10486:
10484:
10479:
10478:
10473:
10450:
10442:
10429:
10381:
10367:Girolamo Scotto
10352:Antonio Gardano
10308:
10247:
10201:
10148:
10139:Heinrich SchĂŒtz
10134:Philippe Rogier
10084:Orlando Gibbons
10036:
10032:
10023:
10019:Giaches de Wert
10009:Christopher Tye
9964:Claude Le Jeune
9954:Claude Goudimel
9949:Nicolas Gombert
9944:Andrea Gabrieli
9939:Jacobus Clemens
9910:
9906:Adrian Willaert
9836:Martin Agricola
9822:
9758:Antoine Busnois
9753:Gilles Binchois
9734:
9725:
9720:
9690:
9685:
9681:Giaches de Wert
9671:Philippe Rogier
9651:Carolus Luython
9634:
9630:Adrian Willaert
9615:Nicolas Gombert
9588:
9527:
9471:
9462:Antoine Busnois
9457:Gilles Binchois
9438:
9433:
9398:
9390:
9385:
9371:
9366:Soggetto cavato
9338:
9314:Edward Lowinsky
9309:Helmuth Osthoff
9267:
9228:
9196:
9149:Missa Gaudeamus
9115:
9106:
9101:
9015:
9010:
8989:
8968:
8938:
8925:
8905:
8899:Josquin Desprez
8893:
8882:
8862:
8849:
8836:
8830:
8820:Josquin Desprez
8817:
8803:
8786:
8770:
8768:Further reading
8765:
8756:
8754:
8732:
8730:
8711:Woolfe, Zachary
8700:
8698:
8663:
8656:
8654:
8647:
8498:
8491:
8489:
8418:
8411:
8409:
8402:
8340:
8227:
8220:
8218:
8211:
8126:
8124:
8117:
8023:
8016:
8014:
8007:
7925:
7918:
7916:
7909:
7877:Lockwood, Lewis
7866:
7859:
7857:
7850:
7816:Lockwood, Lewis
7782:
7767:
7765:
7758:
7734:Kennedy, Michal
7630:
7561:
7555:
7529:
7503:
7382:
7380:
7373:
7348:
7338:Chartwell Books
7334:Steven Isserlis
7319:
7296:
7250:
7224:
7198:
7163:
7140:
7130:Harry N. Abrams
7114:
7104:Clarendon Press
7081:Lockwood, Lewis
7058:, eds. (1976).
7041:
7039:
7032:
7012:Lockwood, Lewis
7001:
6999:
6992:
6964:
6938:
6936:
6929:
6909:Clement, Albert
6900:
6886:Gleason, Harold
6878:
6856:
6830:
6792:
6769:
6735:
6713:Abraham, Gerald
6699:
6694:
6686:
6682:
6674:
6670:
6662:
6658:
6650:
6646:
6638:
6631:
6623:
6619:
6611:
6607:
6599:
6595:
6587:
6580:
6572:
6563:
6555:
6551:
6543:
6539:
6531:
6522:
6514:
6510:
6502:
6498:
6490:
6486:
6478:
6474:
6466:
6462:
6454:
6447:
6439:
6435:
6427:
6423:
6415:
6411:
6403:
6399:
6391:
6387:
6379:
6375:
6367:
6363:
6355:
6351:
6343:
6336:
6328:
6321:
6313:
6309:
6301:
6297:
6289:
6285:
6277:
6270:
6262:
6258:
6250:
6246:
6238:
6234:
6226:
6222:
6214:
6210:
6202:
6195:
6187:
6183:
6175:
6171:
6163:
6156:
6148:
6141:
6133:
6129:
6121:
6117:
6109:
6105:
6097:
6093:
6085:
6078:
6070:
6059:
6051:
6047:
6039:
6035:
6027:
6016:
6008:
6004:
5996:
5992:
5984:
5977:
5969:
5965:
5961:, §11 "Motets".
5957:
5942:
5934:
5930:
5922:
5918:
5910:
5906:
5898:
5894:
5886:
5882:
5874:
5867:
5859:
5855:
5847:
5843:
5835:
5831:
5823:
5819:
5811:
5807:
5799:
5795:
5787:
5783:
5775:
5766:
5758:
5751:
5743:
5739:
5731:
5727:
5719:
5715:
5707:
5694:
5686:
5682:
5674:
5670:
5662:
5658:
5650:
5646:
5638:
5634:
5626:
5622:
5614:
5610:
5602:
5598:
5590:
5586:
5578:
5571:
5563:
5559:
5551:
5547:
5539:
5535:
5527:
5523:
5515:
5508:
5500:
5461:
5453:
5444:
5433:
5424:
5416:
5412:
5404:
5400:
5392:
5383:
5375:
5371:
5367:, §12 "Masses".
5363:
5350:
5342:
5331:
5323:
5319:
5311:
5302:
5294:
5283:
5275:
5271:
5263:
5252:
5244:
5240:
5232:
5228:
5220:
5216:
5208:
5204:
5196:
5151:
5143:
5139:
5131:
5127:
5119:
5115:
5107:
5090:
5082:
5078:
5070:
5066:
5058:
5051:
5043:
5039:
5031:
5024:
5016:
5012:
5004:
5000:
4992:
4988:
4980:
4976:
4968:
4964:
4956:
4952:
4944:
4940:
4932:
4928:
4920:
4916:
4908:
4904:
4896:
4892:
4884:
4880:
4872:
4868:
4860:
4856:
4848:
4841:
4833:
4826:
4818:
4811:
4803:
4799:
4791:
4784:
4776:
4772:
4764:
4760:
4752:
4741:
4733:
4729:
4721:
4696:
4688:
4684:
4676:
4672:
4664:
4655:
4647:
4638:
4630:
4626:
4618:
4611:
4603:
4599:
4591:
4587:
4579:
4572:
4564:
4551:
4543:
4539:
4531:
4527:
4519:
4515:
4507:
4503:
4495:
4491:
4483:
4479:
4471:
4467:
4459:
4455:
4447:
4443:
4435:
4431:
4423:
4419:
4411:
4407:
4399:
4395:
4387:
4383:
4375:
4368:
4360:
4353:
4345:
4336:
4328:
4319:
4311:
4307:
4299:
4274:
4266:
4262:
4250:
4233:
4225:
4218:
4210:
4206:
4198:
4194:
4186:
4179:
4171:
4167:
4159:
4155:
4147:
4143:
4135:
4128:
4120:
4116:
4108:
4104:
4096:
4092:
4081:
4077:
4069:
4065:
4057:
4053:
4045:
4041:
4033:
4026:
4018:
4007:
3999:
3995:
3987:
3983:
3975:
3971:
3959:
3924:
3916:
3912:
3904:
3900:
3892:
3881:
3873:
3869:
3861:
3857:
3849:
3845:
3837:
3833:
3825:
3816:
3808:
3804:
3796:
3792:
3784:
3777:
3769:
3762:
3754:
3739:
3735:
3730:
3717:
3713:
3696:Lockwood (1976)
3685:
3681:
3648:
3644:
3623:
3619:
3604:
3600:
3591:Litterick (2000
3584:
3580:
3563:
3559:
3554:
3547:
3539:The chapter at
3538:
3534:
3520:
3516:
3503:
3499:
3490:
3486:
3466:
3459:
3450:
3446:
3442:for an example.
3426:and Ockeghem's
3421:
3417:
3408:
3404:
3385:
3361:
3357:
3352:
3348:
3344:
3339:
3308:(2017) survey.
3298:Orlando Consort
3252:
3236:
3221:External videos
3216:
3200:Helmuth Osthoff
3186:
3179:Friedrich Blume
3167:Alfred Einstein
3149:
3088:, and the poet
3063:
3058:
3042:Philippe Rogier
3021:
3007:Robert de FĂ©vin
2963:Nicolas Gombert
2946:Igor Stravinsky
2928:
2918:
2913:
2900:
2873:
2867:Filippo Mazzola
2835:
2796:
2781:
2780:
2779:
2778:
2777:
2769:
2763:Filippo Mazzola
2748:
2747:
2746:
2738:
2737:
2726:
2695:Nimphes, nappés
2660:Faulte d'argent
2648:
2647:
2639:
2637:
2636:
2635:
2634:
2631:
2624:
2621:
2612:
2606:
2601:
2578:-derived Latin
2464:
2420:DâCâDâCâDâFâEâD
2419:
2415:
2372:soggetto cavato
2368:
2280:
2207:
2155:Marian antiphon
2142:Missa Gaudeamus
2129:paraphrase mass
2125:
2100:
2095:Missa Gaudeamus
2078:
2070:
2039:
2036:
2033:
2030:
1997:
1945:Missae de feria
1916:
1903:
1882:soggetto cavato
1791:, a late work.
1779:
1742:Adrian Willaert
1685:
1671:
1665:
1617:Nimphes, nappés
1552:
1551:
1550:
1545:
1540:
1539:
1538:
1527:
1477:Edward Lowinsky
1467:
1464:
1442:Ercole I d'Este
1435:
1417:, a setting of
1411:In exitu Israel
1316:
1313:
1310:
1307:
1284:
1248:was found as a
1221:Ludovico Sforza
1189:
1163:
1133:
1109:House of Sforza
1105:Milan Cathedral
1075:Early May 1489
943:
938:
920:
917:
914:
911:
843:Jean Bourdichon
835:Sainte-Chapelle
827:Aix-en-Provence
808:
794:, Ockeghem and
784:Antoine Busnois
714:
623:
618:
613:
566:
550:Edward Lowinsky
546:Helmuth Osthoff
502:Nimphes, nappés
444:Ercole I d'Este
442:in France, and
328:
315:
284:
281:Baroque music â
277:
264:
263:
262:
230:
222:
221:
220:
150:
142:
141:
140:
95:
85:
84:
67:
28:
17:
12:
11:
5:
10597:
10587:
10586:
10581:
10576:
10571:
10566:
10561:
10556:
10551:
10546:
10529:
10528:
10516:
10504:
10481:
10480:
10475:
10474:
10472:
10471:
10461:
10443:
10439:Medieval music
10435:
10434:
10431:
10430:
10428:
10427:
10426:
10425:
10420:
10415:
10410:
10405:
10395:
10389:
10387:
10383:
10382:
10380:
10379:
10374:
10372:Tielman Susato
10369:
10364:
10359:
10354:
10349:
10347:Valerio Dorico
10344:
10339:
10334:
10329:
10324:
10318:
10316:
10310:
10309:
10307:
10306:
10301:
10296:
10291:
10286:
10281:
10276:
10271:
10266:
10261:
10255:
10253:
10249:
10248:
10246:
10245:
10240:
10235:
10230:
10225:
10220:
10215:
10209:
10207:
10203:
10202:
10200:
10199:
10194:
10189:
10187:Franco-Flemish
10184:
10179:
10174:
10169:
10164:
10158:
10156:
10150:
10149:
10147:
10146:
10141:
10136:
10131:
10126:
10121:
10116:
10111:
10106:
10101:
10096:
10091:
10086:
10081:
10079:Carlo Gesualdo
10076:
10071:
10066:
10061:
10056:
10051:
10049:Thomas Campion
10046:
10040:
10038:
10025:
10024:
10022:
10021:
10016:
10011:
10006:
10001:
9996:
9994:Costanzo Porta
9991:
9986:
9984:Hans Neusidler
9981:
9976:
9971:
9966:
9961:
9956:
9951:
9946:
9941:
9936:
9931:
9926:
9920:
9918:
9912:
9911:
9909:
9908:
9903:
9898:
9893:
9888:
9883:
9878:
9873:
9868:
9863:
9858:
9856:Costanzo Festa
9853:
9848:
9843:
9841:Antoine Brumel
9838:
9832:
9830:
9824:
9823:
9821:
9820:
9815:
9810:
9805:
9800:
9795:
9790:
9785:
9783:Heinrich Isaac
9780:
9775:
9773:John Dunstaple
9770:
9765:
9763:Loyset CompĂšre
9760:
9755:
9750:
9744:
9742:
9736:
9735:
9730:
9727:
9726:
9719:
9718:
9711:
9704:
9696:
9687:
9686:
9684:
9683:
9678:
9673:
9668:
9663:
9658:
9653:
9648:
9642:
9640:
9639:5th generation
9636:
9635:
9633:
9632:
9627:
9622:
9617:
9612:
9607:
9602:
9596:
9594:
9593:4th generation
9590:
9589:
9587:
9586:
9581:
9579:Jean Richafort
9576:
9571:
9566:
9561:
9556:
9554:Heinrich Isaac
9551:
9546:
9541:
9539:Antoine Brumel
9535:
9533:
9532:3rd generation
9529:
9528:
9526:
9525:
9520:
9518:Johannes Regis
9515:
9510:
9505:
9500:
9495:
9493:Firminus Caron
9490:
9488:Loyset CompĂšre
9485:
9479:
9477:
9476:2nd generation
9473:
9472:
9470:
9469:
9464:
9459:
9454:
9448:
9446:
9444:1st generation
9440:
9439:
9432:
9431:
9424:
9417:
9409:
9403:
9400:
9399:
9387:
9386:
9376:
9373:
9372:
9370:
9369:
9362:
9357:
9352:
9346:
9344:
9340:
9339:
9337:
9336:
9331:
9326:
9321:
9316:
9311:
9306:
9301:
9299:Albert Smijers
9296:
9291:
9289:Angelo Berardi
9286:
9281:
9275:
9273:
9269:
9268:
9266:
9265:
9258:
9251:
9244:
9236:
9234:
9230:
9229:
9227:
9226:
9219:
9212:
9204:
9202:
9198:
9197:
9195:
9194:
9187:
9180:
9173:
9166:
9159:
9152:
9145:
9138:
9131:
9128:Missa ad fugam
9123:
9121:
9117:
9116:
9111:
9108:
9107:
9100:
9099:
9092:
9085:
9077:
9071:
9070:
9061:
9051:
9040:
9039:
9033:
9032:
9023:
9014:
9013:External links
9011:
9009:
9008:
8998:(4): 473â497.
8987:
8977:(4): 617â621.
8966:
8954:(4): 471â472.
8940:Fallows, David
8935:
8934:
8930:
8929:
8923:
8903:
8891:
8859:
8858:
8854:
8853:
8847:
8834:
8828:
8814:
8813:
8809:
8808:
8807:
8801:
8769:
8766:
8764:
8763:
8739:
8707:
8690:The New Yorker
8676:
8675:
8671:
8670:
8645:
8615:
8597:(2): 203â215.
8586:
8574:10.2307/764097
8568:(3): 319â357.
8555:
8532:
8520:10.2307/763903
8501:
8456:
8438:(3): 437â461.
8425:
8400:
8367:
8366:
8365:
8356:
8350:"Chanson". In
8338:
8326:, ed. (1980).
8324:Sadie, Stanley
8320:
8302:(2): 239â350.
8288:Rifkin, Joshua
8284:
8272:10.2307/947006
8255:
8234:
8209:
8175:
8149:(2): 204â207.
8133:
8115:
8092:
8074:(4): 544â583.
8061:
8049:10.2307/764140
8043:(2): 200â226.
8030:
8005:
7975:Reese, Gustave
7966:
7948:(4): 476â495.
7932:
7907:
7873:
7848:
7812:
7800:10.2307/947243
7794:(1): 145â150.
7774:
7756:
7730:
7712:(3): 443â510.
7699:
7689:(2): 264â292.
7676:
7638:Fallows, David
7634:
7628:
7601:
7569:
7568:
7567:
7560:
7559:
7553:
7537:Zöllner, Frank
7533:
7527:
7507:
7501:
7481:
7480:
7479:
7470:
7461:
7452:
7440:
7431:
7422:
7410:
7401:
7371:
7352:
7346:
7323:
7317:
7300:
7294:
7274:Lewis Lockwood
7258:Reese, Gustave
7254:
7248:
7232:Reese, Gustave
7228:
7222:
7206:Reese, Gustave
7202:
7196:
7167:
7161:
7144:
7138:
7118:
7112:
7091:
7090:
7089:
7077:
7048:
7030:
7008:
6990:
6968:
6962:
6945:
6927:
6904:
6898:
6882:
6876:
6864:Fallows, David
6860:
6854:
6838:Fallows, David
6834:
6828:
6811:
6796:
6790:
6773:
6767:
6739:
6733:
6707:
6706:
6705:
6698:
6695:
6693:
6692:
6680:
6668:
6656:
6654:, p. 444.
6644:
6629:
6617:
6605:
6593:
6578:
6561:
6549:
6537:
6535:, p. 455.
6520:
6518:, p. 454.
6508:
6496:
6494:, p. 472.
6484:
6482:, p. 200.
6472:
6460:
6458:, p. 193.
6445:
6433:
6421:
6419:, p. 229.
6409:
6397:
6395:, p. 304.
6385:
6383:, p. 358.
6373:
6361:
6349:
6334:
6332:, p. 349.
6319:
6307:
6295:
6283:
6268:
6256:
6254:, p. 245.
6244:
6242:, p. 244.
6232:
6220:
6208:
6206:, p. 137.
6193:
6191:, p. 164.
6181:
6169:
6167:, p. 135.
6154:
6152:, p. 225.
6139:
6127:
6115:
6103:
6091:
6076:
6057:
6045:
6041:Litterick 2000
6033:
6031:, p. 336.
6029:Litterick 2000
6014:
6012:, p. 305.
6002:
6000:, p. 246.
5990:
5988:, p. 249.
5975:
5973:, p. 290.
5963:
5940:
5938:, p. 284.
5928:
5926:, p. 282.
5916:
5914:, p. 249.
5904:
5902:, p. 251.
5892:
5880:
5876:Blackburn 2000
5865:
5853:
5841:
5839:, p. 240.
5829:
5827:, p. 185.
5817:
5815:, p. 165.
5805:
5793:
5781:
5779:, p. 151.
5764:
5762:, p. 152.
5749:
5747:, p. 142.
5745:Planchart 2000
5737:
5733:Planchart 2000
5725:
5721:Planchart 2000
5713:
5692:
5690:, p. 109.
5688:Planchart 2000
5680:
5676:Planchart 2000
5668:
5664:Planchart 2000
5656:
5652:Blackburn 2000
5644:
5640:Blackburn 2000
5632:
5628:Blackburn 2000
5620:
5608:
5604:Blackburn 2000
5596:
5594:, p. 206.
5584:
5582:, p. 204.
5569:
5557:
5545:
5533:
5531:, p. 197.
5521:
5519:, p. 196.
5506:
5459:
5442:
5422:
5410:
5398:
5381:
5369:
5348:
5329:
5317:
5300:
5281:
5269:
5250:
5238:
5236:, p. 273.
5226:
5224:, p. 347.
5214:
5202:
5149:
5137:
5135:, p. 277.
5125:
5113:
5088:
5076:
5074:, p. 259.
5064:
5049:
5037:
5022:
5020:, p. 307.
5010:
5008:, p. 184.
4998:
4986:
4974:
4962:
4950:
4938:
4926:
4914:
4912:, p. 238.
4902:
4890:
4888:, p. 235.
4878:
4866:
4854:
4839:
4824:
4822:, p. 196.
4809:
4797:
4795:, p. 155.
4782:
4780:, p. 204.
4770:
4768:, p. 203.
4758:
4756:, p. 194.
4739:
4737:, p. 191.
4727:
4694:
4682:
4680:, p. 174.
4670:
4653:
4651:, p. 173.
4636:
4634:, p. 204.
4624:
4622:, p. 171.
4609:
4597:
4595:, p. 141.
4585:
4583:, p. 139.
4570:
4549:
4537:
4535:, p. 115.
4525:
4523:, p. 113.
4513:
4501:
4499:, p. 145.
4489:
4487:, p. 112.
4477:
4465:
4453:
4441:
4439:, p. 305.
4429:
4427:, p. 111.
4417:
4415:, p. 110.
4405:
4403:, p. 109.
4393:
4391:, p. 524.
4381:
4379:, p. 118.
4366:
4364:, p. 106.
4351:
4349:, p. 105.
4334:
4332:, p. 351.
4317:
4305:
4272:
4270:, p. 428.
4260:
4231:
4227:Planchart 2004
4216:
4204:
4192:
4177:
4165:
4153:
4141:
4126:
4114:
4102:
4090:
4075:
4063:
4051:
4039:
4037:, p. 241.
4024:
4005:
3993:
3981:
3969:
3922:
3910:
3908:, p. 448.
3898:
3879:
3877:, p. 306.
3867:
3855:
3843:
3831:
3814:
3802:
3790:
3775:
3760:
3736:
3734:
3731:
3729:
3728:
3720:Urquhart (2000
3711:
3692:Kellman (1976)
3688:Fallows (1996)
3679:
3642:
3617:
3598:
3578:
3557:
3545:
3532:
3523:Lewis Lockwood
3521:Fallows cites
3514:
3497:
3484:
3457:
3444:
3436:Finscher (2000
3415:
3402:
3383:Nanie Bridgman
3355:
3345:
3343:
3340:
3338:
3335:
3264:
3263:
3248:
3247:
3232:
3231:
3223:
3222:
3215:
3212:
3175:Albert Smijers
3139:Charles Burney
3131:Angelo Berardi
3103:Cosimo Bartoli
3062:
3059:
3057:
3054:
3052:and Willaert.
3044:, Palestrina,
3030:Claudio Merulo
3015:Lupus Hellinck
2990:Jean Richafort
2970:Tielman Susato
2959:Jean Lhéritier
2917:
2914:
2912:
2909:
2846:"), "Cantuz" (
2750:
2749:
2740:
2739:
2731:
2730:
2729:
2728:
2727:
2725:
2722:
2638:
2632:
2622:
2615:
2614:
2613:
2604:
2603:
2602:
2600:
2597:
2506:John Dunstaple
2484:settings with
2463:
2460:
2367:
2364:
2352:Antoine Brumel
2318:Tout a par moy
2278:
2277:
2267:
2253:
2247:
2237:
2227:
2208:
2206:
2203:
2182:Thomas Aquinas
2123:
2122:
2115:
2107:
2106:
2099:
2098:
2091:
2085:
2084:
2071:
2069:
2066:
1996:
1990:
1986:Missa ad fugam
1972:pitch interval
1967:Missa ad fugam
1955:Missa ad fugam
1931:, CompĂšre and
1902:
1901:Canonic masses
1899:
1886:
1885:
1880:masses, named
1875:
1869:
1859:
1851:
1778:
1775:
1664:
1661:
1542:
1541:
1532:
1531:
1530:
1529:
1528:
1526:
1523:
1495:Ercole Strozzi
1462:
1434:
1431:
1283:
1280:
1254:Sistine Chapel
1201:Sistine Chapel
1188:
1185:
1129:to this time,
1098:
1097:
1094:
1087:
1083:
1082:
1079:
1076:
1072:
1071:
1068:
1065:
1061:
1060:
1057:
1054:
1053:1485 â ?
1050:
1049:
1046:
1039:
1035:
1034:
1031:
1024:
1020:
1019:
1016:
1009:
1005:
1004:
1001:
998:
994:
993:
990:
987:
983:
982:
979:
976:
972:
971:
968:
963:
959:
958:
955:
952:
942:
939:
937:
934:
877:Et trop penser
851:Ascanio Sforza
807:
804:
792:Johannes Regis
713:
710:
643:Heinrich Isaac
639:Loyset CompĂšre
622:
619:
617:
614:
612:
609:
565:
562:
542:Albert Smijers
408:Ascanio Sforza
317:
316:
314:
313:
306:
299:
291:
288:
287:
286:
285:
278:
271:
266:
265:
261:
260:
255:
250:
245:
238:
232:
231:
228:
227:
224:
223:
219:
218:
213:
208:
203:
198:
193:
188:
183:
178:
173:
168:
163:
158:
152:
151:
148:
147:
144:
143:
139:
138:
133:
128:
123:
118:
113:
108:
106:Franco-Flemish
103:
97:
96:
93:
92:
89:
88:
87:
86:
76:
71:
70:
64:
63:
57:
56:
15:
9:
6:
4:
3:
2:
10596:
10585:
10582:
10580:
10577:
10575:
10572:
10570:
10567:
10565:
10562:
10560:
10557:
10555:
10552:
10550:
10547:
10545:
10542:
10541:
10539:
10532:
10527:
10517:
10515:
10505:
10503:
10493:
10492:
10489:
10470:
10466:
10462:
10460:
10452:
10451:
10448:
10447:
10446:Baroque music
10441:
10440:
10432:
10424:
10421:
10419:
10416:
10414:
10411:
10409:
10406:
10404:
10401:
10400:
10399:
10396:
10394:
10391:
10390:
10388:
10384:
10378:
10375:
10373:
10370:
10368:
10365:
10363:
10360:
10358:
10355:
10353:
10350:
10348:
10345:
10343:
10340:
10338:
10335:
10333:
10330:
10328:
10327:Andrea Antico
10325:
10323:
10320:
10319:
10317:
10315:
10311:
10305:
10302:
10300:
10297:
10295:
10292:
10290:
10287:
10285:
10282:
10280:
10277:
10275:
10272:
10270:
10267:
10265:
10262:
10260:
10257:
10256:
10254:
10250:
10244:
10241:
10239:
10236:
10234:
10231:
10229:
10226:
10224:
10221:
10219:
10216:
10214:
10211:
10210:
10208:
10206:Musical forms
10204:
10198:
10195:
10193:
10190:
10188:
10185:
10183:
10180:
10178:
10175:
10173:
10170:
10168:
10165:
10163:
10160:
10159:
10157:
10155:
10151:
10145:
10142:
10140:
10137:
10135:
10132:
10130:
10127:
10125:
10122:
10120:
10119:Thomas Morley
10117:
10115:
10112:
10110:
10109:Luca Marenzio
10107:
10105:
10102:
10100:
10097:
10095:
10092:
10090:
10087:
10085:
10082:
10080:
10077:
10075:
10072:
10070:
10067:
10065:
10062:
10060:
10057:
10055:
10052:
10050:
10047:
10045:
10042:
10041:
10039:
10035:
10030:
10026:
10020:
10017:
10015:
10012:
10010:
10007:
10005:
10004:Thomas Tallis
10002:
10000:
9997:
9995:
9992:
9990:
9987:
9985:
9982:
9980:
9977:
9975:
9972:
9970:
9967:
9965:
9962:
9960:
9957:
9955:
9952:
9950:
9947:
9945:
9942:
9940:
9937:
9935:
9932:
9930:
9927:
9925:
9922:
9921:
9919:
9917:
9913:
9907:
9904:
9902:
9899:
9897:
9896:John Taverner
9894:
9892:
9889:
9887:
9884:
9882:
9881:Jacob Obrecht
9879:
9877:
9874:
9872:
9869:
9867:
9864:
9862:
9859:
9857:
9854:
9852:
9849:
9847:
9844:
9842:
9839:
9837:
9834:
9833:
9831:
9829:
9825:
9819:
9816:
9814:
9811:
9809:
9806:
9804:
9801:
9799:
9796:
9794:
9791:
9789:
9786:
9784:
9781:
9779:
9776:
9774:
9771:
9769:
9766:
9764:
9761:
9759:
9756:
9754:
9751:
9749:
9746:
9745:
9743:
9741:
9737:
9733:
9728:
9724:
9717:
9712:
9710:
9705:
9703:
9698:
9697:
9694:
9682:
9679:
9677:
9674:
9672:
9669:
9667:
9666:Jacob Regnart
9664:
9662:
9659:
9657:
9654:
9652:
9649:
9647:
9644:
9643:
9641:
9637:
9631:
9628:
9626:
9623:
9621:
9618:
9616:
9613:
9611:
9608:
9606:
9603:
9601:
9598:
9597:
9595:
9591:
9585:
9582:
9580:
9577:
9575:
9572:
9570:
9567:
9565:
9564:Jacob Obrecht
9562:
9560:
9557:
9555:
9552:
9550:
9547:
9545:
9542:
9540:
9537:
9536:
9534:
9530:
9524:
9521:
9519:
9516:
9514:
9511:
9509:
9506:
9504:
9501:
9499:
9496:
9494:
9491:
9489:
9486:
9484:
9481:
9480:
9478:
9474:
9468:
9465:
9463:
9460:
9458:
9455:
9453:
9450:
9449:
9447:
9445:
9441:
9437:
9430:
9425:
9423:
9418:
9416:
9411:
9410:
9407:
9401:
9394:
9384:
9374:
9368:
9367:
9363:
9361:
9358:
9356:
9353:
9351:
9348:
9347:
9345:
9341:
9335:
9332:
9330:
9327:
9325:
9324:David Fallows
9322:
9320:
9319:Carl Dahlhaus
9317:
9315:
9312:
9310:
9307:
9305:
9304:Gustave Reese
9302:
9300:
9297:
9295:
9292:
9290:
9287:
9285:
9282:
9280:
9277:
9276:
9274:
9270:
9264:
9263:
9259:
9257:
9256:
9255:Mille regretz
9252:
9250:
9249:
9245:
9243:
9242:
9238:
9237:
9235:
9233:Secular music
9231:
9225:
9224:
9220:
9218:
9217:
9213:
9210:
9206:
9205:
9203:
9199:
9193:
9192:
9188:
9186:
9185:
9181:
9179:
9178:
9174:
9172:
9171:
9167:
9165:
9164:
9160:
9158:
9157:
9153:
9151:
9150:
9146:
9144:
9143:
9142:Missa Di dadi
9139:
9137:
9136:
9132:
9130:
9129:
9125:
9124:
9122:
9118:
9114:
9109:
9105:
9098:
9093:
9091:
9086:
9084:
9079:
9078:
9075:
9069:
9065:
9062:
9059:
9055:
9052:
9049:
9045:
9042:
9041:
9038:
9035:
9034:
9031:
9027:
9024:
9021:
9017:
9016:
9005:
9001:
8997:
8993:
8988:
8984:
8980:
8976:
8972:
8967:
8962:
8957:
8953:
8949:
8945:
8941:
8937:
8936:
8932:
8931:
8926:
8920:
8916:
8912:
8908:
8904:
8900:
8897:(1962â1965).
8896:
8892:
8886:
8881:
8877:
8873:
8869:
8865:
8861:
8860:
8856:
8855:
8850:
8844:
8840:
8835:
8831:
8825:
8821:
8816:
8815:
8812:Short studies
8811:
8810:
8804:
8798:
8794:
8790:
8785:
8784:
8783:
8782:
8780:
8776:
8775:Fallows (2020
8752:
8748:
8744:
8740:
8728:
8724:
8723:
8717:
8712:
8708:
8696:
8692:
8691:
8686:
8682:
8678:
8677:
8673:
8672:
8667:
8652:
8648:
8642:
8638:
8634:
8630:
8626:
8621:
8620:"Parody mass"
8616:
8612:
8608:
8604:
8600:
8596:
8592:
8587:
8583:
8579:
8575:
8571:
8567:
8563:
8562:
8556:
8552:
8548:
8545:(1/2): 3â27.
8544:
8540:
8539:
8533:
8529:
8525:
8521:
8517:
8513:
8509:
8508:
8502:
8487:
8483:
8479:
8475:
8471:
8469:
8463:
8457:
8453:
8449:
8445:
8441:
8437:
8433:
8432:
8426:
8422:
8407:
8403:
8397:
8393:
8389:
8385:
8381:
8380:
8374:
8368:
8362:
8357:
8353:
8349:
8345:
8344:
8341:
8335:
8331:
8330:
8325:
8321:
8317:
8313:
8309:
8305:
8301:
8297:
8293:
8289:
8285:
8281:
8277:
8273:
8269:
8265:
8261:
8256:
8252:
8248:
8244:
8240:
8235:
8231:
8216:
8212:
8206:
8202:
8198:
8194:
8190:
8185:
8180:
8176:
8172:
8168:
8164:
8160:
8156:
8152:
8148:
8145:(in German).
8144:
8143:
8138:
8134:
8122:
8118:
8112:
8108:
8104:
8103:
8098:
8093:
8089:
8085:
8081:
8077:
8073:
8069:
8068:
8062:
8058:
8054:
8050:
8046:
8042:
8038:
8037:
8031:
8027:
8012:
8008:
8002:
7998:
7994:
7990:
7986:
7981:
7976:
7972:
7971:Noble, Jeremy
7967:
7963:
7959:
7955:
7951:
7947:
7943:
7942:
7937:
7933:
7929:
7914:
7910:
7904:
7900:
7896:
7892:
7888:
7883:
7878:
7874:
7870:
7855:
7851:
7845:
7841:
7837:
7833:
7829:
7828:
7822:
7817:
7813:
7809:
7805:
7801:
7797:
7793:
7790:(in French).
7789:
7786:
7781:
7775:
7763:
7759:
7753:
7749:
7745:
7740:
7735:
7731:
7727:
7723:
7719:
7715:
7711:
7707:
7706:
7700:
7696:
7692:
7688:
7684:
7683:
7677:
7673:
7669:
7665:
7661:
7657:
7653:
7649:
7645:
7644:
7639:
7635:
7631:
7625:
7620:
7615:
7611:
7607:
7602:
7598:
7594:
7590:
7586:
7582:
7578:
7577:
7571:
7570:
7566:
7563:
7562:
7556:
7550:
7546:
7542:
7538:
7534:
7530:
7524:
7520:
7516:
7512:
7508:
7504:
7498:
7494:
7490:
7486:
7482:
7476:
7471:
7467:
7462:
7458:
7453:
7449:
7445:
7441:
7437:
7432:
7428:
7423:
7419:
7415:
7411:
7407:
7402:
7398:
7394:
7390:
7389:
7378:
7374:
7368:
7364:
7360:
7359:
7353:
7349:
7343:
7339:
7335:
7332:. Preface by
7331:
7330:
7324:
7320:
7318:0-8153-3521-0
7314:
7310:
7306:
7301:
7297:
7291:
7287:
7286:Joseph Kerman
7283:
7279:
7275:
7271:
7266:
7265:
7259:
7255:
7251:
7245:
7241:
7237:
7233:
7229:
7225:
7219:
7215:
7211:
7207:
7203:
7199:
7193:
7189:
7185:
7181:
7178:. Cambridge:
7177:
7173:
7168:
7164:
7158:
7154:
7150:
7145:
7141:
7135:
7131:
7127:
7123:
7119:
7115:
7109:
7105:
7100:
7099:
7092:
7086:
7082:
7078:
7074:
7069:
7068:
7065:
7061:
7057:
7053:
7049:
7037:
7033:
7027:
7023:
7019:
7018:
7013:
7009:
6997:
6993:
6987:
6983:
6979:
6978:
6973:
6969:
6965:
6959:
6955:
6951:
6946:
6934:
6930:
6924:
6920:
6917:. Amsterdam:
6916:
6915:
6910:
6905:
6901:
6895:
6891:
6887:
6883:
6879:
6873:
6869:
6865:
6861:
6857:
6851:
6847:
6843:
6839:
6835:
6831:
6825:
6821:
6817:
6812:
6809:
6805:
6801:
6797:
6793:
6787:
6783:
6779:
6774:
6770:
6764:
6760:
6756:
6752:
6748:
6744:
6740:
6736:
6730:
6726:
6721:
6720:
6714:
6709:
6708:
6704:
6701:
6700:
6689:
6684:
6677:
6672:
6665:
6660:
6653:
6648:
6642:, p. 32.
6641:
6636:
6634:
6626:
6621:
6614:
6609:
6602:
6597:
6590:
6585:
6583:
6575:
6570:
6568:
6566:
6559:, p. 28.
6558:
6553:
6546:
6545:Lowinsky 1964
6541:
6534:
6529:
6527:
6525:
6517:
6512:
6506:, p. 41.
6505:
6500:
6493:
6488:
6481:
6476:
6469:
6464:
6457:
6452:
6450:
6442:
6437:
6430:
6429:Taruskin 2010
6425:
6418:
6413:
6407:, p. 31.
6406:
6401:
6394:
6389:
6382:
6377:
6371:, p. 30.
6370:
6365:
6358:
6353:
6346:
6345:Taruskin 2010
6341:
6339:
6331:
6326:
6324:
6316:
6311:
6305:, p. 29.
6304:
6299:
6293:, p. 16.
6292:
6287:
6280:
6275:
6273:
6265:
6260:
6253:
6248:
6241:
6236:
6230:, p. 97.
6229:
6224:
6218:, p. 75.
6217:
6212:
6205:
6200:
6198:
6190:
6185:
6178:
6173:
6166:
6161:
6159:
6151:
6146:
6144:
6137:, p. 95.
6136:
6131:
6125:, p. 28.
6124:
6119:
6113:, p. 92.
6112:
6107:
6101:, p. 91.
6100:
6095:
6089:, p. 27.
6088:
6083:
6081:
6073:
6068:
6066:
6064:
6062:
6054:
6049:
6042:
6037:
6030:
6025:
6023:
6021:
6019:
6011:
6006:
5999:
5994:
5987:
5982:
5980:
5972:
5967:
5960:
5955:
5953:
5951:
5949:
5947:
5945:
5937:
5932:
5925:
5920:
5913:
5912:Finscher 2000
5908:
5901:
5900:Finscher 2000
5896:
5889:
5888:Lockwood 2001
5884:
5878:, p. 78.
5877:
5872:
5870:
5862:
5861:Lockwood 2001
5857:
5850:
5845:
5838:
5833:
5826:
5821:
5814:
5809:
5802:
5797:
5790:
5785:
5778:
5773:
5771:
5769:
5761:
5756:
5754:
5746:
5741:
5734:
5729:
5722:
5717:
5710:
5705:
5703:
5701:
5699:
5697:
5689:
5684:
5677:
5672:
5666:, p. 89.
5665:
5660:
5654:, p. 64.
5653:
5648:
5642:, p. 63.
5641:
5636:
5629:
5624:
5617:
5616:Taruskin 2010
5612:
5606:, p. 72.
5605:
5600:
5593:
5588:
5581:
5576:
5574:
5566:
5565:Urquhart 2012
5561:
5554:
5549:
5542:
5537:
5530:
5525:
5518:
5513:
5511:
5503:
5498:
5496:
5494:
5492:
5490:
5488:
5486:
5484:
5482:
5480:
5478:
5476:
5474:
5472:
5470:
5468:
5466:
5464:
5456:
5455:Lockwood 2001
5451:
5449:
5447:
5439:
5437:
5431:
5429:
5427:
5419:
5414:
5408:, p. ix.
5407:
5402:
5395:
5390:
5388:
5386:
5378:
5373:
5366:
5361:
5359:
5357:
5355:
5353:
5345:
5344:Taruskin 2010
5340:
5338:
5336:
5334:
5326:
5321:
5314:
5309:
5307:
5305:
5297:
5292:
5290:
5288:
5286:
5278:
5273:
5266:
5261:
5259:
5257:
5255:
5247:
5242:
5235:
5234:Finscher 2000
5230:
5223:
5218:
5211:
5206:
5199:
5194:
5192:
5190:
5188:
5186:
5184:
5182:
5180:
5178:
5176:
5174:
5172:
5170:
5168:
5166:
5164:
5162:
5160:
5158:
5156:
5154:
5146:
5141:
5134:
5129:
5122:
5117:
5110:
5105:
5103:
5101:
5099:
5097:
5095:
5093:
5085:
5084:Reynolds 2004
5080:
5073:
5068:
5061:
5056:
5054:
5046:
5041:
5034:
5029:
5027:
5019:
5014:
5007:
5002:
4996:, p. 39.
4995:
4990:
4983:
4978:
4971:
4966:
4959:
4958:Lowinsky 1964
4954:
4948:, p. 11.
4947:
4942:
4935:
4930:
4924:, p. 10.
4923:
4918:
4911:
4906:
4899:
4894:
4887:
4882:
4875:
4870:
4863:
4858:
4851:
4846:
4844:
4836:
4831:
4829:
4821:
4816:
4814:
4806:
4801:
4794:
4789:
4787:
4779:
4774:
4767:
4762:
4755:
4750:
4748:
4746:
4744:
4736:
4731:
4724:
4719:
4717:
4715:
4713:
4711:
4709:
4707:
4705:
4703:
4701:
4699:
4691:
4686:
4679:
4674:
4667:
4662:
4660:
4658:
4650:
4645:
4643:
4641:
4633:
4628:
4621:
4616:
4614:
4606:
4601:
4594:
4589:
4582:
4577:
4575:
4567:
4562:
4560:
4558:
4556:
4554:
4546:
4541:
4534:
4529:
4522:
4517:
4510:
4505:
4498:
4493:
4486:
4481:
4474:
4469:
4463:, p. 34.
4462:
4457:
4450:
4445:
4438:
4433:
4426:
4421:
4414:
4409:
4402:
4397:
4390:
4385:
4378:
4373:
4371:
4363:
4358:
4356:
4348:
4343:
4341:
4339:
4331:
4326:
4324:
4322:
4314:
4313:Lockwood 2009
4309:
4302:
4297:
4295:
4293:
4291:
4289:
4287:
4285:
4283:
4281:
4279:
4277:
4269:
4264:
4257:
4253:
4248:
4246:
4244:
4242:
4240:
4238:
4236:
4228:
4223:
4221:
4214:, p. 39.
4213:
4208:
4202:, p. 27.
4201:
4196:
4190:, p. 25.
4189:
4184:
4182:
4175:, p. 37.
4174:
4169:
4162:
4161:Finscher 2000
4157:
4150:
4145:
4138:
4133:
4131:
4124:, p. 20.
4123:
4118:
4111:
4106:
4100:, p. 19.
4099:
4094:
4087:
4085:
4079:
4072:
4067:
4060:
4055:
4048:
4043:
4036:
4035:Bridgman 1960
4031:
4029:
4021:
4016:
4014:
4012:
4010:
4002:
3997:
3990:
3985:
3978:
3973:
3966:
3962:
3957:
3955:
3953:
3951:
3949:
3947:
3945:
3943:
3941:
3939:
3937:
3935:
3933:
3931:
3929:
3927:
3919:
3914:
3907:
3902:
3896:, p. 18.
3895:
3890:
3888:
3886:
3884:
3876:
3871:
3865:, p. 52.
3864:
3859:
3852:
3847:
3841:, p. 12.
3840:
3835:
3828:
3823:
3821:
3819:
3811:
3806:
3799:
3794:
3788:, p. 17.
3787:
3782:
3780:
3773:, p. 22.
3772:
3767:
3765:
3757:
3752:
3750:
3748:
3746:
3744:
3742:
3737:
3725:
3724:Charles (1983
3721:
3715:
3709:
3705:
3701:
3697:
3693:
3689:
3683:
3676:
3672:
3668:
3664:
3660:
3656:
3652:
3646:
3639:
3635:
3634:Martin Luther
3631:
3627:
3626:Georg Forster
3621:
3614:
3610:
3609:
3602:
3596:
3595:Mille regretz
3592:
3588:
3587:Fallows (2001
3582:
3575:
3571:
3567:
3561:
3552:
3550:
3542:
3536:
3528:
3524:
3518:
3511:
3507:
3501:
3494:
3488:
3481:
3480:Rifkin (2003)
3477:
3476:Milsom (2015)
3473:
3469:
3464:
3462:
3454:
3453:Fallows (2020
3448:
3441:
3437:
3433:
3432:Fallows (2020
3429:
3425:
3419:
3412:
3406:
3399:
3395:
3389:
3384:
3380:
3379:
3374:
3370:
3369:Gustave Reese
3366:
3359:
3350:
3346:
3334:
3332:
3331:
3326:
3325:David Fallows
3322:
3318:
3316:
3311:
3307:
3303:
3299:
3295:
3291:
3286:
3283:
3278:
3274:
3273:
3262:
3258:
3249:
3246:
3242:
3233:
3230:
3229:
3224:
3219:
3211:
3209:
3205:
3204:Joseph Kerman
3201:
3197:
3193:
3190:
3185:
3180:
3176:
3172:
3171:Carl Dahlhaus
3168:
3163:
3159:
3153:
3148:
3144:
3140:
3136:
3132:
3127:
3123:
3122:Baroque music
3118:
3116:
3112:
3108:
3104:
3099:
3098:Misse Josquin
3095:
3091:
3087:
3086:Paolo Cortesi
3080:
3076:
3075:Dodecachordon
3072:
3067:
3053:
3051:
3047:
3043:
3039:
3035:
3031:
3025:
3020:
3019:Pierre Hesdin
3016:
3012:
3008:
3004:
3000:
2995:
2991:
2987:
2983:
2979:
2975:
2971:
2966:
2964:
2960:
2953:
2949:
2947:
2943:
2932:
2927:
2922:
2908:
2904:
2899:
2895:
2891:
2887:
2883:
2877:
2872:
2871:NicolĂČ Burzio
2868:
2864:
2859:
2857:
2853:
2849:
2845:
2839:
2834:
2830:
2826:
2822:
2818:
2817:
2811:
2809:
2805:
2794:
2790:
2789:Petrus Opmeer
2786:
2773:
2768:
2767:NicolĂČ Burzio
2764:
2760:
2756:
2755:
2744:
2735:
2721:
2719:
2715:
2711:
2707:
2702:
2700:
2696:
2692:
2691:Mille regretz
2688:
2684:
2680:
2676:
2672:
2668:
2663:
2661:
2657:
2653:
2652:cantus firmus
2646:
2644:
2620:
2619:
2599:Secular music
2596:
2594:
2590:
2586:
2581:
2580:cantus firmus
2577:
2573:
2569:
2568:motet-chanson
2565:
2561:
2557:
2553:
2549:
2545:
2540:
2538:
2534:
2530:
2526:
2522:
2519:
2514:
2513:cantus firmus
2509:
2507:
2503:
2499:
2495:
2494:text-painting
2491:
2487:
2483:
2475:
2474:
2468:
2459:
2457:
2453:
2449:
2444:
2439:
2438:
2432:
2430:
2425:
2413:
2409:
2405:
2401:
2397:
2393:
2389:
2385:
2384:cantus firmus
2381:
2377:
2373:
2363:
2361:
2357:
2356:cantus firmus
2353:
2349:
2345:
2341:
2337:
2333:
2329:
2328:
2323:
2319:
2315:
2311:
2307:
2303:
2302:Robert Morton
2299:
2298:
2297:Missa Di dadi
2292:
2289:
2288:cantus firmus
2285:
2275:
2271:
2268:
2265:
2261:
2257:
2254:
2251:
2248:
2245:
2241:
2238:
2235:
2231:
2228:
2225:
2221:
2220:
2219:Missa Di dadi
2216:
2215:
2214:
2213:
2205:Parody masses
2202:
2200:
2195:
2191:
2187:
2183:
2179:
2175:
2170:
2168:
2164:
2160:
2156:
2152:
2148:
2147:cantus firmus
2144:
2143:
2138:
2137:cantus firmus
2134:
2133:cantus firmus
2130:
2121:
2120:
2116:
2114:
2113:
2109:
2108:
2105:
2102:
2101:
2097:
2096:
2092:
2090:
2087:
2086:
2083:
2080:
2079:
2077:
2076:
2065:
2063:
2059:
2058:cantus firmus
2055:
2054:
2049:
2045:
2037:the armed man
2025:
2021:
2020:cantus firmus
2016:
2015:(1503â1513).
2014:
2010:
2006:
2002:
2001:cantus firmus
1994:
1993:Cantus firmus
1989:
1987:
1983:
1982:
1976:
1973:
1969:
1968:
1962:
1960:
1956:
1952:
1951:
1946:
1942:
1938:
1935:), or chant (
1934:
1930:
1914:
1913:
1907:
1898:
1895:
1894:cantus firmus
1891:
1890:cantus firmus
1883:
1879:
1876:
1873:
1872:Parody masses
1870:
1867:
1863:
1860:
1857:
1856:
1855:Cantus firmus
1852:
1849:
1846:
1845:
1844:
1842:
1837:
1833:
1830:
1826:
1822:
1818:
1814:
1810:
1806:
1802:
1794:
1790:
1789:
1783:
1774:
1771:
1767:
1763:
1759:
1755:
1751:
1747:
1743:
1739:
1734:
1732:
1731:word painting
1727:
1725:
1722:
1717:
1715:
1711:
1707:
1703:
1698:
1695:
1680:
1675:
1670:
1660:
1658:
1654:
1649:
1645:
1640:
1638:
1634:
1630:
1626:
1622:
1618:
1614:
1613:
1612:Mille regretz
1608:
1604:
1600:
1599:
1594:
1591:; the motets
1590:
1589:
1584:
1583:
1577:
1575:
1571:
1567:
1562:
1557:
1549:
1544:
1536:
1522:
1520:
1516:
1512:
1508:
1504:
1500:
1496:
1492:
1488:
1487:
1481:
1478:
1473:
1461:
1457:
1455:
1451:
1443:
1439:
1430:
1428:
1424:
1420:
1416:
1412:
1408:
1404:
1400:
1396:
1392:
1388:
1384:
1383:Dodecachordon
1379:
1374:
1372:
1368:
1364:
1360:
1359:
1354:
1353:1499 invasion
1349:
1345:
1340:
1338:
1334:
1330:
1326:
1325:vin d'honneur
1322:
1314:wine of honor
1302:
1301:vin d'honneur
1293:
1288:
1279:
1276:
1272:
1269:on occasion.
1268:
1259:
1255:
1251:
1242:
1240:
1236:
1231:
1226:
1222:
1218:
1214:
1210:
1202:
1193:
1184:
1182:
1178:
1174:
1167:
1162:
1159:
1155:
1151:
1146:
1142:
1137:
1128:
1127:
1122:
1121:Joshua Rifkin
1118:
1117:parish church
1114:
1110:
1106:
1095:
1092:
1088:
1085:
1084:
1080:
1077:
1074:
1073:
1069:
1066:
1064:JanâFeb 1489
1063:
1062:
1058:
1055:
1052:
1051:
1047:
1040:
1037:
1036:
1032:
1025:
1022:
1021:
1017:
1014:
1010:
1007:
1006:
1002:
999:
996:
995:
991:
988:
985:
984:
980:
977:
974:
973:
969:
967:
964:
961:
960:
956:
953:
950:
949:
933:
931:
926:
918:wine of honor
906:
905:vin d'honneur
900:
898:
894:
890:
886:
882:
878:
874:
870:
869:
864:
863:
858:
857:
852:
848:
844:
840:
836:
832:
828:
824:
823:René of Anjou
816:
815:René of Anjou
812:
803:
801:
797:
793:
789:
785:
781:
777:
772:
770:
766:
762:
758:
757:
752:
748:
744:
740:
735:
731:
727:
726:Gustave Reese
723:
719:
709:
707:
703:
699:
695:
691:
687:
683:
679:
678:David Fallows
675:
671:
665:
663:
659:
655:
650:
648:
647:Jacob Obrecht
644:
640:
631:
627:
608:
605:
600:
596:
590:
588:
583:
579:
575:
571:
561:
559:
555:
551:
547:
543:
539:
535:
531:
527:
523:
519:
515:
514:Martin Luther
509:
507:
503:
499:
498:
497:Mille regretz
493:
489:
485:
484:
479:
476:; the motets
475:
474:
469:
468:
463:
459:
458:
453:
449:
445:
441:
437:
433:
429:
425:
424:
419:
418:
413:
409:
405:
401:
400:René of Anjou
397:
393:
389:
384:
382:
378:
374:
370:
366:
362:
358:
354:
350:
346:
342:
338:
334:
323:
312:
307:
305:
300:
298:
293:
292:
290:
289:
283:
282:
276:
275:
270:
269:
268:
267:
259:
256:
254:
251:
249:
246:
244:
243:
239:
237:
234:
233:
226:
225:
217:
214:
212:
209:
207:
204:
202:
199:
197:
194:
192:
189:
187:
184:
182:
179:
177:
174:
172:
169:
167:
164:
162:
159:
157:
154:
153:
149:Major figures
146:
145:
137:
134:
132:
129:
127:
124:
122:
119:
117:
114:
112:
109:
107:
104:
102:
99:
98:
91:
90:
83:
79:
75:
74:
73:
72:
66:
65:
62:
59:
58:
54:
50:
49:
43:
39:
34:
30:
26:
23: and
22:
10549:1450s births
10531:
10444:
10437:
10408:Architecture
10342:Jacob Bathen
10059:John Dowland
9929:William Byrd
9885:
9803:Leonel Power
9676:Jacobus Vaet
9573:
9364:
9260:
9253:
9246:
9239:
9221:
9214:
9189:
9182:
9175:
9168:
9161:
9154:
9147:
9140:
9133:
9126:
9103:
9060:(ChoralWiki)
9036:
8995:
8991:
8974:
8970:
8951:
8947:
8910:
8898:
8875:
8871:
8838:
8819:
8788:
8779:Sherr (2017)
8772:
8771:
8755:. Retrieved
8731:. Retrieved
8720:
8699:. Retrieved
8688:
8655:. Retrieved
8624:
8594:
8590:
8565:
8559:
8542:
8536:
8514:(1): 43â65.
8511:
8505:
8490:. Retrieved
8466:
8435:
8429:
8410:. Retrieved
8377:
8373:"Paraphrase"
8361:Sadie (1980)
8352:Sadie (1980)
8327:
8299:
8295:
8291:
8266:(1): 29â62.
8263:
8259:
8242:
8238:
8219:. Retrieved
8188:
8146:
8140:
8125:. Retrieved
8100:
8071:
8065:
8040:
8034:
8015:. Retrieved
7984:
7945:
7939:
7917:. Retrieved
7886:
7858:. Retrieved
7825:
7791:
7778:
7766:. Retrieved
7743:
7709:
7703:
7686:
7680:
7650:(1): 69â80.
7647:
7641:
7605:
7583:(1): 73â88.
7580:
7574:
7564:
7540:
7514:
7488:
7475:Sherr (2000)
7466:Sherr (2000)
7457:Sherr (2000)
7448:Sherr (2000)
7436:Sherr (2000)
7427:Sherr (2000)
7418:Sherr (2000)
7406:Sherr (2000)
7397:Sherr (2000)
7381:. Retrieved
7357:
7328:
7308:
7304:
7270:Jeremy Noble
7263:
7238:. New York:
7235:
7209:
7175:
7151:. Turnhout:
7148:
7128:. New York:
7125:
7097:
7059:
7040:. Retrieved
7016:
7000:. Retrieved
6976:
6953:
6937:. Retrieved
6913:
6889:
6867:
6844:. Turnhout:
6841:
6815:
6799:
6777:
6754:
6718:
6702:
6683:
6671:
6659:
6652:Higgins 2004
6647:
6620:
6613:Higgins 2004
6608:
6596:
6552:
6540:
6533:Higgins 2004
6516:Higgins 2004
6511:
6499:
6492:Higgins 2004
6487:
6475:
6463:
6456:Fallows 2020
6436:
6424:
6412:
6400:
6388:
6376:
6364:
6359:, § para. 3.
6352:
6330:Fallows 2020
6317:, § para. 1.
6310:
6298:
6286:
6264:Fallows 2020
6259:
6252:Fallows 2020
6247:
6240:Fallows 2020
6235:
6223:
6216:Fagnart 2019
6211:
6204:Fallows 2020
6184:
6177:Fallows 2020
6172:
6165:Fallows 2020
6150:Zöllner 2019
6130:
6118:
6106:
6094:
6048:
6036:
6005:
5993:
5966:
5931:
5919:
5907:
5895:
5890:, § para. 2.
5883:
5856:
5844:
5832:
5820:
5808:
5796:
5784:
5740:
5728:
5716:
5711:, § "Works".
5683:
5671:
5659:
5647:
5635:
5623:
5611:
5599:
5587:
5560:
5548:
5536:
5524:
5457:, § para. 1.
5435:
5420:, § para. 1.
5413:
5401:
5396:, § "Works".
5379:, § para. 7.
5372:
5320:
5298:, § para. 5.
5272:
5241:
5229:
5222:Fallows 2020
5217:
5205:
5140:
5133:Fallows 2020
5128:
5121:Fallows 2020
5116:
5079:
5072:Fallows 2020
5067:
5060:Merkley 2001
5045:Fallows 2020
5040:
5013:
5001:
4989:
4977:
4965:
4953:
4941:
4934:Fallows 2020
4929:
4917:
4910:Fallows 2020
4905:
4900:, p. 9.
4893:
4886:Fallows 2020
4881:
4874:Merkley 2001
4869:
4862:Fallows 2020
4857:
4835:Fallows 2020
4820:Fallows 2020
4800:
4778:Fallows 2020
4773:
4766:Fallows 2020
4761:
4754:Fallows 2020
4735:Fallows 2020
4730:
4690:Fallows 2020
4685:
4678:Fallows 2020
4673:
4649:Fallows 2020
4627:
4620:Fallows 2020
4605:Fallows 2020
4600:
4593:Fallows 2020
4588:
4581:Fallows 2020
4545:Fallows 2020
4540:
4533:Fallows 2020
4528:
4521:Fallows 2020
4516:
4509:Fallows 2020
4504:
4492:
4485:Fallows 2020
4480:
4473:Fallows 2020
4468:
4456:
4444:
4432:
4425:Fallows 2020
4420:
4413:Fallows 2020
4408:
4401:Fallows 2020
4396:
4389:Fallows 2020
4384:
4377:Fallows 2020
4362:Fallows 2020
4347:Fallows 2020
4330:Fallows 2020
4308:
4263:
4258:1475â1483)".
4255:
4212:Fallows 2020
4207:
4200:Fallows 2020
4195:
4188:Fallows 2020
4173:Fallows 2020
4168:
4156:
4149:Fallows 2020
4144:
4139:, p. 3.
4122:Fallows 2020
4117:
4110:Fallows 2020
4105:
4098:Fallows 2020
4093:
4083:
4078:
4066:
4054:
4049:, p. 2.
4042:
4001:Kellman 2009
3996:
3989:Fallows 2020
3984:
3977:Kellman 2009
3972:
3964:
3920:, p. 8.
3918:Fallows 2020
3913:
3906:Higgins 2004
3901:
3894:Fallows 2020
3875:Fallows 2020
3870:
3863:Fallows 2020
3858:
3846:
3839:Fallows 2020
3834:
3812:, p. 9.
3810:Fallows 2020
3805:
3793:
3714:
3708:Starr (1997)
3682:
3670:
3662:
3658:
3645:
3630:Elders (2013
3620:
3613:§Attribution
3606:
3601:
3594:
3581:
3573:
3569:
3565:
3560:
3535:
3527:Jeremy Noble
3517:
3510:Starr (1997)
3500:
3493:Elders (2013
3487:
3467:
3447:
3427:
3423:
3418:
3405:
3376:
3373:Jeremy Noble
3358:
3349:
3328:
3320:
3314:
3305:
3287:
3282:apotheosized
3276:
3270:
3267:
3261:Stile Antico
3226:
3207:
3194:series. The
3184:Das Chorwerk
3182:
3119:
3115:Michelangelo
3097:
3090:Jean Molinet
3083:
3074:
3070:
3038:Pierre Moulu
2985:
2967:
2955:
2951:
2938:
2890:liberal arts
2886:Jean Perréal
2881:
2860:
2855:
2814:
2812:
2792:
2782:
2752:
2717:
2713:
2709:
2703:
2698:
2694:
2690:
2686:
2682:
2667:formes fixes
2666:
2664:
2659:
2655:
2651:
2649:
2640:
2617:
2592:
2588:
2584:
2579:
2572:formes fixes
2571:
2560:De profundis
2559:
2551:
2543:
2541:
2532:
2528:
2524:
2512:
2510:
2486:block chords
2479:
2471:
2435:
2433:
2423:
2411:
2407:
2403:
2399:
2395:
2391:
2387:
2383:
2379:
2375:
2371:
2369:
2359:
2355:
2347:
2343:
2335:
2332:cantus firmi
2331:
2325:
2321:
2317:
2309:
2295:
2293:
2287:
2283:
2281:
2269:
2255:
2249:
2239:
2229:
2217:
2211:
2210:
2198:
2193:
2173:
2171:
2162:
2150:
2146:
2140:
2136:
2132:
2126:
2117:
2110:
2103:
2093:
2088:
2081:
2074:
2073:
2062:L'homme armé
2061:
2057:
2051:
2043:
2024:L'homme armé
2019:
2017:
2004:
2000:
1998:
1992:
1985:
1979:
1977:
1965:
1963:
1954:
1948:
1944:
1926:
1910:
1893:
1889:
1887:
1853:
1840:
1838:
1834:
1798:
1792:
1786:
1738:Jeremy Noble
1735:
1728:
1718:
1714:contrapuntal
1699:
1691:
1681:was written
1678:
1644:Pater noster
1643:
1641:
1624:
1620:
1616:
1610:
1606:
1602:
1596:
1593:Benedicta es
1592:
1586:
1580:
1578:
1553:
1514:
1510:
1506:
1498:
1490:
1484:
1482:
1469:
1459:
1447:
1415:De profundis
1414:
1410:
1406:
1398:
1394:
1390:
1386:
1382:
1375:
1362:
1356:
1348:hunting dogs
1341:
1324:
1320:
1300:
1297:
1274:
1267:mononymously
1257:
1243:
1217:Alexander VI
1206:
1138:
1124:
1101:
1011:Milan (with
997:15 May 1484
975:August 1483
930:Ludwig Senfl
904:
901:
896:
892:
888:
884:
880:
876:
872:
866:
860:
854:
838:
820:
806:Early career
779:
773:
768:
764:
754:
715:
705:
666:
651:
635:
607:as Josquin.
594:
591:
567:
510:
505:
501:
495:
491:
487:
481:
478:Benedicta es
477:
471:
465:
455:
430:. He served
427:
421:
415:
385:
379:and secular
321:
320:
279:
272:
240:
180:
80: /
29:
10554:1521 deaths
10398:Renaissance
10393:Early music
10289:Netherlands
10269:Elizabethan
10124:Jacopo Peri
10094:Alonso Lobo
10054:John Cooper
9916:Late (1530)
9876:Jean Mouton
9788:Jean Japart
9778:Walter Frye
9559:Jean Mouton
9026:Discography
8992:Early Music
8971:Early Music
8948:Early Music
8883: [
8591:Early Music
7783: [
7576:Early Music
7485:Syson, Luke
6688:Woolfe 2021
6557:Wegman 2000
6504:Elders 2013
6468:Wegman 2000
6441:Elders 2013
6417:Elders 2013
6369:Elders 2013
6357:Milsom 2011
6315:Milsom 2011
6303:Elders 2013
6189:Marani 2003
6123:Elders 2013
6087:Elders 2013
6010:Milsom 2000
5971:Milsom 2000
5936:Milsom 2000
5924:Milsom 2000
5849:Bloxam 2000
5825:Bloxam 2000
5813:Bloxam 2000
5801:Bloxam 2000
5789:Bloxam 2000
5777:Bloxam 2000
5760:Bloxam 2000
5592:Bloxam 2000
5580:Bloxam 2000
5553:Bloxam 2000
5541:Bloxam 2000
5529:Bloxam 2000
5517:Bloxam 2000
5296:Milsom 2011
5210:Milsom 2000
5018:Milsom 2000
4994:Wegman 2000
4982:Wegman 1999
4970:Wegman 2000
4805:Wegman 2008
4497:KirĂĄly 1992
4461:Elders 2013
4437:Rifkin 2003
4071:Milsom 2011
3786:Elders 2013
3771:Wegman 2000
3704:Roth (2000)
3665:(1460) for
3628:in 1540 by
3386: [
3257:Performance
3241:Performance
3187: [
3150: [
3094:Pietro Aron
3022: [
2992:'s requiem
2976:, Gombert,
2929: [
2901: [
2874: [
2844:Contratenor
2836: [
2808:iconoclasts
2800: 1568
2770: [
2751:(Left) The
2683:Vive le roy
2554:, based on
2521:expositions
2418:, which is
2314:Walter Frye
2176:, based on
2104:Later works
2082:Early works
1878:Solmization
1686: 1480
1407:Vive le roy
1173:Josquin Dor
1164: [
1134: 1485
1091:Papal choir
1026:Rome (with
986:March 1484
962:March 1483
957:Confidence
925:procurators
751:lamentation
734:Jean Mouton
662:undue force
526:Baroque era
337:Renaissance
229:Major forms
10538:Categories
10423:Philosophy
10418:Literature
10386:Background
10252:Traditions
10228:Magnificat
10218:Intermedio
10162:Burgundian
8913:. Oxford:
8868:Kade, Otto
8681:Ross, Alex
8627:. Oxford:
8472:. Oxford:
8382:. Oxford:
8191:. Oxford:
8105:. Oxford:
8017:17 January
7987:. Oxford:
7889:. Oxford:
7746:. Oxford:
7491:. London:
7282:James Haar
7212:. Lanham:
7102:. Oxford:
7062:. London:
7020:. Oxford:
6980:. Ithaca:
6818:. Leuven:
6664:Sherr 2017
6625:Sherr 2000
6601:Sherr 2017
6589:Sherr 2017
6393:Leach 2014
6381:Reese 1940
6291:Reese 1984
6111:Haggh 1994
6099:Haggh 1994
6053:Brown 1980
5998:Reese 1954
5986:Reese 1954
5837:Reese 1954
5709:Noble 1980
5418:Sherr 2001
5406:Sherr 2000
5246:Reese 1954
5145:Sherr 2000
5006:Macey 1998
4946:Reese 1984
4922:Reese 1984
4898:Reese 1984
4850:Sherr 2011
4793:Macey 1998
4666:Sherr 2000
4449:Sherr 2017
4137:Reese 1984
4047:Reese 1984
4020:Sherr 2017
3967:1450â75)".
3675:Rice (1999
3655:F. Andrieu
3440:this image
3337:References
3315:Gramophone
3302:A Sei Voci
3056:Reputation
2710:Scaramella
2643:media help
2482:homophonic
2456:Bayezid II
2452:Cem Sultan
1866:monophonic
1702:melismatic
1667:See also:
1633:Mary Tudor
1403:Carpentras
1395:Memor esto
1333:Georg Rhau
1161:Pal Varday
1086:June 1489
1038:July 1485
702:Beaurevoir
654:castellany
616:Early life
574:diminutive
361:melismatic
216:Monteverdi
196:Palestrina
101:Burgundian
10514:Biography
10238:Offertory
10167:Colorists
10029:Mannerism
9248:El Grillo
8668:required)
8423:required)
8245:: 23â51.
8239:Recercare
8232:required)
8181:(2004) .
8171:140790222
8028:required)
7977:(2011) .
7930:required)
7871:required)
7672:163086950
7664:0961-1371
7539:(2019) .
7383:26 August
7124:(2003) .
7002:26 August
6939:26 August
6866:(2020) .
6676:Ross 2021
6405:Rice 1999
5277:Godt 1977
3733:Citations
3564:Both the
3430:are, see
2942:Beethoven
2916:Influence
2724:Portraits
2714:El grillo
2618:El grillo
2564:Psalm 130
2556:Psalm 119
2167:Lady Mass
2159:same name
2013:Julius II
1933:Forestier
1825:Agnus Dei
1724:polyphony
1721:imitative
1598:Inviolata
1503:Poliziano
1419:Psalm 130
1358:El Grillo
1292:Louis XII
1211:then the
1199:) on the
1089:Rome (in
1081:Probable
1059:Possible
992:Possible
981:Possible
954:Location
718:altar boy
524:. In the
483:Inviolata
440:Louis XII
438:in Rome,
392:altar boy
357:polyphony
353:imitative
176:Tinctoris
78:Composers
10459:Category
10436: â
10299:Portugal
10223:Madrigal
10197:Venetian
9383:Category
9272:Scholars
9223:Miserere
8909:(1976).
8751:Archived
8733:29 April
8727:Archived
8695:Archived
8657:4 August
8651:Archived
8631:. 2001.
8611:27655169
8551:43738331
8486:Archived
8452:23013012
8412:4 August
8406:Archived
8251:41701332
8215:Archived
8163:41123290
8121:Archived
8011:Archived
7919:4 August
7913:Archived
7879:(2001).
7854:Archived
7818:(2001).
7762:Archived
7597:27655301
7377:Archived
7234:(1954).
7208:(1940).
7036:Archived
7014:(2009).
6996:Archived
6974:(2014).
6952:(eds.).
6933:Archived
6753:(2014).
6640:Rye 2017
5863:, Ex. 1.
3667:Binchois
3651:medieval
3568:and the
3394:Ockeghem
3365:Flanders
2988:, while
2791:'s 1611
2783:A small
2706:frottola
2548:Psalm 51
2544:Miserere
2537:Psalm 93
2498:madrigal
2448:ostinato
2264:Malcourt
2234:Ockeghem
2190:fantasia
2184:for the
1805:ordinary
1574:Mechelen
1570:Brussels
1561:Soignies
1507:Miserere
1463:â
1367:Psalm 31
1262:JOSQUINJ
1258:cantoria
1250:graffito
1246:JOSQUINJ
1197:JOSQUINJ
1141:benefice
1096:Certain
1070:Certain
1048:Certain
1033:Certain
1018:Certain
1003:Certain
970:Certain
831:Louis XI
670:Ardennes
630:Hainault
599:acrostic
587:dit name
404:Louis XI
388:Flanders
381:chansons
248:Madrigal
211:Victoria
166:Ockeghem
161:Binchois
126:Venetian
111:Colorist
68:Overview
53:a series
51:Part of
10488:Portals
10449:â
10279:Germany
10259:British
9343:Related
9066:at the
9056:in the
9050:(IMSLP)
9046:at the
8870:(ed.).
8757:2 March
8492:3 March
8470:: Music
7768:19 July
7610:Brepols
7545:Taschen
7153:Brepols
7042:23 July
6868:Josquin
6697:Sources
6627:, p. 10
5147:, p. 17
3181:in the
2785:woodcut
2679:ballade
2675:virelai
2671:rondeau
2374:, from
2260:Martini
2157:of the
2031:
1959:de Orto
1929:Faugues
1848:Canonic
1821:Sanctus
1766:chanson
1556:provost
1433:Ferrara
1308:
1183:there.
1115:at the
1056:Vienna
1013:Ascanio
912:
722:Cambrai
448:Ferrara
242:Chanson
191:Zarlino
181:Josquin
171:Busnois
38:woodcut
36:A 1611
10469:Portal
10294:Poland
10274:France
10264:Cyprus
10243:Pavane
10037:c.1600
9201:Motets
9120:Masses
9037:Scores
8921:
8845:
8826:
8799:
8701:23 May
8674:Online
8643:
8609:
8582:764097
8580:
8549:
8528:763903
8526:
8450:
8398:
8336:
8314:
8280:947006
8278:
8249:
8221:23 May
8207:
8169:
8161:
8127:15 May
8113:
8086:
8057:764140
8055:
8003:
7962:740957
7960:
7905:
7860:1 June
7846:
7808:947243
7806:
7754:
7724:
7695:843491
7693:
7670:
7662:
7626:
7595:
7551:
7525:
7499:
7369:
7344:
7315:
7292:
7246:
7220:
7194:
7159:
7136:
7110:
7028:
6988:
6960:
6925:
6919:Rodopi
6896:
6874:
6852:
6826:
6806:
6788:
6765:
6731:
4668:, p. 2
3300:, and
3277:oeuvre
3245:VOCES8
2935:, 1881
2926:Housez
2911:Legacy
2848:Cantus
2804:cantor
2697:; and
2677:, and
2462:Motets
2320:. The
2274:Brumel
2224:Morton
2178:a hymn
1995:masses
1941:La Rue
1813:Gloria
1777:Masses
1764:, and
1706:motifs
1694:Du Fay
1692:After
1519:plague
1513:, the
1497:, and
1472:ducats
1409:, and
1378:Troyes
1282:France
1213:Borgia
1113:rector
1078:Milan
1067:Milan
1000:Milan
903:given
686:Escaut
582:Breton
377:motets
373:masses
365:motifs
236:Anthem
186:Tallis
156:Du Fay
10526:Music
10413:Dance
10304:Spain
10284:Italy
10213:Carol
10192:Roman
8887:]
8874:[
8607:JSTOR
8578:JSTOR
8547:JSTOR
8524:JSTOR
8448:JSTOR
8312:JSTOR
8276:JSTOR
8247:JSTOR
8167:S2CID
8159:JSTOR
8084:JSTOR
8053:JSTOR
7958:JSTOR
7804:JSTOR
7787:]
7722:JSTOR
7691:JSTOR
7668:S2CID
7593:JSTOR
6703:Books
5436:Grove
3390:]
3342:Notes
3191:]
3154:]
3026:]
2933:]
2905:]
2878:]
2852:Altuz
2840:]
2802:), a
2774:]
2576:chant
2518:fugal
2490:psalm
1937:Fevin
1817:Credo
1809:Kyrie
1762:motet
1710:cells
1663:Music
1648:wafer
1525:Condé
1215:pope
1168:]
989:Rome
966:Condé
951:Date
825:, in
712:Youth
690:Haine
578:Judoc
462:Condé
258:Motet
201:Lasso
121:Roman
10233:Mass
10031:and
9018:The
8919:ISBN
8843:ISBN
8824:ISBN
8797:ISBN
8773:See
8759:2022
8735:2021
8703:2022
8659:2022
8641:ISBN
8494:2022
8414:2022
8396:ISBN
8334:ISBN
8223:2022
8205:ISBN
8129:2022
8111:ISBN
8019:2022
8001:ISBN
7921:2022
7903:ISBN
7862:2022
7844:ISBN
7770:2022
7752:ISBN
7660:ISSN
7624:ISBN
7549:ISBN
7523:ISBN
7497:ISBN
7385:2022
7367:ISBN
7342:ISBN
7313:ISBN
7290:ISBN
7244:ISBN
7218:ISBN
7192:ISBN
7157:ISBN
7134:ISBN
7108:ISBN
7044:2022
7026:ISBN
7004:2022
6986:ISBN
6958:ISBN
6941:2022
6923:ISBN
6894:ISBN
6872:ISBN
6850:ISBN
6824:ISBN
6804:ISBN
6786:ISBN
6763:ISBN
6729:ISBN
5438:2001
4086:2013
3718:See
3706:and
3605:The
3585:See
3491:See
3478:and
3169:and
3156:and
3109:and
2980:and
2961:and
2813:The
2716:and
2591:and
2504:and
2306:dice
2244:Frye
2127:The
2028:lit.
1939:and
1839:The
1823:and
1801:mass
1799:The
1758:mass
1752:and
1744:and
1619:and
1605:and
1585:and
1509:and
1305:lit.
1187:Rome
909:lit.
895:and
887:and
745:and
688:and
674:Prez
641:and
611:Life
580:, a
564:Name
548:and
520:and
504:and
490:and
470:and
434:and
426:and
347:and
253:Mass
206:Byrd
10403:Art
9000:doi
8979:doi
8956:doi
8633:doi
8599:doi
8570:doi
8516:doi
8478:doi
8440:doi
8388:doi
8304:doi
8294:".
8268:doi
8197:doi
8151:doi
8076:doi
8045:doi
7993:doi
7950:doi
7895:doi
7836:doi
7796:doi
7714:doi
7652:doi
7614:doi
7585:doi
7184:doi
6279:MoC
3657:'s
3636:by
3259:by
3243:by
3077:of
2892:in
2757:by
2550:);
2412:ie'
2402:x F
2398:s D
2316:'s
2262:or
2252:(?)
2180:by
2026:" (
1957:by
1943:'s
1572:or
1568:in
1425:or
1256:'s
1175:or
658:Ath
656:of
446:in
10540::
8996:49
8994:.
8975:49
8973:.
8952:49
8950:.
8946:.
8917:.
8885:de
8795:.
8749:.
8725:.
8719:.
8693:.
8687:.
8649:.
8639:.
8623:.
8605:.
8595:36
8593:.
8576:.
8566:17
8564:.
8543:62
8541:.
8522:.
8512:15
8510:.
8484:.
8476:.
8465:.
8446:.
8436:92
8434:.
8404:.
8394:.
8386:.
8376:.
8310:.
8300:56
8298:.
8274:.
8264:85
8262:.
8243:12
8241:.
8213:.
8203:.
8195:.
8187:.
8165:.
8157:.
8147:52
8119:.
8109:.
8082:.
8072:18
8070:.
8051:.
8041:16
8039:.
8009:.
7999:.
7991:.
7983:.
7956:.
7946:50
7944:.
7911:.
7901:.
7893:.
7885:.
7852:.
7842:.
7834:.
7824:.
7802:.
7792:78
7785:fr
7760:.
7750:.
7742:.
7720:.
7710:57
7708:.
7687:21
7685:.
7666:.
7658:.
7646:.
7622:.
7591:.
7581:37
7579:.
7547:.
7521:.
7495:.
7375:.
7365:.
7340:.
7284:,
7280:,
7276:,
7272:,
7242:.
7216:.
7190:.
7155:.
7132:.
7106:.
7054:;
7034:.
7024:.
6994:.
6984:.
6931:.
6921:.
6822:.
6784:.
6761:.
6749:;
6745:;
6632:^
6581:^
6564:^
6523:^
6448:^
6337:^
6322:^
6271:^
6196:^
6157:^
6142:^
6079:^
6060:^
6017:^
5978:^
5943:^
5868:^
5767:^
5752:^
5695:^
5572:^
5509:^
5462:^
5445:^
5425:^
5384:^
5351:^
5332:^
5303:^
5284:^
5253:^
5152:^
5091:^
5052:^
5025:^
4842:^
4827:^
4812:^
4785:^
4742:^
4697:^
4656:^
4639:^
4612:^
4573:^
4552:^
4369:^
4354:^
4337:^
4320:^
4275:^
4234:^
4219:^
4180:^
4129:^
4027:^
4008:^
3925:^
3882:^
3817:^
3778:^
3763:^
3740:^
3702:,
3698:,
3694:,
3690:,
3548:^
3474:,
3460:^
3388:fr
3296:,
3189:de
3152:de
3145:,
3141:,
3105:,
3048:,
3040:,
3036:,
3032:,
3024:ca
3017:,
3013:,
3009:,
3005:,
3001:,
2931:fr
2903:fr
2876:it
2838:fr
2798:d.
2772:it
2712:,
2701:.
2689:;
2673:,
2662:.
2595:.
2587:,
2458:.
2431:.
2406:rr
2390:rc
2358:.
1819:,
1815:,
1811:,
1760:,
1733:.
1683:c.
1659:.
1615:,
1601:,
1595:,
1576:.
1429:.
1339:.
1166:hu
1136:.
1131:c.
1093:)
1045:)
1043:A.
1030:)
1028:A.
1015:)
932:.
891:.
883:,
879:,
875:,
871:,
790:,
786:,
771:.
708:.
649:.
544:,
540:,
508:.
500:,
486:,
480:,
383:.
375:,
326:c.
55:on
10490::
9715:e
9708:t
9701:v
9428:e
9421:t
9414:v
9211:"
9207:"
9096:e
9089:t
9082:v
9006:.
9002::
8985:.
8981::
8964:.
8958::
8927:.
8889:.
8851:.
8832:.
8805:.
8761:.
8737:.
8705:.
8661:.
8635::
8613:.
8601::
8584:.
8572::
8553:.
8530:.
8518::
8496:.
8480::
8454:.
8442::
8416:.
8390::
8363:.
8354:.
8342:.
8318:.
8306::
8282:.
8270::
8253:.
8225:.
8199::
8173:.
8153::
8131:.
8090:.
8078::
8059:.
8047::
8021:.
7995::
7964:.
7952::
7923:.
7897::
7864:.
7838::
7810:.
7798::
7772:.
7728:.
7716::
7697:.
7674:.
7654::
7648:5
7632:.
7616::
7599:.
7587::
7557:.
7531:.
7505:.
7438:.
7387:.
7350:.
7321:.
7298:.
7252:.
7226:.
7200:.
7186::
7165:.
7142:.
7116:.
7066:.
7046:.
7006:.
6966:.
6943:.
6902:.
6880:.
6858:.
6832:.
6810:.
6794:.
6771:.
6737:.
6690:.
6678:.
6547:.
6281:.
6055:.
5678:.
5567:.
5440:.
5086:.
4256:c
4088:.
4073:.
3965:c
3576:.
2776:.
2645:.
2562:(
2546:(
2535:(
2410:r
2408:a
2404:e
2400:u
2396:e
2394:l
2392:u
2388:e
2276:)
2272:(
2266:)
2258:(
2246:)
2242:(
2236:)
2232:(
2226:)
2222:(
2040:'
2034:'
1795:.
1317:'
1311:'
1303:(
921:'
915:'
907:(
324:(
310:e
303:t
296:v
44:.
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
