Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-fscjk Total loading time: 0 Render date: 2024-12-13T08:33:02.628Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  05 December 2024

Jesse Rodin
Affiliation:
Stanford University, California
Get access
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Secondary Sources

Abbate, Carolyn. “Music – Drastic or Gnostic?Critical Inquiry 30 (2004): 505–36.CrossRefGoogle Scholar
Agawu, Kofi. “How We Got Out of Analysis, and How to Get Back in Again.” Music Analysis 23 (2004): 267–86.CrossRefGoogle Scholar
Agawu, KofiStructural ‘Highpoints’ in Schumann’s Dichterliebe.” Music Analysis 3 (1984): 159–80.CrossRefGoogle Scholar
Alberti, Leon Battista. De Pictura (Redazione Volgare), ed. Bertolini, Lucia. Vol. 2 of Edizione Nazionale delle Opere di Leon Battista Alberti, directed by Cardini, Roberto. Florence: Polistampa, 2011.Google Scholar
Alberti, Leon Battista On the Art of Building in Ten Books (De re aedificatoria), trans. Joseph Rykwert, Neil Leach, and Robert Tavernor. Cambridge, MA: MIT Press, 1988.Google Scholar
Alberti, Leon Battista On Painting, trans. John R. Spencer. New Haven, CT: Yale University Press, 1956. Repr. Westport, CT: Greenwood Press, 1976.Google Scholar
Alberti, Leon Battista On Painting: A New Translation and Critical Edition, trans. Rocco Sinisgalli. Cambridge: Cambridge University Press, 2011.Google Scholar
Alden, Jane. Songs, Scribes, and Society: The History and Reception of the Loire Valley Chansonniers. Oxford: Oxford University Press, 2010.Google Scholar
Ambros, August Wilhelm. Geschichte der Musik, vol. 3 (… im Zeitalter der Renaissance bis zu Palestrina). Leipzig: F. E. C. Leuckart, 1868.Google Scholar
Anonimo Riccardiano, . Trattato di Schermo, ed. Battistini, Alessandro and Venni, Iacopo. Rimini: Il Cerchio Iniziative Editoriali, 2009.Google Scholar
Aristotle, . The “Art” of Rhetoric, trans. John Henry Freese. London: William Heinemann and New York: G. P. Putnam’s Sons, 1936.Google Scholar
Atlas, Allan W.Gematria, Marriage Numbers, and Golden Sections in Dufay’s ‘Resvellies vous’.” Acta Musicologica 59 (1987): 111–26.CrossRefGoogle Scholar
Atlas, Allan W. Renaissance Music. New York: Norton, 1998.Google Scholar
Atlas, Allan W.Some Thoughts about One-Line Refrains in Ockeghem’s Rondeaux.” In Johannes Ockeghem: Actes du Xle Colloque international d’études humanistes. Tours, 3–8 février, 1997, ed. Vendrix, Philippe, 343–64. Paris: Klincksieck, 1998.Google Scholar
Baena, Jeff, director. The Little Hours (Los Angeles, CA: Gunpowder & Sky and Universal Pictures, 2017), 1 hr. 30 min. https://apple.co/3MQOjZG.Google Scholar
Banks, Jon. The Instrumental Consort Repertory of the Late Fifteenth Century. Aldershot: Ashgate, 2006.Google Scholar
Barthes, Roland. “The Grain of the Voice.” In Roland Barthes, Image, Music, Text, trans. Stephen Heath, 179–89. New York: Hill and Wang, 1977.Google Scholar
Baxandall, Michael. “Bartolomaeus Facius on Painting.” Journal of the Warburg and Courtauld Institutes 27 (1964): 90107.CrossRefGoogle Scholar
Baxandall, Michael Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style, 2nd ed. Oxford: Oxford University Press, 1988 (orig. publ. 1972).Google Scholar
Beck, Jonathan. “Formalism and Virtuosity: Franco-Burgundian Poetry, Music, and Visual Art, 1470–1520.” Critical Inquiry 10 (1984): 644–67.CrossRefGoogle Scholar
Benfield, Judith. “Music in Verona, c.1480–1530.” PhD diss., University of Cambridge, 1984.Google Scholar
Bent, Margaret. “The Grammar of Early Music: Preconditions for Analysis.” In Tonal Structures in Early Music, ed. Collins Judd, Cristle, 1559. New York: Garland Publishing, 1998.Google Scholar
Bent, MargaretOn False Concords in Late Fifteenth-Century Music: Yet Another Look at Tinctoris.” In Théorie et analyse musicales 1450–1650: Actes du colloque international Louvain-la-Neuve, 23–25 septembre 1999, ed. Ceulemans, Anne-Emmanuelle and Blackburn, Bonnie J, 65118. Louvain-la-Neuve: Département d’histoire de l’art et d’archéologie and Collège Érasme, 2001.Google Scholar
Bent, MargaretResfacta and Cantare Super Librum.” JAMS 36 (1983): 371–91.Google Scholar
Berger, Anna Maria Busse. Medieval Music and the Art of Memory. Berkeley: University of California Press, 2005.CrossRefGoogle Scholar
Berger, Anna Maria Busse Mensuration and Proportion Signs: Origins and Evolution. Oxford: Oxford University Press, 1993.CrossRefGoogle Scholar
Berger, Anna Maria Busse Review of A Correspondence of Renaissance Musicians by Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller. EMH 12 (1993): 191203.CrossRefGoogle Scholar
Berger, Anna Maria Busse The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries. Chicago: University of Chicago Press, 2020.CrossRefGoogle Scholar
Berger, Anna Maria Busse and Rodin, Jesse, eds. The Cambridge History of Fifteenth-Century Music [CHFCM]. Cambridge: Cambridge University Press, 2015.CrossRefGoogle Scholar
Berger, Karol. Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity. Berkeley: University of California Press, 2007.Google Scholar
Berger, KarolMusicology according to Don Giovanni, or: Should We Get Drastic?JM 22 (2005): 490501.Google Scholar
Bergsagel, John. “Tinctoris and the Vatican Manuscripts Cappella Sistina 14, 51, and 35.” In Collectanea II: Studien zur Geschichte der Päpstlichen Kapelle, ed. Janz, Bernhard, 514–23. Vatican City: Biblioteca Apostolica Vaticana, 1994.Google Scholar
Bernstein, Lawrence F. “Jean d’Ockeghem.” In CHFCM, ed. Berger and Rodin, 105–18.CrossRefGoogle Scholar
Bernstein, Lawrence F.Josquin’s Chansons as Generic Paradigms.” In Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, ed. Owens, Jessie Ann and Cummings, Anthony M, 3555. Warren, MI: Harmonie Park Press, 1997.Google Scholar
Bernstein, Lawrence F. “The Modern Reception of the Music of Jean d’Ockeghem.” In CHFCM, ed. Berger and Rodin, 811–22.CrossRefGoogle Scholar
Bernstein, Lawrence F.Ockeghem’s Ave Maria: Evidence of Structural Cogency.” In From Ciconia to Sweelinck: Donum Natalicium Willem Elders, ed. Clement, Albert and Jas, Eric, 7590. Amsterdam: Rodopi, 1994.CrossRefGoogle Scholar
Besseler, Heinrich. Bourdon und Fauxbourdon: Studien zum Ursprung der Niederländischen Musik. Leipzig: Breitkopf & Härtel, 1950.Google Scholar
Besseler, HeinrichDie Besetzung der Chansons im 15. Jahrhundert.” In Report of the Fifth Congress of the International Society for Musical Research, ed. Muziekgeschienenis, Vereiniging voor Nederlandse, 6572. Amsterdam: G. Alsbach, 1953.Google Scholar
Blachly, Alexander. “Mensuration and Tempo in 15th-Century Music: Cut Signatures in Theory and Practice.” PhD diss., Columbia University, 1995.Google Scholar
Blackburn, Bonnie J.Did Ockeghem Listen to Tinctoris?” In Johannes Ockeghem: Actes du Xle Colloque international d’études humanistes. Tours, 3–8 février, 1997, ed. Vendrix, Philippe, 597640. Paris: Klincksieck, 1998.Google Scholar
Blackburn, Bonnie J.For Whom Do the Singers Sing?EM 25 (1997): 593609.Google Scholar
Blackburn, Bonnie J.Lorenzo de’ Medici, a Lost Isaac Manuscript, and the Venetian Ambassador.” In Musica Franca: Essays in Honor of Frank A. D’Accone, ed. Alm, Irene, McLamore, Alyson, and Reardon, Colleen, 1944. Stuyvesant, NY: Pendragon Press, 1996.Google Scholar
Blackburn, Bonnie J.Music Theory and Musical Thinking after 1450.” In Music as Concept and Practice in the Late Middle Ages, ed. Strohm, Reinhard and Blackburn, Bonnie J., 301–45. Oxford: Oxford University Press, 2001.Google Scholar
Blackburn, Bonnie J.On Compositional Process in the Fifteenth Century.” JAMS 40 (1987): 210–84.Google Scholar
Blackburn, Bonnie J., Lowinsky, Edward E, and Miller, Clement A., eds. A Correspondence of Renaissance Musicians. Oxford: Clarendon Press, 1991.Google Scholar
Bloch, Gregory W.The Pathological Voice of Gilbert-Louis Duprez.” Cambridge Opera Journal 19 (2007): 11–31.CrossRefGoogle Scholar
Bloxam, M. Jennifer. “Masses Based on Polyphonic Songs and Canonic Masses.” In The Josquin Companion, ed. Sherr, Richard, 151209. Oxford: Oxford University Press, 2000.Google Scholar
Bloxam, M. Jennifer, Filocamo, Gioia, and Holford-Strevens, Leofranc, eds. Uno Gentile et Subtile Ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn. Turnhout: Brepols, 2009.CrossRefGoogle Scholar
Bokulich, Clare. “Generic Interconnectivity in Fifteenth-Century Music.” PhD diss., Stanford University, 2015.Google Scholar
Bokulich, Clare “Josquin and the Two-Voice, Three-Part Benedictus.” Paper presented at the conference Analysing Josquin: Tonal Organization, Form, Structure, Expression and Rhetoric in Josquin’s Music. University of Pavia, 18–19 November 2021.Google Scholar
Bokulich, ClareMetre and the Motetti missales.” In Motet Cycles between Devotion and Liturgy, ed. Filippi, Daniele V. and Pavanello, Agnese, 397427. Basel: Schwabe, 2018.Google Scholar
Bokulich, ClareRemaking a Motet: How and When Josquin’s Ave Maria … virgo serena Became the Ave Maria.” EMH 39 (2020): 173.CrossRefGoogle Scholar
Boone, Graeme. Patterns in Play: A Model for Text Setting in the Early French Songs of Guillaume Dufay. Lincoln: University of Nebraska Press, 1999.Google Scholar
Bowers, Roger. “Five into Four Does Go: The Vocal Scoring of Ockeghem’s Missa L’homme armé.” EM 31 (2003): 262–65.Google Scholar
Bowles, Edmund A. Musikleben im 15. Jahrhundert. Musikgeschichte in Bildern 8. Leipzig: VEB Deutscher Verlag für Musik, 1977.Google Scholar
Susan, Boynton, and Reilly, Diane J., eds. Resounding Images: Medieval Intersections of Art, Music, and Sound. Turnhout: Brepols, 2015.Google Scholar
Bradley, Samuel. “Form and Finality in the Polyphonic Agnus Dei, 1400–1550.” PhD diss., Boston University, 2024.Google Scholar
Bradley, Samuel “Order and Finality in the Agnus of La Rue’s Missa L’homme armé.” Paper presented at the annual Medieval and Renaissance Music conference. Hosted online by the University of Edinburgh, 4 July 2020.Google Scholar
Bridgman, Nanie. “On the Discography of Josquin and the Interpretation of His Music in Recordings.” In JdP, ed. Lowinsky and Blackburn, 633–41.Google Scholar
Brauner, Mitchell. “‘Polychoral’ and Early Polychoral Music in the First Half of the Sixteenth Century.” In Dal canto corale alla musica policorale: L’arte del “coro spezzato”, ed. Folegana, Lucia Boscolo and Ignesti, Alessandra, 4148. Padua: University of Padua, Fondazione Ugo e Olga Levi and Cleup, 2014.Google Scholar
Brauner, Mitchell P., Fallows, David, and Rodin, Jesse, eds. Music of the Josquin Era, 1460–1560: Studies in Honor of Joshua Rifkin [MJE]. AIM, 2024.Google Scholar
Brothers, Lester D.On Music and Meditation in the Renaissance: Contemplative Prayer and Josquin’s Miserere.” Journal of Musicological Research 12 (1992): 157–87.CrossRefGoogle Scholar
Brothers, Thomas. Chromatic Beauty in the Late Medieval Chanson: An Interpretation of Manuscript Accidentals. Cambridge: Cambridge University Press, 1997.CrossRefGoogle Scholar
Brothers, ThomasVestiges of the Isorhythmic Motet in Mass and Motet, ca. 1450–1475.” JAMS 44 (1991): 156.Google Scholar
Brown, Andrew, and Small, Graeme. Court and Civic Society in the Burgundian Low Countries, c. 1420–1530. Manchester: Manchester University Press, 2007.CrossRefGoogle Scholar
Brown, Howard Mayer. Review of “The Castle of Fair Welcome,” by Gothic Voices (Christopher Wilson, lute; directed by Christopher Page, medieval harp). Hyperion A66194. EM 15 (1987): 278.Google Scholar
Buchler, Michael, “Are There Any Bad (or Good) Transformational Analyses?Intégral 30 (2016): 4151.Google Scholar
Bukofzer, Manfred F.Caput: A Liturgico-Musical Study.” In Bukofzer, Manfred F., Studies in Medieval and Renaissance Music, 217310. New York: Norton, 1950.Google Scholar
Burmeister, Joachim. Musical Poetics [Musica poetica], trans. Benito V. Rivera. New Haven, CT: Yale University Press, 1993.Google Scholar
Burn, David J.Vom Choral zur Polyphonie: Zu Kompositionstechniken in Isaacs Messproprien.” In Heinrich Isaac, ed. Tadday, Ulrich. Special issue of Musik-Konzepte 148–49 (2010): 104–19.Google Scholar
Burstyn, Shai. “In Quest of the Period Ear.” EM 25 (1997): 692701.Google Scholar
Canguilhem, Philippe. L’improvisation polyphonique à la Renaissance. Paris: Classiques Garnier, 2015.Google Scholar
Carpenter, Patricia. “Tonal Coherence in a Motet of Dufay.” JMT 17 (1973): 264.Google Scholar
Carruthers, Mary J. The Book of Memory: A Study of Memory in Medieval Culture. Cambridge: Cambridge University Press, 1999.Google Scholar
Carruthers, Mary J.The Concept of ductus: On Journeying through a Work of Art.” In Rhetoric beyond Words: Delight and Persuasion in the Arts of the Middle Ages, ed. Carruthers, Mary J., 190213. Cambridge: Cambridge University Press, 2010.Google Scholar
Carruthers, Mary J. The Experience of Beauty in the Middle Ages. Oxford: Oxford University Press, 2013.CrossRefGoogle Scholar
Carruthers, Mary J.Varietas: A Word of Many Colors.” Poetica 41 (2009): 1132.CrossRefGoogle Scholar
Carter, Tim. “Listening to Music in Early Modern Italy: Some Problems for the Urban Musicologist.” In Hearing the City in Early Modern Europe, ed. Knighton, Tess and Mazuela-Anguita, Ascensión, 2549. Turnhout: Brepols, 2018.Google Scholar
Ceulemans, Anne-Emmanuelle. “Une étude comparative du traitement de la melodie et de la dissonance chez Ockeghem et chez Josquin Desprez.” In Johannes Ockeghem: Actes du Xle Colloque international d’études humanistes. Tours, 3–8 février, 1997, ed. Vendrix, Philippe, 707–53. Paris: Klincksieck, 1998.Google Scholar
Ceulemans, Anne-Emmanuelle, and Blackburn, Bonnie J, eds. Théorie et analyse musicales 1450–1650: Actes du colloque international Louvain-la-Neuve, 23–25 septembre 1999. Louvain-la-Neuve: Département d’histoire de l’art et d’archéologie and Collège Érasme, 2001.Google Scholar
Charles, Sydney Robinson. Josquin des Prez: A Guide to Research. New York: Garland Publishing, 1983.Google Scholar
Christensen, Thomas W. “Fragile Texts, Hidden Theory.” In Christensen, Thomas W., The Work of Music Theory: Selected Essays. Aldershot: Ashgate, 2014.Google Scholar
Christensen, Thomas W., ed. The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press, 2008.Google Scholar
[Cicero, ] [sic]. Ad C. Herennium: Libri IV: De Ratione Dicendi (Rhetorica ad Herennium), trans. Harry Caplan. London and Cambridge, MA: William Heinemann and Harvard University Press, 1954. Repr. 1964.Google Scholar
Cicero, . De Oratore in Two Volumes, trans. E. W. Sutton. London and Cambridge, MA: William Heinemann and Harvard University Press, 1967.Google Scholar
Clement, Mary Louise. “The Approach to the Cadence in High Renaissance Music.” MA thesis, University of California, Berkeley, 1945.Google Scholar
Clements, John. “Problems of Interpretation and Application in Fight Book Studies.” In Late Medieval and Early Modern Fight Books: Transmission and Tradition of Martial Arts in Europe (14th–17th Centuries), ed. Jaquet, Daniel, Verelst, Karin, and Dawson, Timothy, 189215. Leiden: Brill, 2016.CrossRefGoogle Scholar
Cohen, David. “Notes, Scales, and Modes in the Middle Ages.” In The Cambridge History of Western Music Theory, ed. Christensen, Thomas W, 307–63. Cambridge: Cambridge University Press, 2008.Google Scholar
Cook, James. The Cyclic Mass: Anglo-Continental Exchange in the Fifteenth Century. London: Routledge, 2019.CrossRefGoogle Scholar
Cook, Nicholas. Beyond the Score: Music as Performance. New York: Oxford University Press, 2013.Google Scholar
Coussemaker, E. Scriptorum de Musica Medii Aevi: Novam Seriem a Gerbertina Alteram, vol. 4. Paris: A. Durand, 1864.Google Scholar
Crocker, Richard L. Review of Edward E. Lowinsky, Tonality and Atonality in Sixteenth Century Music. JMT 6 (1962): 142–53.Google Scholar
Cullington, J. Donald and Strohm, Reinhard, eds. “That Liberal and Virtuous Art”: Three Humanist Treatises on Music. Newtownabbey: University of Ulster, 2001.Google Scholar
Cumming, Julie E.The Aesthetics of the Medieval Motet and Cantilena.” Historical Performance: The Journal of Early Music America 7 (1994): 7183.Google Scholar
Cumming, Julie E. “Canon and Cantus Firmus: Chant-Paraphrase Canons in Isaac’s Choralis Constantinus II.” In MJE, ed. Brauner, Fallows, and Rodin, 461–92.Google Scholar
Cumming, Julie E.Composing Imitative Counterpoint around a Cantus Firmus: Two Motets by Heinrich Isaac.” JM 28 (2011): 231–88.Google Scholar
Cumming, Julie E.From Variety to Repetition: The Birth of Imitative Polyphony.” Yearbook of the Alamire Foundation 6 (2008): 2144.Google Scholar
Cumming, Julie E. The Motet in the Age of Dufay. Cambridge: Cambridge University Press, 1999.Google Scholar
Cummings, Anthony M. “A Florentine Sacred Repertory from the Medici Restoration (Manuscript II. I. 232 of the Biblioteca Nazionale Centrale, Firenze).” PhD diss., Princeton University, 1979.Google Scholar
Cummings, Anthony M.The Semiotics of Ceremonial Space and Sound in Pope Leo X’s Rome.” In Firenze e la musica: Fonti, protagonisti, committenza: Scritti in ricordo di Maria Adelaide Bartoli Bacherini, ed. Bacherini, Cecilia, Sciommeri, Giacomo, and Ziino, Agostino, 137–82. Rome: Istituto Italiano per la Storia della Musica, 2014.Google Scholar
D’Accone, Frank A.Lorenzo the Magnificent and Music.” In Lorenzo il Magnifico e il suo mondo: convegno internazionale di studi (Firenze, 9–13 giugno 1992), ed. Garfagnini, Gian Carlo, 259–90. Florence: Olschki, 1994. Repr. in Music in Renaissance Florence: Studies and Documents. Aldershot: Ashgate/Variorum, 2006.Google Scholar
Dahlhaus, Carl. “On the Treatment of Dissonance in the Motets of Josquin des Prez.” In JdP, ed. Lowinsky and Blackburn, 334–44.Google Scholar
Dahlhaus, CarlWas heißt Improvisation?” In Improvisation und neue Musik: Acht Kongreßreferate, ed. Brinkmann, Reinhold, 923. Mainz: Schott, 1979.Google Scholar
Davies, James Q. “‘I Am an Essentialist’: Against the Voice Itself.” In The Voice As Something More: Essays toward Materiality, ed. Feldman, Martha and Zeitlin, Judith T, 142–70. Chicago: University of Chicago Press, 2019.Google Scholar
Davies, James Q. Romantic Anatomies of Performance. Berkeley: University of California Press, 2014.CrossRefGoogle Scholar
Day, Timothy. I Saw Eternity the Other Night: King’s College, Cambridge and an English Singing Style. London: Allen Lane/Penguin, 2018.Google Scholar
Dean, Jeffrey. De arte contrapuncti. See Tinctoris, Johannes. Complete Theoretical Works.Google Scholar
Dean, JeffreyJosquin’s Teaching: Ignored and Lost Sources.” In Uno Gentile et Subtile Ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. Bloxam, M. Jennifer, Filocamo, Gioia, and Holford-Strevens, Leofranc, 741–50. Turnhout: Brepols, 2009.Google Scholar
Dean, JeffreyListening to Sacred Polyphony c. 1500.” EM 25 (1997): 611–36.Google Scholar
Dean, JeffreyTinctoris’s L’homme armé Mass Restored.” JAF 14 (2022): 54–94.Google Scholar
Dean, Jeffrey “Tinctoris’s Reading Practice: De inventione et usu musice and His Greek Authorities.” 2020. https://earlymusictheory.org/Tinctoris/Articles/Johannes-Tinctoris-And-Music-Theory/Dean/.Google Scholar
Dean, JeffreyTowards a Restoration of Tinctoris’s L’homme armé Mass: Coherence, Mensuration, Varietas.” JAF 5 (2013): 1140.Google Scholar
DeFord, Ruth I. Tactus, Mensuration, and Rhythm in Renaissance Music. Cambridge: Cambridge University Press, 2015.CrossRefGoogle Scholar
Didi-Huberman, Georges. “Connaissance par le kaléidoscope: Morale du joujou et dialectique de l’image selon Walter Benjamin.” Études photographiques 7 (2000): 114.Google Scholar
“The Digital Image Archive of Medieval Music” (DIAMM). 1998–. www.diamm.ac.uk/.Google Scholar
Dobbins, Frank. “La varietas dans la musique de la Renaissance.” In La Varietas à la Renaissance, ed. de Courcelles, Dominique, 151–65. Paris: Publications de l’École nationale des chartes, 2001. https://doi.org/10.4000/books.enc.1089.Google Scholar
Dohrn-van Rossum, Gerhard. History of the Hour: Clocks and Modern Temporal Orders, trans. Thomas Dunlap. Chicago: University of Chicago Press, 1996. Orig. publ. as Die Geschichte der Stunde: Uhren und modern Zeitordungen. Munich: Carl Hanswer Verlag, 1992.Google Scholar
Doscher, Barbara M. The Functional Unity of the Singing Voice. Metuchen, NJ: Scarecrow Press, 1988.Google Scholar
Dressler, Gallus. Praecepta musicae poeticae [ca. 1563], ed. and trans. Robert Forgács. Urbana: University of Illinois Press, 2007.Google Scholar
Dreyfus, Laurence. Bach and the Patterns of Invention. Cambridge, MA: Harvard University Press, 1996.Google Scholar
Dubiel, Joseph. “Analysis, Description, and What Really Happens.” Music Theory Online 6, no. 3 (August 2000). Includes responses by Allen Forte and Dubiel.CrossRefGoogle Scholar
Dumitrescu, Theodor. “Reconstructing and Repositioning Regis’s Ave maria … virgo serena.” EM 37 (2009): 7388.Google Scholar
Dunsby, Jonathan. “Roland Barthes and the Grain of Panzéra’s Voice.” Journal of the Royal Musical Association 134 (2009): 113–32.CrossRefGoogle Scholar
Earp, Lawrence. Review of Boone, Patterns in Play. JAMS 54 (2001): 127–40.Google Scholar
Earp, LawrenceTexting in 15th-Century French Chansons: A Look Ahead from the 14th Century.” EM 19 (1991): 195210.Google Scholar
Edwards, Allen. Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter. New York: Norton, 1971.Google Scholar
Eitan, Zohar. Highpoints: A Study of Melodic Peaks. University Park, PA: University of Pennsylvania Press, 1997.CrossRefGoogle Scholar
Elders, Willem, and de Haen, Frits, eds. Proceedings of the International Josquin Symposium Utrecht 1986. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1991.Google Scholar
Erasmus, . On Copia of Words and Ideas, trans. Donald B. King and H. David Rix. Milwaukee: Marquette University Press, 1963.Google Scholar
Fallows, David. A Catalogue of Polyphonic Songs, 1415–1480. Oxford: Oxford University Press, 1999. Appendix: https://www.diamm.ac.uk/documents/33/fAPPENDIX.pdfGoogle Scholar
Fallows, David Dufay. London: Dent, 1982. Rev. ed. 1987.Google Scholar
Fallows, David Henry V and the Earliest English Carols: 1413–1440. Abingdon: Routledge, 2018.Google Scholar
Fallows, DavidHow to Win at the Binchois Game.” Basler Beiträge zur historischen Musikpraxis 40 (2020): 371–87.Google Scholar
Fallows, David Josquin. Turnhout: Brepols, 2009.Google Scholar
Fallows, DavidThe Last Agnus Dei: or: The Cyclic Mass, 1450–1600, as forme fixe.” In Polyphone Messen im 15. und 16. Jahrhundert: Funktion, Kontext, Symbol, ed. Ammendola, Andrea, Glowotz, Daniel, and Heidrich, Jürgen, 5363. Göttingen: V&R unipress: 2011.Google Scholar
Fallows, DavidThe Life of Johannes Regis, ca. 1425 to 1496.” Revue belge de musicologie 43 (1989): 143–72.CrossRefGoogle Scholar
Fallows, DavidLucas Wagenrieder as Annotator of Both Copies of the Trium vocum carmina (Nuremberg, 1538) and Other Music Books.” In Henricus Isaac (c.1450/5–1517): Composition, Reception, Interpretation, ed. Gasch, Stephan, Grassl, Markus, and Rabe, August Valentin, 137–51. Vienna: Hollitzer Verlag, 2019.Google Scholar
Fallows, David “The Most Popular Songs of the Fifteenth Century.” In CHFCM, ed. Berger and Rodin, 787801.CrossRefGoogle Scholar
Fallows, DavidOckeghem as a Song Composer: Hints Towards a Chronology.” In Johannes Ockeghem: Actes du Xle Colloque international d’études humanistes. Tours, 3–8 février, 1997, ed. Vendrix, Philippe, 301–16. Paris: Klincksieck, 1998.Google Scholar
Fallows, DavidPolyphonic Song.” In Companion to Medieval and Renaissance Music, ed. Knighton, Tess and Fallows, David, 123–26. Berkeley: University of California Press, 1992.Google Scholar
Fallows, DavidSpecific Information on the Ensembles for Composed Polyphony, 1400–1474.” In Studies in the Performance of Late Medieval Music, ed. Boorman, Stanley, 109–59. Cambridge: Cambridge University Press, 1983. Repr. in David Fallows, Songs and Musicians in the Fifteenth Century, no. XI. Brookfield, VT: Routledge [Variorum], 1996.Google Scholar
Fallows, DavidTwo More Dufay Songs Reconstructed.” EM 3 (1975): 358–60.Google Scholar
Fallows, David, ed. Oxford, Bodleian Library Ms. Canon. Misc. 213. Chicago: Chicago University Press, 1995.Google Scholar
Fallows, David The Songs of Guillaume Dufay: Critical Commentary to the Revision of Corpus Mensurabilis Musicae, ser. 1, VI. Neuhausen–Stuttgart: AIM, 1995.Google Scholar
Fiala, David, and Anheim, Etienne. “Les maîtrises capitulaires et l’art du contrepoint du XIVe au XVIe siècle.” Analyse Musicale 69 (2012): 13–20.Google Scholar
Ficino, Marsilio. Three Books on Life, ed. and trans. Kaske, Carol V and Clark, John R. Binghamton, NY: Medieval and Renaissance Texts and Studies, 1989.Google Scholar
Fiedler, Eric F. Die Messen des Gaspar van Weerbeke (ca. 1445–nach 1517). Tutzing: Hans Schneider, 1997.Google Scholar
Filippi, Daniele V.Formal Design and Sonic Architecture in the Roman Motet around 1570. Palestrina and Victoria.” In Estudios. Tomás Luis de Victoria. Studies, ed. Suárez-Pajares, Javier and del Sol, Manuel, 163–98. Madrid: Instituto Complutense de Ciencias Musicales, 2013.Google Scholar
Filippi, Daniele V.Sonic Styles in the Music of Victoria.” Revista de Musicología 35 (2012): 155–82.CrossRefGoogle Scholar
Finck, Hermann. Practica musica. Wittenberg: Rhau, 1556.Google Scholar
Finscher, Ludwig. Loyset Compère (c. 1450–1518): Life and Works. AIM, 1964.Google Scholar
Finscher, LudwigZum Verhältnis von Imitationstechnik und Textbehandlung im Zeitalter Josquins.” Renaissance-Studien: Helmuth Osthoff zum 80. Geburstag, ed. Finscher, Ludwig, 5772. Tutzing: Hans Schneider, 1979. Repr. in Geschichte und Geschichten: Ausgewählte Aufsätze zur Musikhistorie, ed. Hermann Danuser. Mainz: Schott, 2003, 109–22.Google Scholar
Fischer, Marilyn. “What Is an Ideal Hearing?The Journal of Aesthetic Education 24 (1990): 115–20.CrossRefGoogle Scholar
Fitch, Fabrice. “Agricola and the Rhizome: An Aesthetic of the Late Cantus Firmus Mass.” Revue belge de musicologie 59 (2005): 6592.Google Scholar
Fitch, FabriceAgricola and the Rhizome II: Contrapuntal Ramifications.” Trossinger Jahrbuch fûr Renaissancemusik 6 (2006): 1957.CrossRefGoogle Scholar
Fitch, FabriceAntoine Brumel and the Sense of Scale.” JAF 7 (2015): 1321.Google Scholar
Fitch, FabriceThe Cycle as Modular Composition: The Motetti missales of Gaspar van Weerbeke.” In Gaspar van Weerbeke: New Perspectives on His Life and Music, ed. Lindmayr-Brandl, Andrea and Kolb, Paul, 151–76. Turnhout: Brepols, 2019.Google Scholar
Fitch, Fabrice “‘For the Sake of His Honour’: Obrecht Reconsidered.” TVNM 48 (1998): 150–63.Google Scholar
Fitch, FabriceHearing John Browne’s Motets: Registral Space in the Music of the Eton Choirbook.” EM 36 (2008): 1940.Google Scholar
Fitch, Fabrice Johannes Ockeghem: Masses and Models. Paris: Champion, 1997.Google Scholar
Fitch, FabriceOn Compositional Process and the Missa Prolacionum.” TVNM 67 (2017): 83102.Google Scholar
Fitch, Fabrice Renaissance Polyphony. Cambridge: Cambridge University Press, 2020.CrossRefGoogle Scholar
Fitch, FabriceText, Music, and Mannerist Aesthetics in Agricola’s Songs.” In Die Kunst des Übergangs, ed. Nicole Schwindt. Special issue of Trossinger Jahrbuch für Renaissancemusik 7 (2008): 105–31.Google Scholar
Fitch, Fabrice “‘Under the Radar’ or ‘Caught in the Crossfire’? The Music of Gaspar van Weerbeke and Its Reception History.” In Gaspar van Weerbeke: New Perspectives on His Life and Music, ed. Lindmayr-Brandl, Andrea and Kolb, Paul, 105–21. Turnhout: Brepols, 2019.Google Scholar
Fitch, Fabrice “‘Virtual’ Ascriptions in AugsS 142: A Window on Alexander Agricola’s Late Style.” JAF 4 (2012): 114–38.Google Scholar
Freeman, Daniel E.On the Origins of the ‘Pater noster-Ave Maria’ of Josquin des Prez.” Musica Disciplina 45 (1991): 169219.Google Scholar
Freitas, Roger. “Towards a Verdian Ideal of Singing: Emancipation from Modern Orthodoxy.” Journal of the Royal Musical Association 127 (2002): 226–57.CrossRefGoogle Scholar
Fritz, Jean-Marie. La Cloche et la Lyre: Pour une poétique médiévale du paysage sonore. Geneva: Librarie Droz, 2011.Google Scholar
Fuhrmann, Wolfgang. “Another ‘Most Laudable Competition’? Gaspar, Josquin, Regis, and the Virgin in Distress.” In Gaspar van Weerbeke: New Perspectives on His Life and Music, ed. Lindmayr-Brandl, Andrea and Kolb, Paul, 177203. Turnhout: Brepols, 2019.CrossRefGoogle Scholar
Fuhrmann, Wolfgang “Josquin’s Late Style: Some (All Too) Preliminary Reflections.” In MJE, ed. Brauner, Fallows, and Rodin, 515–40.Google Scholar
Fuller, Sarah. “A Motet Conceived in Troubled Times: Machaut’s Motet 22.” In A Critical Companion to Medieval Motets, ed. Hartt, Jared C., 321–39. Woodbridge: Boydell, 2018.Google Scholar
Fuller, SarahOrganumdiscantuscontrapunctus in the Middle Ages.” In The Cambridge History of Western Music Theory, ed. Christensen, Thomas W, 477502. Cambridge: Cambridge University Press, 2008.Google Scholar
Fuller, SarahTendencies and Resolutions: The Directed Progression in ‘Ars Nova’ Music.” JMT 36 (1992): 229–58.Google Scholar
Gaffurius, Franchinus. Practica musicae. Milan, 1496.Google Scholar
Gaffurius, Franchinus Practica musicae, trans. Clement A. Miller. [Dallas, TX]: AIM, 1968.Google Scholar
Gaffurius, Franchinus Practica musicae, trans. Irwin Young. Madison: University of Wisconsin Press, 1969.Google Scholar
Gallagher, Sean. Johannes Regis. Turnhout: Brepols, 2010.Google Scholar
Gallagher, SeanMusical Quotation or Compositional Habit? The Case of Guillaume Du Fay’s En triumphant de Cruel Dueil.” In Renaissance Studies in Honor of Joseph Connors, ed. Israëls, Machtelt and Waldman, Louis A, 2 vols., 2:635–42. Florence: Villa I Tatti, 2013.Google Scholar
Israëls, Machtelt and Waldman, Louis ASyntax and Style: Rhythmic Patterns in the Music of Ockeghem and His Contemporaries.” In Johannes Ockeghem: Actes du Xle Colloque international d’études humanistes. Tours, 3–8 février, 1997, ed. Vendrix, Philippe, 681705. Paris: Klincksieck, 1998.Google Scholar
Gallagher, Sean Thomas Patrick. “Models of Varietas: Studies in Style and Attribution in the Motets of Johannes Regis and His Contemporaries.” PhD diss., Harvard University, 1998.Google Scholar
Garcia II, Manuel. A Complete Treatise on the Art of Singing, trans. Donald V. Paschke. 2 vols. Orig. publ. 1840, 1847. New York: Da Capo Press, 1975 and 1984.Google Scholar
Gasch, Stephan, Grassl, Markus, and Rabe, August Valentin, eds. Henricus Isaac (c.1450/5–1517): Composition, Reception, Interpretation. Vienna: Hollitzer Verlag, 2019.CrossRefGoogle Scholar
Giannopoulou, Vasiliki. “Divine Agency and Tyche in Euripides’ Ion: Ambiguity and Shifting Perspectives.” In Euripides and Tragic Theatre in the Late Fifth Century, ed. Cropp, Martin, Lee, Kevin, and Sansone, David, 257–71. Champaign, IL: Stipes Publishing, 2000.Google Scholar
Ginzburg, Carlo. “Clues: Roots of a Scientific Paradigm.” Theory and Society 7 (1979): 273–88.CrossRefGoogle Scholar
Glarean, Heinrich. Dodecachordon: Translation, Transcription, and Commentary, ed. Miller, Clement A.. 2 vols. AIM, 1965.Google Scholar
Glareanus, Henricus. Dodecachordon: A Facsimile of the 1547 Basel Edition. New York: Broude Brothers, 1967.Google Scholar
Glareanus, Henricus Dodekachordon. Hildesheim: Georg Olms, 1969.Google Scholar
Goldberg, Clemens. “Musik als kaleidoskopischer Raum – Zeichen, Motiv, Gestus und Symbol in Johannes Ockeghems Requiem.” In Zeichen und Strutur in der Musik der Renaissance, ed. Hortschansky, Klaus, 4764. Kassel: Bärenreiter, 1987.Google Scholar
Goldman, William, screenplay. The Princess Bride, directed by Rob Reiner and produced by William Goldman and Andrew Scheinman. Los Angeles: Janus Films, 1988.Google Scholar
Godt, Irving. “Motivic Integration in Josquin’s Motets.” JMT 21 (1977): 264–92.Google Scholar
Gossen, Nicoletta. Musik in Texten, Texte in Musik: der poetische Text als Herausforderung an die Interpreten der Musik des Mittelalters. Special issue of Basler Jahrbuch für Historische Musikpraxis. Winterthur: Amadeus, 2006.Google Scholar
Grant, Mark N. The Rise and Fall of the Broadway Musical. Boston: Northeastern University Press, 2004.Google Scholar
Griffiths, Fiona, and Starkey, Kathryn, eds. Sensory Reflections: Traces of Experience in Medieval Artifacts. Berlin: De Gruyter, 2018.CrossRefGoogle Scholar
Griffiths, John. “Architecture and Rhetoric in Music of the Age of Victoria.” In Estudios. Tomás Luis de Victoria. Studies, ed. Suárez-Pajares, Javier and de Sol, Manuel, 5569. Madrid: Instituto Complutense de Ciencias Musicales, 2013.Google Scholar
Guck, Marion A.Analysis as Interpretation: Interaction, Intentionality, Invention.” Music Theory Spectrum 28 (2006): 191209.CrossRefGoogle Scholar
Guck, Marion A.Music Loving, or the Relationship with the Piece.” JM 15 (1997): 343–52.Google Scholar
Gumbrecht, Hans Ulrich. The Production of Presence: What Meaning Cannot Convey. Stanford, CA: Stanford University Press, 2004.Google Scholar
Haar, James. “Josquin as Interpreted by a Mid-Sixteenth Century German Musician.” In Haar, James, The Science and Art of Renaissance Music, ed. Corneilson, Paul, 176–97. Princeton, NJ: Princeton University Press, 1998.CrossRefGoogle Scholar
Ham, Martin. “A Sense of Proportion: The Performance of Sesquialtera ca. 1515–ca. 1565.” Musica Disciplina 56 (2011): 79–274.Google Scholar
Hamm, Charles. “A Catalogue of Anonymous English Music in Fifteenth-Century Continental Manuscripts.” Musica Disciplina 22 (1968): 4776.Google Scholar
Hankins, James. “Humanism and Music in Italy.” In CHFCM, ed. Berger and Rodin, 231–62.CrossRefGoogle Scholar
Hannas, Ruth. “Concerning Deletions in the Polyphonic Mass Credo.” JAMS 5 (1952): 155–86.Google Scholar
Harper, John. The Forms and Orders of the Western Liturgy from the Tenth to the Eighteenth Century: A Historical Introduction for Students and Musicians. Oxford: Clarendon Press, 1991.CrossRefGoogle Scholar
Harrán, Don. Word-Tone Relations in Musical Thought from Antiquity to the Seventeenth Century. Neuhausen-Stuttgart: Hänssler, 1986.Google Scholar
Haug, Andreas. “Improvisation und Mittelalterliche Musik: 1983 bis 2008.” In Improvisatorische Praxis vom Mittelalter bis zum 18. Jahrhundert. Special issue of Basler Jahrbuch für Historische Musikpraxis 31 (2007): 2534.Google Scholar
Helley, Stacey L. “Laryngeal Height As Seen in Modern and Historical Vocal Treatises, and Instructional Literature on Historical Performance Practice.” MA thesis, University of Southern California, 2015.Google Scholar
Hepokoski, James A., and Darcy, Warren. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University Press, 2006.CrossRefGoogle Scholar
Higgins, Paula. “Music and Musicians at the Sainte-Chapelle of the Bourges Palace, 1404–1515.” In Atti del XIV congresso della società internazionale di musicologia [Bologna, Ferrara, and Parma, 1987]: Trasmissione e recezione delle forme di cultura musicale, ed. Pompilio, Angelo, Bianconi, Lorenzo, Restani, Donatella, and Gallo, F. Alberto, 689701. Turin, 1990.Google Scholar
Higgins, PaulaParisian Nobles, a Scottish Princess, and the Woman’s Voice in Late Medieval Song.” EMH 10 (1991): 145200.CrossRefGoogle Scholar
Higgins, Paula, ed. Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music. Oxford: Oxford University Press, 1998.Google Scholar
Holford-Strevens, Leofranc. “Humanism and the Language of Music Treatises.” Renaissance Studies 15 (2001): 415–49.CrossRefGoogle Scholar
Holford-Strevens, LeofrancTinctoris on the Great Composers.” Plainsong & Medieval Music 5 (1996): 193–99.CrossRefGoogle Scholar
Horace, . Satires, Epistles, Ars Poetica, trans. H. Rushton Fairclough. London and Cambridge, MA: William Heinemann and Harvard University Press, 1942.Google Scholar
Huck, Oliver. “The Music of the Angels in Fourteenth- and Early Fifteenth-Century Music.” Musica Disciplina 53 (2003–8): 99119.Google Scholar
Huhtamo, Erkki. “‘All the World’s a Kaleidoscope’: A Media Archaeological Perspective to the Incubation Era of Media Culture.” Rivista di estetica 55 (2014): 139–53.Google Scholar
Huizinga, Johan. The Autumn of the Middle Ages, trans. Rodney J. Payton and Urlich Mammitzsch. Chicago: University of Chicago Press, 1996 (orig. publ. 1919).CrossRefGoogle Scholar
Huizinga, Johan Autumntide of the Middle Ages, trans. Diane Webb, ed. Small, Graeme and van der Lem, Anton. Leiden: Leiden University Press, 2020 (orig. publ. 1919).Google Scholar
Hynes-Tawa, Liam Patrick. “How the Phrygian Final Lost Its Finality.” PhD diss., Yale University, 2020.Google Scholar
Jaquet, Daniel, ed. L’art chevaleresque du combat: Le maniement des armes à travers les livres de combat (xive–xvie siècles). Neuchâtel: Éditions Alphil-Presses universitaires suisses, 2012.Google Scholar
Jaquet, Daniel, Verelst, Karin, and Dawson, Timothy, eds. Late Medieval and Early Modern Fight Books: Transmission and Tradition of Martial Arts in Europe (14th–17th Centuries). Leiden: Brill, 2016.CrossRefGoogle Scholar
Jay, Martin. Songs of Experience: Modern American and European Variations on a Universal Theme. Berkeley: University of California Press, 2005.CrossRefGoogle Scholar
Jeppesen, Knud. Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century, trans. Glen Haydon. New York: Dover, 1992 (orig. publ. 1931).Google Scholar
Jeppesen, Knud The Style of Palestrina and the Dissonance. New York: Dover, 1970 (orig. publ. 1946).Google Scholar
Judd, Cristle Collins. “Josquin des Prez: Salve regina (à 5).” In Models of Musical Analysis: Music before 1600, ed. Everist, Mark, 114–53. Oxford: Blackwell, 1992.Google Scholar
Judd, Cristle Collins Reading Renaissance Music Theory: Hearing with the Eyes. Cambridge: Cambridge University Press, 2000.Google Scholar
Judd, Cristle CollinsRenaissance Modal Theory: Theoretical, Compositional, and Editorial Perspectives.” In The Cambridge History of Western Music Theory, ed. Christensen, Thomas W, 364–406. Cambridge: Cambridge University Press, 2008.Google Scholar
Judd, Cristle CollinsSome Problems of Pre-Baroque Analysis: An Examination of Josquin’s Ave Maria … virgo serena.” Music Analysis 4 (1985): 201–39.CrossRefGoogle Scholar
Jungmann, Joseph Andreas. The Mass of the Roman Rite: Its Origins and Development, trans. Francis A. Brunner. 2 vols. New York: Benziger Bros., 1951–55. Orig. publ. as Missarum Solemnia: Eine genetische Erklärung der römischen Messe. 2 vols. Vienna: Herder, 1948–52.Google Scholar
Kellman, Herbert, ed. The Treasury of Petrus Alamire: Music and Art in Flemish Court Manuscripts 1500–1535. Ludion: University of Chicago Press, 1999.Google Scholar
Kent, Francis William. “Heinrich Isaac’s Music in Laurentian Florence: New Documents.” In Die Lekture der Welt: Zur Theorie, Geschichte und Soziolologie kultureller Praxis. Festschrift fur Walter Veit/Worlds of Reading: On the Theory, History, and Sociology of Cultural Practice. Festschrift for Walter Veit, ed. Heinze, Helmut and Weller, Christiane, 367–71. Frankfurt: Peter Lang, 2004.Google Scholar
Kirkman, Andrew. The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival. Cambridge: Cambridge University Press, 2010.Google Scholar
Kirkman, AndrewThe Invention of the Cyclic Mass.” JAMS 54 (2001): 147.Google Scholar
Kirkman, Andrew “Sounds at the Sacrifice: Text, Music, and Meaning in the Late-Medieval Mass.” In MJE, ed. Brauner, Fallows, and Rodin, 351–67.Google Scholar
Kirkman, AndrewStructure and Meaning in the Mass: The Ordinarium Missae and Beyond.” In Motet Cycles between Devotion and Liturgy, ed. Filippi, Daniele V. and Pavanello, Agnese, 1936. Basel: Schwabe, 2018.Google Scholar
Kirkman, AndrewThe Style of Walter Frye and an Anonymous Mass in Brussels, Koninklijke Bibliotheek, Manuscript 5557.” EMH 11 (1992): 191221.CrossRefGoogle Scholar
Kirkman, Andrew The Three-Voice Mass in the Later Fifteenth and Early Sixteenth Centuries: Style, Distribution, and Case Studies. New York: Garland Publishing, 1995.Google Scholar
Kolb, Paul. “Anacruses and Opening Rests in the Leuven Chansonnier.” JAF 12 (2020): 262–77.Google Scholar
Kolb, PaulThe ‘Mass-Motet Cycle’ Revisited.” JAF 8 (2016): 197207.Google Scholar
Kostrzewski, Brett. “Josquin des Prez and Forms of the Motet, ca. 1500.” PhD diss., Boston University, 2023.Google Scholar
Kreitner, Kenneth. “Spain Discovers the Mass.” JRMA 139 (2014): 261302.Google Scholar
Kreitner, KennethVery Low Ranges in the Sacred Music of Ockeghem and Tinctoris.” EM 14 (1986): 467–79.Google Scholar
Kroesbergen, Willem, and Wentz, Jed. “Sonority in the 18th Century, un poco più forte?EM 22 (1994): 482–95.Google Scholar
Kronengold, Charles. “Accidents, Hooks, and Theory.” Popular Music 24 (2005): 381–97.CrossRefGoogle Scholar
Kronengold, Charles Living Genres in Late Modernity: American Music of the Long 1970s. Oakland: University of California Press, 2022.Google Scholar
Kuhn, Hugo. “On the Interpretation of Medieval Artistic Form,” trans. Christopher Liebtag Miller. In Spatial Practices: Medieval/Modern, ed. Stock, Markus and Vöhringer, Nicola, 253–66. Göttingen: V&R unipress, 2014. Orig. publ. 1949 as “Zur Deutung der künsterlichen Form des Mittelalters.” Studium Generale 2 (1949): 111–21.Google Scholar
La Sale, Antoine de. Jean de Saintré: A Late Medieval Education in Love and Chivalry, trans. Roberta L. Krueger and Jane H. M. Taylor. Philadelphia: University of Pennsylvania Press, 2014.CrossRefGoogle Scholar
La Sale, Antoine de Jean de Saintré: une carrière chevaleresque au XVe siècle, ed. Szkilnik, Michelle. Geneva: Droz, 2003.Google Scholar
Le Goff, Jacques. Time, Work, and Culture in the Middle Ages. Chicago: University of Chicago Press, 1980.Google Scholar
Le Guin, Elisabeth. Boccherini’s Body: An Essay in Carnal Musicology. Berkeley: University of California Press, 2006.CrossRefGoogle Scholar
Lefferts, Peter. M. “Subtilitas in the tonal language of Fumeux fume.” EM 16 (1998): 176–83.Google Scholar
Leverett, Adelyn Peck. “An Early Missa brevis in Trent Codex 91.” In Music in the German Renaissance: Sources, Styles, and Contexts, ed. Kmetz, John, 152–73. Cambridge: Cambridge University Press, 1994.Google Scholar
Levin, Robert D. Review of Berger, Bach’s Cycle, Mozart’s Arrow. JAMS 63 (2010): 658–84.Google Scholar
Levine, Caroline. Forms: Whole, Rhythm, Hierarchy, Network. Princeton, NJ: Princeton University Press, 2015.Google Scholar
Lindmayr-Brandl, Andrea, and Kolb, Paul, eds. Gaspar van Weerbeke: New Perspectives on His Life and Music. Turnhout: Brepols, 2019.CrossRefGoogle Scholar
Litterick, Louise. “Chansons for 3 and 4 Voices.” In The Josquin Companion, ed. Sherr, Richard, 335–91. Oxford: Oxford University Press, 2000.Google Scholar
Lockwood, Lewis. “Josquin at Ferrara: New Documents and Letters.” In JdP, ed. Lowinsky and Blackburn, 103–37.Google Scholar
Lockwood, LewisMonteverdi and Gombert: The Missa In illo tempore of 1610.” In De Musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper, Helmut Hucke zum 60. Geburtstag, ed. Cahn, Peter and Heimer, Ann-Katrin, 2 vols, 2:457–69. Hildesheim: Georg Olms, 1993.Google Scholar
Long, Megan Kaes. Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century. Oxford and New York: Oxford University Press, 2020.CrossRefGoogle Scholar
Long, Michael. “Hearing Josquin Hearing Busnoys.” In CHFCM, ed. Berger and Rodin, 2139.CrossRefGoogle Scholar
Long, MichaelSymbol and Ritual in Josquin’s Missa Di dadi.” JAMS 42 (1989): 1–22.Google Scholar
Lowinsky, Edward E. The Medici Codex of 1518: A Choirbook of Motets Dedicated to Lorenzo de’ Medici, Duke of Urbino. 3 vols. Chicago: University of Chicago Press, 1968.Google Scholar
Lowinsky, Edward E. Music in the Culture of the Renaissance and Other Essays, ed. Blackburn, Bonnie J. Chicago: University of Chicago Press, 1989.Google Scholar
Lowinsky, Edward E.Music of the Renaissance as Viewed by Renaissance Musicians.” In Lowinsky, Edward E., Music in the Culture of the Renaissance, ed. Blackburn, Bonnie J., 1:87105 (orig. publ. 1966). Chicago: University of Chicago Press, 1989.Google Scholar
Lowinsky, Edward E. and Blackburn, Bonnie J, eds. Josquin des Prez: Proceedings of the International Josquin Festival–Conference Held at The Juilliard School at Lincoln Center in New York City, 21–25 June 1971 [JdP]. London: Oxford University Press, 1976 [recte 1977].Google Scholar
Luko, Alexis. “Ockeghem’s ‘Aesthetic of Concealment’: Varietas and Repetition in the Missa Quinti toni.” TVNM 61 (2011): 3–24.Google Scholar
Luko, AlexisTinctoris on Varietas.” EMH 27 (2008): 99136.CrossRefGoogle Scholar
Luko, Alexis Fleur. “Unification and Varietas in the Sine nomine Mass from Dufay to Tinctoris.” PhD diss., McGill University, 2007.Google Scholar
Lütteken, Laurenz. “The Fifteenth-Century Motet.” In CHFCM, ed. Berger and Rodin, 701–18.CrossRefGoogle Scholar
Lütteken, Laurenz Music of the Renaissance: Imagination and Reality of a Cultural Practice, trans. James Steichen. Oakland: University of California Press, 2019.Google Scholar
MacCarthy, Evan A.Tinctoris and the Neapolitan Eruditi.” JAF 5 (2013): 4167.Google Scholar
Macey, Patrick. “Josquin and Musical Rhetoric: Miserere mei, Deus and Other Motets.” In The Josquin Companion, ed. Sherr, Richard, 485530. Oxford: Oxford University Press, 2000.Google Scholar
Macey, Patrick “Josquin’s Miserere: Context, Structure, and Influence.” 2 vols. PhD diss., University of California, Berkeley, 1985.Google Scholar
Magro, Agostino. “Varietas et uniformité dans la messe L’Homme armé de Guillaume Dufay.” Musurgia 7 (2000): 728.Google Scholar
Mahrt, William Peter. “Guillaume Dufay’s Chansons in the Phrygian Mode.” Studies in Music from the University of Western Ontario 5 (1980): 8198.Google Scholar
Mahrt, William Peter The Musical Shape of the Liturgy. Richmond, VA: Church Music Association of America, 2012.Google Scholar
Mak, Su Yin. “String Theory: An Ethnographic Study of a Professional Quartet in Hong Kong.” Intégral 30 (2016): 5365.Google Scholar
Manetti, Giannozzo. Oratio, ed. Battisti, Eugenio. Archivio di filosofia 2–3 (1960): 310–20. Special issue titled Umanesimo e esoterismo: Atti del V convegno internazionale di studi umanistici. Oberhofen, 16–17 settembre 1960, ed. Castelli, Enrico. Padua: CEDAM, 1960.Google Scholar
Maniates, Maria Rika. “Mannerist Composition in Franco-Flemish Polyphony.” MQ 42 (1966): 1736.Google Scholar
Martinez, Gilles. “La Fleur des guerriers: métier des armes et art martial chez Fiore dei Liberi.” In L’art chevaleresque du combat: Le maniement des armes à travers les livres de combat (xive–xvie siècles), ed. Jaquet, Daniel, 6389. Neuchâtel: Éditions Alphil-Presses universitaires suisses, 2012.Google Scholar
Maestro Martino, [of Como]. The Art of Cooking: The First Modern Cookery Book, ed. Ballerini, Luigi. trans. Jeremy Parzen. Berkeley: University of California Press, 2005.Google Scholar
Martino da Como, . Libro de arte coquinaria. www.loc.gov/item/2014660856/.Google Scholar
Maus, Fred Everett. “Music as Drama.” Music Theory Spectrum 10 (1988): 5673.CrossRefGoogle Scholar
McDonald, Grantley. “The Chapel of Maximilian I: Patronage and Mobility in a European Context.” In Henricus Isaac (c.1450/5–1517): Composition, Reception, Interpretation, ed. Gasch, Stephan, Grassl, Markus, and Rabe, August Valentin, 923. Vienna: Hollitzer Verlag, 2019.CrossRefGoogle Scholar
McGee, Timothy J.Alla battaglia: Music and Ceremony in Fifteenth-Century Florence.” JAMS 36 (1983): 287302.Google Scholar
McKinnon, James W.Fifteenth-Century Northern Book Painting and the a cappella Question: An Essay in Iconographic Method.” In Studies in the Performance of Late Medieval Music, ed. Boorman, Stanley, 117. Cambridge: Cambridge University Press, 1983.Google Scholar
McKinnon, James W.Representations of the Mass in Medieval and Renaissance Art.” JAMS 31 (1978): 2152.Google Scholar
Mémoires d’Olivier de la Marche, maître d’hôtel et capitaine des gardes de Charles le Téméraire. de France, Société de l’Histoire, ed. Beaune, Henri and D’Arbaumant, Jules. 4 vols. Paris: Libraire Renouard, 1883–88 (orig. publ. 1562).Google Scholar
Mendel, Arthur. “Towards Objective Criteria for Establishing Chronology and Authenticity: What Help Can the Computer Give?” In JdP, ed. Lowinsky and Blackburn, 297308.Google Scholar
Mengozzi, Stefano. “Does ‘Early Music’ Need a New Label?” Paper read at the annual Medieval and Renaissance music conference. Munich, 24 July 2023.Google Scholar
Mengozzi, Stefano The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History. Cambridge: Cambridge University Press, 2010.Google Scholar
Merendoni, Antonio G. G. L’arma e il cavaliere: L’arte della scherma medievale in Italia nei secoli XII–XIV. Rimini: Il Cerchio Iniziative Editoriali, 1999.Google Scholar
Meyer, Leonard B. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1954.Google Scholar
Miller, Joseph M., ed. Readings in Medieval Rhetoric. Bloomington: Indiana University Press, 1973.Google Scholar
Miller, Ronald L. “The Musical Works of Marbriano de Orto: Transcription and Commentary.” 2 vols. PhD diss., Indiana University, 1974.Google Scholar
Milsom, John. “Analyzing Josquin.” In The Josquin Companion, ed. Sherr, Richard, 431–84. Oxford: Oxford University Press, 2000.Google Scholar
Milsom, JohnAttending (to) Masses in the Long 16th Century.” EM 48 (2020): 251–57.Google Scholar
Milsom, JohnDiscerning Josquin.” EM 49 (2021 [recte 2022]): 527–51.Google Scholar
Milsom, JohnHard Composing; Hard Performing; Hard Listening.” EM 41 (2013): 108–12.Google Scholar
Milsom, JohnJosquin and the Combinative Impulse.” In The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Schmidt-Beste, Thomas, 211–46. Turnhout: Brepols, 2012.Google Scholar
Milsom, JohnPlaying with Plainchant: Seven Motet Openings by Josquin and What We Can Learn from Them.” In Josquin and the Sublime: Proceedings of the International Josquin Symposium at Roosevelt Academy, Middelburg, 12–15 July 2009, ed. Clement, Albert and Jas, Eric, 2347. Turnhout: Brepols, 2011.Google Scholar
Milsom, JohnTallis’s First and Second Thoughts.” Journal of the Royal Musical Association 113 (1988): 203–22.CrossRefGoogle Scholar
Misse tredecim quatuor vocibus. Nuremberg: Hieronymus Graphaeus, 1539. Preface by Hans Ott.Google Scholar
Mondschein, Ken. The Knightly Art of Battle. Los Angeles: Getty Publications, 2011.Google Scholar
Moretti, Franco. Graphs Maps, Trees: Abstract Models for a Literary History. London: Verso, 2005.Google Scholar
Moretti, FrancoStyle, Inc. Reflections on Seven Thousand Titles (British Novels, 1740–1850).” Critical Inquiry 36 (2009): 134–58.CrossRefGoogle Scholar
Morgan, Mary Kathleen. “Ockeghem’s Approach to Musical Process in the Three-Voice Chansons.” In Johannes Ockeghem: Actes du Xle Colloque international d’études humanistes. Tours, 3–8 février, 1997, ed. Vendrix, Philippe, 317–42. Paris: Klincksieck, 1998.Google Scholar
Morley, Thomas. Plain and Easy Introduction to Practical Music (London, 1597), ed. Harman, A. R.. London: Dent, 1952.Google Scholar
Murphy, James Jerome, ed. Three Medieval Rhetorical Arts. Berkeley: University of California Press, 1971.Google Scholar
Nosow, Robert. Ritual Meanings in the Fifteenth-Century Motet. Cambridge: Cambridge University Press, 2012.Google Scholar
Ory, Benjamin. “Gaps, Galleys, Gombert: The Biography and Reputation of a Sixteenth-Century Composer.” In MJE, ed. Brauner, Fallows, and Rodin, 6381.Google Scholar
Ory, Benjamin “The Imitation Generation.” Paper presented at the annual Medieval and Renaissance Music conference. Hosted online by the University of Edinburgh, 4 July 2020.Google Scholar
Ory, Benjamin “The Origins of a Sixteenth-Century ‘In-Between’ Generation and the Long Shadow of Early Twentieth-Century German Historiography.” PhD diss., Stanford University, 2022.Google Scholar
Osseo-Asare, Afua. “Voicing the Possible: Technique, Vocal Sound, and Black Women on the Musical Stage.” PhD diss., New York University, 2018.Google Scholar
Osthoff, Helmuth. Josquin Desprez. 2 vols. Tutzing: H. Schneider, 1962–65.Google Scholar
Ott, Johannes. See Misse tredecim quatuor vocibus.Google Scholar
Owens, Jessie Ann. Composers at Work: The Craft of Musical Composition, 1450–1600. New York: Oxford University Press, 1997.CrossRefGoogle Scholar
Owens, Jessie AnnRevisiting Isaac’s Autographs.” In Henricus Isaac (c.1450/5–1517): Composition, Reception, Interpretation, ed. Gasch, Stephan, Grassl, Markus, and Rabe, August Valentin, 2563. Vienna: Hollitzer Verlag, 2019.CrossRefGoogle Scholar
Page, Christopher. Discarding Images: Reflections on Music and Culture in Medieval France. Oxford: Clarendon Press, 1993.CrossRefGoogle Scholar
Page, ChristopherThe Performance of Songs in Late Medieval France: A New Source.” EM 10 (1982): 441–50.Google Scholar
Page, ChristopherReading and Reminiscence: Tinctoris on the Beauty of Music.” JAMS 49 (1996): 131.Google Scholar
Palisca, Claude V. Humanism in Italian Renaissance Musical Thought. New Haven, CT: Yale University Press, 1985.Google Scholar
Palisca, Claude V.Mode Ethos in the Renaissance.” In Essays in Musicology: A Tribute to Alvin Johnson, ed. Lockwood, Lewis and Roesner, Edward, 126–39. Philadelphia: American Musicological Society, 1990.Google Scholar
Palisca, Claude V.Ut Oratoria Musica: The Rhetorical Basis of Musical Mannerism.” In The Meaning of Mannerism, ed. Robinson, Franklin W and Nichols, Stephen G Jr., 3765. Hanover, NH: University Press of New England, 1972.Google Scholar
Pavanello, Agnese. “The Elevation as Liturgical Climax in Gesture and Sound: Milanese Elevation Motets in Context.” JAF 9 (2017): 3359.Google Scholar
Pavanello, Agnese, and Filippi, Daniele V, eds. Motet Cycles between Devotion and Liturgy. Basel: Schwabe, 2019.Google Scholar
Perkins, Leeman L.Josquin’s Qui habitat and the Psalm Motets.” JM 26 (2010): 512–65.Google Scholar
Perkins, Leeman L., and Garey, Howard, eds. The Mellon Chansonnier. 2 vols. New Haven, CT: Yale University Press, 1979.Google Scholar
Peter of Celle, . “On Affliction and Reading.” In Peter of Celle: Selected Works, trans. Hugh Feiss, 131–41. Kalamazoo, MI: Cistercian Publications, 1987.Google Scholar
Pfisterer, Andreas. “Imitationstechniken bei Isaac.” In Heinrich Isaac, ed. Tadday, Ulrich. Special issue of Musik-Konzepte 148–49 (2010): 89103.Google Scholar
Pirro, Andre, trans. Gustave Reese. “Leo X and Music.” MQ 21 (1935): 1–16.Google Scholar
Pirrotta, Nino. “Music and Cultural Tendencies in Fifteenth-Century Italy.” In Pirrotta, Nino, Music and Culture in Italy from the Middle Ages to the Baroque, 80112. Cambridge, MA: Harvard University Press, 1984. Orig. publ. in JAMS 19 (1966): 127–61.CrossRefGoogle Scholar
Planchart, Alejandro Enrique. “Fifteenth-Century Masses: Notes on Chronology and Performance.” Studi Musicali 10 (1981): 329.Google Scholar
Planchart, Alejandro Enrique Guillaume Du Fay: The Life and Works. Cambridge: Cambridge University Press, 2018.Google Scholar
Planchart, Alejandro EnriqueMasses on Plainsong Cantus Firmi.” In The Josquin Companion, ed. Sherr, Richard, 89150. Oxford: Oxford University Press, 2000.Google Scholar
Planchart, Alejandro EnriqueParts with Words and without Words: The Evidence for Multiple Texts in Fifteenth-Century Masses.” In Studies in the Performance of Late Medieval Music, ed. Boorman, Stanley, 237–42. Cambridge: Cambridge University Press, 1983.Google Scholar
Planchart, Alejandro EnriqueThe Relative Speed of ‘Tempora’ in the Period of Dufay.” Royal Music Association Research Chronicle 17 (1981): 3351.CrossRefGoogle Scholar
Poliano, Angelo. Letters: Volume I, Books I–IV, ed. and trans. Butler, Shane. Cambridge, MA: Harvard University Press, 2006.Google Scholar
Polk, Keith. “Heinrich Isaac and Innovations in Musical Style ca. 1490.” In Sleuthing the Muse: Essays in Honor of William F. Prizer, ed. Forney, Kristine K. and Smith, Jeremy L, 349–64. Hillsdale, NY: Pendragon Press, 2012.Google Scholar
Potter, John. Vocal Authority: Singing Style and Ideology. Cambridge: Cambridge University Press, 1998.CrossRefGoogle Scholar
Potter, Sarah. “Changing Vocal Style and Technique in Britain during the Long Nineteenth Century.” PhD diss., University of Leeds, 2014.Google Scholar
Powers, Harold. “Is Mode Real? Pietro Aron, the Octenary System, and Polyphony.” Basler Jahrbuch 16 (1992): 953.Google Scholar
Quinn, Ian. “Minimal Challenges: Process Music and the Uses of Formalist Analysis.” Contemporary Music Review 25 (2006): 283–95.CrossRefGoogle Scholar
Rabe, August Valentin. “‘Singing into the Organ’: On the Use of the Organ in Alternatim Performance in Henricus Isaac’s Time.” In Henricus Isaac (c.1450/5–1517): Composition, Reception, Interpretation, ed. Gasch, Stephan, Grassl, Markus, and Rabe, August Valentin, 267304. Vienna: Hollitzer Verlag, 2019.CrossRefGoogle Scholar
Raffman, Diana. “Does Music Mean What It Cannot Say?” In Raffman, Diana, Language, Music, and Mind, 3862. Cambridge, MA: The MIT Press, 1993.CrossRefGoogle Scholar
Randel, Don Michael. “Dufay the Reader.” In Music and Language, 3878. New York: Broude Bros., 1983.Google Scholar
Ravens, Simon. The Supernatural Voice: A History of High Male Singing. Woodbridge: The Boydell Press, 2014.CrossRefGoogle Scholar
Reaney, Gilbert. “The Ballades, Rondeaux, and Virelais of Guillaume de Machaut: Melody, Rhythm, and Form.” Acta Musicologica 27 (1955): 4058.CrossRefGoogle Scholar
Rees, Owen. “Adventures of Portuguese ‘Ancient Music’ in Oxford, London, and Paris: Duarte Lobo’s ‘Liber Missarum’ and Musical Antiquarianism, 1650–1850.” ML 86 (2005): 4273.Google Scholar
Reese, Gustave. Music in the Renaissance. New York: Norton, 1954. Rev. ed. 1959.Google Scholar
Reuland, Jamie. Music and the Making of Medieval Venice. Cambridge: Cambridge University Press, 2023.CrossRefGoogle Scholar
Reuland, JamieOpen Form and Canonic Matter in Trecento Song.” New Medieval Literatures 19 (2019): 120–50.Google Scholar
Reuland, Jamie “A Voice in the Cow Stall: Aesthetic Creatures of the Renaissance.” Modern Philology. Forthcoming.Google Scholar
Reynolds, Christopher. “Musical Evidence of Compositional Planning in the Renaissance: Josquin’s Plus nulz regretz.” JAMS 40 (1987): 5381.Google Scholar
Richardson, Carol M., Woods, Kim W., and Franklin, Michael W, eds. Renaissance Art Reconsidered: An Anthology of Primary Sources. Malden, MA: Blackwell, 2007.Google Scholar
Rifkin, Joshua. “A Black Hole? Problems in the Motet around 1500.” In The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Schmidt-Beste, Thomas, 2182. Turnhout: Brepols, 2012.Google Scholar
Rifkin, JoshuaBusnoys and Italy: The Evidence of Two Songs.” In Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, ed. Higgins, Paula, 505–71. Oxford: Oxford University Press, 1998.Google Scholar
Rifkin, JoshuaCompere, ‘Des Pres,’ and the Choirmasters of Cambrai: Omnium bonorum plena Reconsidered.” Acta musicologica 81 (2009): 5573.Google Scholar
Rifkin, JoshuaInside – and Outside – Illibata: Composition, Context, and Chronology in a Famous Josquin Motet.” EM 49 (2021 [recte 2022]): 499525.Google Scholar
Rifkin, Joshua “Josquin and Ambiguity: Seven Openings (and sometimes a bit of what follows).” Paper read at the international online conference Analysing Josquin: Tonal Organization, Form, Structure, Expression and Rhetoric in Josquin’s Music. University of Pavia, 18–19 November 2021.Google Scholar
Rifkin, Joshua “Josquin’s Chansons for Five Voices: Problems of Authenticity and Style.” Unpublished paper.Google Scholar
Rifkin, Joshua “Masses and Evidence: Petrucci’s Josquin.” Unpublished paper.Google Scholar
Rifkin, JoshuaMein Josquin: Vier Stellen, die mich in Staunen versetzen.” Die Tonkunst 15 (2021): 39.Google Scholar
Rifkin, JoshuaMiracles, Motivicity, and Mannerism: Adrian Willaert’s Videns Dominus flentes sorores Lazari and Some Aspects of Motet Composition in the 1520s.” In Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Pesce, Dolores, 243–64. Oxford: Oxford University Press, 1997.Google Scholar
Rifkin, JoshuaMotivik – Konstruktion – Humanismus: Zur Motette Huc me sydereo von Josquin des Prez.” In Die Motette: Beitrage zu ihrer Gattungsgeschichte, ed. Schneider, Herbert with Winkler, Heinz-Jürgen, 105–34. Mainz: Schott, 1992.Google Scholar
Rifkin, Joshua Review of The New Grove Dictionary of Music and Musicians, ed. Sadie, Stanley. JAMS 35 (1982): 182–99.Google Scholar
Rifkin, JoshuaA Scriptor, a Singer, and a Mother Superior: Another Story about MS DCCLXI of the Biblioteca Capitolare in Verona.” In Uno Gentile et Subtile Ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. Bloxam, M. Jennifer, Filocamo, Gioia, and Holford-Strevens, Leofranc, 309–17. Turnhout: Brepols, 2009.Google Scholar
Rodin, Jesse. “The Ballade as Formal Playground, with a Postscript on ‘Improvisation’ and ‘Composition’.” Rivista di Analisi e Teoria Musicale 23 (2017 [recte: 2018]): 195215.Google Scholar
Rodin, Jesse “Finding Josquin among the Nymphs: Style and Technique in a Lament for Okeghem.” Forthcoming.Google Scholar
Rodin, JesseFinishing Josquin’s ‘Unfinished’ Mass: A Case of Stylistic Imitation in the Cappella Sistina.” JM 22 (2005): 412–53.Google Scholar
Rodin, JesseForm and Experience in Fifteenth-Century Music: Problems, Fallacies, New Directions.” JAF 8 (2016): 277–94.Google Scholar
Rodin, JesseInterpretare Josquin nel 2021: un nuovo approccio” / “Performing Josquin in 2021: A New Approach.” Polifonie: storia e teoria della coralità 8 (2020 [recte: 2022]): 141–55, 303–15.Google Scholar
Rodin, JesseThe Josquin Canon at 500, with an Appendix Produced in Collaboration with Joshua Rifkin.” EM 49 (2021 [recte 2022]): 473–97.Google Scholar
Rodin, JesseA Josquin Substitution.” EM 35 (2006): 249–57.Google Scholar
Rodin, Jesse Josquin’s Rome: Hearing and Composing in the Sistine Chapel. Oxford: Oxford University Press, 2012.CrossRefGoogle Scholar
Rodin, JesseA ‘Most Laudable Competition?’ Hearing and Composing the Beata Virgine Masses of Josquin and Brumel.” TVNM 60 (2009): 324.Google Scholar
Rodin, Jesse “Okeghem the Conventional.” Paper read at the annual meeting of the American Musicological Society in San Antonio, November 2018.Google Scholar
Rodin, JessePeaks, Valleys, and Form in Ockeghem’s Sacred Music.” In “Qui musicam in se habet”: Essays in Honor of Alejandro Enrique Planchart, ed. Boorman, Stanley, Blackburn, Bonnie J., and Zayaruznaya, Anna, 781804. AIM, 2015.Google Scholar
Rodin, Jesse “The Pervading Myth of Pervasive Imitation.” Paper presented at Stanford University, 5 March 2007.Google Scholar
Rodin, JesseSearching the Notes – All of Them: The Josquin Research Project.” In The Oxford Handbook of Music and Corpus Studies, ed. Shanahan, Daniel T, Burgoyne, John Ashley, and Quinn, Ian. Oxford University Press, published online April 2022; print edition forthcoming.Google Scholar
Rodin, Jesse “Some Josquin We Would Rather Forget.” In MJE, ed. Brauner, Fallows, and Rodin, 597662.Google Scholar
Rodin, JesseThe Songbook as Sensory Artifact.” In Sensory Reflections: Traces of Experience in Medieval Artifacts, ed. Griffiths, Fiona, and Starkey, Kathryn, 2249. Berlin: De Gruyter, 2018.CrossRefGoogle Scholar
Rodin, JesseTaking the Measure of Josquin.” Die Tonkunst 15 (2021): 1028.Google Scholar
Rodin, Jesse “To Make More Folks Dig It, Sing It Like They Sang It.” Paper presented at “Pathways in Early Music Conference: From HIP to HIP (Historically Inclusive Performance).” University of California, Los Angeles, 17–18 November 2023.Google Scholar
Rodin, Jesse “‘When in Rome … ’: What Josquin Learned in the Sistine Chapel.” JAMS 62 (2008): 307–72.Google Scholar
Rodin, JesseWith a Flourish: Melismatic Writing in Du Fay’s Early Songs.” In Essays on Renaissance Music in Honour of David Fallows: Bon jour, bon mois, et bonne estrenne, ed. Fitch, Fabrice and Kiel, Jacobijn, 114–23. Woodbridge: Boydell Press, 2011.Google Scholar
Roesner, Edward. “Notre Dame.” In The Cambridge History of Medieval Music, ed. Everist, Mark and Kelly, Thomas Forrest, 834–80. Cambridge: Cambridge University Press, 2018.Google Scholar
Roth, Adalbert. “Die Entstehung des ältesten Chorbuches mit polyphoner Musik der päpstlichen Kapelle: Città del Vaticano, Biblioteca Apostolica Vaticana, Fondo Cappella Sistina, Ms. 35.” In Gestalt und Entstehung musikalischer Quellen im und Jahrhundert, ed. Staehelin, Martin, 4363. Wiesbaden: Harrassowitz, 1998.Google Scholar
Rothenberg, David J. The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music. New York: Oxford University Press, 2011.Google Scholar
Scott, Joan W.Experience.” In Feminists Theorize the Political, ed. Butler, Judith and Scott, Joan W, 2240. New York: Routledge, 1992.Google Scholar
Schiltz, Katelijne, with Blackburn, Bonnie J.. Music and Riddle Culture in the Renaissance. Cambridge: Cambridge University Press, 2015.CrossRefGoogle Scholar
Schlagel, Stephanie P.A Credible (Mis)attribution to Josquin in Hans Ott’s Novum et insigne opus musicum: Contemporary Perceptions, Modern Conceptions, and the Case of Veni sancte Spiritus.” TVNM 56 (2006): 97126.Google Scholar
Schmalfeldt, Janet. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. New York: Oxford University Press, 2011.Google Scholar
Schmidt, Thomas. “Who Sees, Who Hears? On Spaces, Singers, and Books in Late-Medieval Church Music.” In MJE, ed. Brauner, Fallows, and Rodin, 369–90.Google Scholar
Schmidt-Beste, Thomas, ed. The Motet around 1500: On the Relationship of Imitation and Text Treatment? Turnhout: Brepols, 2012.Google Scholar
Schubert, Peter. “Counterpoint Pedagogy in the Renaissance.” In The Cambridge History of Western Music Theory, ed. Christensen, Thomas W, 504–33. Cambridge: Cambridge University Press, 2008.Google Scholar
Scully, Terrence. The Viandier of Taillevent: An Edition of All Extant Manuscripts. Ottawa: University of Ottawa Press, 1997.Google Scholar
Shephard, Tim, Ștefănescu, Laura, and Sessini, Serenlla. “Music, Silence, and the Senses in a Late Fifteenth-Century Book of Hours.” Renaissance Quarterly 70 (2017): 474512.CrossRefGoogle Scholar
Sherr, Richard. “Competence and Incompetence in the Papal Choir in the Age of Palestrina.” EM 22 (1994): 606–29.Google Scholar
Sherr, Richard “Faugues under the Microscope: A Theory Founders on the Shoals of Rifkin.” In MJE, ed. Brauner, Fallows, and Rodin, 115–64.Google Scholar
Sherr, RichardIllibata Dei virgo nutrix and Josquin’s Roman Style.” JAMS 41 (1988): 434–64.Google Scholar
Sherr, RichardThe Performance of Chant in the Renaissance and Its Interactions with Polyphony.” In Plainsong in the Age of Polyphony, ed. Kelly, Thomas Forrest, 178208. Cambridge: Cambridge University Press, 1992.Google Scholar
Sherr, RichardThe Performance of Josquin’s L’homme armé Masses.” EM 19 (1991): 261–68.Google Scholar
Sherr, RichardThoughts on Ockeghem’s Missa De plus en plus: Anxiety and Proportion in the Late 15th Century.” EM 38 (2010): 335–46.Google Scholar
Sherr, RichardThoughts on Some of the Masses in Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 14 and Its Concordant Sources (or, Things Bonnie Won’t Let Me Publish).” In Uno Gentile et Subtile Ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. Bloxam, M. Jennifer, Filocamo, Gioia, and Holford-Strevens, Leofranc, 319–33. Turnhout: Brepols, 2009.Google Scholar
Sherr, Richard, ed. The Josquin Companion. Oxford: Oxford University Press, 2000.Google Scholar
Slavin, Dennis. “The Binchois Game: Tonal Coherence and Compositional Style.” In Binchois Studies, ed. Kirkman, Andrew, 163–80. Oxford: Oxford University Press, 2000.Google Scholar
Slavin, DennisSome Distinctive Features of Songs by Binchois: Cadential Voice-Leading and the Articulation of Form. JM 10 (1992): 342–61.Google Scholar
Smith, Christine, and O’Connor, Joseph F.. Building the Kingdom: Giannozzo Manetti on the Material and Spiritual Edifice. Turnhout: Brepols, 2006.Google Scholar
Smith, Mark M.Producing Sense, Consuming Sense, Making Sense: Perils and Prospects for Sensory History.” Journal of Social History 40 (2007): 841–58.CrossRefGoogle Scholar
Smith, William A., ed. and trans. Fifteenth-Century Dance and Music: Twelve Transcribed Italian Treatises and Collections in the Tradition of Domenico da Piacenza. 2 vols. Stuyvesant, NY: Pendragon, 1995.Google Scholar
Sparks, Edgar H. Cantus Firmus in Mass and Motet 1420–1520. Berkeley: University of California Press, 1963.Google Scholar
Staehelin, Martin. Die Messen Heinrich Isaacs. 3 vols. Bern: Schweizerischen Musikforschenden Gesellschaft, 1977.Google Scholar
Stark, James. Bel Canto: A History of Vocal Pedagogy. Toronto: University of Toronto Press, 2003.Google Scholar
Steele, Timothy. “The Latin Psalm Motet, ca. 1460–1520: Aspects of the Emergence of a New Motet Type.” PhD diss., University of Chicago, 1993.Google Scholar
Stephan, Wolfgang. Die burgundisch-niederländische Motette zur Zeit Ockeghems. Kassel: Bärenreiter, 1973 (orig. publ. 1937).Google Scholar
Strohm, Reinhard. “Fifteenth-Century Humanism and Music outside Italy.” In CHFCM, ed. Berger and Rodin, 263–80.CrossRefGoogle Scholar
Strohm, ReinhardHow to Make Medieval Music Our Own: A Response to Christopher Page and Margaret Bent.” EM 22 (1994): 715–19.Google Scholar
Strohm, Reinhard Music in Late Medieval Bruges. New York: Oxford University Press, 1985; rev. ed. 1990.Google Scholar
Strohm, Reinhard Review of Andrew Kirkman, The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival. EMH 30 (2011): 261–70.Google Scholar
Strohm, Reinhard Review of Jacob Obrecht. Collected Works 7, ed. Barton Hudson. Notes 47 (1990): 552–54.Google Scholar
Strohm, Reinhard The Rise of European Music. Cambridge: Cambridge University Press, 1993.Google Scholar
Swinkin, Jeffrey. Performative Analysis: Reimagining Music Theory for Performance. Rochester, NY: University of Rochester Press, 2016.CrossRefGoogle Scholar
Symes, Carol. “The Medieval Archive and the History of Theatre: Assessing the Written and Unwritten Evidence for Premodern Performance.” Theatre Survey 52 (2011): 2958.CrossRefGoogle Scholar
Symes, CarolThe Tragedy of the Middle Ages.” In Beyond the Fifth Century: Interactions with Greek Tragedy from the Fourth Century BCE to the Middle Ages, ed. Gildenhard, Ingo and Revermann, Martin, 335–69. Berlin: De Gruyter, 2010.Google Scholar
Taccola, Mariano. L’art de la guerre: machines et stratagèmes de Taccola, ingénieur de la Renaissance. Paris: Gallimard 1992.Google Scholar
Talhoffer, Hans. Medieval Combat: A Fifteenth-Century Manual of Swordfighting and Close-Quarter Combat, trans. Mark Rector. London: Greenhill Books, 2000. Repr. 2014.Google Scholar
Tallon, Andrew. “Acoustics at the Intersection of Architecture and Music: The Caveau Phonocamptique of Noyon Cathedral.” Journal of the Society of Architectural Historians 75 (2016): 263–80.CrossRefGoogle Scholar
Tanay, Dorit. Noting Music, Marking Culture: The Intellectual Context of Rhythmic Notation, 1250–1400. Holzgerlingen: AIM and Hänssler, 1999.Google Scholar
Taruskin, Richard. Text and Act: Essays on Music and Performance. New York: Oxford University Press, 1995.Google Scholar
Thesaurus Musicarum Latinarum (TML). http://www.chmtl.indiana.edu/tmlGoogle Scholar
Tinctoris, Johannes. The Art of Counterpoint (Liber de arte contrapuncti), trans. and ed. Seay, Albert. [Rome]: AIM, 1961.Google Scholar
Tinctoris, Johannes Complete Theoretical Works, ed. Woodley, Ronald and Dean, Jeffrey, with Lewis, David. 2013–. http://earlymusictheory.org/Tinctoris.Google Scholar
Tinctoris, JohannesComplexus effectuum musices.” In “That Liberal and Virtuous Art”: Three Humanist Treatises on Music, trans. and ed. Cullington, J. Donald, 5886. Newtownabbey: University of Ulster, 2001.Google Scholar
Tinctoris, Johannes Concerning the Nature and Propriety of Tones, trans Seay, Albert. Colorado Springs: Colorado College Music Press, 1967.Google Scholar
Seay, Albert Dictionary of Musical Terms: An English Translation of the Terminorum musicae diffinitorium Together with the Latin Text, trans. Carl Parish. London: Collier-Macmillan, 1963.Google Scholar
Seay, Albert Proportionale musices: Liber de arte contrapuncti, trans. Gianluca d’Agostino. Florence: Fondazione Ezio Franceschini, 2012. See also under Woodley, below.Google Scholar
Seay, Albert Terminorum musicae diffinitorium, trans. and annotated by Carl Parrish. New York: The Free Press of Glencoe, 1963.Google Scholar
Torrence, Isabelle. “In the Footprints of Aeschylus: Recognition, Allusion, and Metapoetics in Euripides.” Journal of Philology 132 (2011): 177204.Google Scholar
Tovey, Donald Frances. Essays in Musical Analysis. 7 vols. London: Oxford University Press, 1981. Orig. publ. 1935–39 (vols. 1–6) and 1944 (vol. 7).Google Scholar
Trachtenberg, Marvin. Building-in-Time: From Giotto to Alberti and Modern Oblivion. New Haven, CT: Yale University Press, 2010.Google Scholar
Treitler, Leo. “Speaking of the I-Word.” Archiv für Musikwissenschaft 72 (2015): 118.CrossRefGoogle Scholar
Treitler, LeoTone System in the Secular Works of Guillaume Dufay.” JAMS 18 (1965): 131–69.Google Scholar
Tuan, Eric. “Beyond the Cadence: Post-Cadential Extensions in Ockeghem’s Sacred Music.” Unpublished paper.Google Scholar
Turner, Charles. “Proportion and Form in the Continental Isorhythmic Motet c. 1385–1450.Music Analysis 10 (1991): 89124.CrossRefGoogle Scholar
Uberti, Mauro. “Vocal Techniques in Italy in the Second Half of the 16th Century.” EM 9 (1981): 486–95.Google Scholar
Upton, Randell Elizabeth. Music and Performance in the Later Middle Ages. New York: Palgrave Macmillan, 2013.CrossRefGoogle Scholar
Urquhart, Peter. “Appendix B: Discography.” In The Josquin Companion, ed. Sherr, Richard, 597639. Oxford: Oxford University Press, 2000.Google Scholar
Urquhart, Peter Sound and Sense in Franco-Flemish Music of the Renaissance: Sharps, Flats, and the Problem of Musica Ficta. Leuven: Peeters, 2021.CrossRefGoogle Scholar
Vadi, Filippo. L’arte cavalleresca del combattimento, ed. Rubboli, Marco and Cesari, Luca. Rimini: Il Cerchio Iniziative Editoriali, 2001.Google Scholar
Van Eck, Caroline. “Giannozzo Manetti on Architecture: The Oratio de secularibus et pontificalibus pompis in consecratione basilicae Florentinae of 1436.” Renaissance Studies 12 (1998): 449–75.Google Scholar
van der Velden, Hugo. “Petrus Christus’s Our Lady of the Dry Tree.” Journal of the Warburg and Courtauld Institutes 60 (1997): 89110.CrossRefGoogle Scholar
Varwig, Bettina. Music in the Flesh: An Early Modern Musical Physiology. Chicago: University of Chicago, 2023.CrossRefGoogle Scholar
Varwig, BettinaOne More Time: J. S. Bach and Seventeenth-Century Traditions of Rhetoric.” Eighteenth-Century Music 5 (2018): 179208.CrossRefGoogle Scholar
Vendrix, Philippe. “Music and Model in the Renaissance.” In Music and Mathematics in Late Medieval and Early Modern Europe, ed. Vendrix, Philippe, 922. Turnhout: Brepols, 2008.Google Scholar
Vendrix, Philippe, ed. Johannes Ockeghem: Actes du Xle Colloque international d’études humanistes. Tours, 3–8 février, 1997. Paris: Klincksieck, 1998.Google Scholar
da Vinci [sic], Leonardo. Trattato della pittura, ed. Camesasca, Ettore. Vicenza: N. Pozza, 2000.Google Scholar
Wagner, Peter. Geschichte der Messe. Leipzig: Breitkopf & Härtel, 1913.Google Scholar
Warren, Charles W.Brunelleschi’s Dome and Dufay’s Motet.” MQ 59 (1973): 92105.Google Scholar
Watson, William. “The Other Missa Prolationum.” JM 37 (2020): 267304.Google Scholar
Wegman, Rob C.The Anonymous Mass D’ung aultre amer: A Late Fifteenth-Century Experiment.” MQ 74 (1990): 566–94.Google Scholar
Wegman, Rob C. Born for the Muses: The Life and Masses of Jacob Obrecht. Oxford: Clarendon Press, 1994.CrossRefGoogle Scholar
Wegman, Rob C.Compositional Process in the Fifteenth-Century Motet.” In The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Schmidt-Beste, Thomas, 175–95. Turnhout: Brepols, 2012.Google Scholar
Wegman, Rob C. The Crisis of Music in Early Modern Europe 1470–1530. New York: Routledge, 2005.CrossRefGoogle Scholar
Wegman, Rob C.Different Strokes for Different Folks? On Tempo and Diminution in Fifteenth-Century Music.” JAMS 53 (2000): 461505.Google Scholar
Wegman, Rob C.Guillaume Faugues and the Anonymous Masses Au chant de l’alouete and Vinnus vina.” TVNM 41 (1991): 2764.Google Scholar
Wegman, Rob C.Johannes Tinctoris and the Art of Listening.” In Recevez ce mien petit labeur: Studies in Renaissance Music in Honour of Ignace Bossuyt, ed. Delaere, Mark and Bergé, Pieter, 277–96. Leuven: Leuven University Press, 2008.Google Scholar
Wegman, Rob C.Johannes Tinctoris and the New Art.” ML 84 (2003): 171–88.Google Scholar
Wegman, Rob C. “The Missa L’ardant desir” [reply to Richard Taruskin]. ML 4 (1990): 631–35.Google Scholar
Wegman, Rob C.Musical Understanding in the Fifteenth Century.” EM 30 (2002): 4766.Google Scholar
Wegman, Rob C.Reviewing Images.” ML 76 (1995): 265–73.Google Scholar
Wegman, Rob C.Sense and Sensibility in Late-Medieval Music: Thoughts on Aesthetics and ‘Authenticity’.” EM 23 (1995): 299312.Google Scholar
Wegman, Rob C.Tinctoris’s Magnum opus.” In Uno Gentile et Subtile Ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. Bloxam, M. Jennifer, Filocamo, Gioia, and Holford-Strevens, Leofranc, 771–82. Turnhout: Brepols, 2009.Google Scholar
Wegman, Rob C.What Is ‘Acceleratio Mensurae’?ML 73 (1992): 515–24.Google Scholar
Wegman, Rob C.What Is Counterpoint?” In Wegman, Rob C., Menke, Johannes, and Schubert, Peter. Improvising Early Music: The History of Musical Improvisation from the Late Middle Ages to the Early Baroque, ed. Moelants, Dirk, 968. Leuven: Leuven University Press, 2014.CrossRefGoogle Scholar
Whittaker, Adam. “Musical Exemplarity in the Notational Treatises of Johannes Tinctoris (c. 1435–1511).” PhD diss., Birmingham City University, 2015.Google Scholar
Whittaker, AdamTinctoris and Signa Congruentiae: A New Perspective.” EMH 38 (2019): 269303.CrossRefGoogle Scholar
Wickham, Edward. “Finding Closure: Performance Issues in the Agnus Dei of Ockeghem’s Missa L’homme armé.” EM 30 (2002): 593607.Google Scholar
Williamson, Beth. “Sensory Experience in Medieval Devotion: Sound and Vision, Invisibility and Silence.” Speculum 88 (2013): 143.CrossRefGoogle Scholar
Wilson, Blake. “Heinrich Isaac among the Florentines.” JM 23 (2006): 97152.Google Scholar
Wilson, BlakeIsaac the Teacher: Pedagogy and Literacy in Florence, ca. 1488.” In Music Education in the Middle Ages and the Renaissance, ed. Murray, Russell E Jr., Forscher Weiss, Susan, and Cyrus, Cynthia J, 287302. Bloomington: Indiana University Press, 2010.Google Scholar
Wilson, Blake McDowell. “Music and Merchants: The Laudesi Companies of Republican Florence, ca. 1270–1494.” PhD diss., Indiana University, 1987.Google Scholar
Woodley, Ronald. “Did Tinctoris Listen to Okeghem? Questions of Textuality and Authority in the Late Fifteenth Century.” Paper presented at the 40th International Congress on Medieval Studies at the University of Western Michigan, Kalamazoo, MI, May 2005. See http://www.stoa.org/tinctoris/tinctoris.htmlGoogle Scholar
Woodley, RonaldIoannes Tinctoris: A Review of the Documentary Bibliographic Evidence.” JAMS 34 (1981): 217–48.Google Scholar
Woodley, Ronald “The Proportionale musices of Iohannes Tinctoris: A Critical Edition, Translation, and Study.” PhD diss., Oxford University, 1982.Google Scholar
Woodley, RonaldRenaissance Music Theory as Literature: On Reading the Proportionale Musices of Iohannes Tinctoris.” Renaissance Studies 1 (1987): 209–20.CrossRefGoogle Scholar
Woodley, RonaldTinctoris’s Italian Translation of the Golden Fleece Statutes: A Text and a (Possible) Context.” EMH 8 (1988): 173244.CrossRefGoogle Scholar
Wolfson, S. J.Form.” In Encyclopedia of Poetry and Poetics, ed. Greene, Roland, 497–99. Princeton, NJ: Princeton University Press, 2001.Google Scholar
Wright, Craig. “Dufay’s Nuper rosarum flores, King Solomon’s Temple, and the Veneration of the Virgin.” JAMS 47 (1994): 395441.Google Scholar
Wright, Craig Music and Ceremony at Notre Dame of Paris, 500–1550. Cambridge: Cambridge University Press, 1989.Google Scholar
Žak, Sabine. “Der Quellenwert von Giannozzo Manettis Oratio über die Domweihe von Florenz 1436 für die Musikgeschichte.” Die Musikforschung 40 (1987): 232.CrossRefGoogle Scholar
Zanovello, Giovanni. “Heinrich Isaac, the Mass Misericordias domini, and Music in Late-Fifteenth-Century Florence.” PhD diss., Princeton University, 2005.Google Scholar
‘In the Church and in the Chapel’: Music and Devotional Spaces in the Florentine Church of Santissima Annunziata.” JAMS 67 (2014): 379428.Google Scholar
Zarlino, Gioseffo. Le istitutioni harmoniche. Venice: Franceschi, 1558. Facs. New York: Broude, 1965.Google Scholar
Zayaruznaya, Anna. “Intelligibility Redux: Motets and the Modern Medieval Sound.” Music Theory Online 23, no. 2 (2017).CrossRefGoogle Scholar
Zayaruznaya, Anna The Monstrous New Art: Divided Forms in the Late Medieval Motet. Cambridge: Cambridge University Press, 2015.CrossRefGoogle Scholar
Zazulia, Emily. “Composing in Theory: Busnoys, Tinctoris, and the L’homme armé Tradition.” JAMS 71 (2018): 173.Google Scholar
Zazulia, Emily “The Fifteenth-Century Song Mass: Some Challenges.” Paper presented via Zoom as part of the All Souls Seminars, 9 March 2023.Google Scholar
Zazulia, EmilyOut of Proportion: Nuper rosarum flores and the Danger of False Exceptionalism.” JM 36 (2019): 131–66.Google Scholar
Zazulia, Emily Where Sight Meets Sound: The Poetics of Late-Medieval Music Writing. Oxford: Oxford University Press, 2021.CrossRefGoogle Scholar
Agricola, Alexander. Opera Omnia, ed. Lerner, Edward R. 5 vols. CMM 22. [Rome]: AIM, 1961–70.Google Scholar
Brumel, Antoine. Opera Omnia, ed. Hudson, Barton. 6 vols. CMM 5. [Neuhausen-Stuttgart]: AIM, 1969–72.Google Scholar
Busnois, Antoine. Collected Works, ed. Perkins, Leeman and Taruskin, Richard. 3 vols. New York: Broude Trust, 1990–2018.Google Scholar
Chemotti, Antonio, ed. I Kyrie di Tr93. Codici music del Quattrocento, 2. Trent: Provincia autonoma di Trento, Soprintendenza per i Beni culturali; Rome: Fondazione Istituto Italiano per la Storia della Musica, 2014.Google Scholar
Christoffersen, Peter Woetmann. “The Copenhagen Chansonnier and the “Loire Valley” Chansonniers: An Open Access Project.” 2007–. http://chansonniers.pwch.dk/ [CopChanson].Google Scholar
Compère, Loyset. Opera Omnia, ed. Finscher, Ludwig. 5 vols. CMM 15. [Rome]: AIM, 1958–72.Google Scholar
Du Fay, Guillaume. Opera Omnia, ed. Besseler, Heinrich. 6 vols. CMM 1. Rome: AIM, 1951–66. Vol. 6 rev. David Fallows, 1995.Google Scholar
Eakins, Rex, ed. An Editorial Transnotation of the Manuscript Capella Sistina 51, Biblioteca Apostolica Vaticana Città del Vaticano, Liber Missarum. 6 vols. Ottowa: Institute of Mediaeval Music, 2001.Google Scholar
Early Fifteenth-Century Music, ed. Reaney, Gilbert. 7 vols. CMM 11. [Rome], Neuhausen-Stuttgart: AIM, 1955–83.Google Scholar
“Early Music Theory: Johannes Tinctoris.” Ronald Woodley, Director, with Jeffrey Dean (Senior Researcher) and David Lewis (Researcher). 2013–. https://earlymusictheory.org/TinctorisGoogle Scholar
Faugues, Guillaume. Gesamtausgabe der Werke/Collected Works, ed. Schuetze, George C., Jr. Brooklyn: Institute of Medieval Music, 1960.Google Scholar
“The 1520s Project.” Benjamin Ory, Director; Craig Sapp, Technical Director. 2019–. https://1520s-project.orgGoogle Scholar
Gerber, Rebecca L., ed. Sacred Music from the Cathedral at Trent: Trent, Museo Provinciale d’Arte, Codex 1375 (Olim 88). Monuments of Renaissance Music 12. Chicago: University of Chicago Press, 2007.Google Scholar
Goldberg, Clemens, ed. Gilles Binchois: Sämtliche Chansons. www.goldbergstiftung.org/wp-content/uploads/2023/06/Binchois-gesamt-1.pdfGoogle Scholar
Harrison, L., ed. The Eton Choirbook. 3 vols. London: Stainer and Bell/Royal Music Association, 1956–61. Rev. ed. by David Fallows. Stainer and Bell/Musica Britannica Trust, 2002–.Google Scholar
Hughes, Andrew, and Bent, Margaret, eds. The Old Hall Manuscript. CMM 46. AIM, 1969.Google Scholar
Josquin des Prez, . New Edition of the Collected Works (New Josquin Edition), ed. Elders, Willem et al. 30 vols. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1987–2017.Google Scholar
“The Josquin Research Project.” Jesse Rodin, Director; Craig Sapp, Technical Director. 2010– . http://josquin.stanford.edu or josqu.in.Google Scholar
Kaye, Philip, ed. The Sacred Music of Gilles Binchois. Oxford: Oxford University Press, 1992.Google Scholar
La Rue, Pierre de. Opera Omnia, ed. John Davison, Nigel St, Evan Kreider, J, and Hermann, T Keahey, . 9 vols. CMM 97 [incomplete]. Neuhausen-Stuttgart: AIM and Hänssler, 1990–98.Google Scholar
Liber Usualis. Solesmes, 1961.Google Scholar
Martini, Johannes. Masses, ed. Moohan, Elaine and Steib, Murray. 2 vols. Madison, WI: A-R Editions, 1999.Google Scholar
Machaut, Guillaume de. Musikalische Werke, ed. Ludwig, Friedrich. 3 vols. Leipzig: Breitkopf & Härtel, 1926–29.Google Scholar
Machaut, Guillaume de Oeuvres Complètes 5, ed. Schrade, Leo. Monaco: L’oiseau-Lyre, 1977.Google Scholar
Masses for the Sistine Chapel: Vatican City, Biblioteca Apostolica Vaticana, Cappella Sistina, MS 14, ed. Sherr, Richard. Monuments of Renaissance Music 13. Chicago: University of Chicago Press, 2009.Google Scholar
Miller, Ronald. “The Musical Works of Marbriano de Orto: Transcription and Commentary.” 2 vols. PhD diss., Indiana University, 1974.Google Scholar
Mitchell, Robert, ed. “Trent Codices Editions.” Includes Trent 89 and 91. 2014–. Hosted by the Digital Image Archive of Medieval Music (DIAMM): www.diamm.ac.uk/resources/music-editions/trent-codices/Google Scholar
Obrecht, Jacob. New Edition of the Collected Works (New Obrecht Edition), ed. Maas, Chris et al. 18 vols. Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983–99.Google Scholar
Ockeghem, Johannes. Collected Works, ed. Plamenac, Dragan and Wexler, Richard. 3 vols. American Musicological Society, 1959–92.Google Scholar
Ockeghem, Johannes Masses and Mass Sections, ed. Jaap van Benthem, . 3 vols. Utrecht: Koninklijke voor Nederlandse Muziekgeschiedenis, 1994–2004.Google Scholar
Picker, Martin, ed. The Motet Books of Andrea Antico. Monuments of Renaissance Music 8. Chicago: University of Chicago Press, 1987.Google Scholar
Planchart, Alejandro Enrique, ed. Missae Caput. New Haven, CT: Department of Music, Graduate School, Yale University, 1964.CrossRefGoogle Scholar
Planchart, Alejandro Enrique “The New Guillaume Du Fay Opera Omnia.” www.diamm.ac.uk/resources/music-editions/du-fay-opera-omnia/.Google Scholar
Recueil des morceaux de musique ancienne éxécutés aux concerts de la société de musique vocale religieuse et classique, fondée à Paris en 1843 sous le patronage de Mesdames La Mle. Duchesse d’Albufera … et sous la Direction de Mr. Le Prince de la Moskowa, vol. 5. Paris: Société de Musique vocale religieuse et classique and Pacini, ca. 1843–46. Available at http://bdh.bne.es/bnesearch/detalle/bdh0000138940.Google Scholar
Regis, Johannes. Opera Omnia, ed. Lindenburg, Cornelis. 2 vols. Rome: AIM, 1956.Google Scholar
Répertoire de Musique d’éclise [sic] pour plusieurs voix et orgue en partition. Brussels: Schott, ca. 1846. Catalogued as Bayerische Staatsbibliothek München, Mus. Schott. Ha 8876–27. See https://opacplus.bsb-muenchen.de/title/BV048823261.Google Scholar
Richafort, Johannes. Opera Omnia, ed. Elzinga, Harry. 4 vols. [Neuhausen-Stuttgart] and [Rome]: AIM and Hänssler, 1979–99.Google Scholar
Sherr, Richard, ed. Masses for the Sistine Chapel: Vatican City, Biblioteca Apostolica Vaticana, Cappella Sistina, MS 14. Monuments of Renaissance Music 13. Chicago: University of Chicago Press, 2009.Google Scholar
Tinctoris, Johannes. Opera Omnia, ed. William Melin. CMM 18. [Rome]: AIM, 1976.Google Scholar
Vaqueras, Bertrandi. Opera Omnia, ed. Sheer, Richard [recte: Sherr]. CMM 78. Neuhausen-Stuttgart: AIM and Hänssler-Verlag, 1978.Google Scholar
Weerbeke, Gaspar van. Motets, ed. Pavanello, Agnese with Andrea Lindmayr-Brandl. Münster: AIM, 2010.Google Scholar
Willaert, Adrian. Opera Omnia, ed. Zenck, Hermann. 5 vols. [incomplete]. Rome: AIM, 1950–77.Google Scholar
Voci, A Sei, directed by Bernard Fabre-Grarrus. Josquin Desprez: Missa De beata virgine; Motets à la Vierge. Astrée Auvidis E 8560, 1995.Google Scholar
Alamire, , directed by Skinner, David. Josquin Desprez: Missa D’ung aultre amer; Motets & Chansons. Obsidian CD701, 2007.Google Scholar
Chorus, A:N:S, directed by Bali, János. Agricola. Missa Malheur me bat. Missa In minen sin. Hungaroton Classic HCD 32011, 2001.Google Scholar
The Binchois Consort, directed by Andrew Kirkman. Busnois, Missa L’homme armé; Domarto, Missa Spiritus almus. Hyperion CDA67319, 2002.Google Scholar
The Binchois Consort, directed by Kirkman, Andrew. Music for the King of Scots: Inside the Pleasure Palace of James IV. Hyperion CDA68333, 2021.Google Scholar
Symphonia, Cantica, directed by Giuseppe Maletto. Stabat Mater: Marian Motets and Instrumental Songs. Glossa GCD P31909, 2020.Google Scholar
Flamenca, Capilla, directed by Dirk Snellings. Dulcis Melancholia: Biographie musicale de Marguerite d’Autriche. Musique en Wallonie MEW0525, 2006.Google Scholar
Mariana, Cappella, directed by Vojtěch Semerád. Song of Songs: Canticum Salomonis. Et’Cetera Records KTC1602, 2018.Google Scholar
Nova, Cappella, directed by Richard Taruskin. Josquin des Prez: Motets for the Blessed Virgin. Musical Heritage Society MHS 4674 L, 1982.Google Scholar
Chanticleer, . Magnificat: A Cappella Works by Josquin, Palestrina, Titov, Victoria, and Others. Teldec 8573–81829–2, 2000.Google Scholar
Chanticleer, Palestrina: Missa pro defunctis; Motets. Teldec D 106302, 1994.Google Scholar
du Roi, Chapel, directed by Dixon, Alistair. Music for Charles V, Holy Roman Emperor. Signum SIGCD019, 2004.Google Scholar
The Choir of King’s College, Cambridge, directed by Willcocks, David. G.P. da Palestrina. Argo ZRG 5398, 1964.Google Scholar
Choir of New College, Oxford, directed by Quinney, Robert. Like as the Hart. Novum NCR 1392, 2017.Google Scholar
Choir of Westminster Abbey, directed by Preston, Simon. Palestrina, Missa Papae Marcelli; Allegri, Miserere. Archiv 00289 479 5896, 2016 (orig. publ. 1986).Google Scholar
Christ Church Cathedral Choir, Oxford, directed Darlington, by Stephen. Palestrina: Masses & Motets. Nimbus, 2001.Google Scholar
Cinquecento, . Willaert: Missa Mente tota & Motets. Hyperion CDA67749, 2010.Google Scholar
The Clerkes of Oxenford, directed by Wulstan, David. John Sheppard: Missa “Cantate”; “Spiritus sanctus.” Caliope 9621, 1977.Google Scholar
The Clerkes of Oxenford Music of Thomas Tallis & John Sheppard. EMI Classics CFP 40265, 1974.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. CD accompanying The Josquin Companion, ed. Sherr.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. Jacob Obrecht. Missa Malheur me bat & Motets by Obrecht and Martini. ASV CD GAU 171, 1998.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. Johannes Regis: Opera Omnia. Musique en Wallonie MEW0848–0849, 2009.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. Johannes Tinctoris: Missa L’homme armé; Missa Sine nomine. Cyprès/Musique en Wallonie CYP3608, 1997.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. Josquin des Prez: Missa Malheur me bat. Motets & Chansons. Liber generationis Jesu Christi. ASV CD GAU 306, 2002.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. Ockeghem: Missa Caput; Missa Ma maistresse; 3 Motets. ASV CD GAU 186, 1998. Reissued as Universal Classics 00743625018622.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. Ockeghem: Missa De plus en plus; 5 Motets. ASV CD GAU 153, 1996.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. Ockeghem: Missa Ecce ancilla domini; Ave Maria; Intemerata Dei mater; Motets by Obrecht and Josquin. London: ASV CD GAU 223, 1996.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. Ockeghem: Missa L’homme armé; Missa Sine nomine a3. ASV CD GAU 204, 2000.Google Scholar
The Clerks’ Group, directed by Wickham, Edward. Pierre de la Rue, Requiem; Brumel, Requiem. ASV Gaudeamus CD GAU 352, 2005.Google Scholar
Italiano, Concerto, directed by Alessandrini, Rinaldo. Palestrina Madrigals: First Book of Madrigals for Four Voices. Brilliant Classics 93364, 1994.Google Scholar
Cut Circle, directed by Rodin, Jesse. De Orto et Josquin: Musique à la Chapelle Sixtine autour de 1490. Musique en Wallonie MEW1265–66, 2012.Google Scholar
Cut Circle, directed by Rodin, Jesse. Guillaume Du Fay: Les messes à teneur. Musique en Wallonie MEW1577–78, 2014.Google Scholar
Circle, Cut, directed by Rodin, Jesse Johannes Ockeghem: Les Chansons. Musique en Wallonie MEW1995, 2020.Google Scholar
Circle, Cut, directed by Rodin, Jesse Josquin: I. Motets & Chansons. Musique en Wallonie MEW 2307, 2023.Google Scholar
Circle, Cut, directed by Rodin, Jesse, with Zazulia, Emily, scholarly collaborator. Messes anonymes: Missa Gross senen, Missa L’ardant desir. Musique en Wallonie MEW 2097, 2021.Google Scholar
Consort, Deller. Madrigal Masterpieces, Vol. 3: The Renaissance in Italy, France, and England. Vanguard Classics/Omega Record Group, 2000 (orig. publ. 1966).Google Scholar
Labyrintho, De, directed by Testolin, Walter. Musica symbolica. Stradivarius STR 33722, 2005.Google Scholar
Die Gruppe für Alte Musik München [and other artists]. Ave Maria: Praise of the Virgin Mary through the Centuries. Ars Musici 233731, 2013.Google Scholar
Janequin, Ensemble Clément [with Ensemble Les Éléments]. Josquin Desprez: Adieu mes amours; Chansons. Harmonia Mundi HMC 901279, 1998.Google Scholar
d’Allegrezza, Ensemble, directed by Nanneke Schaap. Francesco & Riccardo Rognoni: Selva de Varij Passaggi. Symphonia SY 00176, 2000 (orig. publ. 1990).Google Scholar
Ensemble Gilles Binchois, directed by Dominique Philip Vellard. Le Banquet Du Voeu 1454. London: Virgin Classics VC 7 91441–2, 1991.Google Scholar
Ensemble Gilles Binchois, directed by Vellard, Dominique Philip Mon souverain desir. Gilles Binchois: Chansons. London: Virgin Veritas 7243 5 45285 2 1, 1998.Google Scholar
Officium, Ensemble, directed by Rombach, Wilfried. Palestrina: Missa Papae Marcelli; Motetten für Christi Himmelfahrt/Motets for Ascension Day. Christophorus CHR 77275, 2005.Google Scholar
Ensemble, Ferrara, directed by Young, Crawford. Mercy ou mort: Chansons & motets d’amour. Arcana A 305, 2001.Google Scholar
Voices, Gothic. Echoes of an Old Hall: Music from the Old Hall Manuscript. London: Linn Records CKD 644, 2021.Google Scholar
Voices, Gothic The Unknown Lover: Songs by Solage and Machaut. Avie Records AV2089, 2006.Google Scholar
Gothic Voices, directed by Page, Christopher. The Spirits of England and France – 4: The Missa Caput and the Story of the Salve regina. Hyperion CDA66857, 1996.Google Scholar
Graindelavoix, , directed by Schmelzer, Björn. Josquin the Undead: Laments, Deplorations, and Dances of Death. Glossa Records GCD P32117, 2021.Google Scholar
Eight, Henry’s, directed by Jonathan Brown. Missa Cum iucunditate. Et’Cetera KTC 1214, 1999.Google Scholar
The Hilliard Ensemble, directed by Hillier, Paul. For Ockeghem. Coro COR16048, 2007.Google Scholar
The Hilliard Ensemble, directed by Hillier, Paul. Josquin Desprez: Motets & Chansons. EMI 1 C 067 1435731, 1987 (orig. publ. 1983).Google Scholar
The Hilliard Ensemble, directed by Hillier, Paul. Power: Masses and Motets/Messen und Motetten. EMI 1 C 069–46 402, 1981.Google Scholar
Ensemble, Huelgas, directed by Paul van Nevel. O gemma lux. Harmonia Mundi HMC 901700, 2000.Google Scholar
King’s College Choir, Cambridge, directed by Willcocks, David. Palestrina: Missa Papae Marcelli; Missa Brevis. His Master’s Voice HQS 1237, 1971.Google Scholar
Singers, King’s. Renaissance: The Music of Josquin Desprez. RCA Victor Red Seal 09026–61814–2, 1993.Google Scholar
Royale, La Chapelle, Cambridge, directed by Philippe Herreweghe. Josquin Desprez: Stabat mater; Motets. Harmonia Mundi HMC 901243, 1986.Google Scholar
Laudantes Consort, directed by Janssens, Guy. Josquin Desprez. Arsonor ARS 009–2, 1996. Reissued on In the Footsteps of Petrus Alamire. Et’Cetera KTC 1519, 2015.Google Scholar
Lionheart, . Palestrina: Soul of Rome. Koch International Classics 3–7513–2 111, 2001.Google Scholar
London Pro Musica, directed by Bernard Thomas. A Florentine Carnival: Festival Music for Lorenzo de’ Medici. Imp Classics CIMP825, 1987.Google Scholar
[Ensemble] Métamorphoses [de Paris] [with Biscantor], directed by Maurice Bourbon. Josquin Desprez. Messes: Pange lingua, de beata Virgine. AR Ré-Sé AR 2015–1, 2016.Google Scholar
The Medieval Ensemble of London, directed by Davies, Peter and Davies, Timothy. Guillaume Dufay: Complete Secular Music. L’Oiseau Lyre 478 8118, 1997/2016 (orig. publ. 1981).Google Scholar
The Medieval Ensemble of London Josquin Desprez: Missa di dadi; Missa Faisant Regretz. L’Oiseau-Lyre 478 8119, 2016 (orig. publ. 1984).Google Scholar
The Medieval Ensemble of London Johannes Ockeghem: Complete Secular Music. L’Oiseau-Lyre 478 8114, 2016 (orig. publ. 1982).Google Scholar
Consort, Nonesuch, directed by Rifkin, Joshua. Chansons, Frottole, & Instrumental Pieces. Nonesuch Records H-71261, 1971.Google Scholar
Odhecaton, , directed by da Col, Paolo. Francesco de Peñalosa: Un Libro de Horas de Isabel la Católica. Bongiovanni GB 5623–2, 2006.Google Scholar
Odhecaton, , directed by Paolo da Col, with The Gesualdo Six. Giosquino: Josquin Desprez in Italia. Arcana Records A489, 2021.Google Scholar
Consort, Orlando. Food, Wine, and Song: Music and Feasting in Renaissance Europe. Harmonia Mundi HMU 907314, 2001.Google Scholar
Consort, Orlando Josquin Desprez: Motets. Archiv 463 473–2, 2000.Google Scholar
Consort, Orlando Missa De plus en plus & Chansons. Deutsche Grammophon 00028947172727, 1997 (reissued 2002).Google Scholar
Oxford Camerata, directed by Jeremy Summerly. Josquin: Missa L’homme armé; Ave Maria; Absalon fili mi. Naxos 8.553428, 1998.Google Scholar
Oxford Camerata, directed by Summerly, Jeremy Palestrina: Missa Papae Marelli; Missa Aeterna Christi Munera. Naxos 8.550573, 1992.Google Scholar
Pro Cantione Antiqua, London, directed by Turner, Bruno. Josquin Desprez: Missa L’homme armé. Archiv 00289 479 5948, 2016 (orig. publ. 1977).Google Scholar
Pro Cantione Antiqua, London, directed by Turner, Bruno Missa Aeterna Christi munera; Oratio Jeremiae Prophetae; Motetti. Archiv 2533 322, 1976.Google Scholar
Purcell Consort of Voices, directed by Burgess, Grayston. Josquin des Pres/John Dunstable. Argo ZRG 681, 1971.Google Scholar
The Sixteen, directed by Christophers, Harry. Giovanni Perluigi da Palestrina: Volume 1. Coro COR16091, 2011.Google Scholar
The Sixteen, directed by Christophers, Harry. Giovanni Perluigi da Palestrina: Volume 5. Coro COR16124, 2014.Google Scholar
The Sixteen, directed by Christophers, Harry. Giovanni Perluigi da Palestrina: Volume 7. Coro COR16155, 2017.Google Scholar
The Sixteen, directed by Christophers, Harry. Palestrina: Missa Papae Marcelli; Stabat mater; Allegri: Miserere; Lotti: Crucifixus. Collins Classics 50092, 1990.Google Scholar
The Sound and the Fury. Guillaume Faugues: Paradise Regained. ORF Edition Alte Musik ORF SACD 3025, 2008.Google Scholar
The Sound and the Fury Guillaume Faugues 2. Vienna: ORF Edition Alte Musik CD 3115, 2010.Google Scholar
Antico, Stile. From the Imperial Court: Music for the House of Hapsburg. Harmonia Mundi HMU 807595, 2014.Google Scholar
Antico, Stile The Golden Renaissance: Josquin des Prez. Decca 2021485 1340, 2021.Google Scholar
Choir, Sydney Chamber, directed by Nicholas Routley. The Ockeghem Legacy. Tall Poppies TP141, 2000.Google Scholar
Tallis Scholars, directed by Phillips, Peter. Allegri, Miserere; Palestrina, Missa Papae Marcelli; Mundy, Vox patris caelestis. Gimell Records CDGIM 339, 1980.Google Scholar
Tallis Scholars, directed by Phillips, Peter. Christmas Carols and Motets. Gimell Records CDGIM 010, 1986.Google Scholar
Tallis Scholars, directed by Phillips, Peter. Josquin: L’homme armé Masses. Gimell Records CDGIM 019, 1989.Google Scholar
Tallis Scholars, directed by Phillips, Peter. Josquin: Missa Pange lingua; Missa La sol fa re mi. Gimell Records CDGIM 009, 1986.Google Scholar
Tallis Scholars, directed by Phillips, Peter. Josquin. Missa Sine nomine. Missa Ad fugam. Gimell Records CDGIM 039, 2008.Google Scholar
Tallis Scholars, directed by Phillips, Peter. Josquin Masses. Hercules Dux Ferrarie. D’ung aultre amer. Faisant regretz. Gimell Records CDGIM 051, 2020.Google Scholar
Tallis Scholars, directed by Phillips, Peter. Palestrina Masses. Missa Benedicta es. Gimell Records CDGIM 001, 1990 (orig. publ. 1981).Google Scholar
Tallis Scholars, directed by Phillips, Peter. Palestrina Masses. Missa Brevis; Missa Nasce la gioja mia. Gimell Records CDGIM 008, 1986.Google Scholar
Tallis Scholars, directed by Phillips, Peter. William Cornysh: Stabat mater. Gimell Records CDGIM 014, 1988.Google Scholar
Voce, Viva, directed by Schubert, Peter. Scenes from the Gospels: Motets from Josquin to Palestrina. Atma Classique, 2014.Google Scholar
Vocal Ensemble Cappella, directed by Tetsuro Hanai. Josquin: The Masses. Vol. 5: Missa De beata virgine; Missa Ave maris stella. Regulus Classics 1037, 2015.Google Scholar
Voices of Ascension, directed by Dennis Keene. Beyond Chant: Mysteries of the Renaissance. Delos DE 3165, 1994.Google Scholar
Westminster Cathedral Choir, directed by David Hill. Palestrina: Missa Papae Marcelli; Missa brevis. Hyperion CDA66266, 1988.Google Scholar
Choir, Westminster Cathedral, directed by O’Donnell, James. Giovanni Pierluigi da Palestrina: Missa de Beata Virgine; Missa Ave Maria. Hyperion, 1990.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Jesse Rodin, Stanford University, California
  • Book: The Art of Counterpoint from Du Fay to Josquin
  • Online publication: 05 December 2024
  • Chapter DOI: https://doi.org/10.1017/9781316882191.020
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Jesse Rodin, Stanford University, California
  • Book: The Art of Counterpoint from Du Fay to Josquin
  • Online publication: 05 December 2024
  • Chapter DOI: https://doi.org/10.1017/9781316882191.020
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Jesse Rodin, Stanford University, California
  • Book: The Art of Counterpoint from Du Fay to Josquin
  • Online publication: 05 December 2024
  • Chapter DOI: https://doi.org/10.1017/9781316882191.020
Available formats
×