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Studies in Renaissance Music in Honour of Ignace Bossuyt

Mark Delaere, Pieter Bergé (eds)

Publication Year: 2008

After a distinguished career of more than 35 years, Ignace Bossuyt retired as professor at the Musicology Department of the University of Leuven on October 1st 2007. As an internationally recognised leader in the field of later-16th-century music, Bossuyt consolidated the department’s reputation as a centre of excellence in renaissance music studies. Articles in this volume deal with music from the period on which the dedicatee focussed his own research. Subjects discussed include newly discovered music by Philippe de Monte and Heinrich Isaac, humour in the motets of Orlando di Lasso, the beginnings of music history, compositional procedures in renaissance music, and Tinctoris’s art of listening. A wide range of methodological perspectives is offered, including historiography, reception studies, source studies, music analysis, music theory, style studies, and aesthetics of music. The publication is both a Festschrift in which distinguished specialists honour an outstanding colleague, and a Liber Amicorum compiled for a dear friend.

Published by: Leuven University Press

Title Page, Copyright

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pp. 1-4

Contents

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pp. 7-8

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‘Una cosa riuscita’: Ignace Bossuyt’s Academic Career

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pp. 9-12

By the end of September 1556, Orlando di Lasso had arrived at the court of the Bavarian duke Albrecht V in Munich, in order to take up a position as a tenor singer in the ducal chapel. In 1993, in his contribution to Horst Leuchtmann’s Festschrift, Ignace Bossuyt presented the correspondence that he had discovered in the library of the Palacio Real ...

List of Publications by Ignace Bossuyt

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pp. 13-26

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Humor in the Motets of Orlando di Lasso

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pp. 27-34

A brief definition of the motet in the sixteenth century would usually say that it is a composition that sets a sacred Latin text in a more or less polyphonic style for a vocal ensemble. A more extended definition would add that many composers in this period set secular Latin texts, commemorative, celebratory, or classicistic, in a similar manner, ...

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A New Source, and New Compositions, for Philippe de Monte

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pp. 35-48

A recently-discovered collection of manuscript and printed part-books, given to New York University by anonymous donors specifically for research by members of the Department of Music, contains two small fascicles devoted to music by Philippe de Monte.1 ...

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Heinrich Isaac and his Recently Discovered Missa Presulem Ephebeatum

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pp. 49-60

The discovery of a major new source is always exciting, especially when it contains previously unknown music, and still more so when that music is attributed to a recognized composer of the first rank. Among the most significant such recent finds for sixteenth-century music was the Czech National Library’s acquisition, in 1994, of a large paper choirbook from private hands.1 ...

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Josquin in the Sources of Spain. An Evaluation of Two Unique Attributions

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pp. 61-70

Since Josquin des Prez spent a large part of his life in France – supposedly, he was born in the county of Vermandois (Picardy) – and, as far as we know, never set foot on Spanish or German soil, one would expect to find his musical legacy better represented in his homeland than in these two neighbouring countries.1 ...

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Old Testament Motets for the War of Cyprus (1570-71)

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pp. 71-82

Writers since Voltaire have contributed to an almost unanimous ironic chorus describing the victory of the forces of the Holy League over the Turkish armada at Lepanto, off Corfu, in October 1571, as an empty achievement, a great spectacle that led nowhere.1 Yet whatever the judgements of history, the authentic period voice should be heard. ...

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Caron and Florence: A New Ascription and the Copying of the Pixérécourt Chansonnier

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pp. 83-92

Biographical information on Firminus Caron is entirely lacking, but there is ample evidence that contemporaries recognized him as one of the major composers of the second half of the fifteenth century. Johannes Tinctoris, writing in the 1470s, consistently names him among the five musicians ‘most outstanding in composition of all those I have heard’ ...

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The Officium of the Recollectio Festorum Beate Marievirginis by Gilles Carlier and Guillaume Du Fay: Its Celebration and Reform in Leuven

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pp. 93-106

In 1457, Michael de Beringhen, a canon at Cambrai Cathedral, requested that a new Marian feast be added to the Cathedral’s liturgical calendar. Its purpose was to recall or recollect the six Marian feasts then celebrated there – her Conception, Nativity, Annunciation, Visitation, Purification, and Assumption – within one feast. ...

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‘Excellent For the Hand’: Writing on John Bull’s Keyboard Music in England

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pp. 107-118

Without a doubt, keyboard music was one of England’s most glorious achievements during the period c.1550-1630. Among the composers found in contemporary manuscript anthologies of this repertoire such as the famous Fitzwilliam Virginal Book1, two names stand out above all the others: ...

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Josquin, Willaert and Douleur Me Bat

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pp. 119-130

It is remarkable to see how little attention has been paid to Willaert’s chansons in the musicological literature of the past twenty years. The 1980’s witnessed a promising start with Lawrence Bernstein’s edition of La Couronne et fleur des chansons, containing almost all of Willaert’s three-voice chansons.1 ...

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Gardano’s Mottetti del Frutto of 1538-39 and the Promotion of a New Style

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pp. 131-148

Patterns of patronage, travels of musicians, and the impact of influential teachers were among the many factors that contributed to changes in musical styles during the sixteenth century. The advent of music printing and the cheaper single-impression printing process accelerated those changes and their dissemination. ...

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La Frottola antica e la Caccia. Indizi di un Recupero Formale e Stilistico nella Primametà del Cinquecento

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pp. 149-162

Nell’ambito della musica italiana fiorita nell’ultimo Quattrocento e assunta agli onori della stampa da Ottaviano Petrucci tra il 1504 e il 1514 con i suoi undici libri di frottole, non si trova mai dichiarato il ricorso alla trecentesca forma della caccia. A ben vedere, tuttavia, non si trova alcun cenno anche alle altre forme dell’ars nova italiana, ...

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Die Entstehung der musikalischen Geschichte. Historisierung und ästhetische Praxisam Beispiel Josquins

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pp. 163-178

Zu den Auffälligkeiten der Enzyklopädie Die Musik in Geschichte und Gegenwart gehört der Umstand, dass es wohl ein Lemma „Musikgeschichtsschreibung“ gibt, nicht aber eines zur „Musikgeschichte“.1 Damit ist zwar einem Umstand Rechnung getragen, den schon Ranke und Droysen trennte, ...

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Notations modales au seizième siècle

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pp. 179-194

Bien que la théorie des types tonals de Harold Powers1 ait attiré l’attention, il y a plus d’un quart de siècle déjà, sur les particularités de la notation au seizième siècle, et bien que celles-ci aient fait déjà l’objet d’études approfondies,2 les contraintes de la notation modale ne paraissent pas encore entièrement élucidées. ...

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Notes from an Erasable Tablet

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pp. 195-210

How did sixteenth-century composers go about the task of writing down their extended polyphonic works? This question has been asked before, not least by Jessie Ann Owens in her important book on Composers at Work: The Craft of Musical Composition 1450-1600; ...

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Self-Citation and Self-Promotion: Zarlino and the Miserere Tradition

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pp. 211-226

Through Patrick Macey’s extensive research of Josquin des Prez’s Miserere mei Deus, the historical context of this monumental motet, especially its connection with the Savonarolan reform movement and its repercussions at the Este court of Ferrara have received major attention.2 ...

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Beati omnes, qui timent Dominum à 5. Oder: Von den Schwierigkeiten, Orlando di Lassos Motetten zu edieren

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pp. 227-238

Kein Komponist des 16. Jahrhunderts war zu Lebzeiten weiter verbreitet als Orlando di Lasso. Aus den Jahren 1555 bis 1687 sind über 470 Einzel- und Sammeldrucke mit seinen ca. 1200 gedruckten Werken erhalten (wohingegen nur ca. 160 Sätze zeitgenössisch ausschließlich handschriftlich überliefert sind). ...

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Über, Nationalstile’ in der Motettedes 16. Jahrhunderts

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pp. 239-252

„Der Stil der Kirchen und Höfe ist und bleibt bis zum Ende des 16. Jahrhunderts ein internationaler Stil.“1 Dieses Diktum Ludwig Finschers aus einem Aufsatz über „Die Entstehung nationaler Stile in der europäischen Musikgeschichte“ (1984) könnte die Suche nach ‚nationalen’ Elementen in der Musik des 16. Jahrhunderts von vornherein ...

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An Unknown Organ Manuscript with Mainly Magnificat-Settings by Lassus (1626)

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pp. 253-268

Very few organ manuscripts from the Low Countries from before 1650 have been preserved.1 Among the rare exceptions of such manuscripts intended for church use are ‘Liège, Université, Bibliothèque, 153 (olim 888) (Liège Organ book)’ (Liber fratrum cruciferorum leodiensium), compiled for the Crutched Friars of Liege, ...

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La musique et l’éducation des jeunes filles d’après La montaigne des pucelles / Den Maeghden-Bergh de Magdaleine Valéry (Leyde, 1599)

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pp. 269-278

Au seizième siècle, de nombreux manuels de conversation bilingues paraissent dans les Pays-Bas méridionaux. Ils présentent le même texte, qui est généralement conçu sous la forme d’un dialogue, en néerlandais et en français, les deux versions étant imprimées l’une en regard de l’autre. ...

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Johannes Tinctoris and the Art of Listening

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pp. 279-298

If there is one day in the life of Johannes Tinctoris about which I would love to know more, it is that fateful day, some time around 1480, when he was visiting Bruges and found himself listening to two blind viol players. Tinctoris, at the time, was in his mid-forties, and he had served for almost ten years as the chief musician at the royal court of Naples. ...

Contributors

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pp. 299-306

Index of Names

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pp. 307-312


E-ISBN-13: 9789461660169
Print-ISBN-13: 9789058676504

Page Count: 312
Publication Year: 2008