Skip to main content
The Cambridge History of Fifteenth-Century Music
  • Export citation
  • Recommend to librarian
  • Recommend this book

    Email your librarian or administrator to recommend adding this book to your organisation's collection.

    The Cambridge History of Fifteenth-Century Music
    • Online ISBN: 9781139057813
    • Book DOI:
    Please enter your name
    Please enter a valid email address
    Who would you like to send this to? *
  • Buy the print book

Book description

Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement.

    • Aa
    • Aa
Refine List
Actions for selected content:
Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Send to Kindle
  • Send to Dropbox
  • Send to Google Drive
  • Send content to

    To send 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 sending content to .

    To send content to your Kindle, first ensure 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 sending to your Kindle.

    Note you can select to send to either the or variations. ‘’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘’ 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.

    Please be advised that item(s) you selected are not available.
    You are about to send:

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.

Page 1 of 3

  • 8 - Oral composition in fifteenth-century music
    pp 139-148
  • View abstract
    Joseph Kerman's Contemplating Music and the new-musicological positions it catalyzed and nourished in the 1980s and 1990s posed a particular challenge to scholars of fifteenth-century music. Hearing was a metaphor for close reading in the absence of sound. Josquin's mass represents an expression and articulation of many musical practices that must have fundamentally informed musical hearing and listening around 1500, and even before. The metaphorical language brought to bear on this musical entity since the middle of the last century offers a meaningful snapshot of stasis and change in early music historiography. Busnoys's tenor connects the piece to the cantus firmi of other late medieval musicians' motets, and to the kinds of musical communities in which they circulated. The sounds of musical teaching and learning embody the unending cyclic repetitions comprising music history. Busnoys, Josquin, and the drums of Techiman realize the wholeness of community and the wholeness of history as moments of sounding as did the organ of Reims.
  • 9 - Improvisation as concept and musical practice in the fifteenth century
    pp 149-163
  • View abstract
    It has become easy to win over new students to the study of fifteenth-century music. The widespread availability of recordings of Du Fay, Josquin, and others puts the sonorous qualities of this music on full display. This chapter begins with the autobiography of Johannes von Soest, one of the most loquacious witnesses to the listening experiences of fifteenth-century art music. It provides an encapsulation of the essential modes of perception of late medieval art music. The chapter focuses on the doctrine of the internal senses and their effect on music comprehension with a special focus on the spiritual efficacy of sacred polyphony and the considerable critique that this music engendered. The doctrine of the spiritual senses made possible an unmediated affective access to God, distinct from representations of the angels in their multitude of merely intellectually perceptible music. Finally, the chapter discusses the justification of earthly sensual pleasure, including the "listening pleasure" of sacred music.
  • 11 - Making a motet: Josquin’sAve Maria … virgo serena
    pp 183-199
  • View abstract
    The concept of the musical work is based on the assumption that a composed piece of music is a work of art. From a historical perspective, authorship stands as a comparatively recent determinant of the work concept. Imposing the concept of the work of art on music required the translation of the ars musicae from the context of the artes liberales into a more modern system of the arts. Around 1400 a new musical realm of experience emerged, and with it the idea that composed music was first and foremost a presentation of text to listeners, a concept introduced emphatically by Ciconia. A prerequisite for aesthetic discourse is the regular availability of music - or put differently, the reproducibility of a notated text and its sound; and it was written traditions that enabled composers to refer to each other and compare works through both reading and listening.
  • 12 - The origins of pervasive imitation
    pp 200-228
  • View abstract
    This chapter explores the musical life of the Armed Man, beginning with Josquin, Pierre de La Rue, and others active at the turn of the sixteenth century. It proposes a new way of parsing the musical connections that bind several fifteenth-century settings together. The chapter considers several additional examples of musical borrowing, with respect to both masses and secular L'homme arme settings. It discusses the terminological propriety and methodological value of musical borrowing. The earliest surviving reference to a L'homme arme mass dates from 1462-63, when Regis's setting was copied in Cambrai. Musical quotation is central to late medieval ways of composing. Borrowing might seem the sexier interpretive tool, but the lingua franca is often more powerful. The L'homme arme tradition is a resonant, indeed cacophonous echo chamber that challenges one to distinguish originary sounds from their reverberations.
  • 13 - Humanism and music in Italy
    pp 231-262
  • View abstract
    The source situation for Guillaume Du Fay's music, particularly in his early years, is quite good. Over a period of twenty-five years, a series of manuscripts transmits Du Fay's music in consistently good versions and with solid attributions. Du Fay's personal and clerical career is considerably better documented than those of most of his contemporaries. Despite the loss of late sources, Du Fay's music survives in higher proportion than that of his contemporaries and immediate successors. Du Fay was unusual in defining himself primarily as what is called today a "composer" rather than as a singer or even a clergyman. Du Fay promoted his music and sought to disseminate it. One of his earliest works is based on a plainsong that was sung at Cambrai as part of the Missa ad tollendum schismam. Du Fay's turn toward paraphrased cantus firmi led him to largely abandon the free cantilena style in liturgical and ceremonial works.
  • 14 - Fifteenth-century humanism and music outside Italy
    pp 263-280
  • View abstract
    Jean d'Ockeghem is praised widely for his graciousness, his Christian virtues, and his skill as a singer. Jean Molinet, who singles out the music of Gilles Binchois, Antoine Busnoys, Guillaume Du Fay, and Ockeghem as the best of its day, lists Ockeghem as the first among these masters. The role of imitation in Ockeghem's music has been the object of a great deal of commentary. Ockeghem's approach to melody appears to be among the most elusive aspects of his music, to judge from the level of subjectivity that permeates various attempts to describe his melodic design. Ockeghem's textures gain clarity from the sense of unification provided by imitation, but the imprecise character of that imitation often leaves the listener wondering if it is adequately real to foster a genuine perception of such unity. Long, serpentine melodies abound in Ockeghem's music, inevitably resulting in a sense of unpredictable meandering.
  • 15 - Poetic humanism and music in the fifteenth century
    pp 281-291
  • View abstract
    To study Josquin des Prez is to stand at the edge of an epistemological precipice. One of the greatest impediments to accessing the historical Josquin is the extraordinary reception he enjoyed after his death. The early decades of the sixteenth century witnessed an explosion in the circulation of Josquin's music, and a concomitant increase in references to Josquin's stature. More than a quarter-century ago, Joshua Rifkin challenged scholars to consider works by Josquin guilty until proven innocent. Eighteenth- and nineteenth-century music historians were forced to rely heavily on Glareanus and late printed sources, their accounts are littered with dubious claims about Josquin's personality and oriented toward works of questionable attribution. The biographical details can serve as a starting point, as can the most fundamental sorts of information about the institutions in which Josquin worked, the musicians with whom he associated, and the broader social, cultural, and political developments of his age.

Page 1 of 3

The Cambridge History of American Music Edited by David Nicholls

The Cambridge History of Musical Performance Edited by Colin Lawson and Robin Stowell

The Cambridge History of World Music Edited by Philip V. Bohlman

The Cambridge History of Fifteenth-Century Music Edited by Anna Maria Busse Berger and Jesse Rodin

The Cambridge History of Seventeenth-Century Music Edited by Tim Carter and John Butt

The Cambridge History of Eighteenth-Century Music Edited by Simon P. Keefe

The Cambridge History of Nineteenth-Century Music Edited by Jim Samson

The Cambridge History of Twentieth-Century Music Edited by Nicholas Cook and Anthony Pople

Anna Maria Busse Berger , Medieval Music and the Art of Memory, Berkeley and Los Angeles, 2005

Thomas Christensen , ed., The Cambridge History of Western Music Theory, Cambridge, 2002

Paula Higgins , “Parisian Nobles, a Scottish Princess, and the Woman’s Voice in Late Medieval Song,” EMH 10 (1991), 145–200

Fred C. Robinson , “Medieval, the Middle Ages,” Speculum 59 (1984), 745–56

David Howlett , “Busnois’ Motet In hydraulis: An Exercise in Textual Reconstruction and Analysis,” PMM 4 (1995), 185–91

Niklaus Largier , “Inner Senses – Outer Senses: The Practice of Emotions in Medieval Mysticism,” in Codierungen von Emotionen im Mittelalter, ed. C. Stephen Jaeger and Ingrid Kasten , Trends in Medieval Philology 1, Berlin and New York, 2003, 3–15

Listening Practice,” colloquium in Early Music 25 (1997), 591–714

Alexis Luko , “Tinctoris on Varietas,” EMH 27 (2008), 99–136

Walter Jackson Bate , The Burden of the Past and the English Poet, Cambridge, MA, 1970

J. Peter Burkholder , “The Uses of Existing Music: Musical Borrowing as a Field,” Notes 50 (1994), 851–70

Lewis Lockwood , “Aspects of the L’homme armé Tradition,” Proceedings of the Royal Music Association 100 (1973–74), 97–122

Ebenezer Prout , “Handel’s Chandos Anthems,” Musical Times and Singing Class Circular 17 (1876), 391–94

Oliver Strunk , “Origins of the L’homme armé Mass,” Bulletin of the American Musicological Society 2 (1937), 25–26

Alejandro Enrique Planchart , “Connecting the Dots: Guillaume Du Fay and Savoy during the Schism,” PMM 18 (2009), 11–32

Alejandro Enrique Planchart , “The Polyphonic Proses of Guillaume Du Fay,” in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. M. Jennifer Bloxam , Gioia Filocamo , and Leofranc Holford-Strevens , Turnhout, 2009, 87–99

Peter Brugger , and Susanne Brugger , “The Easter Bunny in October: Is It Disguised as a Duck?,” Perceptual and Motor Skills 76 (1993), 577–78

Joseph Jastrow , Fact and Fable in Psychology, Boston and New York, 1900

Henry Ansgar Kelly , “Inquisition and the Prosecution of Heresy: Misconceptions and Abuses,” Church History 58 (1989), 439–51

Patrick Macey , “Josquin and Champion: Conflicting Attributions for the Psalm Motet De profundis clamavi,” in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. M. Jennifer Bloxam , Gioia Filocamo , and Leofranc Holford-Strevens , Turnhout, 2009, 453–68

Anna Maria Busse Berger , “The Problem of Diminished Counterpoint,” in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. M. Jennifer Bloxam , Gioia Filocamo , and Leofranc Holford-Strevens , Turnhout, 2009, 13–27

Daniel Leech-Wilkinson , “Machaut’s ‘Rose, Lis’ and the Problem of Early Music Analysis,” Music Analysis 3 (1984), 9–28

Walter J. Ong , Orality and Literacy: The Technologizing of the Word, London, 1982

Philippe Canguilhem , “Singing upon the Book according to Vicente Lusitano,” EMH 30 (2011), 55–103

Sarah Fuller , “Organum – Discantus – Contrapunctus in the Middle Ages,” in The Cambridge History of Western Music Theory, ed. Thomas Christensen , Cambridge, 2002, 477–502

Mary Carruthers , “Thomas Bradwardine, ‘De memoria artificiale adquirenda’,” Journal of Medieval Latin 2 (1992), 25–43

Albrecht Classen , The Poems of Oswald von Wolkenstein: An English Translation of the Complete Works (1376/77–1445). Basingstoke, 2008

David Fallows , “Two Equal Voices: A French Song Repertory with Music for Two or More Works of Oswald von Wolkenstein,” EMH 7 (1987), 227–41

Yolanda Plumley , The Art of Grafted Song: Citation and Allusion in the Age of Machaut, New York, 2013

Lorenz Welker , “New Light on Oswald von Wolkenstein: Central European Traditions and Burgundian Polyphony,” EMH 7 (1987), 187–226

Irving Godt , “Motivic Integration in Josquin’s Motets,” Journal of Music Theory 21 (1977), 264–92

Cristle Collins Judd , “Some Problems of Pre-Baroque Analysis: An Examination of Josquin’s Ave Maria … virgo serena,” Music Analysis 4 (1985), 201–39

Lewis Lockwood ‘It’s true that Josquin composes better … ’: The Short Unhappy Life of Gian de Artiganova,” in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. M. Jennifer Bloxam , Gioia Filocamo , and Leofranc Holford-Strevens , Turnhout, 2009, 201–16

Benjamin Brand , “A Medieval Scholasticus and Renaissance Choirmaster: A Portrait of John Hothby at Lucca,” Renaissance Quarterly 63 (2010), 754–806

Howard Mayer Brown , “The Mirror of Man’s Salvation: Music in Devotional Life about 1500,” Renaissance Quarterly 43 (1990), 744–73

David Burn , “Further Observations on Stacked Canon and Renaissance Compositional Procedure: Gascongne’s ‘Ista Est Speciosa’ and Forestier’s ‘Missa L’Homme Armé’,” Journal of Music Theory 45 (2001), 73–118

Alan Gosman , “Stacked Canon and Renaissance Compositional Procedure,” Journal of Music Theory, 41 (1997), 289–317

Peter Schubert , “Counterpoint Pedagogy in the Renaissance,” in The Cambridge History of Western Music Theory, ed. Thomas Christensen , Cambridge, 2002, 503–33

Peter Schubert , “A Lesson from Lassus: Form in the Duos of 1577,” Music Theory Spectrum 17 (1995), 1–26

Robert Black , Humanism and Education in Medieval and Renaissance Italy: Tradition and Innovation in Latin Schools from the Twelfth to the Fifteenth Century, Cambridge and New York, 2001

James Hankins , “Renaissance Crusaders: Humanist Crusade Literature in the Age of Mehmed II,” Dumbarton Oaks Papers 49 (1995), 111–207; repr. in Hankins , Humanism and Platonism in the Italian Renaissance, Rome, 2003, 293–424

James Hankins , ed., The Cambridge Companion to Renaissance Philosophy, Cambridge, 2007

Leofranc Holford-Strevens , “Humanism and the Language of Music Treatises,” Renaissance Studies 15 (2001), 415–49

Reinhard Strohm , “Enea Silvio Piccolomini and Music,” in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. M. Jennifer Bloxam , Gioia Filocamo , and Leofranc Holford-Strevens , Turnhout, 2009, 719–28

Blake Wilson , ‘“Transferring Tunes and Adjusting Lines’: Leonardo Giustinian and the Giustiniana in Quattrocento Florence,” in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. M. Jennifer Bloxam , Gioia Filocamo , and Leofranc Holford-Strevens , Turnhout, 2009, 547–67

Cora Dietl , Die Dramen Jacob Lochers und die frühe Humanistenbühne im süddeutschen Raum, Berlin and New York, 2005

Joyce L. Irwin The Mystical Music of Jean Gerson,” EMH 1 (1981), 187–201

P. Kooiman , “The Letters of Rodolphus Agricola to Jacobus Barbirianus,” in Rodolphus Agricola Phrisius 1444–1485, ed. F. Akkerman and A. J. Vanderjagt , Leiden, 1988, 136–46

Fritz Reckow , “Zwischen Ontologie und Rhetorik: Die Idee des movere animos und der Übergang vom Spätmittelalter zur frühen Neuzeit in der Musikgeschichte,” in Traditionswandel und Traditionsverhalten, ed. Walter Haug and Burghart Wachinger , Tübingen, 1991, 145–78

Rebekka Sandmeier , Geistliche Vokalpolyphonie und Frühhumanismus in England: Kulturtransfer im 15. Jahrhundert am Beispiel des Komponisten John Dunstaple, Göttingen, 2012

Robert Stevenson , Spanish Music in the Age of Columbus, The Hague, 1960

Andrew Wathey , “The Motets of Philippe de Vitry and the Fourteenth-Century Renaissance,” EMH 12 (1993), 119–50

Ronald Woodley , “Renaissance Music Theory as Literature: On Reading the Proportionale musices of Iohannes Tinctoris,” Renaissance Studies 1 (1987), 209–20

Leofranc Holford-Strevens , “Du Fay the Poet? Problems in the Texts of his Motets,” EMH 16 (1997), 97–165

Arthur Field , The Origins of the Platonic Academy of Florence, Princeton, 1988

Dale Kent , “Michele del Giogante’s House of Memory,” in Society and Individual in Renaissance Florence, ed. William J. Connell , Berkeley, 2002, 110–36

Nino Pirrotta , Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays, Cambridge, MA, 1984

Rosa Salzberg , “In the Mouths of Charlatans: Street Performers and the Dissemination of Pamphlets in Renaissance Italy,” Renaissance Studies 24 (2010), 638–53

Christina Storey , “The Philosopher, the Poet, and the Fragment: Ficino, Poliziano, and Le stanze per la giostra,” Modern Language Review 98 (2003), 602–19

Benjamin Brand , “The Vigils of Medieval Tuscany,” PMM 17 (2008), 23–54

Samuel Cohn , Marcello Fantoni , Franco Franceschi , and Fabrizio Ricciardelli , eds., Late Medieval and Early Modern Ritual: Studies in Italian Urban Culture, Turnhout, 2013

Alison K. Frazier , “Humanist Lives of Catherine of Siena,” in St. Catherine of Siena: The Creation of a Cult, ed. Jeffrey Hamburger and Gabriella Signori , Turnhout, 2013, 109–34

Craig A. Gibson , “Learning Greek History in the Ancient Classroom: The Evidence of the Treatises on Progymnasmata,” Classical Philology 99 (2004), 103–29

Jonathan Green , Frank McIntyre , and Paul Needham , “The Shape of Incunable Survival and Statistical Estimation of Lost Editions,” Papers of the Bibliographical Society of America 105/2 (2011), 141–75

Denys Hay , The Church in Italy in the Fifteenth Century, New York, 1977

Eric Palazzo , “Le Role des libelli dans la pratique liturgique du haut moyen âge: Histoire et typologie,” Revue Mabillon, n.s. 1 (= 62) (1990), 9–36

Janka Szendrei , “On the Prose Historia of St. Augustine,” in The Divine Office in the Latin Middle Ages, ed. Margot E. Fassler and Rebecca A. Baltzer , New York and Oxford, 2000, 430–43

Donal Cooper , “Franciscan Choir Enclosures and the Function of Double-Sided Altarpieces in Pre-Tridentine Umbria,” Journal of the Warburg and Courtauld Institutes 64 (2001), 1–54

Deborah Howard and Laura Moretti , eds., The Music Room in Early Modern France and Italy: Sound, Space, and Object, Oxford, 2012

John Monfasoni , “A Description of the Sistine Chapel under Pope Sixtus IV,” Artibus et Historiae 4 (1983), 9–18

Jesse Rodin , Josquin’s Rome: Hearing and Composing in the Sistine Chapel, Oxford and New York, 2012

Evelyn S. Welch , “Sight, Sound, and Ceremony in the Chapel of Galeazzo Maria Sforza,” EMH 12 (1993), 151–90

Antonius Arena , “Rules of Dancing,” Dance Research 4 (1986), 3–53

Phyllis Pray Bober , “The Coryciana and the Nymph Corycia,” Journal of the Warburg and Courtauld Institutes 40 (1977), 223–39

Anthony M. Cummings , The Lion’s Ear: Pope Leo X, the Renaissance Papacy, and Music, Ann Arbor, 2012

Brigitte Buettner , “Past Presents: New Year’s Gifts at the Valois Courts, ca. 1400,” Art Bulletin 83 (2001), 598–625

Carol M. Chattaway , “Looking a Medieval Gift Horse in the Mouth: The Role of the Giving of Gift Objects in the Definition and Maintenance of the Power Networks of Philip the Bold,” BMGN: Low Countries Historical Review 114 (1999), 1–15

Susan Crane , The Performance of Self: Ritual, Clothing, and Identity during the Hundred Years War, Philadelphia, 2002

Jan Hirschbiegel , Étrennes: Untersuchungen zum höfischen Geschenkverkehr im spätmittelalterlichen Frankreich der Zeit König Karls VI (1380–1422), Munich, 2003

Margaret Bent , “Sources of the Old Hall Music,” Proceedings of the Royal Musical Association 94 (1967–68), 19–35

Lewis Lockwood , Music in Renaissance Ferrara, 1400–1505: The Creation of a Musical Center in the Fifteenth Century, rev. edn., Oxford, 2009

Agostino Magro , “‘Premièrement ma baronnie de Chasteauneuf’: Jean de Ockeghem, Treasurer of St Martin’s in Tours,” EMH 18 (1999), 165–258

Klaus Pietschmann and Steven Rozenski , “Singing the Self: The Autobiography of the Fifteenth-Century German Singer and Composer Johannes von Soest,” EMH 29 (2010), 119–59

Peter Wright , “Johannes Brassart and Johannes de Sarto,” Plainsong and Medieval Music 1 (1992), 41–61

Sean Gallagher , “Busnoys, Burgundy, and the Song of Songs,” in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. M. Jennifer Bloxam , Gioia Filocamo , and Leofranc Holford-Strevens , Turnhout, 2009, 413–29

Werner Paravicini , “Ordre et règle: Charles le Téméraire en ses ordonnances de l’hôtel,” Comptes rendus des scéances de l’Académie des Inscriptions et Belles-Lettres 143 (1999), 311–59

William F. Prizer , “Brussels and the Ceremonies of the Order of the Golden Fleece,” Revue belge de musicologie 55 (2001), 69–90

Alejandro Enrique Planchart , “Guillaume Du Fay’s Benefices and his Relationship to the Court of Burgundy,” EMH 8 (1988), 117–71

Pierre Bourdon , “L’Abrogation de la Pragmatique et les règles de la chancellerie de Pie II,” Mélanges d’archéologie et d’histoire 28 (1908), 207–24

Frank A. D’Accone , The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance, Chicago, 1997

Peter Partner , The Pope’s Men: The Papal Civil Service in the Renaissance, Oxford, 1990

Pamela F. Starr , “Rome as the Centre of the Universe: Papal Grace and Music Patronage,” EMH 11 (1992), 223–62

Pamela F. Starr , “Southern Exposure: Roman Light on Johannes Regis,” Revue belge de musicologie 49 (1995), 27–38

Howard Mayer Brown , “Women Singers and Women’s Songs in Fifteenth-Century Italy,” in Women Making Music: The Western Art Tradition, 1150–1950, ed. Jane Bowers and Judith Tick , Urbana and Chicago, 1986, 62–89

Judith Bryce , “Performing for Strangers: Women, Dance and Music in Quattrocento Florence,” Renaissance Quarterly 54 (2001), 1074–1107

William F. Prizer , “Music and Ceremonial in the Low Countries: Philip the Fair and the Order of the Golden Fleece,” EMH 5 (1985), 113–53

William F. Prizer , “Reading Carnival: The Creation of a Florentine Carnival Song,” EMH 23 (2004), 185–252

Roger E. Reynolds , “The Drama of Medieval Liturgical Processions,” Revue de musicologie 86 (2000), 127–42

Catherine Saucier , “Acclaiming Advent and Adventus in Johannes Brassart’s Motet for Frederick III,” EMH 27 (2008), 137–79

Anne Bagnall Yardley , Performing Piety: Musical Culture in Medieval English Nunneries, New York, 2006

Margot Fassler , “Mary’s Nativity, Fulbert of Chartres, and the Stirps Jesse: Liturgical Innovation circa 1000 and its Afterlife,” Speculum 75 (2000), 389–434

E. Ann Matter ., The Voice of My Beloved: The Song of Songs in Western Medieval Christianity, Philadelphia, 1990

Marvin Trachtenberg , “Architecture and Music Reunited: A New Reading of Dufay’s ‘Nuper Rosarum Flores’ and the Cathedral of Florence,” Renaissance Quarterly 54 (2001), 740–75

Michael Alan Anderson , “Enhancing the Ave Maria in the Ars Antiqua,” PMM 19 (2010), 35–65

Michelle Karnes , Imagination, Meditation, and Cognition in the Middle Ages, Chicago, 2011

Virginia Reinburg , French Books of Hours: Making an Archive of Prayer, c. 1400–1600, Cambridge, 2012

Anna Maria Busse Berger , “The Relationship of Perfect and Imperfect Time in Italian Theory of the Renaissance,” EMH 5 (1985), 1–28

Bobby Wayne Cox , “‘Pseudo-Augmentation’ in the Manuscript Bologna, Civico Museo Bibliografico Musicale Q15 (BL),” JM 1 (1982), 419–48

Julie Cumming , The Motet in the Age of Du Fay, Cambridge, 1999

Alejandro Enrique Planchart , “The Relative Speed of ‘Tempora’ in the Period of Dufay,” Royal Musical Association Research Chronicle 17 (1981), 33–51

J. Michael Allsen , “Tenores ad longum and Rhythmic Cues in the Early Fifteenth-Century Motet,” PMM 12 (2003), 43–69

Rob C. Wegman Petrus de Domarto’s Missa Spiritus almus and the Early History of the Four-Voice Mass in the Fifteenth Century,” EMH 10 (1991), 235–303

Ronald Woodley , “The Printing and Scope of Tinctoris’s Fragmentary Treatise De inventione et usu musice,” EMH 5 (1985), 239–68

Ronald Woodley , “Tinctoris’s Italian Translation of the Golden Fleece Statutes: A Text and a (Possible) Context,” EMH 8 (1988), 173–244

Margaret Bent , “A New Canonic Gloria and the Changing Profile of Dunstaple,” PMM 5 (1996), 45–67

Laurenz Lütteken , “Padua und die Entstehung des musikalischen Textes,” Marburger Jahrbuch für Kunstwissenschaft 24 (1997), 25–39

Peter Wright , “On the Origins of Trent 871 and 922 ,” EMH 6 (1986), 245–70

Liane Curtis , “Simon Mellet, Scribe of Cambrai Cathedral,” PMM 8 (1999), 133–66

Joshua Rifkin , “A 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. M. Jennifer Bloxam , Gioia Filocamo , and Leofranc Holford-Strevens , Turnhout, 2009, 309–17

David Burn , “‘Nam erit haec quoque laus eorum’: Imitation, Competition and the L’homme armé Tradition,” Revue de musicologie 87 (2001), 251–87

Michael Noone , and Graeme Skinner , “Toledo Cathedral’s Collection of Manuscript Plainsong Choirbooks: A Preliminary Report and Checklist,” Notes, Second Series 63 (2006), 289–328

James Garratt , Palestrina and the German Romantic Imagination: Interpreting Historicism in Nineteenth-Century Music, Cambridge, 2002

Andrew Kirkman , “‘Under Such Heavy Chains’: The Discovery and Evaluation of Late Medieval Music before Ambros,” 19th-Century Music 24 (2000), 89–112

Robert Wicks , “Hegel’s Aesthetics: An Overview,” in The Cambridge Companion to Hegel, ed. Frederick C. Beiser , Cambridge, 1993, 348–77

Jessie Ann Owens , “Music Historiography and the Definition of ‘Renaissance’,” Notes 47 (1990), 305–30

Bernard Gagnepain , “Safford Cape et le ‘miracle’ Pro Musica Antiqua,” Revue belge de musicologie/Belgisch Tijdschrift voor Muziekwetenschap 34/35 (1980/1981), 204–19

Charles M. Joseph , Stravinsky Inside Out, New Haven, 2001

Richard Taruskin , “‘Alte Musik’ or ‘Early Music’?,” Twentieth-Century Music 8 (2011), 3–28


Full text views

Total number of HTML views: 209
Total number of PDF views: 3338 *
Loading metrics...

Book summary page views

Total views: 14495 *
Loading metrics...

* Views captured on Cambridge Core between September 2016 - 17th October 2017. This data will be updated every 24 hours.