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The Cambridge History of Fifteenth-Century Music
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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.

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This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

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

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

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

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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

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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

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

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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

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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

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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

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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

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

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