Sixteenth-Century Studies





G. W. Pigman III, ‘Versions of Imitations in the Renaissance’, Renaissance Quarterly, 33 (1980), 1–32 (jstor)

Howard Mayer Brown, ‘Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance’, Journal of the American Musicological Society, 35 (1982), 1–48 (jstor)

Honey Meconi, ‘Does Imitatio Exist?’, The Journal of Musicology, 12 (1994), 152–78 (jstor)

John Milsom, ‘Imitatio, Intertextuality and Early Music’ in Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, ed. Suzannah Clark and Elizabeth Eva Leach (Woodbridge: The Boydell Press, 2005), 141–51 (library)

Early Musical Borrowing, ed. Honey Meconi (New York, Routledge, 2004) (library)


Hugh Benham, ‘Prince Arthur (1486–1502), a Carol and a cantus firmus’, Early Music, 15 (1987), 463–8 (jstor)

Nigel Davison, ‘The “Western Wind” Masses’, Musical Quarterly, 57 (1971), 427–43 (jstor)

Philip Brett, ‘Homage to Taverner in Byrd’s Masses’, Early Music, 9 (1981), 169–76 (jstor)

Joseph Kerman, ‘Byrd, Tallis, and the Art of Imitation’, Aspects of Medieval and Renaissance Music, ed. Jan LaRue (New York, 1966), 519–37 (library)

Craig Monson, ‘“Throughout All Generations”: Intimations of Influence in the Short Service Styles of Tallis, Byrd and Morley’ in Byrd Studies, ed. Alan Brown and Richard Turbet (Cambridge: Cambridge University Press, 1992), 83–111 (library)

Richard Turbet, ‘Homage to Byrd in Tudor Verse Services’, The Musical Times, 129 (1988), 485–90 (jstor)


Quentin W. Quereau, ‘Sixteenth-Century Parody: An Approach to Analysis’, Journal of the American Musicological Society, 31 (1978), 407–41 (jstor)

————, ‘Aspects of Palestrina’s Parody Procedure’, The Journal of Musicology, 1 (1982), 198–216 (jstor)

Veronica Mary Franke, ‘Borrowing Procedures in Late 16th-Century Imitation Masses and their Implications for Our View of “Parody” or “Imitatio”’, Studien zur Musikwissenschaft, 46 (1998), 7–33 (jstor)

Cristle Collins Judd, ‘Multi-Layered Models: Compositional Approaches in the 1540s to Si bona suscepimus’ in Cristóbal de Morales: Sources, Influences, Reception, ed. Owen Rees and Bernadette Nelson (Woodbridge: The Boydell Press, 2007) (library)


Lewis Lockwood, ‘Aspects of the L’homme armé Tradition’, Proceedings of the Royal Musical Association, 100 (1973-4), 97–122 (jstor)

Rob C. Wegman, ‘Another “Imitation” of Busnoys’s Missa L’Homme armé—and Some Observations on Imitatio in Renaissance Music’, Journal of the Royal Musical Association, 114 (1989), 189–202 (jstor)

David J. Burn, ‘’”Nam erit haec quoque laus eorum”: Imitation, Competition and the “L’homme armé” Tradition’, Revue de musicologie, 87 (2001), 249–87 (jstor)

James Haar, ‘Palestrina as Historicist: The Two “L’homme armé” Masses’, Journal of the Royal Musical Association, 121 (1996), 191–205 (jstor)

Owen Rees, ‘Guerrero’s “L’homme armé” Masses and Their Models’, Early Music History, 12 (1993), 19–54 (jstor)

Joseph Sargent, ‘Morales, Josquin, and the L’homme armé Tradition’, Early Music History, 30 (2011), 177–212 (jstor)


Survey the principle of non-verbal intertextuality in sixteenth-century music with particular reference EITHER to polyphonic mass composition OR to homage-paying in general. Discuss in particular the usage of the term ‘imitation’ in musicological interpretations of that principle.