JF History of Music: Medieval and Renaissance

 

Week 9    Settings of the Ordinary of the Mass


READING

Howard M. Brown and Louise K. Stein, Music in the Renaissance (2nd edn, Englewood Cliffs: Prentice-Hall, 1999) (library). See pp. 25–49, 61–72, 120–127, 138–42.

Leeman L. Perkins, Music in the Age of the Renaissance (New York and London: Norton, 1999) (library).

Willem Elders, Composers of the Low Countries (Oxford: Oxford University Press, 1991) (library).

Andrew Kirkman, The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival (Cambridge: Cambridge University Press, 2010), HL-318-926.

David Fallows, Dufay (London: Dent, 1982) (library).

————, Josquin (Turnhout: Brepols, 2009) (library).

Rob C. Wegman, Born for the Muses: The Life and Masses of Jacob Obrecht (Oxford: Oxford University Press, 1994) (library).

Richard Sherr (ed.), The Josquin Companion (Oxford: Oxford University Press, 2000) (library).

Edgar H. Sparks, Cantus firmus in Mass and Motet, 1420–1520 (Berkeley: University of California Press, 1963) (library).

Manfred F. Bukofzer, Studies in Medieval and Renaissance Music (New York, 1950) (library). See ‘Caput: A Liturgico-Musical Study’.

Herbert Kellman, ‘The Origins of the Chigi Codex’, Journal of the American Musicological Society, 11 (1958), 6–19 (jstor).

Michael Long, ‘Symbol and Ritual in Josquin’s “Missa Di Dadi”’, Journal of the American Musicological Society, 42 (1989), 1–22 (jstor).

Alejandro Enrique Planchart, ‘The Origins and Early History of L’homme armé’, Journal of Musicology, 20 (2003), 305–57 (jstor).

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

Richard Taruskin, ‘Antoine Busnoys and the l’Homme armé Tradition’, Journal of the American Musicological Society, 39 (1986), 288–93 (jstor).

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

EDITIONS

Masses for the Sistine Chapel: Vatican City, Biblioteca Apostolica Vaticana, Cappella Sistina, Ms 14, ed. Richard Sherr (Chicago, 2009) (library).

Anon. (ed. Cohen), Six Anonymous L’homme armé Masses (American Institute of Musicology, 1981) (library).

Dufay (ed. Besseler), Opera omnia (American Institute of Musicology, 1966) (library).

———— (ed. Darvas), Missa l’homme armé (Budapest, 1972) (library).

Isaac (ed. Cuyler), Five Polyphonic Masses (Michigan, 1956) (library).

Josquin des Pres (ed. Smijers), Collected Works (1926–31) (library).

———— (ed. Elders et al), New Josquin Edition (1987–) (library).

Obrecht (ed. Maas et al), New Edition of the Collected Works (Utrecht, 1983–) (library).

———— (ed. Darvas), Missa l’homme armé (Budapest, 1972) (library).

Ockeghem (ed. Plamenac), Collected Works (2nd ed, American Institute of Musicology, 1959–66) (library).

———— (ed. Fallows), Missa cuiusvis toni (London, 1989) (library) (Phrygian solution only).

———— (ed. Darvas), Missa l’homme armé (Budapest, 1972) (library).

———— (ed. Turner), Missa pro defunctis (London, 1978) (library).

LISTENING

Department

171
690
1374
641
257
698
266
188
268
267
265
1477
357
359
158

Anonymous: La Dissection d’un Homme armé.
Dufay: Missa Ecce ancilla Domini.
Dufay: Missa Sancti Jacobi.
Dufay: Missa Se la face ay pale.
Isaac: Missa de Apostolis.
Josquin: Missa Ave maris stella: Motets.
Josquin: Missa di dadi, Missa Faisant regretz.
Josquin: Missa Pange lingua.
Josquin: Missa Pange lingua, Missa la sol fa re mi.
Josquin: Missae L’homme armé.
Josquin: Motets, Anthems and Sequences.
Josquin: Stabat Mater, Motets.
Ockeghem: Missa Ecce ancilla Domini.
Ockeghem: Requiem, Missa mi mi.
Pierre de la Rue: Missa L’homme armé.


Library

CD-477
CD-985
CD-986
CD-987
CD-981
CD-747
CD-748

Dufay, Missa L’homme armé.
Ockeghem, Missa Au travail suis.
Ockeghem, Missa L’homme armé.
Ockeghem, Requiem, Missa Prolationum.
Obrecht, Missa Caput.
Josquin, Missa Pange lingua.
Josquin, Missa L’homme armé.


ESSAY TITLES

With reference to works by three or more composers, trace the development of polyphonic mass ordinaries based on either plainsong or chansons, c.1420–c.1520.

Discuss the origins of the L’homme armé melody and its use in polyphonic mass cycles by three or more composers.