Josquin's Rome offers a new reading of the works composed by Josquin des Prez during his time as a singer and composer for the pope's private choir. Confronting longstanding problems concerning the authenticity and chronology of Josquin's music while also offering nuanced readings of understudied works by his contemporaries, the book contextualizes Josquin by locating intersections between his music and the wider soundscape of the Cappella Sistina.
Josquin's Rome offers a new reading of the works composed by Josquin des Prez during his time as a singer and composer for the pope's private choir. Confronting longstanding problems concerning the authenticity and chronology of Josquin's music while also offering nuanced readings of understudied works by his contemporaries, the book contextualizes Josquin by locating intersections between his music and the wider soundscape of the Cappella Sistina.
Jesse Rodin is Associate Professor of Music at Stanford University. He is the editor of a volume of L'homme armé masses for the New Josquin Edition (2014) and co-editor of The Cambridge History of Fifteenth-Century Music (2015). His articles have appeared in the Journal of the American Musicological Society, Music & Letters, Acta Musicologica, and other major journals. Current projects include a series of recordings devoted to the songs of Johannes Ockeghem and his contemporaries (Musique en Wallonie) and a monograph on form in fifteenth-century music.
Inhaltsangabe
Introduction Part I. Toward Josquin's Style Chapter 1. Methodological Minefields Chapter 2. An Obsessive Compositional Personality Part II. Surveying the Soundscape: The Cappella Sistina, ca. 1480-ca. 1500 Chapter 3. The Repertory Chapter 4. The Lingua Franca Chapter 5. A Maximalist Musical Mind: Marbrianus de Orto Part III. Josquin's Roman Music in Context Chapter 6. Super voces musicales and the L'homme armé Tradition Chapter 7. Intersections and Borrowings Appendix A. Repertory of the Cappella Sistina to ca. 1500 Appendix B. Related Repertories: VerBC 761, BarcOC 5, and VatSP B80 Appendix C. Three Anonymous Da pacem Motets Appendix D. Four Canonic Hymn Settings
Introduction Part I. Toward Josquin's Style Chapter 1. Methodological Minefields Chapter 2. An Obsessive Compositional Personality Part II. Surveying the Soundscape: The Cappella Sistina, ca. 1480-ca. 1500 Chapter 3. The Repertory Chapter 4. The Lingua Franca Chapter 5. A Maximalist Musical Mind: Marbrianus de Orto Part III. Josquin's Roman Music in Context Chapter 6. Super voces musicales and the L'homme armé Tradition Chapter 7. Intersections and Borrowings Appendix A. Repertory of the Cappella Sistina to ca. 1500 Appendix B. Related Repertories: VerBC 761, BarcOC 5, and VatSP B80 Appendix C. Three Anonymous Da pacem Motets Appendix D. Four Canonic Hymn Settings
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