1
Oliver Strunk, "Origins of the 'L'Homme armé' Mass," Essays on Music in the Western World (New York, 1974), p. 69
Strunk
Origins of the 'L'Homme armé' Mass
69
Essays on Music in the Western World
1974
Judith Cohen, The Six Anonymous L'Homme armé Masses in Naples, Biblioteca Nazionale, MS VI E 40, Musicological Studies and Documents, 2 ([Rome,] 1968), pp. 72-74
Cohen
72
2
The Six Anonymous L'Homme armé Masses in Naples, Biblioteca Nazionale, MS VI E 40
1968
2
Jules Houdoy, Histoire artistique de la catbèdrale de Cambrai, ancienne église métropolitaine Notre-Dame: Comptes, inventaires et documents inédits, avec une vue et un plan de l'ancienne catbédrale (Lille, 1880; repr. Geneva, 1972), p. 84.
Houdoy
84
Histoire artistique de la catbèdrale de Cambrai, ancienne église métropolitaine Notre-Dame: Comptes, inventaires et documents inéditss, avec une vue et un plan de l'ancienne catbédrale
1972
3
Lewis Lockwood, "Aspects of the 'L'Homme armé' Tradition," Proceedings of the Royal Musical Association, C, Royal Musical Association Centenary Essays, ed. Edward Olleson (1973-74), 108
Lockwood
Aspects of the 'L'Homme armé' Tradition
108
Proceedings of the Royal Musical Association, C, Royal Musical Association Centenary Essays
1974
Busnoys's Mass "provisionally" as a member of the earliest group, along with those of Dufay and Ockeghem ("L'Homme armé," The New Grove Dictionary, X, 712)
L'Homme armé
712
X
The New Grove Dictionary
4
Essays, p. 68
Adalbert Roth, "Studien zum frühen Repertoire der pÄpstlichen Kapelle unter dem Pontifikat Sixtus' IV, (1471- 1484): Die Chorbiicher 14 und 51 des Fondo Cappella Sistina der Biblioteca Apostolica Vaticana" (Ph.D. diss., J. W. Goethe-Univ., 1982)
Gustave Reese, Music in the Renaissance, rev. ed. (New York, 1959), p. 107
Reese
107
Music in the Renaissance
1959
Ludwig Finscher (notes to Archiv Produktion Stereo 2533404 [1978])
Ruth Hannas, who, in her well-known and still-controversial essay "Concerning Deletions in the Polyphonic Mass Credo," this JOURNAL, V (1952), 16810.2307/829958
168
Strunk's "ca. 1475" as a donnée, from which she proceeded to "hazard a guess that [the Mass] belongs to the year 1478, at which time Busnois's patron, Charles the Bold, attempted final negotiations with the vacillating Frederick III" (corrected according to the author's "Communication," this JOURNAL, VI [1953], 93)
Strunk
93
VI
Journal of the American Musicological Society
1953
5
Tinctoris's Proportionale musices (ca. 1473-74)
Tinctoris
Proportionale musices
1474
Dufay's Mass for St. Anthony of Padua, most recently dated ca. 1450
David Fallows, Dufay [London, 1982], pp. 182-92
Fallows
182
Dufay
1982
6
L'Homme armé Mass tradition is 1467-68
Reinhard Strohm, Music in Late Medieval Bruges (Oxford, 1985), p. 30
Strohm
30
Music in Late Medieval Bruges
1985
Lucca, Archivio di Stato, Biblioteca Manoscritti 238
fols. <latex>$45^r$</latex>-<latex>$46^v$</latex>
Strohm (pp. 192, 195)
Dufay Mass is CS 14
Kyrie and Gloria, on fols. <latex>$101^v$</latex>-<latex>$105^r$</latex>
Alejandro Planchart's contention ("Guillaume Dufay's Masses: A View of the Manuscript Traditions," Dufay Quincentenary Conference, ed. Allan W. Atlas (Brook- lyn, 1976), p. 41)
Planchart
Guillaume Dufay's Masses: A View of the Manuscript Traditions
41
Dufay Quincentenary Conference
1976
Busnoys's Missa L'Homme armé
n. 4
Ockeghem's Missa L'Homme armé, meanwhile, is CS 35, which dates from the reign of Innocent VIII (1484-92)
Ockeghem
VIII
Missa L'Homme armé
1492
7
Mass is printed in Laurence Feininger, ed., Documenta majora polyphoniae liturgicae sanctae ecclesiae romanae, I (Trent, 1964)
Feininger
I
Documenta majora polyphoniae liturgicae sanctae ecclesiae romanae
1964
Allan W. Atlas, Music at the Aragonese Court of Naples (Cambridge, 1985)
Atlas
Music at the Aragonese Court of Naples
1985
8
Leeman L. Perkins and Howard Garey, eds., The Mellon Chansonnier (New Haven, 1979), I, nos. 1, 7, 12
Perkins
I
The Mellon Chansonnier
1979
9
Census-Catalogue of Manuscript Sources of Polyphonic Music, 1400-1550, Compiled by the University of Illinois Musicological Archives for Renaissance Manuscript Studies, ed. Charles Hamm and Herbert Kellman, I, Renaissance Manuscript Studies, I (Neu- hausen-Stuttgart, 1979), 71
71
I
Census-Catalogue of Manuscript Sources of Polyphonic Music, 1400-1550, Compiled by the University of Illinois Musicological Archives for Renaissance Manuscript Studies
1979
Atlas, Music at the Aragonese Court of Naples, p. 130
130
Turks at Otranto in 1481
10
Monumenta polyphoniae liturgicae sanctae ecclesiae romanae [MPLSER], ed. Laurence Feininger, ser. 1, I (Rome, 1948), pts. 8, 9, 10
Feininger
I
Monumenta polyphoniae liturgicae sanctae ecclesiae romanae [MPLSER]
1948
11
Lockwood or Strunk for Busnoys's Mass, still allows that "Dufay's is likely to be older" ("Busnois, Antoine," The New Grove Dictionary, III, 505)
Busnois, Antoine
505
III
The New Grove Dictionary
12
Charles Hamm, A Chronology of the Works of Guillaume Dufay Based on a Study of Mensural Practice (Princeton, 1964), passim
Hamm
A Chronology of the Works of Guillaume Dufay Based on a Study of Mensural Practice
1964
pp. 152-58
Dufay's Missa L'Homme armé
Hamm [p. 145]
13
Planchart's assertion ("Guillaume Dufay's Masses: A View of the Manuscript Traditions," p. 42)
42
Dufay, pp. 201-202
"Fifteenth-Century Masses: Notes on Performance and Chronolo- gy," Studi musicali, X [1981], 5-12
5
X
Studi musicali
1981
"The L'Homme armé Masses of Busnoys and Okeghem: A Comparison," The Journal of Musicology, III [1984], 391, n. 7110.2307/763587
391
14
Guillaume Dufay, Opera omnia, III, ed. Heinrich Besseler, Corpus mensurabilis musicae, 1 (Rome, 1951), vi
Dufay
vi
III
Opera omnia
1951
15
Dragan Plamenac, in his edition of the Mass (Johannes Ockeghem, Collected Works, I, 2nd rev. ed. [New York, 1959], 106)
Ockeghem
2
106
I
Collected Works
1959
n. 50 below
16
Credos by Damett (fols. <latex>$60^v$</latex>-<latex>$61^r$</latex>)
Power (fols. <latex>$70^v$</latex>-<latex>$71^r$</latex>)
Sanctus by Power (fols. <latex>$93^v$</latex>-<latex>$94^r$</latex>)
Bologna Q15 (fols. <latex>$127^v$</latex>-<latex>$28^r$</latex>
17
This JOURNAL, II (1949), 10910.2307/830076
109
18
Johannes Tinctoris, Proportionale musices (ca. 1474), Bk. III, Chap. 3
Tinctoris
Chap. 3
Proportionale musices
1474
Bartolo- meus Ramos de Pareja, Musica practica (1483), Bk. III, Chap. 2
Pareja
Chap. 2
Musica practica
1483
Pietro Aaron, Toscanello de la musica (1523), Bk. I, Chap. 38
Aaron
Chap. 38
Toscanello de la musica
1523
19
Robert Stevenson, "Josquin in the Music of Spain and Portugal," Josquin des Prez: Proceedings of the International Josquin Festival-Conference Held at the Juilliard School at Lincoln Center in New York City, 21-25 June 1971, ed. Edward E. Lowinsky and Bonnie J. Blackburn (London, 1976), p. 221
Stevenson
Josquin in the Music of Spain and Portugal
221
Josquin des Prez: Proceedings of the International Josquin Festival-Conference Held at the Juilliard School at Lincoln Center in New York City, 21-25 June 1971
1976
Richard Taruskin, ed., L'Homme armé (Miami, 1980), pp. 6, 40-42
Taruskin
6
L'Homme armé
1980
20
Mellon Chansonnier (ca. 1475, according to Leeman Perkins, The Mellon Chansonnier, I, 28-31)
28
Robert Morton, The Collected Works, ed. Allan Atlas, Masters and Monuments of the Renaissance, 2 (New York, 1981), p. xxxiv
Morton
xxxiv
2
The Collected Works
1981
Busnoys's Mass, is given in the same edition, pp. 7-10
Perkins, "The L'Homme armé Masses of Busnoys and Okeghem," especially the discussion on pp. 376-84
376
Strunk's original contention (Essays, p. 69, seconded by David Fallows, "Morton, Robert," The New Grove Dictionary, XII, 597)
Fallows
Morton, Robert
XII
The New Grove Dictionary
Busnoys's Mass back at least to ca. 1460
21
Herbert Kellman, "Josquin and the Courts of the Netherlands and France: The Evidence of the Sources," Josquin des Prez, ed. Lowinsky and Blackburn, p. 210
Kellman
Josquin and the Courts of the Netherlands and France: The Evidence of the Sources
210
Josquin des Prez
Kellman's fundamental codicological study, "The Origins of the Chigi Codex: The Date, Provenance, and Original Ownership of Rome, Biblioteca Vaticana, Chigiana, C. VIII. 234," this JOURNAL, XI (1958), 6-1910.2307/830135
6
22
Picker, "Busnois," p. 504
Paula M. Higgins in her preface to the facsimile edition of the Chansonnier Nivelle de la Chaussée (Geneva, 1984), pp. iv-v
"In hydraulis Revisited: New Light on the Career of Antoine Busnois," this JOURNAL, XXXIX (1986), 36-8610.2307/831694
36
23
Picker, "Busnois," p. 505.
24
Sistine Chapel MS 63
Johannes Orceau, ca. 1503
Richard Sherr, "The Papal Chapel ca. 1492-1513 and Its Polyphonic Sources" (Ph.D. diss., Princeton Univ., 1975)
Verona, Biblioteca Capitolare, MS DCCLXI
Alan H. Preston, "Sacred Polyphony in Renaissance Verona: A Liturgical and Stylistic Study" [Ph.D. diss., Univ. of Illinois, 1969], pp. 94-96
Kyrie and Gloria of Dufay's Missa L'Homme armé
Busnoys error (Ex. 6)
Busnoys's Mass in the MS Santa Maria Maggiore JJ.III.4
ca. 1520
Barton Hudson, "A Neglected Source of Renaissance Polyphony: Rome, Santa Maria Maggiore JJ.III.4," Acta musicologica, XLVIII [1976], 166-8010.2307/932312
166
Barcelona, Biblioteca Central, MS 454
Archivio di Stato in Modena ("Mod E"
Lewis Lockwood, Music in Renaissance Ferrara [Cambridge, 1984], pp. 216-17, 222, pl. 8
Lockwood
216
Music in Renaissance Ferrara
1984
25
"Relative Sonority as a Factor in Style-Critical Analysis," Studi musicali, II (1973), 146
146
II
Studi musicali
1973
Essays, p. 71
26
Wolfgang Stephan, Die burgundisch-niederlÄndische Motette zur Zeit Ockeghems (Kassel, 1937), p. 89
Stephan
89
Die burgundisch-niederlÄndische Motette zur Zeit Ockeghems
1937
Edgar H. Sparks, "The Motets of Antoine Busnois," this JOURNAL, VI (1953), 21710.2307/830230
217
Flynn Warmington, " 'A Very Fine Troop of Bastards?': Provenance, Date, and Busnois's Role in Brussels 5557," paper read at the annual meeting of the American Musicological Society, Philadelphia, 1984
Warmington
'A Very Fine Troop of Bastards?': Provenance, Date, and Busnois's Role in Brussels 5557
annual meeting of the American Musicological Society, Philadelphia, 1984
1984
27
Cappella Sistina MS 42, fols. <latex>$100^v$</latex>-<latex>$104^r$</latex>
Richard Sherr, "Notes on Two Roman Manuscripts of the Early Sixteenth Century," The Musical Quarterly, LXIII ( 977), 6210.2307/741749
62
30
Perkins and Garey, eds., The Mellon Chansonnier, I, 124
124
Busnoys's Missa L'Homme armé
31
"The Order of the Golden Fleece and Music," paper read at the annual meeting of the American Musicological Society, Vancouver, B.C., 1985
The Order of the Golden Fleece and Music
annual meeting of the American Musicological Society, Vancouver, B.C., 1985
1985
Prizer, "Music and Ceremonial in the Low Countries: Philip the Fair and the Order of the Golden Fleece," Early Music History, V (1985), 113-5310.2307/853921
113
32
"Trinitas in unitate," to quote the canon in Busnoys's chanson "Ha que vile"
33
Craig Wright, "Dufay at Cambrai: Discoveries and Revisions," this JOURNAL, XXVIII (1975), 217.10.2307/830766
217
34
Feininger in MPLSER, ser. 1 (Dufay, Busnoys, Caron, Faugues, Regis, Ockeghem, De Orto, Basiron, Tinctoris, Vaqueras), the six Naples anonymi (ed. Feininger, MPLSER, ser. 1, III, pts. 1-6)
Bologna Q 16 Mass(n. 7)
Mass by La Rue (ed. Nigel Davison, Das Chorwerk, 114 [Wolfenbüttel, 1972])
35
Obrecht's penchant for musica speculativa
Kees Vellekoop, "ZusammenhÄnge zwischen Text und Zahl in der Kompositionsart Jacob Obrechts: Analyse der Motette Parce Domine," Tijdschrift van de Vereniging voor Nederlandse muziekgeschiedenis, XX/3 (1966), 97-11910.2307/938992
97
Marcus van Crevel, Introduction to the Masses Sub tuum presidium and Maria zart, in Jacob Obrecht, Opera omnia, rev. ed., I, pts. 6 and 7 (Amsterdam, 1959, 1964)
Obrecht
Opera omnia
1964
Edgar H. Sparks puts it ("Obrecht, Jacob," The New Grove Dictionary, XIII, 482)
Sparks
Obrecht, Jacob
482
XIII
The New Grove Dictionary
Essays, p. 68
R. Larry Todd, "Retro- grade, Inversion, Retrograde-Inversion and Related Techniques in the Masses of Jacobus Obrecht," The Musical Quarterly, LXIV (1978), 50-7810.2307/741652
50
p. 56
Bruges [Music in Late Medieval Bruges, pp. 147-48]
Bukofzer in his classic "Caput: A Liturgico-Musical Study," Studies in Medieval and Renaissance Music (New York, 1950), pp. 217-310, esp. 256-71
Bukofzer
Caput: A Liturgico-Musical Study
217
Studies in Medieval and Renaissance Music
1950
"Scheme of the Caput Masses" given by Bukofzer on p. 265
Obrecht, Opera omnia, rev. ed., pt. 6, p. xxiv
xxiv
36
Margaret Vardell Sandresky, "The Continuing Concept of the Platonic- Pythagorean System and Its Application to the Analysis of Fifteenth-Century Music," Music Theory Spectrum, I [1979], 12010.2307/745782
120
Dufay's Missa L'Homme armé (pp. 118-19, with the discussion of them beginning on p. 115
Dufay
115
Missa L'Homme armé
Alejandro Enrique Planchart in his well-known article "Guillaume Dufay's Masses: Notes and Revisions," The Musical Quarterly, LVIII [1972], 1-2310.2307/741170
1
La Rue Missa L'Homme armé that was published by Petrucci has a Sanctus in which the opening section, the Pleni, and the Osanna are in a proportion of 9:7:6
37
Bologna Q 15, Trent 90 and 93
Alejandro Enrique Planchart, "The Relative Speed of Tempora in the Period of Dufay," Royal Musical Association Research Chronicle, XVII (1981), 33-51, esp. 41-42
Planchart
33
XVII
Royal Musical Association Research Chronicle
1981
Margaret Bent, ed., "Editorial Commentary & Notes on Performance," Fifteenth- Century Liturgical Music, II, Four Anonymous Masses, Early English Church Music, 22 (London, 1979), esp. xiv
"Tempo Relationships"
Guilielmi Monachi, De preceptis artis musicae, ed. Albert Seay, Corpus scriptorum musica, 11([Rome,] 1965), p. 16
Seay
16
11
Guilielmi Monachi, De preceptis artis musicae
1965
Busnoys's Missa O Crux lignum triumphale (uniquely preserved in Cappella Sistina MS 51)
Missa Quant ce viendra, anonymously transmitted in Trent 89
n. 63 below
38
Don Giller, "The Naples L'Homme armé Masses and Caron: A Study in Musical Relationships," Current Musicology, XXXII (1981), 7-28.
Giller
7
XXXII
Current Musicology
1981
39
Todd's article, referred to in n. 35
41
Cohen, The Six Anonymous L'Homme armé Masses, pp. 62-67.
62
42
Ibid., pp. 22-23
"Munus ab ignoto," Studia musicologica, XXII (1980), 187-20410.2307/901996
187
Cohen calls attention to certain stylistic peculiarities of the Naples Masses-particularly the prevalence of "canons and short imitations ... at tenor rests" (p. 192)
"the use of the c.f.-incipit in the alto part of motto openings" (p. 198)
43
Dufay, pp. 201-202
44
Strohm, Music in Late Medieval Bruges, p. 124
124
Proportionale musices, Bk. III, Chap. 2
Johannes Tinctoris, Opera theoretica, IIa, ed. Albert Seay, Corpus scriptorum de musica, 22 (Neuhausen-Stuttgart, 1978), 47
Tinctoris
Corpus scriptorum de musica
47
22
Opera theoretica
1978
Joannes Antonius Bank, Tactus, Tempo and Notation in Mensural Music from the 13th to the 17th Century (Amsterdam, 1972), pp. 81-92
Bank
81
Tactus, Tempo and Notation in Mensural Music from the 13th to the 17th Century
1972
John Dunstable, Complete Works, ed. Manfred F. Bukofzer, 2nd rev. ed., ed. Margaret Bent, Ian Bent, and Brian Trowell, Musica Britannica, 8 (London, 1970), nos. 15-18, 28, 31, 34
Dunstable
15
8
Complete Works
1970
45
Johannes Tinctoris, Proportions in Music (Proportionale musices), trans. Albert Seay, Colorado College Music Press Translations, io (Colorado Springs, 1979), PP. 36-37.
Tinctoris
36
Proportions in Music (Proportionale musices)
1979
46
Ibid., pp. 37-38.
47
Kyrie I, Et in terra, Patrem, Sanctus, Agnus I
Kyrie II, Qui tollis, Et incarnatus, Osanna, Agnus III
48
Ramos de Pareja, Musica practica Bartolomei Rami de Pareia bononiae, impressa opere et industria ac expensis magistri Baltasaris de Hiriberia MCCCCLXXXII, nach den Original- drucken des Liceo musicale mit Genehmigung der Commune von Bologna, ed. Johannes Wolf, Publikationen der Internationalen Musikgesellschaft, 2 (Leipzig, 1901), p. 84
Pareja
84
2
Musica practica Bartolomei Rami de Pareia bononiae, impressa opere et industria ac expensis magistri Baltasaris de Hiriberia MCCCCLXXXII, nach den Originaldrucken des Liceo musicale mit Genehmigung der Commune von Bologna
1901
49
Proportionale, Bk. III, Chap. 5
Seay translation, p. 43
43
50
Ockeghem's Et resurrexit
n. 15 above
51
Bank, Tactus, Tempo and Notation, p. 175
175
53
Perkins, "The L'Homme armé Masses of Busnoys and Okeghem," especially the tables of examples on pp. 392-96.
392
54
The Mellon Chansonnier, II, 331.
331
55
Perkins, "The L'Homme armé Masses of Busnoys and Okeghem," p. 372
372
56
Pietro Aaron, Toscanello in Music, trans. Peter Bergquist, Colorado College Music Press Translations, 4 (Colorado Springs, 1970), Bk. I, Chap. 38, p. 55.
Aaron
Chap. 38
55
4
Toscanello in Music
1970
57
Atlas, Introduction to Morton, The Collected Works, pp. xxxiii-xxxiv
xxxiii
58
Morton, The Collected Works, nos. 1-12
59
Atlas, Introduction to Morton, The Collected Works, p. xxxv.
xxxv
60
"With its two conflicting attributions for pieces that are otherwise ascribed to Morton in the Neapolitan Per[ugia] 431, and with its dependence for its readings for all the pieces involving Morton on an intermediary that stands outside the seemingly well-traveled Burgundy-Naples-Florence path, Rome 2856 [Casanatense] clearly calls for substantiation with respect to its Morton ascriptions. Yet the only other source for these two chansons [including "Il sera pour vous"], the Neapolitan NH 91 [Mellon], is silent on the matter, transmitting the works anonymously. While we cannot feel as secure in accepting these pieces as Morton's as we might feel if we had supporting ascriptions from other sources, we cannot without other evidence deny the pieces to Morton" (p. xxxiii)
61
Mellon Chansonnier ("An Unknown Chansonnier of the 15th Century," The Musical Quarterly, XXVII [1942], 19-20)
Chansonnier
19
XXVII
The Musical Quarterly
1942
"Robert Morton's Songs: A Study of Styles in the Mid-Fifteenth Century" [Ph.D. diss., Univ. of California, Berkeley, 1978], p. 205
62
George C. Schuetze, Jr., "Faugues, Guillaume," The New Grove Dictionary, VI, 417.
Schuetze
417
VI
The New Grove Dictionary
63
Missa Quant ce viendra in Trent 89 (fols. <latex>$318^v$</latex>-<latex>$30^r$</latex>)
Bartholomeus of Bologna, whose two sections are found embedded, without significant change, in a Gloria by the same composer that directly follows the ballata in Oxford, Canonici 213
64
Lockwood, "Aspects," p. 103
103
Perkins, "The L'Homme armé Masses of Busnoys and Okeghem," p. 371
371
L'Homme armé melody (Ex. 9)
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