The “Roman period” of Josquin des Prez resulted in a small but impressive body of work, and the Missa La sol fa re mi has been received as one of the most substantial and finest members of this corpus. Closer inspection of the transmission of this mass, however, suggests that despite its copying at the Sistine Chapel before 1500, there is reason to situate it instead among the problematic and derivative copies of Josquin’s music made at the papal chapel after his departure. I argue that rather than originating from the composer’s tenure in Rome, the Missa La sol fa re mi entered the papal chapel repertoire as part of an influx of music by composers associated with the French royal court surrounding the Italian campaign of King Charles VIII in 1494–95. Decoupling the Missa La sol fa re mi from Josquin’s tenure at the papal chapel raises new possibilities surrounding his works-chronology, biography, and milieu.

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