Pervasive imitation became the dominant musical texture in sacred music of the late fifteenth
and sixteenth centuries. 1 In pervasive imitation all of the voices are involved in repeating …

Abstract In the Istitutioni harmoniche, Zarlino describes a compositional process in which a
countermelody that is introduced against a principal soggetto can itself become a soggetto …

For more than a millenium, singers in churches, monasteries, and private chapels across
Europe have closed their worship with the joyful musical exclamation Benedicamus Domino …

Over the ages, ligatures in musical notation have had several different meanings and
shades of meanings. First used in chant notation apparently to show that several notes were …

The dissertation examines forty-four five-and six-voice motets by musicians associated with
the French court during the reign of Louis XII. This first investigation of this body of music as …

Despite many important developments in musicological scholarship dealing with
Renaissance music, surprisingly little has been accomplished in the realm of analytical …

This study examines the ways that printing technology affected the relationship between
Renaissance authors of books about music and their readers. I argue that the proliferation of …

Our study investigates madrigal settings of sestinas, sonnets and ballata with highly
structured forms. They are, to a varying degree, unambiguously attributed to fixed poetic …

In light of the recent literature on the polyphonic settings of the Ordinarium Missae in the
fifteenth century, and of new discoveries regarding the figure of Firminus Caron, a …

Josquin des Pres has long been accepted as the first composer to cultivate the multi-voice
chanson. The majority of his songs in this genre are built around a pair of voices singing in …